PUT YOUR ARMS AROUND ME: "RUNDDANS" TODD RUNDGREN, EMIL NIKOLAISEN & HANS-PETER LINDSTROM

"RUNDDANS"
TODD RUNDGREN, EMIL NIKOLAISEN & HANS-PETER LINDSTROM

Written, Arranged, Recorded and Produced by T.H.E.

TODD RUNDGREN: All Vocals, Lead and Rhythm Guitars, Keyboards, Programming
EMIL NIKOLAISEN: Drums, Keyboards, Rhythm Programming, Bass Guitar, Rhythm Guitar, Sampling and FX
HANS-PETER LINDSTROM: Keyboards, Bass Synth, Rhythm Programming, Sampling and FX

Released May 5, 2015

Before we go any further, I feel the need to travel back into the past.

1987 was the year in which I began to seriously immerse myself into the musical world of Todd Rundgren. While my curiosity had already been piqued within the previous year, and I had found a few albums on cassette in record store cut out bins, the fullness of Rundgren's musical vision and artistic exploration had not completely taken hold of me just yet. By late summer, when I was 18 years old and just about ready to begin my college life in Madison, WI,, I happened to see an article published within the Chicago Sun Times promoting a stop in my fair city on Todd Rundgren 's (then) latest tour, and to also promote the (then) new re-release/re-issue campaign schedule of Rundgren's archives through the Rhino label, officially placing his catalog onto compact digital disc for the first time. The albums were being released about four at a time and non-chronologically. Out of those very first four albums which were profiled in the article, the one that captured my eye instantly was a brutally harsh review for the album "Initiation" (released June 14, 1975).

While much praise was heaped upon that album's opening track and single, the eternally gorgeous anthem to self-discovery and personal evolution "Real Man," the writer then began to bash the remainder of the album profusely, and in a manner that seemed to border on being offended with Rundgren's spiritual and musical explorations which defiantly ran against any pop music accessibility. What really angered this particular writer was the album's second side, a 36 minute, HEAVILY synthesizer driven instrumental no less, entitled "A Treatise On Cosmic Fire." In fact, the one word that I can remember to this very day in this writer's ferocious description of the track was "unlistenable." And for inexplicable reasons, I just knew that this was the album I needed to hear first.

For the unfamiliar, the song "A Treatise On Cosmic Fire" is a beast of a piece of music that truly exists within its own universe. Seemingly built from and existing as the culminating work that began with sequences and instrumentals from Rundgren's albums prior to "Initiation"--tracks like the bouncy, dreamy "Breathless" from "Something/Anything?" (released February 1972), the spacey "Flamingo" from "A Wizard, A True Star" (released March 2, 1973), and the wholly indescribable "In And Out The Chakras We Go (Formerly: Shaft Goes To Outer Space)" from "Todd" (released February 1974), among others--Todd Rundgren, with some assistance from Utopia bandmate/keyboardist Roger Powell, fashioned a vast yet thorny epic based upon the spiritual writings of Alice Bailey.

While the track is essentially one long, continuous song, it is divided into five movements with the fourth movement (entitled "I. The Internal Fire-or: Fire By Friction") divided into seven sub-sections. It is a song that is melodically lush and oceanic, like something you just might find upon a Vangelis album, and then the track mutates into sections that sound like an interstellar carousel, speedball guitar heroics that feel as if they were delivered by lightning sent through hyperspace, another sequence that is nothing but...well...sounds (as if Rundgren programmed a collection of drum machines completely wrong, pressed play and left the room for a while) and final segments that are weightless, shapeless, formless atmospherics before returning to the song's beginning lush theme for the finale.

When I purchased my copy of "Initiation" within the very first two or three days after I began to settle in on my new college campus residence, I actually rewound the second side of my new cassette so I could hear "A Treatise On Cosmic Fire" first, as I was that anxious to hear what could possibly be so "unlistenable." What surprised me about the experience--for that is definitely what listening to a song like this actually is--was that I took to the song instantly and completely. Yes, I could completely understand how a song like this could put many listeners off, especially ones looking for accessible pop tunes and not unrepentantly difficult, synthetic spiritual epics. But again, for inexplicable reasons, on the very first listen to Todd Rundgren's "A Treatise On Cosmic Fire," I took to the experience as naturally as any song that I instantly and completely loved. Somehow someway, the song just made sense to me and the only thing that didn't make sense to me about it was how in the hell did Todd Rundgren ever conceive and realize such a piece at all in the first place. My sense of musical hero worship skyrocketed after hearing this song, as well as the entire album, and it remains a favorite to this day.

Ever since I first heard it, "A Treatise On Cosmic Fire" has existed as my "go-to" piece of music if I ever need to take some time away from the world and get lost for a little while. Even as dissonant as it can be in some parts, I find it to be as calming and meditative as it is surrounding and overwhelming. And I can easily say that it is one of the very few pieces of music that I have heard in my entire life that sounds absolutely, positively, undeniably nothing like anything else...

Until now...

At this time, we arrive at "Runddans," Todd Rundgren's second album release of 2015, yet unlike the solo album "Global" (released April 4, 2015), the work is a collaborative effort between Rundgren and Norwegian producers/musicians Emil Nikolaisen and Hans-Peter Lindstrom.

I have to admit that I originally thought that "Runddans" was possibly a play off of Todd Rundgren's surname when in actuality, the word is a play off of the Danish word "Rondel," which translates as "circular object." Additionally, one of the album's tracks, entitled "Rundt, Rundt, Rundt" (something else I thought was playing off of Rundgren's name) translates as "around, around, around." In some ways, that translation may be the very best way to describe the album succinctly because "Runddans" is an endlessly revolving and evolving work that is cyclical in conception and execution. It is also an immensely immersive, innovative and intoxicating album that has already sailed to the top of my personal list as being one of the finest albums 2015 has to offer.

Presented as one continuous piece of (mostly) instrumental music that runs for the duration of 39 minutes, and reportedly is based around the concept of the life cycle as represented by an eternally repetitive sequence of 8 chords, "Runddans" opens appropriately with "B For Birth," a selection that sounds like an arsenal of synthesizers waking and warming up to face the universe of creation. Over the course of "Liquid Joy From The Womb Of Infinity" and "Oppad, Over Skyene," the album's second and third tracks, we are introduced to the aforementioned repetitive 8 chord structure. As the 8 chords revolve, more elements are added into the mix from percolating sequencers performing the same 8 chords to subtle drum programming, bass drops, and snippets of Rundgren's vocals all building to a crescendo that begins to sound like an inter-galactic EDM rave. But strikingly, once this section hits its groove, the music blasts itself apart until everything fades into nothingness, save for a small, ticking sound, like a clock or a metronome.

From the silence, we hear the voice of Todd Rundgren in full on "Solus," a section of ethereal vocalizations that recalls "There Are No Words" from his debut solo album "Runt" (released June 1970). It is a movement of raw, naked beauty, a brief showcase of Rundgren's superior vocal gifts, yet completely (and wisely) unpolished as the track originated from some of the initial recordings for this project. If "Runddans" is indeed designed to work as a representation of the life cycle, "Solus" truly sounds like a baby's first cries.

Then, seemingly from the depths of the human spirit, and echoing the 8 chord sequence, we hear Rundgren sing the following words:

"I have waited for this moment for what seems like nine lifetimes
You will never be closer than you are right now
Put your arms around me
Put your arms around me
Wrap your love around me
Now we can dance"

"Put Your Arms Around Me" and the following "Altar Of Kauaian Six String (Todd's Solo)," catapulted me into a musical time warp as this section, where the 8 chords return in full, complete with Rundgren's iconic stacked harmony vocals and his enchanting guitar heroics, which spiral upwards and beyond the moon and stars, instantly took me back to songs like "Born To Synthesize" from the "Initiation" album and the three part metaphysical, meditative suite from "Healing" (released January 28, 1981). As the three musicians luxuriously weave together a wall of keyboards and synthesizers and Emil Nikolaisen's drums suggest the astronomical flow of Pink Floyd's Nick Mason, the 8 chords transform themselves within a hallucinogenic frenzy of a sequence where they are broken apart and reconstructed, as if some astral figure was playing with the dials of a Karmic radio station.

"I think I'm going out of my head," sings Rundgren (echoing Burt Bacharach possibly?), as his vocals are reverberated, manipulated, synthetically altered, stripped bare and repeated alongside the 8 chords, as if we are travelling through various states of consciousness and perception. By the arrival of "Out Of My Head (Lone Vibes)" and the aforementioned "Rundt, Rundt, Rundt," we hear the 8 chords re-interpreted through passages of tranquility, dissonance, the romance of some vague bossa nova, and also what sounds like a nose flute (shades of "Eastern Intrigue" from "Initiation").

