Disclaimer: Similiar to my list of top ten drummers, this not a list of the best bassists of all-time, or the best bassists around right now, or anything like that. I am not qualified enough to judge the abilities of every bassist in the history of the world against each other and determine the best. Nor is this a list of the bassists from my favorite bands (though there is a noticeable overlap; half of them are/were a member of one of my top five favorite bands). This is a list of the people I'd pay just to watch them play bass (without the rest of their respective bands) and get some pointers. They are presented in no particular order.
Kelly Ogden, The Dollyrots - One of my more recent favorites, I love her upbeat personality, and the way she has fun with it.
Maya Ford, The Donnas - She's also a pretty good artist, as seen by this Donnas T-shirt.
Mike Dirnt, Green Day - My favorite on this list. Author of one of my favorite Green Day songs, J.A.R. (Jason Andrew Relva).
Scott Shriner, Weezer - A great pick up after Mikey Welsh left Weezer in 2001.
Flea, Red Hot Chili Peppers - Slap-style technique, very cool.
Gene Simmons, Kiss - A tip of the cap to Gene for admitting why he markets the hell out of Kiss. He didn't want his kids to grow up poor like he did. His reality show is pretty good, I enjoy watching it.
Mark Hoppus, blink-182 - I prefer his singing to that of guitarist Tom DeLonge.
Greg K, The Offspring - Dexter and Noodles get all the love, but don't underestimate what Greg brings to the table for this band.
Matt Sharp, Weezer - Did a fantastic job when he was in Weezer.
Emma Anzai, Sick Puppies - The most hardcore (IMO) on this list. Just look at the way she rocks it in their video for "You're Going Down".
Showing posts with label Green Day. Show all posts
Showing posts with label Green Day. Show all posts
Thursday, November 25, 2010
Wednesday, September 8, 2010
American Idiot musical soundtrack review
Green Day has been a commercial juggernaut within the last 18 months. They followed up their most successful album to date, American Idiot, with 21st Century Breakdown, a very solid album in its own right, and worldwide tour to support it. EA released a Green Day Rock Band title. And most impressively, Billie Joe Armstrong worked with Broadway director Michael Mayer to turn American Idiot into a Tony award-winning musical.
If, in 1995, you tried to tell Green Day or any of their fans that they'd pull of something like this, he/she probably would have punched you in the face. But the soundtrack to the American Idiot musical shows how far Green Day has come in their 20 years together. This album shows both the band's maturity, as they all approach 40, yet how they've remained young at heart with their devotion to all things rock and their punk attitude.
I cannot stress how great this musical soundtrack is. In fact, I'd even say it's an improvement over the original American Idiot and 21st Century Breakdown albums. Everyone involved just took this thing to another level. The cast of the musical has incredible vocal range, hitting and sustaining notes in a way that Billie Joe never could. They made such a production of the music by adding string sections and choruses (I love that kind of stuff; the more, the better, IMO). But Green Day didn't just sit on the bench during the recording of these tracks. They did what they do best on this album: they recorded most of the music themselves. Yes, that's Mr. Armstrong on guitar, Mike Dirnt on bass, and Tre Cool on drums. Finally, the album is uncensored. Honestly, you think Green Day would allow that? Hell no. No parental advisory label on the album either (not sure how they pulled that off, as the F-bombs are clearly audible throughout the album).
This is the first album I've ever listened to that IMMEDIATELY gave me goosebumps. And this was on a warm, sunny Sunday afternoon, during the summer, in a hot car, after picking it up at my local Best Buy. It instantly got to me, and I fell in love with it (and Green Day).
The album starts off with the title track, and you notice the first of the subtle changes with the music itself. The intro is a little bit different than that from the original version of the song. The goosebumps kick in when the cast sings round during the bridge from the guitar solo to the final chorus. So good...
The goosebumps continue into track 2, Jesus of Suburbia. Especially when "Heather" (Mary Faber), one of the female lead character, comes in for part 4 of this song, Dearly Beloved, and again for part 5, Tales of Another Broken Home. It's haunting, sending chills down my arms.
The next track, Holiday, starts off with an awesome bass intro. Mike Dirnt did a great job with it, trumping Billie Joe's original guitar intro. The "ooh, ooh, OOOOOH" during the guitar solo, the "THREE FOUR!!", the deep-toned piano into and during the bridge. Amazing. They melded into the rest of the song very well.
Boulevard of Broken Dreams starts out with an acoustic guitar intro that nicely mellows down the raw energy from the first three tracks. This relaxed tone is calmed down even more by the string section and lead character "Johnny" (John Gallagher, Jr.), but it kicks back into gear during the second chorus and bridge into the guitar solo. The outro really drives it home and brings the goosebumps back in full force.
Track 5 is Favorite Son. At first, I thought this was a new song written for the musical, but after some digging around on the Internet, I found out it was an unreleased B-side from the original American Idiot album, and it was eventually used in the protest compilation "Rock Against Bush, Vol. 2". I won't get into the politics this song MAY convey, but it's a damn good song. A real hidden gem. I love the female backup vocals chanting "Oh no, it's a drag" during the chorus that are anything but. The song stops briefly before the third verse goes off with a very appropriate "Now where's your fucking champion?" and a series of "Doot doo doo"s from those ladies singing backup. Chants of "It's your favorite son" and a drum outro segue nicely into Are We the Waiting. The entire cast continues delivering goosebumps with the choruses of "Are we, we are/Are we, we are the waiting". Tre Cool finishes out this song with a very nice drum solo. The outros for these two songs are some of the best drum work on the entire album. Tre one of the best in the business these days BY FAR.
