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The upcoming fall new music release calendar just got a lot more interesting with announcements made this week within just days of each other of new albums from three of rock's most iconic, legendary figures.



Although new albums from Bob Dylan, Bruce Springsteen and Neil Young might not have music retailers seeing big dollar signs the same way that a (likely on the way) new Kings Of Leon or (not so likely) Coldplay record would, it's still a positive sign that the record labels are showing more of a willingness to roll out the big guns this Christmas season.


While nobody can realistically expect these three albums to do anything resembling humongous numbers, what they will do is provide as good a reason as any in recent years to get the still viable baby boomer demographic out of their cubbyholes and back into the record stores this fall. Still, this rarely seen sixty-day window of new albums by what many regard as the holy trinity of rock's greatest living songwriters doesn't come without at least a few caveats.

For one thing, not all of these albums are exactly new.

Of the three packages, only Neil Young's Le Noise (due September 28) is a brand new studio album consisting entirely of music recorded earlier this year (with producer Daniel Lanois). The Dylan and Springsteen packages however, are both retrospectives drawing from the past work of each artist, while also containing rare and previously unreleased material.


Dylan's The Witmark Demos (in stores on October 19) is the ninth volume of his Bootleg Series, and focuses on rare demo recordings made between 1962-1964, including early versions of some of Dylan's most famous songs like "The Times They Are A Changin'" and "Blowin' In The Wind," as well as much rarer, never before heard material.

Springsteen's The Promise: The Darkness On The Edge Of Town Story (which arrives November 16) is an ambitious deluxe re-imagining of his 1978 classic Darkness On The Edge Of Town album. It comes in a deluxe boxed set housing 3 CDs, 3 DVDs (or Blu-ray discs) packed with such extras as live concert footage and rarely heard outtakes. There's even a previously unheard (if somewhat manufactured specifically for this set) "lost album" called The Promise.



What follows is a quick preview of each of these albums, including our thoughts on this "trifecta" from rock's holy trinity, and just how we rate their chances at music retail this fall.

Neil Young - Le Noise



In a lot of ways, this could be seen as merely the latest in a long line of experimental albums from Neil Young — if only the songs we've heard so far didn't sound so damn good.

But on paper, everything about Le Noise from the title on down screams classic Neil Young weirdness. From what we know, this is a mostly solo record (although we have also heard that Young is accompanied on at least some of the songs by the late Ben Keith), but is also not your usual folkie Harvest type acoustic outing.

Here instead, Neil is mostly cranking up the electric guitar — aided by the "sonics" of producer Daniel Lanois. But before you run like hell thinking this could be another 40 minutes of feedback noise a la' the infamous Arc disc of Neil's live Arc-Weld with Crazy Horse, most of these songs have been previewed on Neil Young's current Twisted Road tour and both audiences and critics alike have been near unanimous in their praise.

Songs like the autobiographical "Hitchhiker" and "Love And War" also find Neil Young reflecting on issues like his own mortality like no other album since Prairie Wind. This is also a nice warm up for the next round of Neil's Archives discs, which will include the first official appearances of the "lost albums" Homegrown, Chrome Dreams, Toast and Oceanside, Countryside.

Verdict: This won't be a huge commercial hit, but should do solid business with Neil Young's core fanbase. It should also do much better than 2009's Fork In The Road did with the critics, and will very likely make a few year-end "Best Of 2010" lists. This could be one of this years bigger sleepers.

Le Noise Songlist:

01. Walk With Me
02. Sign Of Love
03. Someone’s Gonna Rescue You
04. Love And War
05. Angry World
06. Hitchhiker
07. Peaceful Valley Boulevard
08. Rumblin

Bob Dylan - The Bootleg Series Vol. 9: The Witmark Demos: 1962-1964



Like Neil Young's Archives, Dylan's Bootleg Series has proven to be a treasure-trove for Dylanologists and other collectors, and in many ways The Witmark Demos is the most intriguing entry yet — at least from a historical perspective.

