Friday, November 30, 2007
Thursday, November 29, 2007
Rapper Birdman (aka Baby, and sixteen members of his crew were arrested yesterday in Kingsport, Tennessee for a large amount of weed (a pound to be exact!) and weapon possession. His RV was pulled over after making an improper lane change after almost running a tractor trailer off the road. Officers came on board after smelling some of the magic herb...Birdman was released on $1,500 bond on Wednesday.
Check out the full story here.
Birdman to MTV
JOHN GEROME, Associated Press
Originally published 09:49 a.m.
November 27, 2007
"For just about every recording artist, they couldn't have made it without the musicians sitting behind us," Lee, who co-hosted the event at the Schermerhorn Symphony Center with actor Creed Bratton of "The Office," told the crowd.
"The music the funk brothers made was a real education and it's one I'm not done with yet," Frampton said.
Monday, November 26, 2007
Kevin Dubrow, lead singer for the 1980s heavy metal band Quiet Riot that scored a hit with "Cum on Feel the Noize," was found dead in a Las Vegas home. He was 52. The cause was not immediately known.
DuBrow recorded his first solo album in 2004, "In for the Kill," and the band's last studio CD, "Rehab," came out in October 2006.
Saturday, November 24, 2007
First, The Mother-Effing Diamond comes out and says that he wrote "Sweet Caroline" about Caroline Kennedy when she was just a wee little girl at the age of eleven. Thinking about the lyrics, the song turns out to be on the creepy, pervy side...
Neil Diamond = Pervert?
Also in non-related, other kiddie music news, Lil' Romeo, the famed young rap star protege of his famed old rap star, semi-actor, music mogul, NBA wannabe and straight-up No Limit Soldier daddy Master P (Uhhhh!!!), is headed to college (who would've thought it? He's trying to better himself by gettin' up out da hood, G!) at the University of Southern California on a basketball scholarship. I guess it pays to have all of those basketball shoes and jerseys now. Read more about the Lil' Balla here.
Willie Nelson is supporting an anti-dogfighting bill in Georgia. Ironically, he called his latest tour "The Last of the Breed Tour" with Merle Haggard and Ray Price. Nelson just announced the first string of his 2008 tour schedule this week, too. Willie's back On the Road Again, you old dog you.
And in less exciting and almost apathetic news, U2 played a surprise 20-minute acoustic set in London to 200 people in support of the Mencap's charity, Little Noise Sessions. Does anyone even care about U2 anymore?
No? Didn't think so. I guess that it is apathetic news. Nevermind.
Gene Simmons, Charmer
Some people feel that the recording industry's strategy of suing their fans to keep them from illegally sharing copyrighted music online is a little backward. Not KISS founder Gene Simmons. According to Simmons, the industry's problem is they haven't sued enough college kids:
The record industry doesn't have a (expletive) clue how to make money. It's only their fault for letting foxes get into the henhouse and then wondering why there's no eggs or chickens. Every little college kid, every freshly-scrubbed little kid's face should have been sued off the face of the earth. They should have taken their houses and cars and nipped it right there in the beginning. Those kids are putting 100,000 to a million people out of work. How can you pick on them? They've got freckles. That's a crook. He may as well be wearing a bandit's mask.
In case you were wondering what Simmons is up to these days, he's hard at work writing "Ladies of the Night," a "personal and historical overview" on the profession of prostitution. You stay classy, Gene Simmons.
With that being said, here's some Thanksgiving leftovers for you to enjoy!
"Turkey lurkey doo and turkey lurkey dap.
I eat that turkey then I take a nap."
