Showing posts with label Nine Inch Nails. Show all posts
Showing posts with label Nine Inch Nails. Show all posts

David Bowie and me

Five occasions when the 'Thin White Duke' left me gobsmacked
By Peter Lindblad

David Bowie - The Rise And Fall of Ziggy
Stardust And The Spiders From Mars
A rare shopping trip at Kmart used to be a big deal to a wide-eyed innocent living in the relatively isolated environs of northwest Wisconsin in the 1970s and '80s.

It was an opportunity to rifle through a bargain bin of cassette tapes to strike gold at the low, low price of three for $10, and on one particular day, there was one nugget that shined above all the rest. How David Bowie's The Rise and Fall of Ziggy Stardust and The Spiders From Mars ended up there I'll never know, but it was the deal of the century, at least to me. To an awkward teen struggling to fit in socially at a school that still seemed foreign, even though I'd been attending it for five years after moving from another state, finding it was a spiritual and musical awakening. Although at the time, the fact that it had "Suffragette City" on it was enough to warrant its purchase.

Hearing a preening Bowie at his bitchiest exclaim, "Wham, bam, thank you ma'am" was pretty suggestive stuff for a sheltered preacher's kid looking for a little excitement and finding loads of it in the glam rock glitter bomb that was, perhaps, the late musician's finest hour. It was a song that begged to be played over and over, at the expense of every other cut on the album, and every listen was a shocking encounter and a teasing invitation to explore worlds way beyond my understanding. It wouldn't be the last time Bowie, whose death the world is still grieving, did something that shook me to my core. There are at least four others that stand out:

Meeting Ziggy Stardust And The Spiders From Mars: Others might point to the "Berlin Trilogy" of Low, Heroes and Lodger as more innovative and groundbreaking, and the '80s commercial success of the stylish Let's Dance sparks warm memories, but The Rise And Fall Of Ziggy Stardust And The Spiders From Mars brought about, in me, a revolution.

It was the gateway drug to punk and new wave for an altogether unfashionable, shy, clumsy and risk-averse small-town boy scared, but also excited, by what that album represented. Not that I was at all aware of any of it at such a tender age (being around 14 at the time), but the sexual ambiguity, the gender-bending, the depressed rock star undergoing an existential crisis and the idea of a "Starman" wanting to come and meet us, " ... but he thinks he'd blow our minds" actually did blow my mind. It was all too much for someone weaned on '70s progressive rock and Led Zeppelin, Black Sabbath and The Scorpions, and other tamer arena-rock acts.

Others obviously had a different experience, but it wasn't easy to fall for an album that challenged cultural norms so aggressively. It was audacious, arty and raw, with an androgynous, glam-rock swagger on the completely exhilarating "Suffragette City," which was raucous and fun. But, there was hard-bitten desperation and anxiety in the air of "Hang On to Yourself." A mental breakdown was coming in "Ziggy Stardust," and despair permeated "Rock 'n' Roll Suicide."

Nevertheless, the swooning beauty of "Moonage Daydream" and sweeping majesty of "Starman" – along with the the intoxicating resignation of "Five Years" – gradually eased the tension of the rest of the recording, and over time came acceptance, which grew into an undying romance with its overarching concepts, its incisive social commentary, its broad imagination and its wild, timeless vitality. I'm still madly in love with it.

Ashes to Ashes ... Major Tom's a junkie?!: Wading through hours of bad TV just to get to late-night music shows was a weekly ritual. "Friday Night Videos," anyone? The MTV generation had it so goddamn easy. Every so often, however, there was a reward for such perseverance. Bowie's video for "Ashes to Ashes" made the tough slog worth it. When it at first it popped up, it seemed disturbing, and surreal, but still utterly captivating. It was a continuation of the Major Tom story, and things had taken a very dark turn indeed for the intrepid astronaut. (Check out the behind-the-scenes making of the video below)


As skies blacken, Bowie, dressed as a French clown, walks along a deserted beach talking with an old woman. Joined by worshipers in orthodox religious garb, he leads a funereal procession ahead of a bulldozer and the scene is awash in solarised colors. Elsewhere, he's imprisoned in a padded room and plugged into a spaceship.