"Runddans" continues into its third major sequence with the more overtly psychedelic vortex of "Wave Of Heavy Red (Disko-Nektar)," the interlude of "T.H.E. Golden Triangle (Dry Mouthed Gargoyles In A Fountain Of Fluorescent Shepard Tones)" and what feels to be the album's finale, "Ravende Gal (Full Circle)" where the album breaks completely out of its 8 chord structure for a percussive dance floor spell and augmented by the voices of Rundgren, Nikolaisen and Lindstrom all on telephones discussing just exactly how should they conclude this piece of music they have worked on together over a duration of three years.

Yet, before we even realize it, the voices have all faded away and the 8 chords have returned in another re-contextualized section which accelerates and increases in intensity as if we are all voyaging at the speed of life, a rate that seems to increase as we age and move closer to our inevitable mortality. Rundgren's vocals, which now serve as some sort of spirit guide, plus the reformed 8 chords return in the album's final track, "Ohr...Um...Am...Amen (Aftermath)" which brings us back to the lyrics of "Put Your Arms Around Me." Yet, instead of a baby cries to a parent, this time, the music and singing feels like the voice of the soul being delivered into eternity.

Dear readers and listeners, I cannot express to you enough how much "Runddans" has enveloped me. Without question, I have been listening to the album constantly over the span of the full week since having received it and for whatever inexplicable reasons, I took to it instantaneously upon my first listen. Like "A Treatise On Cosmic Fire," the album just made sense to me.

In addition to serving as a beautiful companion piece to "Global," and like Rundgren's entire oeuvre, "Runddans" feels personal and universal, intimate and epic, singular and meant for the masses and fully inviting while also seeming to be impenetrable. If i could describe "Runddans" in cinematic terms, I would say that it kind of sounds like Director Terrence Malick's "The Tree Of Life"(2011) with the wormhole sequence from Director Stanley Kubrick's "2001: A Space Odyssey" (1968) thrown in!

While it indeed lovingly recalls the classic Rundgren era which contained "A Wizard, A True Star, " "Todd," "Healing" and most notably, "Initiation," this new album also sent echoes to the likes of "A Cappella" (released September 1985), the musical jigsaw puzzle of "No World Order" (released July 6, 1993) and even Rundgren's ingenious production and contributions to the second side of The Tubes' "Love Bomb" (released February 1985), which collected a suite of nine songs all set to the exact same tempo as heroically performed by drummer Prairie Prince, and also was a work simultaneously influenced by and pre-dated much of the imaginative usage of sampling within rap and hip-hop.

While Todd Rundgren has certainly not lost a step whatsoever over the years, there is something that sounds re-invigorating about him throughout "Runddans." At times, he almost sounds younger than he has in some time, as he vocally hits notes, pitches and phrases that feel like old friends. Perhaps collaborating with Emil Nikolaisen and Hans-Peter Lindstrom, musicians he has clearly influenced with musical styles he essentially invented and now returning to a style he has not ever fully revisited, has been a musical fountain of youth of sorts. Rundgren just sounds rejuvenated and re-inspired, just like the 56 year old Prince with his new all female and much younger bandmates in 3rdEyeGirl.

Now I will say that as I listened that very first time, there were points when I very briefly wondered to myself about the album's repetitive nature. But then, I was captivated away from any mental rumblings as the music just continued to wash over me in the warmest waves imaginable. Since having heard the album perhaps 20 times or more by now, I actually recall an interview from Jimmy Page regarding the mystical magic that lies within creating the perfect guitar riffs. While I am paraphrasing, I believe that he proclaimed that the best riffs should function as mantras due to their repetitive nature, that the listener has to almost be placed within a trance like state by the riff in order to be fully affected. Lenny Kravitz also expressed similar feelings when describing the emotions he experiences playing the more repetitive rhythm guitar as opposed to lead guitar. Again, I am paraphrasing, but he likened the rhythm guitar to functioning somewhat as a study in patience and how you could get lost in the cyclical nature of playing the same rhythms over and again for extended periods of time.

To that end, "Runddans" then began to remind me of a couple of non Rundgren related albums that also served repetitive musical themes that always seem to shape shift while also remaining constant. Albums like Miles Davis' "In A Silent Way" (released July 30, 1969) or even the 22 minute title track to Paddy McAloon's "I Trawl The Megahertz" (released May 27, 2003).

With the theme of the life cycle placed firmly at the core of the album, maybe we can think of "Runddans" existing as an enveloping, existential figure eight, a work that double-ends upon itself time and again, with all of the changes and developments resting deep within the curves.

No, "Runddans" is not for everyone. But then again...maybe it really could be, if people really gave it a chance. I really believe that it is more than fitting that "Runddans" is arriving in 2015, a full 40 years after the original release of "Initiation." Once again, Todd Rundgren, vastly far ahead of the curve, created music in 1975 that honestly took the medium of music itself a full 40 years to catch up to it. And then, in collaboration with Nikolaisen and Lindstrom, Rundgren has now caught up with himself and has also propelled himself even further.

Music has evolved considerably over the years and for generations of listeners who possibly grew up with the likes of The Chemical Brothers, Sigur Ros, Air or even the late and masterful J Dilla's "Donuts" (released February 7, 2006), his stunning hip-hop instrumental song cycle of death and dying, or even Flying Lotus' inscrutable "You're Dead!" (released October 6, 2014), "Runddans" just may hit those individuals in their respective wheelhouses.

But for me, having received another gift from one of my greatest musical heroes, it was nothing less then wondrous hearing "The Wizard" at work weaving his magic spell all over again.

RAVE AT THE END OF THE WORLD: "GLOBAL" TODD RUNDGREN

"GLOBAL"
TODD RUNDGREN

Written, Produced and Performed by Todd Rundgren

with
Bobby Strickland: Saxophone on "Blind"
Rachel Haden, Janet Kirker, Michelle Rundgren, Jill Sobule & Tal Wilkenfeld: Backing Vocals on "Earth Mother"
Kasim Sulton: Backing Vocals on "Skyscraper"

Released April 7, 2015

"Human beings and materialism cannot be separated from each other, but we have to remind ourselves that our existence didn't just happen. This is a unique place, and everything in it is in some sort of relationship and equipoise with everything else. We're never going to get to the root of our issues and our problems if we don't, at a certain point, come to accept the fact that without this particularly unique combination of circumstances, we don't exist. And we can't pretend that we have made ourselves."
-TODD RUNDGREN

I wondering if this is what it may have been like to be a fan of Todd Rundgren back in the day.

By the time I began to discover the musical odyssey of Todd Rundgren in my late teens back in 1987, one aspect (of many) that I found to be so unbelievably impressive about his musical career was the prolific nature of his album releases. Beginning with his band Nazz in 1967, and continuing between 1970 and 1985, it was common for Rundgren to release at least one album per year and often up to two albums per year whether a solo release or one where he functioned as part of his band Utopia. And to that large total, please do feel free to include his equally prolific work during this same time period as a Producer for the likes of The Band, Hall & Oates, Grand Funk Railroad, The Tubes, The Psychedelic Furs, Cheap Trick, New York Dolls, my beloved The Pursuit Of Happiness, and of course, XTC's sublime "Skylarking" (released October 27, 1986) as well as the now classic Meat Loaf rock opera parody "Bat Out Of Hell" (released October 21, 1977). It was a period where it seemed that Rundgren was forever within the creative atmosphere of the recording studio, crafting one musical vision after another and ultimately amassing a body of work that I firmly believe that any artist wished that they had been able to conceive and produce for themselves.

While since 1989, Rundgren has remained quite busy with seemingly endless touring, either for himself or as a member of Ringo Starr's All-Starr Band, his album releases have slowed down but have remained steady, typically arriving every two or three years apart. Even though new album releases do not arrive as frequently as in the past, for an artist who will reach the age of 67 this coming June, he has proven to have possessed and exhibited far more stamina than individuals half his age and he remains as creatively restless and inventive as ever.

For 2015, I am now getting a taste for how it used to be regarding his album releases and I could not be more thrilled and anxious. This year, we will find two new Todd Rundgren albums and in a scant two month period no less. The second release, arriving this month and which I hope to profile very soon, is "Runddans," a largely instrumental and collaborative effort with electronic music producer/musicians/composers Hans-Peter Lindstrom and Emil Nikolaisen. But first, and actually born from the making of "Ruddans," is the solo release "Global," Todd Rundgren's 25th album, a most worthy addition and deeply resonant and satisfying chapter to his ever evolving musical story.

Sonically building up from the EDM textures and rhythms from his previous release, the rambunctious yet uncharacteristically dark and claustrophobic "State" (released April 9, 2013), Todd Rundgren has functioned "Global" to exist as a concept album concerning the ecology, the environment and the symbiotic role all of humanity possesses with every living organism while set to the propulsive landscape of EDM, with elements of rock, soul, funk and Rundgren's trademark soul searching ballads and socio-political commentary thrown in for great measure. This amalgamation makes the album sound as if Todd Rundgren is presenting a rave for all of humanity at the end of the world, thus ensuring the music is even stronger and more cohesive than its predecessor and for all of the fun, I was left with emotions that were undeniably sobering and at times deeply chilling.