Comprised of some of Dylan's earliest demos (the album is apparently named for one of his first publishers, M. Witmark And Sons), it features early recordings of Dylan standards like "Masters of War," "Mr. Tambourine Man" and "Blowin' In The Wind." But more intriguing is the inclusion of never before heard songs from the same period with titles like “Guess I’m Doing Fine,” “Long Ago, Far Away” and “Ballad for a Friend.”

Dylan continues to tour non-stop (he'll be headlining Seattle's annual Bumbershoot Festival over Labor Day weekend). But with no followup to 2009's Together Through Life on the horizon in the immediate future, this 48-song, two-disc collection should tide Dylan fans over quite nicely.

Verdict: Dylan's Bootleg Series always does solid numbers among fans — with many of the hardcores preferring the rarities to his newer material. Interest could be even higher here, because of the period, and the vintage of the songs involved.

Witmark Demos Songlist:

Disc: 1

1. Man On The Street (Fragment)
2. Hard Times In New York Town
3. Poor Boy Blues
4. Ballad For A Friend
5. Rambling, Gambling Willie
6. Talking Bear Mountain Picnic Massacre Blues
7. Standing On The Highway
8. Man On The Street
9. Blowin’ In The Wind
10. Long Ago, Far Away
11. A Hard Rain’s A-Gonna Fall
12. Tomorrow Is A Long Time
13. The Death of Emmett Till
14. Let Me Die In My Footsteps
15. Ballad Of Hollis Brown
16. Quit Your Low Down Ways
17. Baby, I’m In The Mood For You
18. Bound To Lose, Bound To Win
19. All Over You
20. I’d Hate To Be You On That Dreadful Day
21. Long Time Gone
22. Talkin’ John Birch Paranoid Blues
23. Masters Of War
24. Oxford Town
25. Farewell

Disc 2
1. Don’t Think Twice, It’s All Right
2. Walkin’ Down The Line
3. I Shall Be Free
4. Bob Dylan’s Blues
5. Bob Dylan’s Dream
6. Boots Of Spanish Leather
7. Walls of Red Wing
8. Girl From The North Country
9. Seven Curses
10. Hero Blues
11. Whatcha Gonna Do?
12. Gypsy Lou
13. Ain’t Gonna Grieve
14. John Brown
15. Only A Hobo
16. When The Ship Comes In
17. The Times They Are A-Changin’
18. Paths Of Victory
19. Guess I’m Doing Fine
20. Baby Let Me Follow You Down
21. Mama, You Been On My Mind
22. Mr. Tambourine Man
23. I’ll Keep It With Mine

Bruce Springsteen - The Promise: The Darkness On The Edge Of Town Story



Springsteen fans have been salivating for this one for a couple of years now (it was originally supposed to come out as a 30th anniversary box back in 2008), but they will be more than happy for the wait. The Darkness box doubles the three discs of 2005's Born To Run remastered deluxe set, and fully more than three quarters of it is comprised of previously unreleased, or otherwise never before seen or heard material.

The biggest news here is the two CDs of studio outtakes from the original Darkness sessions, which have been compiled into a manufactured "lost album" called The Promise.

These include such widely bootlegged songs as "The Promise" (presumably we finally get the first official release of the full E Street Band version here), "Because The Night" and "Spanish Eyes." But there also some titles which will be new even to hardcore Springsteen collectors with interesting titles like "The Brokenhearted" and "(Someday) We'll Be Together" (which I'm assuming isn't a Diana Ross cover).

The live DVD material also looks pretty amazing. In addition to a full 1978 concert from Houston (said to consist of footage taken from the overhead screens), there is live "Thrill Hill Vault" footage from 1976-1978, and the complete 2009 performance of Darkness taken from the Paramount Theater in Asbury Park, NJ.

Rather than run down the entire track listing, I'll point you towards Josh Hathaway's preview elsewhere on Blogcritics. But man, I'm licking my chops for this one!