Tuesday, November 20, 2007
It's not that I don't like Dylan. I really do. In fact I went through a small Dylan stage several years back where I got into him and really started digging a lot of his stuff. Blonde on Blonde is great. So is Highway 61 revisited and Blood on the Tracks. But the truth of the matter is that Dylan just really doesn't do much for me. In fact, 9 times out of 10 I'd rather here someone else sing and play his songs because at least then the songs begin to come alive and breathe a little. I feel like in another life Dylan could have been William Shakespeare or even Tennessee Williams. Both were brilliant writers, but when you start thinking about their plays they don't really come alive until the right players take on the right roles and make them their own. Hendrix did this with All Along the Watchtower much like Marlon Brando did with Tennessee Williams' A Streetcar Named Desire. The words and characters that each artist wrote were brilliant in their own right, but it took someone else to truly give the words life. (For the record I have a Marlon Brando post in me somewhere just dying to get out. We'll tackle that at a later date.) Dylan had the incredible ability to put words together that created unbelievable art. The only problem with him, in my assessment, is that he lacked fire, soul, hurt, emotion, feeling and balls.
For my money I would always rather hear Hendrix play Watchtower, or Mike Ness' testicular tour de force rendition of Don't Think Twice It's Alright. They Band's version of When I Paint My Masterpiece has been a favorite as of late, and hell even Rage Against the Machine's (another band to whom I am pretty indifferent) at least give a sense of aggression to Maggie's Farm that is just lost to me in the Dylan version. Again, this doesn't make Dylan less great, but it does make you think a little about this greatest ever title. Can you be the greatest ever if other people performed your songs better than you did, especially with a guy like Neil Young on deck? Neil's voice isn't much either but the way he sings speaks to me. Cortez the Killer, Down By the River, Southern Man? Could anyone perform these songs better than Neil Young? Not in my mind.
Let me, however, be perfectly clear in saying that I do not fault Dylan for the fact that other people covered his songs better than he ever played them. I think this is something to be admired, to have created such sensational music that so many others wanted to be a part of it is one of the highest compliments any artist can be paid. His versions just don't do anything for me, and for that reason I just can't get into him as much as the rest of the known universe seems to think I should.
I will, however, make one exception to this whole post. I truly love to hear Bob Dylan sing It Ain't Me Babe. For some reason either the song, the words or the way he sings it (probably a combination of all three) just seems to work. He seems to embody the spirit of that song like no one else does, including Johnny and June (Hollywood please don't hate me for saying that). The combination of desperation and heartache and a little hint of a middle finger in the air just works with him in that song. That's probably why it's my favorite Dylan song ever.
Even though the movie was juvenile and crude, there is a line in Road Trip where the old Grandpa character tells the nerd pothead that he's "all brains and not enough cock and balls." This is how I feel about Dylan and a lot of other cerebral musicians like Radiohead, Joy Division, The Cure and others. Yeah they have some good songs, but they don't speak to me at all. They don't get into my guts and make me feel anything. They don't make me stop everything that I'm doing and listen to a song again. I could never put a Dylan song or album on repeat and let it almost burrow its way into my head or heart. I just can't seem to soak him in. For that matter, I don't get Dylan songs stuck in my head. He's brilliant, talented, and will be considered by most to be the greatest pop songwriter to ever live, but for me, it's simply too much brains and not enough cock and balls.
It's interesting to think about why Bob Dylan is the savior of pop music songwriting. Was he really that much better than everyone else? Did he come along at the perfect time? Are there others who would have been just as successful had they had the same timing and fortune as Dylan? I don't really know. I do think that Dylan was great, but I don't think he's any better of a songwriter than Neil Young, Springsteen or Johnny Cash. And I do think that timing played a major part in it. But then again I think that's true of any truly great artist. The same can be said of Hendrix, The Rolling Stones, Elvis, Springsteen, The Ramones, Nirvana, and Public Enemy. Sometimes timing has as much to do with greatness as anything else, not only with music. Would JFK have been the icon that he was if he had been President during the 50's? Not likely. Does that diminish his greatness? Not at all. I think the same can be said of Dylan.
I know that I might lost the 3 readers that Hollywood and I have in posting this, but then again this is my time to write what I think and feel, and the bottom line is that with Dylan I think plenty but I rarely feel anything at all. I don't deny his greatness, but just like you can have The Beatles, I'll take The Rolling Stones. You can have Dave Matthews, I'll take Steve Earle. You can have Ryan Adams, I'll take Jay Farrar. You can have Bob Dylan, I'll take Neil Young.