"Global" opens with two songs to get the party started but I felt are indeed more philosophical than they may seem. The intentionally misspelled "Evrybody" sets the stage with a chugging rock and roll groove featuring those cheesy "96 Tears" keyboards to terrific effect. Lyrically, Rundgren rails off a litany of items unattainable to the majority of society, from being able to paint the Mona Lisa, the inability of being a movie star to receiving a "twerk from Miley." But within the final section of the song, he flips the script, when he sings, "Evrybody don't need a mini mansion/Evrybody don't want an 80 foot yacht/Evrybody don't need the latest fashion/Everybody needs what we already got'Because we're all together again." 

While I will never know if this was his intent, to me, "Evrybody" struck me as existing as a variation of an aspect of Zen philosophy, most specifically a quotation from Lao Tzu which states, "Be Content with what you have; rejoice in the way things are. When you realize there is nothing lacking, the whole world belongs to you." "Evrybody" is a rave up, a party anthem that urges us to realize that we are not as separated as we may think and feel ourselves to be simply because we are all existing at this distinct point in time in our collective history and for that, what more can be done than to celebrate in our complete union.

"Flesh And Blood," the album's second track, while seemingly existing solely as an EDM song about EDM music, immediately suggested to me songs from Rundgren's archives that all deal with the ongoing conundrums that exist within our understanding of fate and free will, like "Tiny Demons" from the spiritual odyssey of the album "Healing" (released January 28, 1981) or "Influenza" from the power pop collection "The Ever Popular Tortured Artist Effect" (released November 15, 1982).

"It's the tom tom tom beat of the medicine man/Driving the evil spirits back to a rhythmless land/Now it's a laptop and a microphone/50,000 watts and still going strong," he begins before hitting the chorus, "You got free will but you're flesh and blood/You can't stand still but you're flesh and blood." Rundgren hits upon the eternal phenomenon that exists as we have the intellect to do and act how we wish yet we still are unable to resist becoming slaves to the rhythm, a quality that contributes greatly to the album's theme of community as it is a trait we all share as human beings.

From this point, "Global" flows powerfully between songs of honor, celebration and unity and some stern and increasingly grim warnings. Where "Skyscraper" jubilantly invites the population of the 1% to "come on down and join the party" alongside the rest of us in the 99%, selections like "Terra Firma" and "Holyland" deftly illustrate the inter-connectivity we all share with the planet, a singular sacred home for everyone and every organism.

The swerving funk of "Earth Mother," on which Rundgren pays homage to all women, including specific nods to both Rosa Parks and Malala Yousafzai, is an infectious club jam that demands we salute and give "R-E-S-P-E-C-T-for my ladies" and calls for the need for "a little more progesterone" in the atmosphere. The soul ballad "Soothe" arrives late in the album and at just the right stage as it provides precisely the intent contained in the song's title. It is a song of respite, of calm away from the noise of the world. A multi-layered piece that could be viewed as a message from lover to lover, Rundgren to the listener or even the voice of music itself to the spirit, again expressing a common thread of our collective humanity as we all have the need to seek and bask in solace.

The deeply serious core of "Global" begins with the menacing "Rise," the slowed down, moody funk on which Rundgren repeatedly proclaims, "Time's ticking away, time keeps ticking away/If we don't rise, then we will fall," because "We don't need an excess of caution/Doing nothing is not an option." 

On the slow burn caress of "Blind," Rundgren takes all of those horrific Climate Change and Science deniers to task. "Gravity is real," he sings. "Just step off the ledge and you will fall/Summers get hotter/Winters get colder/Writing on the wall." Rundgren also expresses his deep contempt for evangelicals with a sharp tongued, "You say God will handle everything/Seems like he ain't done shit so far." But before any of you atheists out there attempt to claim Rundgren into your ranks, he hits a grand slam by intoning, "You see, God is a scientist," thus broadening the current inane debate between Science and spirituality, which for me, has lost all sense of nuance, complexity and ambiguity in place of self-righteous superiority, by finding the symmetry that is contained in each. But, are we all just too blind to even see the linkage?

"Fate" is one of the album's strongest and most spine tinging warnings, as Rundgren begins with first person narratives of gamblers and addicts and then finds the common ground with our collective callousness against our planet and our own existence.

"Gamble away the moon and stars
The world to be that is not ours
Drunk with the lust for easy wealth 
We'll take the chance, bankrupt ourselves
We bet the farm, no turning back
Even or odd, on red or black
Our future is no longer ours
The outcome rests with higher powers
All bets are down, now spin the wheel
Our fate is sealed"

Compounding those sentiments is the album's stunning, sobering finale "This Island Earth," on which Rundgren pleads with us to understand that Earth is all we have and that miracles from God, the presence of benevolent aliens within the universe or even having the ability to just travel elsewhere in the galaxy will not save us from our own destruction, which is indeed feeling more inevitable. The warm, eerie synths combine themselves with surprising tempo changes which occasionally slow or quicken, signifying the life span of Earth gradually coming to an end and how quickly we are causing our own extinction.

But, rest assured, it is not all doom and gloom as "Global Nation," the album's centerpiece is a swirling, whirling light show of a song, starring a pounding beat, dynamic, percolating synthesizer sequencing patterns reminiscent of classic Rundgren tracks like "Shine," from the aforementioned "Healing" album, and a death defying falsetto vocal where Rundgren professes his wishes to wrap his arms around the world and "dance away the isolation...the separation...the tribulation...on our way to liberation." This is a song so joyous, so inclusive, so spiritually roof raising that for me, it was the example of harmonic convergence, and so it is for the album in its entirety.

In the earliest years of the 21st century, I was beginning (and fearing) to have the feeling that perhaps Todd Rundgren had said all that he had felt the need to say musically. Despite his constant touring, new releases at that time were scant and while finding myself maybe having to face the fact that he perhaps would not offer more material, I also knew that an artist of his unquestionable scope and breadth, he truly had nothing more that he ever needed to prove. And then, he released the albums "Liars" (released April 6, 2004), "Arena" (released September 30, 2008) and the aforementioned "State" all of which stand as tall as anything he recorded and released during the 1970's and 1980's, and "Global" makes for an especially fine addition to his oeuvre.

For an artist that has always existed far ahead of the curve of his contemporaries, it is interesting to hear the musical landscape having caught up to him, regarding more synthetic dance music textures and electronic soundscapes as he exhibited as far back on albums like "Todd" (released February 1974) and "A Cappella" (released September 1985) or songs like "Chant" from "The Ever Popular Tortured Artist Effect." "Global" seems to find Rundgren reclaiming his own mantle while also providing nods of affectionate recognition to the current artists, musicians and DJs that populate the scene in 2015. And so it should be for an album that extolls the virtues and necessity of communion and communication.

Lyrically, "Global" seems to be built from musical statements Rundgren has expressed throughout his career. In fact, to my ears, it feels as if he took sentiments from 1975's "Fair Warning" in which he stated "I can't let the world die because no one would try," as well as the title track from "No World Order" (released July 6, 1993) on which he rapped (!) "Job number one is gonna be findin' a way/That we can rave all night and meditate all day," and merged them together to create this bold, visionary album.

Yet, are we ready to listen and heed the messages contained within? I sincerely and deeply hope so because if not, and like Rundgren expressed 40 years ago, "I gave you all fair warning/Now it's goodbye."

WSPC SESSION NOTES FOR MAY 2015: 33

FROM THE DJ's STUDIO DESK:

The headline certain gave me a strong sense of pause.

This week, The A.V. Club posted an article entitled "New Study Shows That People Stop Listening To New Music At 33," and at first, my knee-jerk reaction was one of defiant refusal for how could a statement like that possibly be universally true.

I mean--I am considerably past the age of 33 (even though my mind and spirit continuously attempts to tell me otherwise--my body, however...). Even so, I have continuously sought out new music to this very day and frankly, I anxiously welcome something new from some artist that I had previously not heard of before. I am always seeking and waiting for those new sounds to blow my mind and the thrill that comes from the discovery is a feeling that has never grown old. Honestly! If this were not true, then how else could one explain all of the crowing I have been doing for the likes of Post Social and Modern Mod, for example?  Even as of this writing, I am listening to the track "Siberian Breaks" from MGMT's second album "Congratulations" (released April 13, 2010). Certainly a song this recent would fly against the perception that those beyond a certain age would refuse to listen to it, wouldn't it?

But then again...

