Category Archives: Articles

Album Review: Ray Lamontagne and the Pariah Dogs-God Willin’ & the Creek Don’t Rise


 
Artist: Ray Lamontagne and the Pariah Dogs

Full Title: God Willin’ & the Creek Don’t Rise

Year: 2010

Label: RCA

 This Mainer just released an album that 1971 would go crazy over. So take a trip up to Bangor, Maine, climb a mountain, light up a doobie, and put those head phones on. “God Willin’” is an unforgettable trip. Ray recorded this album in his farm home-turned studio in just a few weeks with his new band, The Pariah Dogs. Heartache and soul have never sounded so pristine.

The album kicks off with “Repo Man.” You know LaMontagne and the guys are jammin’ today. The track is a classic style blues riff with a modern twist. Phrases like “Didn’t take long fore’ I begin to see, that you got eyes for every man on the street” never sounded better. LaMontagne sure as hell ain’t your repo man! “New York City’s Killing Me” seems to be a personal take on a small country boy hitting the big city. The first single off the album, “Beg Steal or Borrow” sounds like Neil Young on steroids. “Are We Really Through” is undoubtedly the most beautiful ballad Ray has released. The quiet guitar pluckings will easily silence a room. The album ends with an upbeat track you will likely play at your next cookout “Devil’s in the jukebox.”

Though there is not a smash hit like “You Are the Best Thing” or “Hold You in my Arms,” this is still a fantastic album. “God Willin’” is only ten songs. The important thing here is that none of them lag. Each song is fresh, and when all is said and done, you will find Ray held your interest from start to finish. The album doesn’t explore anything new, or try to be bold. That’s perfectly fine! Simplicity works best for Ray and we all know it. Nothing gets in the way of his soothing vocal tones. Kudos to Ray and the boys, they we’re selling more records than over produced artists like Drake and Justin Bieber on the billboard charts. It’s nice to see an artist not using autotune or electronic beats being appreciated. That’s quite the accomplishment for a little ole’ country man. “God Willin’” is great fun, and the ideal soundtrack for your Fall season.

1. Repo Man-10

2. New York City’s Killing Me-10

3. God Willin’ and the Creek Don’t Rise- 9

4. Beg Steal or Borrow-9

5. Are We Really Through-10

6. This Love is Over-8

7. Old Before Your Time-10

8.  For the Summer-9

9. Like Rock & Roll Radio-9

10. Devil’s in the Jukebox-10

 Grade: A-

END THE DRUG WAR!

The following is an article by John Stossel recently featured in the Boston Herald.

“I’m confused. When I walk around busy midtown Manhattan, I often smell marijuana. Despite the crowds, some people smoke weed in public. Usually the police leave them alone, and yet other times they act like a military force engaged in urban combat. This February, cops stormed a Columbia, Mo., home, killed the family dog and terrorized a 7-year-old boy — for what? A tiny quantity of marijuana.

Two years ago, in Prince George’s County, Md., cops raided Cheye Calvo’s home — all because a box of marijuana was randomly shipped to his wife as part of a smuggling operation. Only later did the police learn that Calvo was innocent — and the mayor of that town.

“When this first happened, I assumed it was just a terrible, terrible mistake,” Calvo said. “But the more I looked into it, the more I realized (it was) business as usual that brought the police through our front door. This is just what they do. We just don’t hear about it. The only reason people heard about my story is that I happened to be a clean-cut white mayor.”

Radley Balko of Reason magazine says more than a hundred police SWAT raids are conducted every day. Does the use of illicit drugs really justify the militarization of the police, the violent disregard for our civil liberties and the overpopulation of our prisons? It seems hard to believe.

I understand that people on drugs can do terrible harm — wreck lives and hurt people. But that’s true for alcohol, too. But alcohol prohibition didn’t work. It created Al Capone and organized crime. Now drug prohibition funds nasty Mexican gangs and the Taliban. Is it worth it? I don’t think so.

Everything can be abused, but that doesn’t mean government can stop it, or should try to stop it. Government goes astray when it tries to protect us from ourselves.

Many people fear that if drugs were legal, there would be much more use and abuse. That’s possible, but there is little evidence to support that assumption. In the Netherlands, marijuana has been legal for years. Yet the Dutch are actually less likely to smoke than Americans. Thirty-eight percent of American adolescents have smoked pot, while only 20 percent of Dutch teens have.
One Dutch official told me that “we’ve succeeded in making pot boring.”

By contrast, what good has the drug war done? It’s been 40 years since Richard Nixon declared war on drugs. Since then, government has spent billions and officials keep announcing their “successes.” They are always holding press conferences showing off big drug busts. So it’s not like authorities aren’t trying.

We’ve locked up 2.3 million people, a higher percentage than any other country. That allows China to criticize America’s human-rights record because our prisons are “packed with inmates.”