Verdict: It's a six-disc boxed set, and it's likely to be pricey. But for Bruce fans, this is a long sought after holy grail of sorts. Expect them to respond accordingly.



This article was first published at Blogcritics Magazine as Dylan, Springsteen And Neil Young: The Coming Fall Trifecta From Rock's Holy Trinity
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As a rock and roll kid growing up in the seventies, I was never a big fan of the Runaways.



But I was still keenly enough aware of them — thanks to the constant hype they got through rock magazines like Creem, Circus and Rock Scene. I religiously devoured all of them from cover-to-cover each month as a sixteen year old rock fan.

Why exactly the Runaways slipped past my radar growing up as a teenage glam-rocker I couldn't really tell you. I was certainly into all the other seventies glam bands from Alice and Bowie to T.Rex and Mott The Hoople. But despite my own wildly raging hormones, the whole teenage jail-bait schtick of the all-girl Runaways just never did it for me.

Even so, I recognize and respect their influence enough today — paving the way for all-girl bands like the Go-Gos, the Bangles and The Donnas as they did — that I was probably as excited as anyone else to see their story get the Hollywood treatment with this year's rock-biopic The Runaways.



For those who missed The Runaways in theaters, I can't recommend at least renting the DVD highly enough. But I am also going to make an additional recommendation.

If you can find it, and if you have an entire night to devote to it, watch The Runaways back-to-back with the DVD Mayor Of The Sunset Strip as I did this week. For a complete picture of the seventies glam-rock scene that spawned the Runaways (among others), as well as how it was seen through the first-hand eyes of one of its primary scene-makers, Rodney Bingenheimer, you simply won't find a better twofer.



Bingenheimer's character appears only briefly in The Runaways film, in a pivotal scene that takes place outside Bingenheimer's English Disco club in L.A., as Joan Jett has her fateful encounter with future Runaways promoter Kim Fowley.

Surprisingly, given the enormous influence that both Bingenheimer and his English Disco club wielded in the seventies L.A. glam-rock scene back then, his character doesn't even get any lines. Bingenheimer was absolutely a major player in the development of seventies glam-rock, but you wouldn't know it watching The Runaways.

This, along with the fact that The Runaways focuses on Joan Jett and Cherie Currie to the near total exclusion of the other members, are probably the two most glaring omissions of this otherwise historically very accurate film. Even as the credits make mention of Jett's subsequent success as a punk-rocker, guitarist Lita Ford's own post-Runaways career as a heavy metal babe is simply ignored altogether. Go, figure.



Otherwise, the film mostly tells its story well, and the performances are all pretty great.

Kristen Stewart in particular nails Joan Jett — the tough-as-nails teen-queen whose heart bleeds rock and roll. Michael Shannon is also deliciously disgusting as the vampiric, bloodsucking scumbag Kim Fowley, and delivers what is arguably the best line of the entire film in "Jail Fucking Bait, Jack Fucking Pot." It's a little weird seeing former child-actor Dakota Fanning all slutted-up in garters and lace as sexpot singer Cherie Currie. But to her credit she pulls the role off quite convincingly.

However, where The Runaways succeeds in telling the story of how these five impressionable, and quite underage teenage girls were seduced by rock and roll — and subsequently criminally exploited by two-bit music biz hustlers like Fowley — there's also one big chunk of this story that's missing.




For one thing, what the hell were a couple of minors like Jett and Currie doing hanging out in a glam-rock sleaze-pit like Rodney Bingenheimer's English Disco in the first place? Mayor Of The Sunset Strip not only fills in those holes, but in doing so, also tells the unexpectedly tragic story of Bingenheimer himself.

Reading about the decadence and debauchery that went on at Bingenheimer's club as a teenager, I would have never pegged him as a sympathetic character at all.



In fact, based on the stories and pictures in rock-rags like Creem back then, I'd have probably put him in the same morally bankrupt category as a sleazeball like Fowley. What I found instead in Rodney was what not only what seems to be a very likable, if clearly lonely guy, but a story which strangely moved and lingered with me quite deeply for several days afterward.