In a matter of minutes, the stunning visual feast had taught us all more about symbolism than four years of college-level literature and poetry classes. Innovative and artistically daring, the "Ashes To Ashes" video was breathtaking, a strange, melancholy dream world constructed by otherworldly creatures obsessed with themes of mortality and alienation. Or, maybe it was just being weird for the sake of being weird. Whatever the case, it left an impression and haunted my dreams for years.  

Glass Spiders: 1987 saw Bowie and his poofed-up pompadour attempting to pull off one of the biggest, most theatrical tours ever conceived, "The Glass Spider Tour." Initially, critics were not kind in their assessment, calling it pretentious and overblown. And it probably was. The costs associated with it were exorbitant. There were dancers, a dazzling array of colored lights, projected visuals and stage props, and the whole set-up was designed to look like a enormous spider.

Thanks to a high school and college friend, who was quick to buy us tickets, I was able to see one of the shows at Milwaukee's Marcus Amphitheater. It was the only time I ever saw Bowie, and it was an amazing, jaw-dropping spectacle. Completely over-the-top, the staging was ridiculous, and yet, it was also utterly brilliant. You couldn't take your eyes off it. Rarely have the worlds of theater and music collided in such an ambitiously artistic tour de force. It was a blazing supernova, accompanied by a great setlist. And it also revived the career of Peter Frampton, while confronting conventional notions of what a rock 'n' roll concert was supposed to be and spitting right in their tight, puckered faces.

"Saturday Night Live" – Dec. 15, 1979: Out in America's Heartland, nobody knew who Klaus Nomi was. David Bowie's appearance on "Saturday Night Live" on this particular date changed all that. A cabaret performer with an incredible, operatic voice, Nomi's legend was growing in New York City's underground, when Bowie plucked him from obscurity for a fiercely avant-garde coming-out party on national television that nobody expected.



With startling facial features, makeup and vivid costumes, Nomi and fellow New York performance artist Joey Arias were visually arresting backing up Bowie, who performed three songs. After a stirring rendition of "The Man Who Sold The World," Bowie dressed up in a skirt and heels for a "TVC 15" off Station To Station and when they closed with Lodger's "When You're A Boy," Bowie had morphed into a living marionette, with oversized arms that moved. Crackling with electricity, this outing was shock therapy, a carefully orchestrated attempt to cause the anesthetized masses some discomfort and make them squirm in their easy chairs. Mission accomplished.

The End: Blackstar came out two days before Bowie's death, a parting gift from one of the most influential and daring artists of this, or any, generation. It became Bowie's first No. 1 album, debuting at the top spot on the Billboard 200.

The video that accompanied "Lazarus," with a blinded Bowie levitating off what appears to be a hospital bed in an antiseptic, sparsely furnished room, is soothing and disquieting at the same time. The last time a video this affecting came along, Johnny Cash was reinterpreting Nine Inch Nails' "Hurt" with stark instrumentation and confessing to sins and mistakes with trembling sincerity, all in the hope that redemption and salvation lay ahead in the next life. Like Cash, Bowie seems to be looking for closure as he clings to life, and he does it in such an elegant, understated manner that you can't help but wish him well on his journey into the afterlife and wave goodbye (the video's director talks about Bowie's last hurrah below).




Book Review: Greg Prato – Survival Of The Fittest: Heavy Metal in the 1990's

Book Review: Greg Prato – Survival of the Fittest: Heavy Metal in the 1990's
All Access: A-

Greg Prato - Survival of
the Fittest: Heavy Metal in
the 1990s
The party was over for glam-metal and more traditional metal acts weren't having such a good time of it either, their days in the sun darkened by dour, flannel-clad hordes from the Pacific Northwest intent on making everybody as depressed as they were.

Once and for all, a new lengthy examination of metal in the '90s by author Greg Prato completely eviscerates the wrongheaded party line that grunge was some kind of powerful insecticide that wiped out the entire genre as a whole, even if it did seem to, at the very least, harsh headbangers' buzz for a time. Still, after grunge's cleansing purge, heavy metal – beaten to a pulp in the press and, for a time, left for dead in record label boardrooms – miraculously recovered and even thrived, its durability enhanced by its own evolution.