Wednesday, November 14, 2007
The curse is that that Friday I will be at Talladega for my annual boys' weekend o' filth at the race...
Now it has already been discussed about driving over from Talladega to Atlanta on Friday night to the show and then back to the 'Dega afterwards to resume our annual festivities. It's only two hours each way...What to do, oh, what to do...?
We are hoping for a Nashville or Lexington show in case everything doesn't quite come to fruition. We shall see.
Oh well, I'm off to see The Bravery with Straylight Run and De Novo Dahl.
While there, check out their new bio too. Patterson dishes on what was a very exciting and tumultuous year for the Truckers, with the departure of Jason Isbell for his solo jaunt and debut album (which is well worth the time and money), the collaboration with legendary soulstress Bettye LaVette on her new album, Scene of the Crime, which I just picked up today (I'll let you know what I think), and an extensive acoustic cross country tour that kept going and going and going. Subsequently, it led to the new album as they auditioned and worked on new songs nightly right there on the stage. So they went right into the studio mid-tour and recorded this new album that will be out in just over two short months...
It is definitely "Great to be Alive"!
Tuesday, November 13, 2007
But friends I will tell you that when I finally decided to check out this Steve Earle guy, about whom I admittedly only new two songs (the ones mentioned earlier of course), I was amazed. He wasn't the next Dylan, he was some combination of Merle Haggard, Willie Nelson, Neil Young and Bruce Springsteen all wrapped into one. (As a quick side note I realize that I am beginning a trend in my posts that involve a sort of backhanded jab or poke at our Lord and Savior Robert Zimmerman. I like Dylan as much as the next guy, but find much of his music inaccessible and pretentious. I would write more but I'm already long-winded enough and this deserves its own post). His songs were very simple, yet so very powerful and moving. He drifted in and out of bluegrass, country, rock and roll, and sometimes even Irish folk music and meshed it all together beautifully. He had the grit and texture of Merle, the social conscience of Neil Young, the voice that was just a little left of center like Willie, and the ability to somehow make the whole so much greater than the sum of its parts like The Boss. How had I missed out for so long on something so extraordinary?
I began my journey with 2000's unbelievable Transcendental Blues. His blending of Irish folk themes and instruments with his rugged voice and alt-country lyrics is beyond incredible. This is one of only a few albums by anyone that I can put on any time and listen from start to finish. Some of the high points for me are the eerie Boy Who Never Cried, playful Steve's Last Ramble, agonizing Lonelier Than This, the bluegrass romp Until the Day I Die, and the absolutely devastating Over Yonder (Jonathan's Song) is one of the most powerful yet understated songs I have ever heard. The entire album takes you through the entire spectrum of his style and ability and shows you his uncanny ability to blend so many different themes and ideas together. Other albums from this time that I would absolutely lend my seal of approval to are 1996's I Feel Alright, 1997's El Corazon (probably my second favorite behind TB), and 2002's Jerusalem. There are others like 1995's Train A Comin' and 1999's The Mountain that are also good, but I have not given them the time they deserve for a true endorsement.
Then came 2004's The Revolution Starts Now. It's not a bad record. In fact I think that some of the songs are pretty good, and I appreciate Steve's insistence on creating a record that carried some political and social weight. But something never quite fit. There was something missing, or rather something added that caused some of that Steve Earle simplistic magic and heart to vanish. It seemed like it was done by a man who knew he had something important to say and made sure that he added enough firepower to ensure that it could not fly under the radar. The only problem was that this was against everything that we knew and loved about Steve Earle. He was ours. We knew him. So what if he wasn't on the cover of magazines. So what if he didn't get mentioned at the CMA's or the Grammy's. He was above all that. Just big enough that those who knew him could have others to gush to about his brilliance, but just far enough under the radar that it seemed like we had something special.