While its true that Bingenheimer was probably no angel back then — and the scenes of the seventies-era Bingenheimer groping topless teens at his club in Mayor Of The Sunset Strip certainly bears witness to this — a picture begins to emerge which contrasts sharply with a lot of the wilder stories.

Scenes from the glory days of the English Disco may show young, half-naked girls alongside glam-rock stars like Iggy Pop and David Johansen of the New York Dolls. Still, you can't help but think that some of the stories might have been rather exaggerated when it comes to Rodney himself.

Even as Fowley brags of Bingenheimer's sexual prowess — claiming he got more girls than even a seventies rock-god like Robert Plant — it's a picture that just doesn't quite add up. Sitting alongside Fowley, Bingenheimer cuts a diminutive, almost painfully shy figure that comes across as the polar opposite of Fowley's slimeball huckster.

The fact is, you get the distinct impression of Rodney as a guy who couldn't get laid in a brothel flashing a fistful of hundreds. These couldn't be two more different people.



In reality, the Rodney Bingenheimer seen in Mayor Of The Sunset Strip comes across as something more like a man out of time. He clearly still loves rock and roll passionately. But more than that, he seems to have become trapped by the same cult of personality that so many of those in Hollywood who've dedicated their lives to celebrity have before him. At times, Bingenheimer seems more like a ghost.

With his once trailblazing KROQ radio show Rodney On The ROQ now relegated to the graveyard shift on Sunday nights, Rodney still fights the good fight. But the position appears to be a largely ceremonial one. In one scene, a fellow KROQ DJ sums it up by saying that KROQ's target 18 to 24 year old audience isn't interested in hearing Sonny & Cher or The Beach Boys.

More often, Rodney is seen in private moments haunting a window booth at L.A.'s infamous "Rock And Roll Denny's" or at Canter's Deli (who have even dedicated a seat to him). He is also seen at his small apartment, tripping over the sea of rock memorabilia that make up this shrine to an era which all too sadly seems to have left him behind.



Still wearing his trademark spiked pageboy bowl-cut, Rodney seems more than anything like a figure tragically trapped by own his rock and roll past. His closest friends include a burned out space-cadet (complete with spacesuit), would-be rock star who sings songs about Jennifer Love Hewitt to the tune of old Moody Blues' hits (which Rodney dutifully plays on his radio show).

There's also a semi-girlfriend named Camille who clearly doesn't return Rodney's romantic intentions (as seen in one of this film's sadder scenes), but rather seems to be using him to satisfy her own hunger to get close to celebrities. Although Rodney is still acknowledged by some of the superstars whose careers he once helped shape like David Bowie, here again the debt appears to be one more of gratitude than anything more genuine.

In one of the more telling scenes from The Mayor Of The Sunset Strip, Rodney Bingenheimer is shown in a heated backstage exchange with Chris Carter, a former member of Dramarama (who got their first break from Bingenheimer) over the latter starting his own competing radio show. Carter is also one of the producers of this film.

Even more heartbreaking is a scene of Rodney scattering the ashes of his deceased mother in England, as the song "Good Souls" by StarSailor (another of the many bands Bingenheimer helped break in America) plays poignantly in the background.

Like The Runaways before him, Rodney Bingenheimer's story as told in Mayor Of The Sunset Strip is proof that the rock and roll business often eats its own, particularly in Hollywood. Taken together, The Runaways and The Mayor Of The Sunset Strip offer two opposing, yet strangely complimentary sides of the same story. In Hollywood, and in rock and roll, there are victims and there are also those who survive.

Watch them together in one sitting if you can. You won't be disappointed.



This article was first published as Rodney Bingenheimer, The Runaways, And The Cult Of Personality at Blogcritics Magazine.
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His Purple Highness Said What?

July 16th 2010 22:40
For my first Rockologist column in awhile, I thought I'd write about Prince. Anybody remember him?