Utilizing the oral history format that served him so well with other tomes, such as "Iron Maiden: '80, '81," "The Eric Carr Story" and "Grunge Is Dead: The Oral History of Seattle Rock Music," Prato covers a great deal of territory here, interviewing close to 90 subjects – Eddie Trunk, Riki Rachtman, Def Leppard's Joe Elliott, Overkill's Bobby Blitz, Les Claypool from Primus, Phil Anselmo, Cinderella's Tom Kiefer, Scott Weiland and others too numerous to mention – for over 600 pages of candid, insightful observations and memories from those who experienced one of the biggest sea changes in rock history. Along the way, Prato chronicles the splintering of metal and hard rock into seemingly a thousand sub-genres, as metal seemed to merge with "alternative rock."

In his forward to Prato's work, ex-Pantera bassist Rex Brown writes, "Back in the '90s, us and quite a few of our peers were doing something that was off-the-cuff, and you had to make it your own brand and style." Innovation was the order of the day, as bands like Pantera, Nine Inch Nails,Sepultura, Fear Factory, White Zombie and Kyuss expanded the possibilities of a genre that had gone stale, and Prato takes great pains to chronicle the onset and development of stylistic shifts that resulted in prog metal, extreme metal, funk metal, industrial metal, stoner metal and, of course, nu metal.

At the same time, Prato attacks the subject from all angles, painting a well-rounded picture of just what the hell happened in metal's most perplexing decade. It explores, in depth, Guns 'N Roses' increasingly grandiose aspirations and precipitous decline, the explosion of Nirvana, band break-ups, changes with KISS, Rush and Aerosmith, the "Gary Cherone Years" of Van Halen, and other earth-shattering events. Even with such a prodigious page count, "Survival of the Fittest: Heavy Metal in the 1990's" flies by, the conversational tone of the book resulting in a fairly quick read. Because of that, and the massive amount of interview material it contains, it's a work that owners can go back to again and again and still find it worthwhile to do so. For ordering information for paperback and Kindle, go to http://amzn.com/1512073067 and for Nook, visit http://www.barnesandnoble.com/w/survival-of-the-fittest-greg-prato/1122273381.
– Peter Lindblad

CD Review: Ministry – From Beer to Eternity

CD Review: Ministry – From Beer to Eternity
AFM Records
All Access Rating: A-

Ministry - From Beer to Eternity 2013
Al Jourgensen is, in a sense, taking old Betsy out to the woods to put a bullet in her brain. It seems Ministry, the outlaw gang of trailblazing industrial-metal miscreants he’s fronted for years, has outlived its usefulness and will now be stripped for parts. Maybe Nine Inch Nails can use a drum machine.

It’s a terribly sad time for industrial music, actually, as the AFM Records release From Beer to Eternity, reported to be Ministry’s last album, was finished in the aftermath of guitar Mike Scaccia’s death, having collapsed onstage with his old mates in Rigor Mortis late last December. With a heavy heart, Jourgensen threw himself into his work, crafting and honing material Ministry had already worked up in a spate of intense creativity until this massive sonic weaponry was ready to be launched. And here it is, Ministry’s last will and testament, and what does Jourgensen leave to his followers? These words of wisdom: “Enjoy the Quiet.”

A refreshing wall of watery white noise washes over whoever is still listening by the time the closing track to the multi-layered, ferociously opinionated From Beer to Eternity comes on and when it’s over, Jourgensen welcomes the arrival of silence. What comes before it is anything but tranquil, thanks to a cacophony of rampaging metal riffs and a wild thicket of clashing sounds both human and synthetic, as television news clips mingle with alien blips and snorts. Glitchy electronica and clanking factory noises greet those who dare to enter Jourgensen’s tongue-in-cheek “Hail to His Majesty (Peasants)” and are subjected to his hoary invitations to perform oral sex on him, as grimy, heaving guitars swing dangerously about. He certainly has a way with words, doesn’t he?

Never one to hold his tongue, Jourgensen does turn serious on the growling anti-war essay “Permawar,” which begins life as a grim, dark dirge and gradually takes on a more urgent tone, casting a wide swath of UV-powered vocals and fluorescent guitars over troubled lands. A grinding, thrashing tantrum, the torturous “Perfect Storm” predicts an apocalypse of Biblical proportions if something isn’t done about global warming, where a wiser “Lesson Unlearned” imbibes deep soul and hard funk grooves before dipping them in a wah-wah acid bath full of six-string razors. He has a lot of tricks up his sleeve.

