The sad state of Music Journalism in Phoenix

I had to write the letter below to the music editor of the Phoenix New Times today. It was to comment on an article about ‘college suicide music’ and focused on The Cure and Joy Division. This metropolitan area is the 6th largest in the country and yet our sole resource for music journalism could just as well have been written by my cat (perhaps better). Please find the article, it’s horrible.

If you could also write to niki.dandrea@newtimes.com and beg for some real journalists in this town, the younger generation will thank you evermore.

The letter:

I hate to nit-pick, but I can’t help myself. Just where did you find ‘Scott Gunaca’ and did anyone proof his article ‘Sympathy for the College Devil’?Before I begin I’m not even much of a fan of the Cure (Joy Division more so) but where oh where did he invent this “Holy Trinity of Suicide Bands”? Apart from this being a crass misrepresentation of Joy Division (perhaps if he understood the actuality of living in Manchester in the late 70’s he would see the music as simply an embodiment of a town literally going nowhere fast). Sad, perhaps, but suicidal? The actual fact of Ian Curtis’ demise is not written all over the music – perhaps some understanding of his fear of success and ongoing battle with epilipsy would translate to the downfall more.Moreover the main reason for writing was the inaccurate portrayal of The Cure. The summit of anguish for this band was not even mentioned. Robert Smith himself is quick to acknowledge “The Top” as the most troubled Cure album. Yet your writer cites “Pornography, Disintegration and Wildflowers” as it’s “Trio of early eighties recordings” (which fit his ’suicide’ bill). The crux of the matter is the factual inaccuracy of this1. These albums were chronological but completely missed the bulk of their ouput (and most celebrated) he mentions these as ‘early 80’s when the release dates were 1982 (Pornography) 1989 (Disintergration) 2000 (Blood flowers). Not sure how he surmises this as from the period mentioned??

2. Indeed, he totally (oddly) omits, Faith (81) The Top (84) The Head on the Door (85) Kiss Me Kiss Me Kiss Me (87)

It seems you feel that your readers have no grasp of musical history. If you continue publishing articles as insipid and plainly inaccurate as this, your readership are not going to learn a great deal are they?

I trust Scott paid you to publish this article and not vice-versa? The New Times could and should be the best source for music journalism in Phoenix, instead it just..exists.

Please find some real music writers…the city needs you.

Tim

**addendum – Respect to Niki D’andrea (New Times music editor)

who wrote an educated reply to my letter just after I clicked send. The article was a syndicated piece that she did not edit or proof – so we agreed to trek down the author. I was thrilled to learn that Niki (incidentally) knows her stuff . So let me apologise to her – but now must hunt out this ‘Scott ‘ chap.

Tony Wilson, goodnight & Thank You

My Friday afternoon was blighted significantly upon hearing of the untimely death of Factory Records Supremo, Hacienda nightclub owner and general music visionary Anthony Wilson. Tony passed today at the age of 57 from a heart attack following his continued bout with cancer.

Growing up in England in the late 70’s and 80’s would have been very different for me were it not for Factory Records and Tony Wilson. With his loss I’m reeling following the losses of Joe Strummer and John Peel in recent years. These three helped define my generation and everything that was exciting about music and more importantly what music could be.

Wilson originally worked as a local news hound for Granada TV in Manchester in the Mid 70’s as a young man. An idealistic and affordably generous man he found himself at the heart of a burgeoning post punk scene led by Ian Curtis and Joy Division. I won’t try and recount his career as it’s documented well elsewhere…but when your resume includes Joy Division, New Order, James, Happy Mondays, the Hacienda club and of course Factory Records itself not much needs to be added. From all I’ve read however the most endearing thing about Wilson was his complete and unbridled trust and respect for the artists. Wilson was a fan…he just happened to be in charge, and the later failings of Factory were mostly due to him being too trusting – a truly sad ending to one of the most important labels of the last 30 years along with Stiff, Rough Trade & Creation. If you’ve never seen the film ‘24-hour party people’ start with that – it’s a handsome comedy biopic that tells Wilson’s story. The book about James “Folklore” also has some great Wilson stories.

It’s always touching to read the plaudits from others that fly in when a ‘name’ leaves us. Like Strummer and Peel before him here’s someone we can never replace…but we should say Thanks Tony.

I’m off to listen to Joy Division’s Atmosphere and reflect a bit.

Tim

Netflix & Blockbuster – may the best one go bankrupt first

It seems that the battle supreme will rage on until both companies will not only pay you to rent their films but maybe come over, make popcorn and keep the kids occupied too.