Of course there is a flip side to every coin. Artists must be allowed to grow or they begin to sound the same, or at least the ones who are mediocre songwriters at best do. This was always my argument against Dave Matthews. Yeah his first two albums were good, but what then? Everything sounded the same. He was finally exposed for the C-minus songwriter that he is. The band couldn't carry him anymore. This didn't seem to apply to Steve Earle. He had already had his metamorphosis after prison and rehab, and we were all just lucky enough that he still had something to say. Why abandon what was so extraordinary to create something so overdone and self-indulgent? Doesn't he know that he is supposed to make music for me and not for anyone else?
This leads us to his latest record, Washington Square Serenade. It essentially picks up where Revolution (and some might even say Jerusalem, but I am not one of them) ends. It has some very well written songs, many of them socially or politically charged, but the delivery just seems out of place to me. I cannot imagine listening to The Galway Girl from Transcendental Blues or Tanneytown from El Corazon with those awful synthetic drum beats that happen throughout Washington Square Serenade. It just doesn't seem right. There is beauty in simplicity and that beauty is just lost in this album. It's uneven, it's borderline pretentious, and it completely alienates those of us who have supported and loved all of the amazing work that Steve Earle has done during the course of his career.
I have heard some people say that the reason this album is so distracting and uneven is because Steve has finally found his true home in New York City and wanted this album to represent the fast-paced, never sleeping rattle and hum of his new home. That may very well be the case, and he may very well love New York. But I've been to New York too and I loved it as much as the next guy. My question is where were all of these New York music snobs when Steve was putting out any of the album gems that I mentioned earlier? They were at their personal pretentious New York coffee shop waxing poetic about the brilliance of Radiohead or Coldplay or even Dave Matthews. How many of them even know who Townes Van Zandt was (for those of you wondering he was the personal hero/friend/mentor/bandmate of our friend Mr. Earle, and the namesake of his son, Justin Townes Earle)? But I guarantee you now that he is "one of them" there will be a Steve Earle renaissance in our near future. That's just how it works in New York.
As for Steve Earle, no I don't like this album. Yes I am disappointed. No I don't like him any less. He is a great artist. He's one of the greatest country songwriters of all time and granddaddy of alt-country music. Folks like Whiskeytown, Son Volt, Old Crow Medicine Show and others need to look upon him in reverence, for he was the one that paved the way for their success. While he will never be mentioned in the same breath as Garth, George Strait and others, he just might come up in discussions about Merle Haggard, Kris Kristofferson, Billy Joe Shaver, Don Williams and Townes Van Zandt for the under appreciated and underrated country artists and songwriters of all time. Yeah, I think I can live with that. I hope Steve can as well.
Yes, rejoice! Sing praises! Hallelujah! Breathe a sigh of relief...for we are back online! I know that you were ALL holding your breath and waiting on SDB to get back to business, all while teetering on the edge of your seat, gasping, hoping, praying that we would be back to our regular antics and anecdotes, and of course updating the world of all that is relevant to The (non)Saints.
With that being said, the Hollywood SDB writer strike is now over, now that our Vegas liaison is finally on board! Check out The Boss review below...
(If only the rest of the non-faux Hollywood and Broadway would work as quickly as we do around here...)
Upcoming topics of interest:
Kings of Leon (finally)
Nada Surf (finally, too)
The Black Angels
Dan in Real Life
Stay tuned, as we're back up and running now here at SDB!!
Monday, November 12, 2007
What happened? Hollywood got on the ball and I bricked. I bricked hard, and I bricked over and over again. He even gave me a slam dunk for my first assignment--review the new Springsteen and Steve Earle records and tell the world what you think. Are you kidding me? Two of my all-time top 20 favorite artists (and on some days top 10, but we'll get to that later), and all I have to do is help expose the 2 people who read this (myself and one Hollywood) to their extraordinary talents and artistry.