Gleefully overloading the senses, as he’s done so often with Ministry, Jourgensen makes heads spin on the surrealistic mash-up “The Horror” – which segues out of his fast and furious Fox News diatribe “Fairly Unbalanced” – and the speed-metal crash site that is “Side Fx Includes Mikey’s Middle Finger (TV 4).” And just when you think he’s all out of ideas, in walks the moody, echoing dub experiment “Thanx but No Thanx,” which attacks bigots of all stripes over a bubbling bass line and eventually shifts into a driving metal opus that rides mean, angry riffage into that black hole known as the “American Dream.”

From Beer to Eternity is, not surprisingly, a dark record, and the booklet that accompanies it, with the disturbing portraits of beautifully feral women representing each of the Seven Deadly Sins, certainly doesn’t lighten the mood. That said, there’s no shortage of funny moments on From Beer to Eternity, and with a title like that, he’s not exactly moping over Ministry’s passing.

Seeing as this is Ministry’s last goodbye, Jourgensen is playfully using every tool at his disposal. That everything-but-the-kitchen-sink approach has worked so well for him in the past. Mostly, these are well-plotted tracks, diverse and thoroughly engrossing; however, there are moments when the parts don’t always fit together as seamlessly as one would hope. Worse yet, there are periods of drifting and stagnation in “Side Fx,” and really, “Hail to His Majesty” could have been thrown away entirely, even if it’s childish humor makes you chuckle – not that Jourgensen cares one jot for those who don’t.

So laugh along with Ministry, or cry at the loss of Scaccia or the dire warnings Jourgensen issues here. Ministry has gone out in a blaze of glory, giving the world one last powerful fix, and they will be missed. All stories need a final chapter, and this is Ministry’s, so in that way, From Beer to Eternity is essential, even if Jourgensen’s occasional lack of seriousness indicates otherwise.
 – Peter Lindblad

CD Review: In This Moment - Blood


CD Review: In This Moment - Blood
Century Media Records
All Access Review: C
In This Moment - Blood 2012
Maria Brink is not just another pretty face. For what it’s worth, the In This Moment singer was recently named as one of Revolver magazine’s “25 Hottest Chicks in Hard Rock.” Looks aside, Brink also possesses a powerful, commanding voice that can turn incandescently soft and alluring in the blink of an eye. Her mood can shift just as quickly when this beauty decides to turn into a beast.
Full of dark, carnal desire and tortured vivisections of stormy, confused gender relations, Blood, In This Moment’s potent but glossy and way over-produced fourth album of edgy, pop-infused heavy metal, is damaged goods. Tense, angry and desperate, the bombastic title track builds on a stiff, repeating riff, while an agitated Brink yells at a kind, respectful lover, “I hate you for always saving me from myself / I hate you for always choosing me and not someone else” and professes her adoration for a cad, setting feminism back thousands of years. It makes for riveting metal theater, as Brink rages on, and yet the tone, as warm as Formica composites, is so shrill and sharp – as it is throughout Blood – that it seems capable of slitting wrists wide open.
Though clearly a platform for promoting the burgeoning star power of Brink – only on the rarest of occasions does the instrumentation step out from behind the shadows – Blood sabotages her emotionally raw and unrepentantly lustful Oscar-worthy performance at almost every turn. Unremarkable riffs, a ridiculous piling on of arctic studio effects, unforgivable production butchery that mutilates the chorus of “Blood” – all of it robs the album of its soul.
As slinky and seductive as a pole dancer at first, the positively pornographic “Adrenalize” oozes sensuality – that is until a furious and punishing rhythmic humping of guitars, bass and drums mindlessly gang-bangs the whole thing into an unsatisfying oblivion. Too often, as with “Whore” and “Beast Within,” In This Moment simply recycles riffs into perpetuity and then slowly aggravates the tension until pulling the trigger on anticlimactic releases, and by the time “The Blood Legion” arrives, traversing all the glacial passages of icy electronica and frigid manipulations of Brink’s vocals – also encountered in the absolutely pointless interlude “Aries” – that populate the landscape of Blood becomes tiresome.
Not all of Blood needs a transfusion of originality and vitality. Even if the version of Nine Inch Nails’ “Closer” seems slathered with pop lipstick, the cinematic flourish of “Burn” finds In This Moment breaking symphonic metal levees and letting a gorgeous flood of heavy guitars and strings wash over awestruck audiences, while the transcendent radiance of “From the Ashes” is beautifully blinding and the in-your-face aggression of “Comanche” wants to start a fight. A heavy metal priestess in every sense, Brink’s fashion sense is glitzy, stylish and anarchic, and she bears some cosmetic resemblance to Lady Gaga. Unfortunately, the music of Blood seems, at times, just as manufactured as Gaga’s.  
- Peter Lindblad