Anyway, a week or so back his Purple Highness made some news with his comments in an interview with London's Daily Mirror to the effect that "The Internet Is Over".

Oh, really?

I've always liked Prince. Musically, the guy is just about as close to genius as it gets (or at least he once was), and for awhile there back in his Purple Rain eighties he was commercially pretty much unstoppable as well. Like a lot of the great ones who've had ten year lapses between great records — Springsteen, Dylan, and Neil Young all spring to mind here — I also never counted out the possibility of a miraculous full-on artistic comeback for Prince.

He's definitely still got the musical chops to pull it off for one thing. As recently as 2004, I witnessed a Prince show (touring behind his then current album Musicology) that I'd rank as among the most electrifying live performances I've ever seen.



But let's face it.

Prince's greatest songs — which are what it really comes down to anyway — are long since behind him. By my own estimate, the last truly great Prince album — start to stop — was 1987's Sign O' The Times. In 2010 terms, what this means is that when it comes to anything being truly "over," Prince may just want to consult his mirror.

Still, naively flawed as it may be, I have to admire Prince's Purple way of thinking, at least in principle.

Like many forward thinking artists, Prince chose early on to take a proactive stance towards the challenges posed by the emerging internet technology of the time, and the resulting new paradigm of marketing music.

Some of his ideas were good ones too. Coldplay and Tom Petty (among others) have long since adopted Prince's original idea of giving away CDs at their concerts for example. Some of his other ideas — like going after internet sites and blogs who dared to reproduce his exalted Purple likeness — well, maybe not so much.



Even so — and you can debate his Purple wisdom until you find yourself under your own personal Cherry Moon — I have to applaud a statement that gets so directly to the heart of the matter as this one:

"I don't see why I should give my new music to iTunes or anyone else. They won't pay me an advance for it and then they get angry when they can't get it."

That to me says it all right there.

This so-called, great new paradigm of commercial music distribution via the internet is no more a revolution than it is a case of trading one devil for another. The suits may be new ones, but they are still suits just the same. For all of this talk of a wild, wild west atmosphere affording greater and freer access to music at the click of a mouse or the touch of an iPhone, today's corporate technology behemoths seek to control this — most often at the expense of the artists — every bit as much as yesterdays major label distribution system once did.

On that point, his Purple Majesty is spot on.



Which is exactly why the most forward thinking artists — like Radiohead and most recently Wilco — have sought out their own distribution models.

The recording industry is not alone in its troubles though. It's hardly news to anyone at this point, but 2010 has proven to be a tough year for the concert business as well.

Some of this can be easily explained away of course. Nobody was counting on Bono breaking his back on the eve of the West Coast leg of U2's 360 Tour, or on Art Garfunkel pulling out of the latest Simon & Garfunkel reunion for similarly health-related reasons. Other factors in the downturn of ticket sales however, aren't quite as easily explained.

Take the return of Sarah McLachlan's Lilith Fair festival for example. After an absence of more than a decade, surely the idea of bringing back a little late nineties-style "grrrl power" had to be a no-brainer, right?



As well-intentioned as the whole Lilith Fair idea might have been in the nineties, the combination of softer leaning rock and feminist politics just doesn't seem near as attractive now as it did back then. Even with the hip-hop flavor of Mary J. Blige co-headlining some of the shows, this just doesn't add up to a can't-miss lineup in times where the entertainment dollar might normally buy you that type of a soapbox.

McLachlan herself is a wonderfully gifted artist, but is years between albums and artistic relevance. She is best known today as the face and the voice of those late-night TV animal cruelty ads. Once Carly Simon pulled out of Lilith Fair, McLachlan was left with a supporting cast of artists like Sheryl Crow, Heart, and Erykah Badu — all of whom bring considerable artistic credibility, but limited box-office appeal to the table.

What's missing, but sorely needed to sell tickets — for better or for worse — is the star power of a Beyonce or a Lady Gaga. The fact that Lilith Fair is in commercial trouble this year should surprise no one who was paying any kind of attention.