For the purposes of time and attention, I'm only going to tackle The Boss today. His album is much more enjoyable to write about and much less painful to endure. In fact, the entire thing is an absolute joy from start to finish.
I had been less than impressed with The Boss's last two original records (the absolutely wonderful We Shall Overcome Seeger Sessions not included), The Rising and Devils and Dust, both of which had some decent points, but never seemed to capture the true essence of the 10th Avenue Freeze Out E-Street Shuffle Rosalita Won't You Come Out Tonight Atlantic City Badlands music that can absolutely save your soul if you let it that has truly been lost since The Boss and the E-Street band parted ways. The did manage to reunite for The Rising, but it never had that E-Street feel to it. What came about was a Springsteen solo record that just happened to employ Clarence, Stevie, Max and the gang as its sessions players.
And the Bruce brought back the Magic.
What an absolutely lovely, enjoyable, at times down right beautiful record this is. Even down to the nah-nah-nah's this entire album feels like home. It seems to take me back to a time and place that I never even experienced. It feels as if there is something here that is special, that resonates and that we've all been waiting for in some way or another.
I suppose that in every generation there is a time where the people living during that time feel a certain sense of desperation that all of the good times, good music, good films, good art and good women (good being a relative term in that last example) are behind them. Rather than attempting to appreciate what is happening now or what might be ahead, there are a certain group of people out there who will always pine away for the times that they just missed. In fact, my friends and I have tortured ourselves with the "if you could go back in time and see any band/performer in any time and place who would it be?" game to the point that it isn't so much fun as it is sad. And it seems like no matter how many opportunities I might have had, they never seem quite as good as what came before. "Yeah I've seen the Stones, but could you imagine seeing them in the 60's? And oh my God I would cut off one of my testicles to have gotten to see Zeppelin." Is this normal? Does this have anything to do with the new Springsteen album? Maybe not, but I'm on a roll and I swear there is a point eventually.
It's not like there haven't been some amazing things that have happened in music in the last quarter century. We are the generation of Nirvana, one of the great rock and roll bands of all time. Yes, I said it. Of all time. We saw Hip Hop music grow up and in some weird way become this generations combination of R&B, rock and roll and punk all fused into one. And then just like Elvis, a Johnny-come-lately white boy came in and stole it too. There have been some legitimate Hall of Famers here: Tupac, Biggie, Pearl Jam, REM, Radiohead (of whom I am not really a fan, but do appreciate their importance), Guns 'N' Roses, Metallica, Garth Brooks (perhaps the Stevie Wonder of country music), U2, Dr. Dre, Snoop Dogg, Prince, Red Hot Chili Peppers, and tons of others, and at least one (Nirvana) that belongs in the Pantheon. So why does it still feel like we missed out, or should we be grateful we weren't born into the land of 'N' Sync and slut pop?
The answer is I don't know. I think we all feel like we missed out on something. I think that other than the folks who truly experienced the 1960's, the rest of feel like there is something more that we just cannot seem to grab cause we just cannot seem to figure out what it is and where to find it.
That is how Magic by Bruce Springsteen makes me feel, only in a good way. I think that one of the reasons that Led Zeppelin, The Velvet Underground, The Sex Pistols, The Ramones, Springsteen and others became so important was because what they represented was something outside of the mainstream for the time. Led Zeppelin was harder and darker than any "mainstream" music was at that time (and yes when you are selling out stadiums you are mainstream). The VU, Ramones and Sex Pistols were 700% anti-establishment and wrote the book on being cool by being uncool.
