Thursday, April 16, 2009

Phil Spector = Jailbird!

original article in the montclarion

No longer wearing his sunglasses and overdone teased wigs, it's safe to say that legendary music producer and songwriter Phil Spector is done with his hypnotizing melodies, as he was recently convicted on Monday for shooting and killing B-movie actress Lana Clarkson.

After the shooting in 2003, Spector, at 68, was convicted of second degree murder and faces a minimum of 18 years in prison.

Though there was a history of Spector threatening women he has dated and pointing guns at artists while recording, let's try to put those aside (even if it's for a second) and remember the genius that was Spector.

Born in the Bronx in 1940, Spector dealt with tragedy at a young age when his father committed suicide in 1949. In his high school years, Spector became proficient in songwriting, and played instruments like guitar, piano and French horn.

He formed the group the Teddybears with high school friends in 1958. They became number one on Billboard's Hot 100 singles chart with their hit, "To Know Him is to Love Him," which was inspired by words on his father's grave. After experiencing stage fright, Spector decided that he'd be better behind the stage, producing music rather than performing it.

Over the years, Spector had become a well-known name, producing and co-writing hits like "Spanish Harlem" by Ben E. King and "Uptown" by the Crystals. The early 1960s were when Spector made his signature "wall of sound" technique, including amazing multi-layered ensembles of instruments in his recordings.

His ear was known to recognize a hit, and Spector proved this, having close to 20 hits within only three years. Groups like the Righteous Brothers, the Ronettes and the Crystals have Spector to thank for the hits that brought them fame and fortune.

After not having much success in the mid -60s, Spector made his comeback when he produced the Beatles' Let It Be album, which topped music charts in England as well as in the United States. Spector also worked with George Harrison and John Lennon on their solo projects, which were very successful.

Not only did Spector collaborate with well-read musician and novelist Leonard Cohen, but he also took on producing New York's famous punk rock band, the Ramones, with their album End of the Century, showing that Spector had no borders when it came to genres of music.

Spector was to artists of the '60s what Timberland is to recent artists, guaranteeing a hit to whoever worked with him.

He has had a huge influence on music, and his songs are covered by many artists today, including Neutral Milk Hotel's cover of "I Love How You Love Me," which has simple lyrics about love that make hearts flutter along with the beat.

Whoever wrote or produced a song that's still being played close to 50 years later must have done something right for it to remain timeless in this generation of getting songs with just the click of a button.

Too bad Spector has washed away his praise and recognition from some fans with just the click of a trigger.

Thursday, April 9, 2009

Yeah Yeah Yeahs... It's Blitz

original article in the montclarion

The Yeah Yeah Yeahs have traded in their "garage rock" sound for synthesizers and dance beats on their third album, It's Blitz, released on March 31.

The new sound on the album keeps away from their traditional scratchy and loud guitar riffs to more mellow electronic melodies that would start an instant dance party.

The album as a whole has traces of the Yeah Yeah Yeahs mixed in with a new electronic pop sound that's similar to bands like Ladytron. Singer Karen O's voice glues Nick Zinner's buzzing guitar riffs and Brian Chase's strong beats together throughout the album, creating catchy earworms that will take days to get out of your head.

The first song, "Zero," begins by showing O's softer side with whispery vocals that build throughout the song; while Chase's drumming remains consistent during the song, Zinner's guitar is drowned out by all the synthesizers and goes unnoticed. This fallout is quickly forgotten when O's voice becomes stronger, and her repetition of "Oh's" at the end of the song leaves fans hypnotized.

The lyrics on the album are a little disappointing. While past Yeah Yeah Yeahs songs have never been in depth or had many layers to them, It's Blitz seems to have too much repetition. Many "Oooo"s and "Ahhh"s fill up measures where needed lyrics should be, making it feel like something's missing.

"Soft Shock" resembles their past hit "Maps" off of their Fever To Tell album that came out in 2003. With simple keyboards and O's whining, yet sweet voice, a bit of heartbreak is felt in the song when it ends with the repetition of the pleading lyrics "Don't leave me out."

The deluxe edition of this album has acoustic versions of "Soft Shock," "Skeletons," "Hysteric" and "Little Shadow," which leave all the complicated synthesizers out and replaces them with a rich accompaniment of strings.

While this album has been praised by some, it has left other fans wondering where the raw energy of the Yeah Yeah Yeahs has gone. Has it been replaced by technology forever?

While it's great that this band is trying something new, one can only hope that the Yeah Yeah Yeahs have not forgotten the roots of their music that match their powerful live show stage antics.

Anyone who is willing to give the Yeah Yeah Yeahs' new sound a shot will definitely appreciate this album, but for those who are looking for music that resembles their past albums, you'll have to wait and see for the next one.


photo by Guus Krol

Thursday, March 26, 2009

Morrissey at the Wellmont

above photo by Sean Salmon
original article in the montclarion

Usually people show up to a concert an hour or two early to feel their idol's sweat drops on them, but at the Wellmont Theatre on Monday, March 16, fans of Morrissey started to line up at 11 a.m. for his sold-out 8 p.m. show. As the line wrapped around onto Bloomfield Avenue, the doors opened, and the pastel-colored theatre was quickly filled with excited fans.

Red Cortez opened the show with explosive drum beats, smooth jangly guitar riffs echoed by the soulful voice of frontman Harley Prechtel. With Prechtel not wearing any shoes and the rest of the band in a Bohemian style, one would think that this was just another boring indie rock band, but Red Cortez fueled Morrissey fans with their upbeat songs and howling lyrics.

Shortly after Red Cortez's set, a mix of videos played on a white sheet that covered the awaited set. This mix included videos from '60s band Shocking Blue, Vince Taylor dancing the twist, the drunken "The 12 Daze of Christmas" and of course the infamous video of David Johansen of the New York Dolls smoking a "marijuana cigarette," which was the cue that the show was about to start.

As the white sheet dropped, five musicians, identically dressed in denim, started to play, and Morrissey came out to a vibrating uproar from the audience.

"I'm working on a dream," sang Morrissey, and then he quickly stopped and said, "No, I'm not."

Why was Morrissey tastefully mocking the chorus of Bruce Springsteen's recent single? It was his way of welcoming New Jersey, and it shows that after all these years, Morrissey's still as sharp as ever.


With a set list that ranged from songs of The Smiths to his most recent album, Years of Refusal, Morrissey didn't disappoint long-time fans waiting for that Smiths B-side, like "I Keep Mine Hidden," to be played.

While most solo artists' music tends to get dry and die out after time, Morrissey's new album is very loud and energetic. With songs like "I'm Throwing My Arms Around Paris," Morrissey demonstrates how his age hasn't given him any grief in his career.

After stripping off a number of button-down shirts and teasing the crowd with his bare chest, Morrissey threw them into the audience, causing havoc among fans.

A memorable image of the night was when a heart-shaped sweat mark formed on his back, showing that Morrissey really does sing his heart out to his fans when he plays.

After hilarious remarks from Morrissey in between songs, saying that all he knows about Montclair is there's a Whole Foods and asking what one does in the town, the crowd laughed at his witty gentleman-like humor.

Once the show was coming to an end, fans started to make their way to the stage doing whatever they could to get a hug from Morrissey, which is typical at his shows. One fan made it onto the stage, past the security guards and the large gap in between them and the audience. People pushed so hard that the barricades were going forward, causing a security guard to take the stage and tell everyone to move back before the encore.

Finishing his set with, "First of the Gang to Die," Morrissey left the stage, leaving fans mesmerized by his charm, gratitude and, of course, his music.

all other photos by o.J. Lopena