Yet drugs are still everywhere. The war on drugs wrecks far more lives than drugs do!

Need more proof? Fox News runs stories about Mexican cocaine cartels and marijuana gangs that smuggle drugs into Arizona. Few stop to think that legalization would end the violence. There are no Corona beer smugglers. Beer sellers don’t smuggle. They simply ship their product. Drug laws cause drug crime.

The drug trade moved to Mexico partly because our government funded narcotics police in Colombia and sprayed the growing fields with herbicides. We announced it was a success! We cut way back on the Colombian drug trade.

But so what? All we did was squeeze the balloon. The drug trade moved across the border to Peru, and now it’s moved to Mexico. So the new president of Mexico is squeezing the balloon. Now the trade and the violence are spilling over the border into the United States.

That’s what I call progress. It the kind of progress we don’t need.

Economist Ludwig von Mises wrote: “(O)nce the principle is admitted that it is the duty of the government to protect the individual against his own foolishness … (w)hy not prevent him from reading bad books and bad plays … ? The mischief done by bad ideologies is more pernicious … than that done by narcotic drugs.”

Right on, Ludwig!”- http://www.creators.com/opinion/john-stossel/end-the-drug-war.html

Naturally, because Stossel is writing for corporate thugs, his piece lacks the subversive quality of say a Kevin Booth flick. In other words, he doesn’t cite the Government as Vicious and Evil criminals, like they are. But, nonetheless, he makes some key, fundamental points here and the fact that this matter is being questioned in such Right Wing media as the Herald and Faux News, demonstrates that we are moving forward. Yippie!

Great Chomsky Quote

“The United States hasn’t faced a threat probably since the War of 1812.” Noam Chomsky, 1994 from Demystifying Democracy, here is a link for the interview.
http://www.chomsky.info/interviews/1995—-.htm

What do y’all think of that statement? Naturally, in light of the tragedy on 911 it makes you question such a thing (as you should normally anyway), but I probably agree with Noam. I don’t know enought about my history to point to the War of 1812, but certainly the fact that we have a massive military budget for defense from possible threating forces is a joke. Now, like everyone else I don’t want to see another 911, of course. But, to me, that doesn’t constitute as a “threat” as in a threat to the preservation of our entire nation and/or government as it is for some other countries. The attack on 911 was murder on a grand scale and the perpetrators should be held accountable, but that doesn’t appear to be an objective of our goverment, sadly. So, I highly doubt we have to worry about another coutnry threating our overall security, but how do we prevent future, heinous, acts of terror? Well, we stop committing terror ourselves. What do other people think about Chomsky’s quote and my little rant?

Major Labels Are Not So Major

Here’s a random rant I wrote a while back:

I often hear artists say they must sign to a major label to gain commercial success in the music world. Supposedly with such corporate support they are able to reach more people with their music, people they would otherwise never reach. Perhaps, this is true. Of course, this would not be the punk rock way of going about things. Signing to a major label is a sign of selling out to most fans of the punk orientation. By the early 1990s, we witnessed various underground (many of the punk variety) artists make the leap from independent labels to major labels. Some achieved the commercial and artistic success they sought, others saw little to no change in album sales or fan base. In fact, several groups have abandoned or have been dropped by their major labels and have made a return to the underground. What really fascinates me is that some of these bands have sold more records on their independent labels than on their major counterparts. This makes one question the earlier assumption that higher status means higher chart positions. There are numerous examples that disprove this theory. Sonic Youth fans recently enjoyed the release of their latest, sixteenth studio album, The Eternal. This album is particularly significant because it marks the first time in twenty years the experimental rockers released a studio album under an independent label; this time it was the prominent and well-respected, Matador Records. Previously they were signed to Geffen Records, a major label. But, naturally, none of this matters because it does not matter if you sell a hundred records or a million or whatever. What matters is if you have integrity in your art and that you are enjoying yourself. Then again, various miserable fucks have made fantastic music over the years, so I guess you don’t even have to enjoy yourself, but you deserve it!

Thank God, I managed to write X amount of words on the music industry without using the bland term “indie,” until now. I hate that word (even though I am guilty of its use) it’s too vague. If anyone has an actual definition for said word. Pitch it to me. For now, keep on rocking (independently) in the free world.

Malcolm McLaren Dead at 64

Malcolm McLaren, the former manager of The Sex Pistols and the man who claimed to have invented punk, has died aged 64.

McLaren died in New York this morning after a long battle with cancer.

His spokesman, Les Molloy, said the impresario had been suffering from cancer for some time and he expected his body would be returned to the UK shortly.

An unashamed self-publicist, McLaren gained notoriety as manager of the Sex Pistols who were propelled to No 1 in the charts with God Save The Queen in 1977. Having brought together the roguish band members he went on to become a household name in his own right, entering into the public spotlight again in recent years when he stood for the newly created London mayoralty in 2000. His policies included the serving of alcohol in libraries.