And then there was Bruce Springsteen. He was in many ways the anti-Dylan. He was, by all rational accounts, a novice songwriter. There was little poetry, nothing very subtle at all in his writing, it was easily accessible to most anyone (meaning you didn't need 4 hours and a Princeton degree to "get it") and all of his early songs were essentially about the same thing: I've got this girl that I think I love and I think she loves me and she wants to settle down but I don't think her family likes me but I don't think I'm gonna stick around anyway because I want to be a rock star and get the hell out of this town. In writing, especially creative writing, students are always taught that if you have a choice between using 3 words to make a point and 4 words to make the same point, you always go with the smaller number. Bruce Springsteen never chose the smaller number. He told his stories his way, and even though it takes some creative and sometimes down right hurried singing to fit them into a strain, his songs are always better for it. He did things his way. He wrote songs about real people and real problems during two decades of decadence, and was never stingy with his words or his art in a time where the true artists were the ones who knew that less is more. In a time where nothing was sacred anymore, Bruce Springsteen made naive innocence cool.
In a way that's exactly what he's doing now. We are living in a much different age now. The music snobs of today (of which I am surely one of many) have very little interest in hearing about any artist that the mainstream public has even heard of, much less listened to. At your local music store, you will most certainly find 99% of the employees modeled straight after Dick and Barry from Nick Hornby's brilliant novel High Fidelity. They know more than you, don't like you, and it will absolutely ruin their day if you have ever heard of even one of their top 5 favorite bands/artists. Perhaps things have always been this way, but in the time of itunes, Napster (and all of its descendants), and Myspace, these "underground" artists are much more accessible to the general public, which gives any pompous asshole with too much time on his hands the ability to become an even bigger music prick than the guy at the record store. The whole music scene has essentially become a race to find the most obscure, weirdest, non-mainstream artist you can find and then to convince yourself that he/she/they are a genius. Problem is that whether we like to admit it or not, for many of these artists there is a reason that they are not signed and are destined for underground "greatness." It's because most of them suck and suck hard.
This is where the music snobs are in trouble with this whole access thing. Now that they can find virtually anything and everything at the click of a mouse, they actually have to rely on taste and quality rather than obscurity. What is really bizarre about this whole scenario is that what actually happens is the entire music snob world has now become the cliche. They have become the one thing that they despise, and it's actually quite enjoyable.
Bruce Springsteen is still one of the biggest artists in the world, and once again he is doing everything on his terms and making music that is completely different from what is considered mainstream while still somehow remaining accessible to everyone. For my money, he's the best around today and my favorite songwriter of all time no matter how many rules of good writing he breaks. He's over the top, he's big, loud, naive, innocent, and still makes me feel like if I want to I can still grab my guitar, go over to Mary's house and she and I can leave Jersey far behind. Does it matter that I've never even been to Jersey? Not at all. All that matters is that I can leave.
Friday, November 2, 2007
The non-musical highlight of this spectacled show, as is with the two Foo shows I've been to, is where Dave jumps off the stage and runs through the crowd, all the while playing and not missing a beat (for the most part). This time, Diamond Dave stepped it up not only one notch, but two: he climbed up on the bar that runs the length of the left wall of the Tabernacle. He then runs the length of the bar, while playing a solo, then dueling back and forth with Chris during the breakdown of "Stacked Actors". Grohl and Shifflet went back and forth, shredding their guitars and trading licks back and forth as if they were playing "Thump". The solo duel winner was not clear cut, although Dave did prove to be the crowd's winner, as he took a huge shot of Jagermeister to top off his solo. He ran back down the narrow bar, jumped off and climbed back on stage and rejoined the rest of the Foos. While Dave was on the end of the bar playing, he was about ten feet away from us. Now usually we would be closer to the bar (...and to the stage too), but this show was sold out and we did good just to be inside and able to see the stage from where we were at. Luckily though, Dave brought the show to us and I was able to capture a few Pulitzer Prize Winning Shots with my very obvious hi-tech piece of photographic equipment...I call it my phone. I have never seen more phone cameras being pulled out to take a picture at the same time...you would have thought it was Mardi Gras and Girls Gone Wild was there.
Thursday, November 1, 2007
I ended up missing 5 of the 13 shows that I wanted to attend: High on Fire, The Melvins, Superdrag and two unlisted shows: ZOSO and the Old Crow Medicine Show. But I did trade out the Superdrag reunion shows (they played two consecutive nights) for an additional last second, no-planning necessary random college football weekend getaway to Tuscaloosa, Alabama to see my Vols take on the Crimson Tide...