I guess history repeating itself does not apply when it comes to corporate retailing wars?

Does nobody at the executive level take time to look at what the airlines have done to themselves, never mind a myriad of retail chains. Gotta get that customer – even at a loss…oh we can’t pay our employees any more?

I for one support a return to grass roots retailing – even in an online world.

I know I’m biased just look at my website (above) but if you break the code and support the little guy – you just might end up with better service, better deals and more variety in your life.

Thanks for reading !

Cover Versions, not always such a bad thing…

When I was more idealistic I thought a band covering another artist’s song was somewhat trite.

“Where are your own ideas”, “Surely the original was the way it was meant to be” While my
disdain has now switched to Hollywood where it would seem a good third of ‘new releases’
are just remakes of old standards, my appreciation of a well tailored song cover version has changed by 180 degrees.

So I wanted to list a few of my favourites and in turn find out what some of yours might be.

My rules for a good cover version are really simple

1. No original ‘guests’ from the original act

2. Don’t ape the original vocalist – be yourself

3. Seek to change the song and incorporate your own style.

Here are a list of some of my favourites over the years.

I’d like to put together a triple disc compilation of these as I am sure I could find 70-100 examples.

Dubstar covering Billy Bragg’s “St. Swithin’s Day” – Beautiful….just beautiful

The Clash covering Junior Murvin’s “Police and Thieves” – West London reggae bliss

Suede covering Robert Wyatt’s “Shipbuilding” – See my reference to singing in your own style

Billy Bragg singing Sam Cooke’s “A Change (is gonna come)” – East London meets the soul
of America

Ambulance LTD covering Pink Floyd’s “Fearless” – Seek this out!

James covering Velvet Undergrounds “Sunday Morning” – Manhattan moved to Manchester

I’ll have to continue this list later…let me know about yours!

Tim

A Musician’s Family Tree From The Smiths to Modest Mouse

I’ve always thought it would make a wonderful book to have a list of ‘musicians family trees’. Now that I’ve given it more thought, I think it would make for a brilliant website. So…I wondered what sort of interest there may be?

To have a searchable and linkable website that lists all band members and producers for as many bands/artists as possible. The possibilities are endless, but for example Johnny Marr. Everyone knows Johnny Marr started the Smiths with S P Morrissey, in turn many people know he is now officially a member of Modest Mouse. How about in-between? He’s such a unique guitarist that he has formed groups (Electronic) and worked as a guest guitarist with a myriad of acts, including The Pretenders, The The, Talking Heads, Billy Bragg and even formed his own band in 2003 (Johnny Marr and the Healers).

Sinead O’Connor is another great example, apart from her solo releases (Smiths tie-in here…do you know it?) her wonderful voice has guested on countless other discs over the years. Jah Wobble, James, The Chieftains, Peter Gabriel are amongst the acts she has performed with.

I think it would be a wonderful website for music collectors and also open up doors to enjoying others acts by finding out about collaborations and artist history. I also feel that producers would be useful. I found it odd that Ian Broudie seemed to produce every other album I adored from 1979-1989 prior to the Lightning Seeds. He worked at the controls for The Bunnymen, The Fall, Frazier Chorus, Wild Swans (I think), Alison Moyet, Terry Hall, Primitives and the list goes on. No wonder his own band came so much later!

Just a thought – a project like this might be fun – and it would be popular – but I’d love to know what interest there might be be – and I’m sure assistance would be beneficial. As for me, a borderline obsessive music collector who has turned his hobby into an online store – see my website at www.undergrounddiscs.com

Let me know what you think of the idea.

Coming to America….Billy Bragg

I was excited to read that Billy Bragg had confirmed some US tour dates, then my heart sank when I noted that none of the scheduled shows were to be away from the East Coast. Billy hasn’t been out West for many years – please join me in contacting Billy to insist/request/beg that he considers some dates in the Southwest.

If you’ve never seen Billy Bragg live it’s a show you would never forget. Billy walks the talk and whether you agree with his politics or not he is firm to his beliefs. Actually even if you are Right wing in your views I guarantee you will laugh your arse off at his between song banter. Billy has some new material and as ever is extremely active with causes such as the Jail Guitar Doors program. He also has written a book ‘The Progressive Patriot’ which examines what being British means in the new multi-cultural UK.

Lastly, if you’re not a fan yet – try starting with “Don’t try this at home” or even splash out on one of the two box sets he released recently. Each studio album contains a bonus disc of rarities and demo tracks.

http://www.billybragg.co.uk/