It's very odd, but maybe the article does contain some valid points and perceptions--some of which I may not be that comfortable admitting because I don't wish to ever sound like the stereotypical older character who cantankerously exclaims that things were just better in "their day." Now I have made those kinds of statements before to people half-facetiously because I do not want to entirely discredit the new music that is being made but even so...

I look back to the 1980's, not my favorite decade of music (although I am continuously amazed with hw innovative it actually was--especially from England and other European locales) but it was the time where I aged between the years of 11-20, the time period that encapsulated Middle School, High School and my first two years of college. If one were to make comparisons between the top of the charts during the early to mid 1980's and right now, what might you find? Well, aside from Michael Jackson, Madonna, Bruce Springsteen and Prince, you would have also found the likes of Culture Club, Talking Heads, Van Halen, Cyndi Lauper, Huey Lewis and the News, Run-DMC, David Bowie, and of course, Duran Duran. 

At this point, I am not attempting to incite a debate about personal tastes. I am mentioning these particular artists because every single one of them crafted their own individual identities with their own individualized sound. Are the Top 40 charts of 2015 as idiosyncratic to you? To me and my ears, I don't think so...not even by a long shot. I don't think this really has to do with age but more of how the music industry has changed over time and how homogenized it has become with a small collective of writers and producers seemingly having their hands in every pot, therefore making all of the songs sound exactly the same regardless of who the artist in question happens to be.

Yet, for that matter, I do not follow the top of the charts at all anymore and I have found myself to not even be remotely interested in the least. I would like to think that my feelings are rooted more in the music that is actually being released not fitting within my personal tastes and having much less to do with my age. But does my age having something to do with how little I do think of so much of what is popular these days anyway?

I have also noticed that as I have aged, my musical tastes have moved increasingly backwards. I do not know how it ever happened but once we reach the Spring time months, I have found myself reaching into the past for a certain sound. The sound of Badfinger. The sound of Big Star. The sound of Dwight Twilley. The sounds of power pop songs of the 1970's. Summers have tended to lead me to longer, and at times, more psychedelic songs. The music of Traffic and early music by The Steve Miller Band, where you can really hear picks hitting guitar strings and sticks smacking snare drums and the keyboards are a warm as the season itself provide me with such solace. Yes, that music possesses such imagination and endless creativity but am I reaching back as a means of personal tastes within songwriting and production values or is it all out of nostalgia?

What of the content within current popular music as opposed to the past? As I will tell absolutely anyone, it truly takes a lot to actually offend me within the arts. I'm no prude. And yet, why is it that so much of what I am hearing that is indeed flowing through the airwaves, and most certainly the images that are accompanying those songs, feel like nothing more than pornography? Remember, I really came of age during Prince's stratospheric period, when I, at times, felt I had to sneak to listen to due to his often graphic sexual content and four letter words. Yet, his particular purple poetry has remained poetry, filled with imagery and imagination (i.e. CREATIVITY), and what's occurring now just feel like an abusive onslaught of four letter words and nastiness just for the sake of saying the (i.e. NO CREATIVITY). Is this my age talking?

But then again, when I listen to the student station WSUM-FM, the college DJ's have constantly excited me with what they are listening to and therefore, have inspired me to head straight to either I-Tunes or B-Side Records to make purchases and add to my ever expanding collection. Certainly, my acknowledgement and appreciation of this new music belies my age, doesn't it?

Trust me, dear readers and listeners, I am always buying new music! I do feel a need to remain current. Yet...I am often buying new music from long established artists, and in doing so, does that keep me in the past? Is it all rooted to my age? How about my WSPC playlists? I would hate for my mythical radio station to essentially function as an "oldies" station but how much of what I "play" is actually new? Even the music that still sounds far ahead of its time was still made in the past. Am I as forwards thinking as I have felt myself to be?

Even this new 2014-2015 music from Post Social, Modern Mod, Kendrick Lamar, and Tame Impala have all made music that could ONLY have been made right NOW...but even so, all of those artists have included elements that connect them to all that has come before, which does contain some emotional triggers into my responses to all of their music.

Maybe the quandary is bigger than I imagined it to be. But does it all matter anyway if we are all just still listening, being inspired and enriched? If we're still dancing, does age matter at all? If the music still sounds as fresh and blissful as the first time we ever were introduced to it, does the age of the music as well as ourselves matter at all?

Before I head back to the music, this whole experience has reminded me of a little snippet from Writer/Director Lawrence Kasdan's "The Big Chill" (1983), when Jeff Goldblum's character (I think) confronts Kevin Kline's character on the greatness of the music scene since the late 1960's, the period when all of the film's primary characters attended college. Goldblum attests that there has bee much great music to arrive within the previous ten years yet, Kline remains steadfast in his dismissive nature and ultimate devotion to the music that has defined him, and therefore, their generation. It was a moment when I, at age 14, wanted to dive into the movie and defend Goldblum's opinion because there was so much great, innovative music swirling all around but why could Kline just not hear it.

I do not wish to think that I have become that musically rigid Kevin Kline character but what if I have?

How about you? Does your age reflect your tastes? I'd love to know. Phone lines are open...

But whatever you're listening to, remember to always.....PLAY LOUD!!!!!!!!!!!!!

WSPC PLAYLIST APRIL 2015

April 1, 2015
"Fooling Yourself (Angry Young Man)" performed by Styx
"Only A Fool Would Say That" performed by Steely Dan
"Fooled Again (I Don't Like It)" performed by Tom Petty and the Heartbreakers
"She's A Fool" performed by Lesley Gore
"Foolish Little Girl" performed by The Shirelles
"The Fool On The Hill" performed by The Beatles
"Fools In Love" performed by Joe Jackson
"What A Fool Believes" performed by The Doobie Brothers
"Runnin' Out Of Fools" performed by Neko Case
"Fool, Fool, Fool" performed by The Clovers

"Money And Corruption/I'm Your Man" performed by The Kinks
"What Artie Knows" performed by Planet P. Project
"A Song For Assata" performed by Common
"The Mole From The Ministry" performed by The Dukes Of Stratosphear
"Damned For All Time/Blood Money" from "Jesus Christ Superstar"

April 2, 2015

WSPC FEATURED ARTIST: JONI MITCHELL
"I Had A King"
"People's Parties/Same Situation"
"This Flight Tonight"
"Dreamland"
"Morning Morgantown"

"Ankles" performed by Georgia Anne Muldrow-WSPC PREMIERE

"Country Down" performed by Beck
"St. Petersburg" performed by Supergrass
"The Last Supper" from "Jesus Christ Superstar"

April 3, 2015
"Passion" performed by Peter Gabriel
"Could We Start Again, Please?" from the film "Jesus Christ Superstar"
"Hear Me Lord" performed by George Harrison

"Sunburst Finish" performed by Utopia
"me Yesterday//Corded" performed by Flying Lotus
"How Much A Dollar Cost" performed by Kendrick Lamar-WSPC PREMIERE
"Right Where It Belongs" performed by Nine Inch Nails
"Little Church" performed by Miles Davis
"Evangelion/We'll Die" performed by Thundercat
"Judas' Death" from "Jesus Christ Superstar"

April 4, 2015
"Pride (In The Name Of Love)" performed by U2
"Abraham, Martin and John" performed by Dion
"The Ballad Of Peter Pumpkinhead" performed by XTC

"I Am The Blues" performed by Muddy Waters
"Never As Tired As When I'm Waking Up" performed by LCD Soundsysem
"Mirror Man" performed by The Human League
"Jive Talkin'" performed by The Bee Gees
"Don't Stop Me Now" performed by Queen

April 5, 2015
"'Cause I'm A Man" performed by Tame Impala-WSPC PREMIERE
"A Dream That We All Share" performed by The Lilac Time
"Gethsemane" from "Jesus Christ Superstar"

"The Resurrection" performed by Lenny Kravitz
"Resurrection" performed by Terence Trent D'Arby
"I Am The Resurrection" performed by The Stone Roses

"April 5th" performed by Talk Talk

April 6, 2015
"**** Jungle Law" performed by Love And Rockets
"I Wish You Were Here" performed by Simple Minds
"Private Life" performed by The Pretenders
"I'm In Love With A German Film Star" performed by The Passions
"Aeroplane" performed by The Psychedelic Furs
"Yeah Man' performed by Northside

April 7, 2015
"Election Day" performed by Arcadia
"Electioneering" performed by Radiohead
"Capital G" performed by Nine Inch Nails
"All You Fascists" performed by Billy Bragg & Wilco
"Politician" performed by Cream

"Old Hat" performed by Van Hunt-WSPC PREMIERE

April 8, 2015
"Night And Day" performed by Billie Holiday
"Wanders To You" performed by Howard Jones
"Edge Of The Ocean" performed by Ivy
"Dirty Trip" performed by Air
"One Of These Days" performed by Pink Floyd