I chose...poorly. Not that the trip wasn't awesome- it was. We got blown out of the water though by The Tide and it was hotter than Cooter Brown, which always puts a damper on what usually becomes a rowdy weekend.
As for the shows, I had a blast at all of them other than the Type O Negative show. I still owe reviews and pics for the Foo Fighters, Kings of Leon and Nada Surf shows...and they are coming, I promise! For some reason, I didn't even think about reviewing Hank III, so I wasn't really thinking about it while watching the third generation hellbilly doing his thing. I didn't even take a single picture, one because I was so far away (it was packed), and two, because I have seen and met him several times. It never really occurred to me that I needed to take some pics. In hindsight, again, I chose...poorly.
I'll get caught up, sooner or later...But now, A November (to Try) to Remember is here...and the rock just will not stop!
Coming up this month:
Leon Russell @ The World Grotto - Saturday, November 3rd (I will not be in attendance to this as tickets are a mere $100 each...it's a very small club. I just wanted to mention this unusual show.)
Reverend Horton Heat, Hank III & Nashville Pussy @ The Orange Peel - Friday, November 9th
Helmet @ Blue Cats on Tuesday, November 13th
The Bravery @ Blue Cats on Wednesday, November 14th
GWAR @ Blue Cats on Wednesday, November 28th
Dinosaur Jr @ Blue Cats on Thursday, November 29th
Also, there are several UT games this month - three consecutive games at home and the last one in Lexington, Kentucky, which is just a short 2.5 hour drive away...hint hint...
As you can see, so far, November isn't too shabby either...it's no Rocktober, but it'll do.
IT HAS TO!
"LRTR" is probably my favorite song off of the new FF album "Echoes, Silence, Patience & Grace", which is a solid album, by the way. Comparisons are being drawn to "The Colour and the Shape", but come on now, let's be realistic. No FF album will ever top that one, but it is easily the best album since "TCATS". It was actually just re-released this summer with all kinds of extra tracks, unreleased tracks, demos, etc on it..in celebration of its ten year anniversary. "In Your Honor" was good, but not that good. Decide for yourself- take to Foo Test on your own, and let us know.
In the meantime, watch "Long Road To Ruin"!!
Then Robert Goulet earlier this week. I really don't know all that much about The Ol' Moustache himself, but what I do know, and probably most of what the rest of this generation knows about Bob, is this. Here is one more.
Ferrell must be a huge fan to do such an impression of Mr. Goulet...because as we all know, imitation is the biggest form of flattery. His Goulet almost seems like a pre-cursor and a test run on his future hit character Ron Burgandy in the movie Anchorman. ...Or it could be simply that Ferrell (and Goulet, unbeknownst to the rest of the world) is actually just a big fan of the '70s porn 'stache. Either way, we're ALL a fan of something Goulet-esque.
You might recognize Goulet from his appearances in Naked Gun 2 1/2, Beetlejuice and on The Simpsons. Anyways, I'm not going to pretend enough to even try to write even a bit about Robert Goulet, so I'll let you learn on your own through extensive research. Remember when we all use to do that? We didn't just click on a link, a picture, or something else and it told us immediately what we were looking for (I always just asked the librarian instead...). However, I won't completely hinder you from learning something, so I'm adding one additional step to the process: an extra click, from Saints Don't Bother to here...and here....here too...oh yeah, and here (click on EN TV)...
Rest in Peace, Mr. Goulet.
Also of note, not of musical or entertainment, but one of culture and history- one that has shaped our country, and the rest of the world as we know it today:
Brig. Gen. Paul Tibbetts died today. He was 92! If you don't know who he is, go back to middle school and study US History, and then come back and talk to me.
I'll give you a few hints:
Thank you for your service and dedication to OUR country. Rest in Peace, Brig. Gen. Tibbets.