Having dropped out of art school – McLaren said the experience taught him “that it is better to be a flamboyant failure than any kind of benign success” – he made a first foray into music management in the early 70s after convincing the New York Dolls to employ him as manager.

The band flopped at the time, but the experiment, complete with red leather and Soviet-style clothes, heralded the start of a career-breaking ground in fashion and music.

McLaren, who was born in North London, frequently professed to leading the capital’s avant garde art scene during the 70s.

He opened a shop in fashionable King’s Road 1971 with his then girlfriend Vivienne Westwood. The shop was renamed SEX in 1974 and quickly gained iconic status drawing in the “young, sexy, assassins” who would become the Sex Pistols.

The couple had a son, Joseph Corre, the co-founder of lingerie shop Agent Provocateur.

His reputation was carved by the success of the Sex Pistols and an eye for publicity stunts which would grip the British and American culture scene through the 70s.

McLaren also managed a number of other bands, including Bow Wow Wow before producing his own records including the much-sampled track Double Dutch from the 1983 album Duck Rock.

He continued to be involved in the culture and arts scene up until his death, earning him in equal measure acclaim as a doyen of music and design and criticism for his marketing of pop culture.

http://www.guardian.co.uk/music/2010/apr/08/malcolm-mclaren-dies-sex-pistols

A few days late with this story… but anyway, he was perhaps more of an exploiter of the arts than a practioner, but nevermind his bollocks for now, RIP Malcolm… maybe I wouldn’t have discovered the Sex Pistols without you.

Chris

Summer 2009 Blockbuster Comparison

The following essay was for my Cultural Studies class, therefore it’s not of the same quality as my other material. Read it anyway lol.

Inglourious Transformers
I see a few newly released films each year and sadly most are of average quality. Last Summer, I saw two movies in particular that stood out; one was quite exceptional and the other was pure garbage with some mild entertainment. The former was Quentin Tarantino’s war film, Inglourious Basterds and the latter was Michael Bay’s Science Fiction film, Transformers: The Revenge of the Fallen. Both pictures are similar in some ways and at the same time, there is a world of difference between them. In terms of culture, Inglourious Basterds is of much higher art than it’s counterpart, Transformers because director Quentin Tarantino has far more “cultural capital” than his rival, Michael Bay.
Both Inglourious Basterds and Transformers are action films in their own unique ways, but Basterds does not rely solely on special effects and fun filled mayhem to dazzle it’s audience. There are various similarities between the two movies and it should be noted that each obtained well beyond it’s fair share of box office/commercial success. Both had gun shots, explosions, “good guys, “bad guys,” gorgeous females in leading roles, and a healthy chunk of humor. Without seeing both features, a cultural theorist may rush to rule both films as equally “mass art,” merely manufactured products to be gobbled up by millions of dumb Americans as Matthew Arnold would contend. Of course major corporations financed both films and as I previously mentioned each profited quite well at the box office, but it seems clear that there is much more to IB than simply “action” that makes up most of Transformers. IB focuses on World War II and particularly the fall of the Third Reich at the hands of the “Basterds,” a band of Jewish American soldiers. Of course this is not historically accurate at all, but it still gives the film more depth than a light hearted flick about robots. IB also features various references to older, spaghetti western films and obscure war films as well as other aspects of both American and European culture. Tarantino’s cultural capital certainly adds to the “higher quality” of the film.
As I previously explained, both movies can fall under the action genre, but the styles of action displayed in each film makes one high art/culture and the other low art/culture. In Inglourious Basterds, scenes are built up with suspense and clever dialogue. This suspense then erupts into bloody battles and shoot outs and so on. In contrast, in Transformers, the action is not stylized and is mostly non-stop, relying on special effects and very little suspense. The film utilizes most of the conventional techniques Hollywood blockbuster/popcorn movies usually employ, but no substance to balance out the mindless mess. The old phrase, ” a spoon full of sugar makes the medicine go down” comes to mind. In this case, there is no medicine and moviegoers are being inundated with pounds and pounds of sugar, mentally consuming as much junk as they purchase in movie snacks. Clearly, if Arnold was alive today he would use Transformers as a chief example of low/mass art.
In short, although both films, Inglourious Basterds and Transformers: Revenge of the Fallen can be seen as action movies and worthy of commercial success, Basterds definitely is of higher art/culture than Transformers. Writer/Director, Quentin Tarantino effectively used his cultural capital of historical and cinematic knowledge to make a greater film. The action was entertaining, but carefully balanced with extraordinary acting, memorable dialogue, and superb character development. Michael Bay, on the other hand, merely made a big special effects movie, he knew people would rush to the theaters to see, enjoy, and never ponder over anything meaningful to the human experience.

Chris