Taking both McLachlan and U2 out of the equation for a minute though, the current woes of the concert business run far deeper. While there's no Coldplay, Radiohead or Springsteen level sure-fire ticket selling bet out there this summer, what's left has been strangely hit and miss.

Some acts — like Roger Waters and Neil Young — have been doing surprisingly well.

In the case of Waters, a chance to see The Wall performed in it's entirety, complete with all the props of the original show (which only played a few cities during its original 1980 run) comes as close to a Pink Floyd reunion as its likely to ever get. Neil Young's Twisted Road shows offer a rare opportunity to see a living legend in an intimate setting where he's been dividing the sets between the acoustic folky-favorites, full-on electric solo shreds with Old Black, and premiering brand new songs like "Love And War."



Meanwhile, normally solid summer tour warhorses like the Eagles and the American Idol franchise are seeing empty seats and canceled shows.

The Eagles inflated ticket prices are most likely finally catching up to them, and quite frankly it's about damn time. Hell froze over long ago gentlemen, as did the price for a nostalgic evening at the Hotel California.

Similarly over-priced acts (and I'm talking to you, Neil Young) might want to take note. As for American Idol? Well, a season whose brightest light was Crystal Bowersox will only carry you so far, right?



Getting back to Prince, there is one other comment he made in that London Daily Mirror interview that I think bares repeating here:

"The Internet's like MTV. At one time MTV was hip and suddenly it became outdated."

Amen, brother.

Like the psychedelic sixties before it, today we think of the eighties/MTV era as a time of great new artistic breakthroughs and possibilities. Some of those who pioneered them — like David Bowie, U2, or even Prince himself — remain either active or influential today.

Others — like Duran Duran, Cyndi Lauper and Boy George — have lingered on as reminders of a simpler time every bit as rooted in nostalgia as the love beads, tie-die, and patchouli incense of the sixties.

It's time for the next New Paradigm.

This article was first published as The Rockologist: His Purple Highness Said What? at Blogcritics Magazine

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These past few months, I've been doing a lot of reading and research about Neil Young for a book I'm writing about him due to be published next year. And I've been learning a whole lot about him — including a surprising amount of information for the first time.


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About a week ago, I got an e-mail from a colleague of mine at Blogcritics offering me his tickets to U2's upcoming June show in Seattle at Qwest Field. As in free, no strings attached...


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They say that the voice of a woman can be enough to soothe both the savage beast in man, as well as serve as proverbial nails on a chalkboard.

Nowhere has this been more true over the years than in music. My own relationship with women in music over the years has been, well let's just say that as in life, it's been complicated


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It's been quite a year for one James Osterberg, better known to the world as Iggy Pop. By virtue of their induction into the Rock And Roll Hall Of Fame this year, The Stooges have actually gone legit.


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Earlier this week, the Rock And Roll Hall Of Fame inducted its Class of 2010 in a ceremony at New York's Waldorf Astoria. As could be expected, this year's inductees — which included the likes of Jimmy Cliff, Abba, Genesis, The Hollies and roughly half of the songwriters from the old Brill Building — generated the usual howls of protest from certain corners of the rock and roll blogosphere.


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Let's get something straight here first and foremost. I'm just not that big of a fan of American Idol.

Oh sure, as strictly entertainment value while I'm eating dinner or whatever, it provides a harmless, and occasionally humorous enough diversion. I laughed as hard as anybody else during the Sanjaya segments from a few seasons back, and I especially love the earlier parts of the competition where guys like William Hung or "Pants On The Ground" guy are weeded out


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Talkin' Bout My Record C-C-C-Collection

February 28th 2010 03:44
As a guy who has not only written about, but also obsessed heavily — and some would say rather unhealthily — over rock and roll for the better part of five decades now, my own personal record collection has long been a source of personal pride to me. So much so in fact, that I consider it to be a unique part of my identity. But the truth is that I'm also guilty of that worst of music-snob crimes. I actually judge other people by their record collections.


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