Collectors Corner: Rockin' The Smiles

Rockin' The Smiles
VIP Spotlight: Dr. Brad Jennings


Dr. Brad Jennings
What do you get when you combine a passion for music memorabilia and the skills to create beautiful smiles? Well you get a "rockin' orthodontist"! Dr. Jennings is not only a Backstage Auctions customer but also resides in Houston. So we thought we would stop by his office and check out for ourselves what this "rockin' doc" is all about and find out a little about how he got into collecting music memorabilia.


How did you get into music collecting?

Always been a rock fan.  Been playing guitar for 20+ yrs, after buying orthodontic practice I wanted to liven it up with my style and thought a rock theme would be perfect for the kids and parents.  I had some Nugent stuff given to me from Ted in high school when my parents owned a large hunting store called Dunn’s in TN, and he wanted some bow equipment for his live shows.  My dad didn’t even know who he was when he talked to him.  Like a typical teenager I was so embarrassed when he told me that.

What is the focus of your collection (genre, band, era, type of item)?
I aim for bands that I liked growing up:  GNR, Van Halen, Zeppelin.  The parents all know them and kids know them from playing Rock Band of course! 

What is your method of collecting? How do you determine the authenticity and provenance of a piece of memorabilia?

Perry Farrell's Jacket
I got burned at first, and I’m sure I’ll get burned again!  I try to compare autographed things to other pics on the internet.  A lot of bands are selling their stuff personally like Nine Inch Nails and Smashing Pumpkins which makes buying a lot safer.  I’m staying away from buying autographs now.  I’m looking for unique things like personally owned things.  I have a jacket worn by Perry Farrell of Jane’s Addiction and a Nine Inch Nails flight case with travel stickers on it. 

What do you like most about collecting?

Sun Records
Sam Phillips Telegram
I like collecting stuff that has a story behind it.  I loved the Gene Simmons meeting and getting his stage played Axe bass.  I have a telegraph from Sam Phillips talking about Jerry Lee Lewis that I got from Backstage Auctions.  It means a lot since I grew up in Memphis with Sun Records.

What would you consider to be your "first" piece of memorabilia?

My first memorabilia would actually be some items from Drivin’ ‘N Cryin’, a band out of Atlanta, that I loved in high school.  Unfortunately, my mom tossed all my cool stuff out about two months before I started decorating the office!

What is your most-prized item (both in dollar value and sentimental value)?

Gene Simmons' Axe Bass
Check out the personal note...cool! 
Gene Simmons’ Axe bass complete with blood!  Getting to meet Gene was great and getting an actual stage played item that I have pictures and videos of him playing is awesome.

What is your favorite musical act or artist of all time?

I’d say Jane’s Addiction.  I’ve been listening to them from the mid-80’s and never seem to get sick of hearing them.

What was your most memorable concert you have ever attended?

I saw Smashing Pumpkins when they were just coming out in a small place in Memphis.  Billy Corgan said, “Here are 3 things about us:  We’re from Chicago, we don’t take requests, and we promise to kick your ass”  It was awesome. 

What advice would you give to someone that is new to the world of collecting music memorabilia?

I’d go after things that are personal to you.  I know Beatles stuff and Elvis items are worth a lot, but I don’t have a personal tie to growing up with them.  I love my Nine Inch Nails, Kiss, and Jane’s Addiction stuff b/c I grew up with them.

What does the future hold? 

Once a rocker...always a rocker! 
I plan to get a larger office in the future thanks to us growing as a practice, but I want to plan the rock theme into the building of it.  I’d like to have a room dedicated to items like the Hall of Fame or Hard Rock does.


Well Dr. Jennings certainly has a passion for collecting and his office was really cool. We really enjoyed visiting with him, his staff and yes we were tempted to sign up for braces. How cool is to to walk into your orthodontist's office and have this view? 


Dr. Jennings "pit"

Keep "rockin' those smiles" Dr. Jennings!


If you live in the Houston, Texas area and are interested in a consult with Dr. Jennings please visit his website for the office contact information:   http://www.rockingyoursmile.com/