"Private Revolution" performed by World Party
"Panic" performed by The Smiths

"Going For The One" performed by Yes
"Warning" performed by Green Day
"Keys" from "Passing Strange"
"The Ghost At Number One" performed by Jellyfish
"Peaches En Regalia" performed by Frank Zappa

April 9, 2015
"You Already Know" performed by Arcade Fire
"Best Friend" performed by The (English) Beat
"Overkill" performed by Men At Work
"Goin' Down" performed by The Monkees
"Rhinestone Eyes" performed by Gorillaz

April 10, 2015
"Punch And Judy" performed by XTC
"Territories" performed by Rush
"Hanging By A Thread" performed by Mike and the Mechanics
"Volcano Girls" performed by Veruca Salt
"Only Happy When It Rains" performed by Garbage
"Where Do I Begin" performed by The Chemical Brothers

"Cruel" performed by Prefab Sprout
"Feelin'" performed by Q-Tip
"Charlie" performed by Red Hot Chili Peppers
"Harbor Lights" performed by The Steve Miller Band
"Cruel" performed by Thomas Dolby

April 11, 2015

HAPPY 2ND BIRTHDAY TO SYNESTHESIA
Frankie Knuckles Boiler Room DJ Set
Johnny Marr Glastonbury Set 2013

April 12, 2015
"Born Under Punches (The Heat Goes On)" performed by Talking Heads
"The Thief" performed by Can
"Masoko Tanga" performed by The Police
"You Just Haven't Earned It Yet, Baby" performed by Kirsty MacColl
"Losing My Edge" performed by LCD Soundsystem

HAPPY 75TH BIRTHDAY TO HERBIE HANCOCK
"King Cobra"
"You'll Know When You Get There"
"I Have A Dream"

April 13, 2015
"Fisticated" performed by Dam Funk
"Fallin'" performed by Madlib
"Midnight In A Perfect World" performed by DJ Shadow
"Hare Krishna" performed by Thievery Corporation
"Gigantes" performed by Tortoise

April 14, 2015

TRIBUTE TO PERCY SLEDGE R.I.P. 
"Warm And Tender Love"
"Out Of Left Field"
"Sudden Stop"
"Take Time To Know Her"
"Just Out Of Reach Of My Two Empty Arms"
"Cover Me"
"When A Man Loves A Woman"

"Half A Person" performed by The Smiths
"Girl In A Million" performed by The Dream Academy
"Day Is Done" performed by Nick Drake
"At The End Of The Day" performed by Nick Mason and Rick Fenn
"Flying Junk" performed by 10cc
"Celluloid Heroes" performed by The Kinks
"I've Seen That Movie Too" performed by Elton John
"Driving" performed by Everything But The Girl

April 15, 2015
"Taxman" performed by The Beatles
"Money, Money, Money" performed by ABBA
"Me And The I.R.S." performed by Johnny Paycheck
"For The Love Of Money" performed by The O'Jays
"Bills, Bills, Bills" performed by Destiny's Child
"Ain't Nothin' Goin' On But The Rent" performed by Gwen Guthrie
"I'm Broke" performed by Black Joe Lewis and the Honeybears

"The Chemicals" performed by Garbage-WSPC PREMIERE

"Down To The Wire" performed by Neil Young
"Black Mud" performed by The Black Keys
"3 Birds" performed by The Dead Weather
"Forever Lost" performed by The Magic Numbers
"Fireflies" performed by Rhett Miller and Rachel Yamagata
"Small Time Blues" performed by Pete Drodge and Elaine Summers

April 16, 2015
"Rock And Roll With Me" performed by David Bowie
"The Everlasting Gaze" performed by The Smashing Pumpkins
"Too Much Information" performed by The Police
"Malibu" performed by Hole
"Why Can't I?" performed by Liz Phair
"Tango In The Night" performed by Fleetwood Mac

April 17, 2015
"Feel Too Good" performed by Utopia
"Feels So Good" performed by Chuck Mangione
"Feels So Good" performed by Van Halen

"Come Again" performed by General Public
"Girlfriend" performed by Phoenix
"Damaged Goods" performed by Gang Of Four
"Open Your Eyes" performed by Lords Of The New Church
"The Pitchman" performed by Saga

April 18, 2015

RECORD STORE DAY
"I Love My Label" performed by Nick Lowe
"Stack-A-Records" performed by Tom Tall
"My Turntable" performed by Ben Lee
"I Need That Record" performed by The Tweeds
"Why Independent Record Stores Fail" performed by Marah
"Gonna Get Some Records" performed by Sandy Selsie
"Hit Single" performed by Joe Jackson
"B-Side Baby" performed by Adam Ant
"Records And Tea" performed by The Chefs
"Spiral" performed by XTC

HAPPY 72ND BIRTHDAY TO CLYDE STUBBLEFIELD
"Funk Thing"

"Let, Let Me In" performed by De La Soul
"777-9311" performed by The Time
"Ghetto Life" performed by Rick James
"After Hours" performed by A Tribe Called Quest
"Rumble In The Jungle" performed by The Fugees with A Tribe Called Quest and Busta Rhymes
"Rain" performed by Divine Styler

April 19, 2015
"Let's  Take It To The Stage" performed by Funkadelic
"The Millionaire Waltz" performed by Queen
"Sound Of Silver" performed by LCD Soundsystem
"Change" (extended version) performed by Tears For Fears
"ABC' performed by The Jackson 5

April 20, 2015
"Zoo Station" performed by U2
"Bittersweet Me" performed by R.E.M.
"The Passenger" performed by Iggy Pop
"Brand New Toy" performed by Paul Weller
"Speed Of Sound" performed by Coldplay

April 21, 2015
"So Far To Go" performed by J Dilla with Common and D'Angelo
"Walk With You" performed by Ringo Starr with Paul McCartney
"As Hard As It Is" performed by Fine Young Cannibals
"Mrs. Bartolozzi" performed by Kate Bush
"Private Investigations" performed by Dire Straits

"God It" performed by De La Soul with Nas-WSPC PREMIERE

"Reckoner" performed by Robert Glasper-WSPC PREMIERE
"A Punchup At A Wedding" performed by Radiohead
"Glass And The Ghost Children" performed by The Smashing Pumpkins
"Unquiet Slumbers For The Sleepers.../...In That Quiet Earth/Afterglow" performed by Genesis
"Do I Wait?" performed by Ryan Adams

April 22, 2015

EARTH DAY
"Global Nation" performed by Todd Rundgren-WSPC PREMIERE
"O Green World" performed by  Gorillaz
"Song For A Dying Planet" performed by Joe Walsh
"Don't Go Near The Water" performed by Johnny Cash
"To Live Forever" performed by Planet P. Project
"Message From The Country' performed by The Move
"Whale Song" performed by Pearl Jam
"Barrel Of Pain (Half-Life)" performed by Graham Nash
"Fresh Air" performed by Quicksilver Messenger Service
"Garden Song' performed by Pete Seeger

April 23, 2015
"Darkroom" performed by Paul McCartney
"Size Of Sorrow" performed by Tears For Fears
"Auditorium" performed by Mos Def featuring Slick Rick
"Is This Love" performed by Bilal
"I Don't Believe In You" performed by Talk Talk

"Waiting Such A Long Time" performed by World Party-WSPC PREMIERE

"Ashes Of American Flags" performed by Wilco
"I Don't Remember" performed by Peter Gabriel
"Lucky Number" performed by Lene Lovich
"Spellbound" performed by Siouxsie and the Banshees
"Praying To The Aliens" performed by Gary Numan
"Cellphone's Dead" performed by Beck

April 24, 2015
"Bonny" (acoustic version) performed by Prefab Sprout
"Amazing Journey" performed by The Who from the film "Tommy"
"Ode To Joy" performed by Walter Carlos

"Lotus And The Jondy" performed by Thundercat
"Dream" performed by Mahavishu Orchestra
"Yaphet" performed by Miles Davis
"Naima" performed by Carlos Santana and John McLaughlin
"Sleep Sweepers" performed by Flying Lotus

April 25, 2015
"Pulled Up" performed by Talking Heads
"Madonna Of The Wasps" performed by Robyn Hitchcock and the Egyptians
"Every Kinda People" performed by Robert Palmer
"English Roses" performed by The Pretenders
"Tunnels" performed by Modern Mod-WSPC PREMIERE
"I Can See For Miles" performed by Modern Mod LIVE at Der Rathskeller 4-24-15

"All That" performed by Carly Rae Jepsen-WSPC PREMIERE
"Gigolos Get Lonely Too" performed by The Time
"You Saved Me" performed by Gary Clark Jr.
"Spaceship Coupe" performed by Justin Timberlake
"If You Can't Say No" performed by Lenny Kravitz

April 26, 2015
"Don't Pass Me By" performed by The Beatles
"High Roller" performed by Cheap Trick
"Blue Hotel" (live at the BBC 2007) performed by Ryan Adams and the Cardinals
"Sunday Afternoon" (live at KRCW studios) performed by Rachael Yamagata
"River Road" performed by Nancy Wilson
"Ether Song" performed by Turin Brakes

"Worldwide Epiphany" live 2015-performed by Todd Rundgren-WSPC PREMIERE

"New Song" performed by The Who
"Who You Are" performed by Tears For Fears
"Siberian Breaks" performed by MGMT
"How Does It Make You Feel?" performed by Air
"The Lamia" performed by Genesis
"A Letter To Elise" performed by The Cure
"Come To Mama" performed by Pete Townshend

April 27, 2015
"2 Minutes With The Hendrix Strat" performed by Dweezil Zappa-WSPC PREMIERE

"The Disappointed" performed by XTC
"This Whole World" performed by The Beach Boys
"Coppertone Blues" performed by Pete Ham
"Meadows" performed by Joe Walsh
"Late In The Day" performed by Supergrass

April 28, 2015
"Strangers" performed by The Kinks
"Do It Again" performed by Matthew Sweet
"Metanoia" performed by MGMT
"Oh, My Love" performed by The Cold And Lovely
"Come In From The Cold" performed by Joni Mitchell

April 29, 2015
"E=MC2" performed by Big Audio Dynamite
"The Crying Scene" performed by Aztec Camera
"Shy Boy" performed by Bananarama
"Only The Lonely" performed by The Motels
"Down The Wrong Way" performed by Chrissie Hynde

"Baltimore" performed by Nina Simone

April 30, 2015
"Freedom" performed by Jimi Hendrix
"Free Me" performed by Roger Daltrey
"Bring On The Lucie (Freda People)" performed by John Lennon
"I'm Set Free" performed by The Velvet Underground
"Freedom Fighters" performed by Utopia

"Disciples" performed by Tame Impala-WSPC PREMIERE
"Fractured III" performed by Ace Frehley
"Superwoman (Where Were You When I Needed You)" performed by Stevie Wonder

"Important Safety Instructions (Mutations 2)" performed by Vernon Reid
"The Garden" performed by Cut Chemist
"If It Wasn't For You" performed by Handsome Boy Modeling School featuring De La Soul
"What About Me?" performed by Snarky Puppy
"Peace" performed by Miles Davis

NOW PLAYING IN THE SAVAGE JUKEBOX APRIL 2015

"JESUS CHRIST SUPERSTAR"
Released September 1970

"good kid, m.A.A.d. city: a short film"
KENDRICK LAMAR
Released October 22, 2012

"WAVELENGTH"
TANGERINE DREAM
Released 1984

"PLAYLAND"
JOHNNY MARR
Released October 6, 2014

"LCD SOUNDSYSTEM"
LCD SOUNDSYSTEM
Released January 24, 2005

"PASSING STRANGE"
ORIGINAL CAST RECORDING
Released July 15, 2008

"DRAMA"
YES
Released August 18, 1980 

"LOUDER THAN BOMBS"
THE SMITHS
Released March 30, 1987

"APOCALYPSE"
THUNDERCAT
Released July 9, 2013

"THIS IS HAPPENING"
LCD SOUNDSYSTEM
Released May 17, 2010

"BROTHERS"
THE BLACK KEYS
Released May 18, 2010

"DIAMOND DOGS"
DAVID BOWIE
Released May 24, 1974

"MACHINA/the machines of God"
THE SMASHING PUMPKINS
Released February 29, 2000

"COMMONWEALTH"
SLOAN
Released September 9, 2014

"REMAIN IN LIGHT"
TALKING HEADS
Released October 8, 1980

"SOUNDS OF SILVER"
LCD SOUNDSYSTEM
Released March 20, 2007

"TROUBLE MAN"
MARVIN GAYE
Released December 8, 1972

"ELEMENTAL" 
TEARS FOR FEARS 
Released June 7, 1993

"EVERYBODY LOVES A HAPPY ENDING" 
TEARS FOR FEARS 
Released September 14, 2004

"THE QUEEN IS DEAD"
THE SMITHS
Released June 16, 1986

"FEAR OF MUSIC"
TALKING HEADS
Released August 3, 1979

"TOMCATS SCREAMING OUTSIDE"
ROLAND ORZABAL
Released September 11, 2001

"CONGRATULATIONS"
MGMT
Released April 13, 2010

RECORD STORE DAY AT B-SIDE RECORDS FEATURING POST SOCIAL: APRIL 18, 2015

"The arts are the most elaborate and most precise social network ever invented, but if it's going to work properly, you have to get out of the house sometimes and show who you are and what you love. You have to go to shows and galleries and bookstores, you have to ask for what you want out loud...So maybe we need those record-store guys; maybe the reason so many of them are still around is that, without them, the whole system grinds to a halt. If you own all the music ever recorded in the entire history of the world, then who are you? Those people queuing outside their local independent on Record Store Day want to be known."
-NICK HORNBY

What a glorious day it was!

It was a late morning/early afternoon filled with abundant sunshine and a temperature of just under 70 degrees and it felt and looked as if the entire city of Madison, WI was outdoors. Around the State Capitol building, the annual Farmer's Market began its season bringing droves upon droves of citizens to walk the circular path around the Capitol Square for all manner of culinary delights. Upon entering a coffee establishment plus the wonderful Marigold Kitchen to pick up some brunch, my friends at both locations all felt the shock to their respective systems after dealing with the full onslaught of customers returning in full force after a quiet winter and early spring season.

Traffic was bumper to bumper and yet, smiles were everywhere to be seen. For me, and before I ventured to that aforementioned coffee establishment and Marigold Kitchen, I knew that I had to make a pit stop at B-Side Records to pay my respects for this year's edition of Record Store Day. In addition,  B-Side proprietor Steve Manley had previously informed me that both Modern Mod and Post Social would be performing LIVE and for FREE just a stone's throw away from the store at the small Peace Park on State Street.

Ahhhh...Record Store Day, the annual event where music fans and collectors actually queue up outside record stores before fully opening for the day for the opportunity to band together in the community of music fandom...and yes, to also see if they can get their hands upon those specially released items that are of small quantity and exclusive to that specific day only. 

Yes, there are those who feel that the event has become something disingenuous, a day that really does not serve independent record stores and music fans accordingly and honestly. Perhaps, there is some validity to those sentiments and maybe, as one article suggested, Record Store Day should eventually become a monthly event, therefore, keeping the spotlight upon independent records stores for the full year instead of just one day. But no matter to any of the criticism. When I walked into B-Side and saw it packed with people all perusing the stacks of vinyl and CDs, it just made my heart smile, as all I saw was a celebration of music and the community that loves this unique sense of discovery and connection.

As for the added attractions of Modern Mod and Post Social, well, traffic was so bumper to bumper that I missed Modern Mod's performance entirely--something that would normally make me growl profusely--but all was indeed not lost whatsoever as I approached Peace Park to the textured, intricate yet raucous sounds that were unmistakably from Post Social. While it was close to the conclusion of their set, I was so thrilled to finally be able to see this band in action, the band that has surprised me so much and had created my "go-to" album ever since I purchased it in late December 2014.

And there they were, lead singer/guitarist Mitch Deitz, singer Siv Earley, bassist Sam Galligan, guitarist/singer Shannon Connor and drummer Brendan Manley, performing live and loudly to a healthy crowd that had gathered to observe (and to also fill their guitar case with monetary tokens of appreciation).

As with their debut self-titled album, I continued to be so very impressed with the band as they exuded such a seasoned cohesiveness that merged terrifically with their youthful exuberance and unabashed joy. Deitz, who was all smiles, made for a most confidant frontman,whether addressing the audience, singing powerfully into the mic or leaping off the Peace Park stones like a true rock star hero. Earley, also cut a captivating presence as she vibrantly danced along during some song's complex, instrumental passages but most certainly through her shining vocals. Where she sounded ghostly upon the album, Earley exuded some palpable force which ensured that she stood confidently and melodically while singing alongside Deitz.

In contrast to the more mobile energy presented by Mitch Deitz and Siv Earley, Shannon Connor cut a more reticent and almost brooding figure that belied the inventive and often stinging guitar leads that burst outwards into the audience like fireworks.

Additionally, Sam Galligan appeared as a more stoic figure, whose quiet stature worked in contrast to the propulsive and fluid melodicism of his bass playing. In a subtle way, I couldn't help but to wonder if his stage presence essentially makes him Post Social's version of The Who's late, great bassist John Entwistle. (I wonder what he'd say to that comparison...)

Finally, I turn my attention towards Brendan Manley, whose Father owns B-Side Records, and who also introduced me to the music of both Post Social and Modern Mod in the first place. Unquestionably packing a wallop, Manley's drumming is clean, crisp, precise, and filled with an athleticism and speed that propels the music skillfully. During one selection, which I have been informed is a newer composition (the band reportedly writes new material consistently and I really hope they record this one down the road), I am unsure how or when Manley was able to go from holding two sticks to play the snare and ride cymbal, to holding a shaker in one hand while still pummeling the snare, then go back to two sticks and again return to the shaker so seemingly effortlessly and without missing a beat.

While I only caught three songs from the band, including the vast "Something In The Water" from the album, an untitled instrumental plus the aforementioned new song, it was precisely what I had wanted to see for several months now and it only made me anxious to witness and experience a complete set. Post Social are definitely the real deal!

Now it was time for me to officially introduce myself and I immediately ventured over to Brendan Manley, who so kindly embraced me as I extended my hand out to him. "You're our biggest fan!" he said to me, smiling warmly from ear to ear, while standing and extending himself to his full, great height. And after meeting the remaining band members, all of whom were equally warm as well as openly gracious and genuine, I was just happy to have the opportunity to express to them face-to-face just how much I love their album, how excited and proud I am for them and how much I await to hear new material from them.

Which then leads me to this lovely young lady pictured above. Dear readers and listeners, this is Emily Massey, lead singer and guitarist for Modern Mod. After the Post Social set, Massey walked around outside of B-Side with a box of FREE vinyl 45 singles of her band, to which she was greeted by quite a number of willing takers, including myself. After introducing myself, we spoke briefly, again with me giving her some well deserved praise regarding her band's terrific album, as well as promising her that I would definitely see Modern Mod live this summer. Massey practically gushed in appreciation and even moreso when she explained to me how the members of both bands are indeed great friends who thoroughly enjoy being able to play together...something she feels they have not been able to do as much as she would love.

This is the spirit that has adorned Record Store Day each and every year that I have been able to make a brief pilgrimage and witness the enthusiasm, eagerness and passion that always ensures that music itself it treated as it should be treated: as a legitimate art form that deserves to be celebrated, nurtured and even nourished. It is with my most sincerest thanks that I extend to B-Side Records, plus Madson's very own Mad City Music Exchange, Strictly Discs and Sugar Shack for remaining steadfast during a period when the independent record stores have grown more obsolete and survival is tenuous.

Yet, in a recent interview given to the local and free Madison weekly newspaper the Isthmus, Steve Manley proclaimed that the resurgence in vinyl is what has truly saved B-Side Records from extinction. In fact, the survival of our independent record stores is due to the effort and essence of community and solidarity. From the store owners to the music fans to the musicians and round and around again, we all contribute to this experience and trust me, if you haven't ventured to one of your local record stores recently, I insist that you just stop in sometime and just browse and allow yourself to become inspired to support a local business, which in turn supports an art form that truly demands attention these days. You just may be surprised!

HAPPY RECORD STORE DAY 2015!!!

HAPPY 2ND BIRTHDAY TO SYNESTHESIA-ASK THE DJ: THE MUSIC LOVER'S QUESTIONNAIRE

On April 11, 2013, Synesthesia entered the world as a sister blogsite to my already established blogsite Savage Cinema. But unlike that site, which is solely devoted to movies, Synesthesia is exclusively devoted to the celebration of music.

Today, Synesthesia reaches its 2nd birthday and to celebrate, I decided that it would be fun to produce a questionnaire similar to one I put together for Savage Cinema last year. It is strange, though, as I am essentially interviewing myself but it has been fun t write and maybe, through this edition, you'll have the chance to learn a little bit more about me...especially as you have clearly been waiting so very long to get a peek a the DJ in the broadcast booth (ha ha).

What is your earliest musical memory?
Music was always a part of my household growing up, from the radio to the records that my parents' played. In fact, if you could see the collections that both my Mother and Father have amassed during their respective youths (lots of jazz, soul, showtunes, Barbara Streisand, Motown and some surprises like albums by Chicago and War), you could easily see the connections to my life.

I have been told several times by my parents that when I was a baby, Side Two of The Beatles' "Abbey Road" would always calm me down when I was crying. My Father also told me that he used to hold and dance with me to The Delfonics' "(Didn't I) Blow Your Mind?" Obviously, these are two stories that I cannot remember due to being just so young. But...I do remember vividly my being so in love with Seals And Crofts' song "Summer Breeze" (which I actually wrote all about in the very first month of Synesthesia's existence). What I really think is especially significant was listening to Side One of Elton John's "Goodbye Yellow Brick Road" album, which featured the tracks "Funeral For A Friend/Love Lies Bleeding," "Candle In The Wind" and "Bennie And The Jets." I remember sitting on the couch and holding the album jacket, looking at all of the liner notes, illustrations and lyrics, creating very literal mental images as the songs went along. To go with that, I remember my cousin Susan during a visit just staring at me as I was singing along to "Bennie And The Jets," without the lyrics in hand, and she said to me in awe, "How do you know every word to this song?" I just shrugged my shoulders. I didn't know. I was four or five years old. I loved it and I was just tuned in.

What was the first album you ever heard?
Well...as a piggyback to that first question, I guess I would say "Abbey Road" even though I wasn't aware of it. "Goodbye Yellow Brick Road" would be a close second even though I didn't know that there was more than Side One at that time. Susan was the one to show me how to turn the record over for Side Two. And since, Elton John's album is in fact a double album, she showed me the other record that had Sides Three and Four.

What are your pivotal childhood music listening experiences?
In addition to the radio and records albums, when I was a kid the 8-Track format was widespread. My family had a case of 8-Tracks that we would take with us for long road trips to Kentucky. That's where I heard a lot of Jackson 5 outside of my home, for instance. As I got a little older (8-10 years old), we had the soundtracks to "Grease," "Saturday Night Fever" and the film version of "Sgt. Pepper's Lonely Hearts Club Band" on 8-Track and I listened to those CONSTANTLY, (as Susan said to me regarding "Sgt. Pepper"). We also had Fleetwood Mac's "Rumours" and The Eagles "Greatest Hits 1971-1975" on 8-Track as well. I think what was so interesting about that format to listen to is that I really had no idea of what the true album sequence actually was for so many of those albums, especially Fleetwood Mac and The Eagles. So, I would have to imagine what could possibly be the beginning, middle and end for those and was so surprised to discover what the running sequence really was quite far in the future.  

Once I really began listening to music more and more at home (probably around that same age--somewhere around 7 or 8), I loved just having the vinyl out and I really loved sitting in this one big chair with those giant headphones strapped to my head. It was like being inside of the music itself. . I would stare at the album jackets and liner notes and just...listen and dream. In particular was Stevie Wonder's "Songs In The Key Of Life," (which we also had on 8-Track), a double album that also contained a 4 track EP and a GIANT lyric/liner note booklet. I would have that just sprawled on the carpet as I listened. I think those times formulated my perceptions of the album existing as a work of art, where the cover, liner notes and entire presentation worked in conjunction with the music creating a full, immersive experience. It is something that keeps my purchasing physical copies of new albums and something that I feel is lost in the digital era when music is reduced to an electronic file. Yes, I do download as well but it is just not the same by a long shot.

Which artists did you love growing up?
Stevie Wonder, Fleetwood Mac, The Eagles and The Jackson 5 as you could tell from above. But I was particularly in love with KISS, Peter Frampton, Queen and I really loved Electric Light Orchestra (I was obsessed with Sides Three and Four of their "Out Of The Blue" double album). Queen and E.L.O. had albums I checked out from my school library over and over and over again.

But I think the first bands, such as they wee, that I was ever obsessed with happened to be...The Monkees!! Yup. My cousin Adam (Susan's younger brother) introduced me to the television show when I was may be 6 years old. I loved it at first sight and the music sent me into orbit. I remember one time when Adam was visiting my house and he happened to have a Monkees Greatest Hits album with him and I listened to it all day. When it was time for him to go back to his house, he, of course, had to take the album with him and I flew into the worst crying tantrum!! I could not understand why he could not just eave the album with me as we saw each other all of the time. Why couldn't I just have it for a little while longer? Why did he have to take it away? Maybe I thought that if he left, I would never get to hear it ever again or something but I was devastated to no end.

What was the first album you purchased with your own money?
I don't remember but I would guess that it was a Beatles album.

How often did you purchase albums?
Once I began purchasing albums with my allowance money, I bought them as often as I was able, maybe once or twice a month or something like that. But, that is where my love of record stores began as I am truly unable to tell you how many hours I spent just wandering, looking, listening, exploring, discovering and then, planning my next purchase. By the time I was 15, I had fallen head over heels for this beautiful college girl who worked in my high school library. I got myself a job in the same library just to solely be around her. When I received my first paycheck, I was honestly surprised. I mean--the reality of being paid NEVER occurred to me as I just wanted to see this beautiful girl and pine away. When I given my first paycheck, and after I had gotten over the initial shock, I thought to myself, "Now I can get more records!!" So, with my paycheck and allowance, I then began buying records and cassettes all of the time.

What was your first concert?
Quite possibly The Jackson 5! It was "in-the-round" at the Mill Run Theater.

Who else have you seen in concert?
Aside from The Jackson 5, who I saw when I was very young, I didn't really see any concerts while in high school as my very strict parents had serious concerns over the con cert drug culture (a la "Almost Famous").But beginning since my first year of college, I have seen Fleetwood Mac, David Bowie, They Might Be Giants, Living Colour, Edie Brickell and the New Bohemians, Lenny Kravitz, Love and Rockets (where The Pixies opened for them), Tina Turner, Lindsey Buckingham (twice), Cheap Trick, Ryan Adams and the Cardinals (twice), The Budweiser Superfest featuring Jesse Johnson, New Edition (surprisingly terrific) and Kool and the Gang, Everything But The Girl (twice), Tame Impala, Zappa Plays Zappa, Todd Rundgren (three times), The Roches, Fountains Of Wayne, Garbage and Miles Davis (three times--the third time was when I actually met the man himself and shook his hand).

Very soon, I will be seeing George Clinton and the P-Funk All Stars (in May) and World Party (in June).

What was the best concert?
I honestly do not know. But, I will say that when I saw Rush in 1987 on the "Hold Your Fire" tour, I was seated on a side of the auditorium where I was completely unable to see the movie screen the band had displayed over them showing images here and there. Their performance was so Herculean that it didn't matter that I could not see this extra content that was weaved into the show. It was further confirmation that Geddy Lee, Alex Lifeson and my hero, Neil Peart were (and remain) three of the best musicians on the planet!

What was the worst?
I am happy to say that I have never seen a bad show. I would say that the one show that I was perhaps disappointed in was Sting's "...Nothing Like The Sun" tour in 1987. There was just no spontaneity musically for me. Everything just sounded like the album and I just wanted him and the band to stretch out. I felt that if it was going to be so reverential, then I could have stayed back in my dorm room and listened to the album. The one spontaneous moment was when Sting was called away from the stage and returned a few moments later and announced to the audience, "Well, it seems as if I have just won a Grammy!" That was fun to see!

What's your favorite album?
The Beatles' "Abbey Road." Forever and always.

What are your desert island albums?
In addition to "Abbey Road"? Well...let's see...

Elton John "Goodbye Yellow Brick Road"
Stevie Wonder "Songs In The Key Of Life" and "Innervisions"
Pink Floyd "The Wall"
Todd Rundgren "Something/Anything?," "Todd" and "Initiation"
Prince "1999" and "Sign O' The Times"
Tangerine Dream "Thief"
The Beatles "The Beatles" (a.k.a. "The White Album") and "Revolver"
Genesis "Duke" and "The Lamb Lies Down On Broadway"
The Smashing Pumpkins "Mellon Collie And The Infinite Sadness"
The Who "Tommy" and "Who's Next"
Joni Mitchell "Heijira"
Planet P. Project "Pink World"
The Jimi Hendrix Experience "Electric Ladyland"
Fleetwood Mac "Future Games" and "Tusk"
DJ Shadow "Endtroducing..."
Ryan Adams "Gold" and "Love Is Hell"
Frank Zappa "One Size Fits All"
J Dilla "Donuts"
JAMES BROWN "Star Time" boxed set

I'd better stop here or the whole collection will go with me! And as you may have noticed, quite a number of these albums are double albums...I just LOVE the double album format more than most.

What's your favorite song?
I couldn't even begin to pick one.

What song makes you happiest?
For me, the music of The Beatles is the greatest I have ever heard. But, you know, what makes me smile more than anything are expertly executed backing harmony vocals. I could get lost in "oohs' and "aaaahs" forever.

What song makes you cry?
Hmmm...songs don't really affect me in that way. Yes, sad songs do make me feel sad, but I'm not really one that is driven to tears that way. I will say that it seems that as I have gotten older, my nerve endings feel more...exposed, I guess, at times, and I will sometimes feel something behind my eyes reacting to what I am hearing. I think Jeff Buckley's "Lover, You Should've Come Over," Aimee Mann's "Deathly" and even the song "Gethsemane" from "Jesus Christ Superstar" are three examples of songs that have disarmed me emotionally and can produce the waterworks.

What are your listening preferences now compared to when you were growing up?
I was so musically narrow when I was a kid. In early childhood, my home played all sorts of genres but mostly leaned towards R&B and soul and with some jazz and gospel thrown into the mix. Rock music naturally chose me when I was very young. It is something that can never be explained. By the time I began learning how to play drums, I was solely listening to rock music (although now I truly understand that playing jazz has got to be the most difficult way for any drummers to play) and partially out of my preferences and mostly, by wanting to fit in with my peers, I rejected so much music and established some ridiculous boundaries for what "real music" and wasn't. But like Jedi Master Yoda explained to young Skywalker, and I am paraphrasing, I had to unlearn everything that I had learned.

So, now (and even though I don't care for country music, that death metal kind of stuff and no gangsta rap), I really feel that there are only two kinds of music: good and bad. While rock and roll remains the dominant genre for me, I'll listen to mostly anything.

Who is your favorite band/artist?
As I have always expressed to you, my musical "Holy Trinity" consists of The Beatles, Prince and Todd Rundgren.

Who do you feel is underrated?
Aside from Todd Rundgren? Unquestionably, and despite their presence in the Rock and Roll Hall Of Fame, I feel that Genesis remains one of the most under-rated bands ever. Even at the height of their fame in the id 1980's, they were always a band that I had to defend and even now, I really don't feel that they have ever received their full due as being world class songwriters and composers, as well as singers and some of the finest musicians we have had. Aside from Peter Gabriel's well deserved acclaim, Mike Rutherford, Tony Banks, Steve Hackett and especially, Phil Collins, who I feel has demonstrated over and again that he has been one of rock's finest singers and undisputedly one of rock's BEST drummers, they have all received short shrift.

What do you love about playing the drums?
Just being able to hit something and make a canon's worth of sound is AMAZING! Beyond that, I really love it when I am able to get myself loosened up enough and I can just lose myself in the drums. I don't have my old drum set with me. It is currently sitting underneath the basement stairs in my parent's Chicago home. I would really love to have one of those electronic kits, where you could have headphones and an arsenal of pre-programmed sounds to mess around with. When a certain box store had those for sale and available to play in the store, I would purposefully make trips to just go and bash around. So...if anyone wishes to give Synesthesia a birthday present...

What do you love about being a DJ?
I feel that has been detailed at length on this site in several places but I will quickly say that it allows me to feel creative by taking the autobiographical nature of the music I love and being able to re-contextualize it all into what is hopefully a fun listening experience for other people. I just want to play what I love and maybe it's something you love as well or something you will or could love too. What else is this entire blogsite but a tribute to being a DJ as I am still playing out the fantasy while celebrating the time I was a DJ in college as well as the recent "WLHA Resurrection/Reunion Weekends" events I have been involved with (and will hopefully again this July).

What troubles you about the current state of music?
I keep saying that music has been devalued. The album is not seen as art and even songwriting has become devalued as well. There is just too terribly much out there, from genre to genre, that is completely interchangeable, homogeneous, toothless, derivative, over-produced and without personality. Music has become social wallpaper and does not exist as the form of art that people could be passionate about as the listening experience is not the same as it was. With all of the noise of life and electronic wizardry that keeps jockeying for our attention, people don't seem to just want to take the time and actually listen anymore. I told one young friend that the listening was once the event and it just isn't anymore.

What aspect of the music experience from your childhood do you miss?
I miss the sense of discovery and invention that artists had. Don't get me wrong. There s still great music and there will always be great music being made like the latest albums from D'Angelo and Kendrick Lamar or Tame Impala. And then, I cannot say enough about Post Social and Modern Mod, as those two bands really give me hope for the future because they are just so earnest, engaged, and enthusiastic about being able to make music. But there was quite the lengthy period of time, from the 1950's-the mid 1990's, when it seemed that anything was possible and now, so much of music is just derivative of all that has come before. It's like people aren't trying and I miss that fascination. But the fan community, especially through social media has also made it difficult for artists as they don't seem to wish for their "favorite artists" to grow, develop and change. But look, how boring it would be if Prince just kept making "Purple Rain" over and again. Just imagine The Beatles if the public didn't allow them to grow. Pretty awful, huh?

Have you ever damaged a friendship, or thought twice about a relationship, because you disagreed with the other person's musical taste?
No. Of course not. To each their own. But....there have been times when I have internally paused when seeing something in someone's collection that completely clashes with my personal likes.

What music have you dreamed about?
All of it!!!

And with that, HAPPY 2ND BIRTHDAY to SYNESTHESIA. May the needle always finds its groove and THANK YOU to all of you who have helped me be being so supportive along the way.