St. Jimmy has a very quick pace to it, full of all kinds of energy, bringing you back up from the last track. I didn't like this song at first, thinking it was too busy, too noisy, too all over the place, but after listening it to it a couple more times, it grew on me. I can listen to it without pressing the skip button on my media player, but it'll never be my favorite track of this album, unlike...
Give Me Novacaine. This is my favorite song from the original American Idiot album. You can keep all those other songs that got released as singles, but this one? It's all mine. It starts out with the same drum beat as the album cut, but then the drums stop and an acoustic guitar starts, with Michael Esper ("Will") singing a couple seconds later, then a stringed portion during the first chorus. It turns the goosebumps up to 11. It gets me EVERY time. Then after the second chorus, the drums come in hard and fast, the cast belts out a "Aaah, novacaine", and a small snippet from a stringed instrument, BOOM, right into the guitar solo. Turns the goosebumps up to 12!! After the final chorus, the tempo comes back down, but not for long.
Track 9 is a medley of Last of the American Girls from 21st Century Breakdown and She's a Rebel from American Idiot. The cast goes back and forth between the two songs, not just lyrically, but musically. Last of the American Girls is backed solely by a stringed section, with She's a Rebel with the full rock, like the original. This medley is greater than the sum of their parts. Each original was good, but the two together is unbelievable. Everyone involved in this arraignment is a genius.
This album turns somber again with the stringed intro for Last Night on Earth. Another haunting song with "St. Jimmy" (Tony Vincent), "Heather", and "Whatshername" (Rebecca Naomi Jones) on vocals. It's chilling. Finishing off the roller ride of down, up, down, and back up again from these last four songs on Disc 1 is Too Much Too Soon. Another Green Day B-side, this time from the American Idiot single. It's got that classic, "I don't give a fuck" Green Day attitude. You just want to sink your teeth into it. Strong guitar riff, constant drum beat, driving bass line. Real good modern punk rock sound. The big "FUCK YOU!!" drives that point home so well.
Disc 2 kicks off with the first half of Before the Lobotomy. The organ intro sets up the four-man round of cast members Stark Sands ("Tunny"), Chase Peacock, Joshua Henry, and Ben Thompson. Each one finishes their respective verses, then repeats their parts as the next man joins in. I can picture a dark stage, with a spotlight coming down on each one they enter. It gets a little busy at the end, but you can still make out most of the words. Very well done. Extraordinary Girl, sandwiched between the two parts of Before the Lobotomy, has a very Middle Eastern tone with the opening beats and backing vocals. The reprise of the former song lights the fire after these two very relaxed songs. Again, goosebumps start as soon as this track opens up and will stay with you the rest of the way.
When It's Time is a song from WAY back in the Green Day. According to Wikipedia, Billie Joe Armstrong wrote during the Kerplunk! days for his wife Adrienne. It's a very sad song, with "Johnny" alone on vocals and guitar. It really touches you. You won't feel down for long, as Know Your Enemy will pick you back up again. It moves you to get up and do something about all the crap you've experienced in you rlife. It ends abruptly after a couple of minutes, which is a little disappointing. The original version clocked in a little over three minutes. They certainly could have done more with it, especially when you crash right into...
...21 Guns. This is probably the best track on the whole album. Six of the seven main characters sing this together, but it's the women ("Whatshername", "Extraordinary Girl", and "Heather") who really knock it out of the park. Haunting, chilling, driving, all filling you up with more goosebumps. It's got all the emotions we've heard across the album rolled up into this song. It's easy to see why a version of it with Green Day and the entire cast all together (with Billie Joe Armstrong handling most of lead male vocals himself) was released as a single. It finishes up with a couple lines from Nobody Likes You, part 3 of Homecoming. "Heather" sings "Nobody likes you, everyone left you/They're all out without you, havin' fun". Those words will stick with you FOREVER. I just can't get them out of my head.
Letterbomb brings the bar back up again (it's just one roller coaster ride after another). "Whatshername" carries the torch on this one solo with her voice. I expect Rebecca Naomi Jones to have a long, successful career after all is said and done. She's definitely one of the stars on this album. She belts out, "It's not over 'til you're underground," and just have to nod my head in agreement. The great guitar work and drums also carry this song to that higher level. It comes down again with Wake Me Up When September Ends. Another one of the vast improvements over the original version by Green Day. Again, conveying great sadness, more appropriate to its original intent (a story about Billie Joe's father passing away while he was a teenager). It really makes you reflect on those low members in your life, when you just wanted the calendar to turn the page to something better.
Homecoming starts bringing the show to a close, but it's doing so at full speed. The energy rides high through all five parts of this song, closing out with the entire cast singing the same last lines as 21 Guns. Whatshername is the final track from the musical itself, with a sobering piano intro and "Johnny" reflecting back on everything that's happened throughout the story line. Those aspects and the stringed portion after the first verse make you think, "Geez, it's just never gonna be the same, and that sucks..." But all hope is not lost. In the final sequence of goosebumpery, the "Aaaaaah..."s and guitar solo carry you into the cast repeating the chorus of "Remember, whatever/It seems like forever ago", you get the hope back. Yes, things have changed, but you can't go back and "fix" them. You have to continue down the road you're on.
The album closes out with Green Day's own version of When It's Time. It reminds me a lot of Good Riddance (Time of Your Life), but this one has the weight of the full band behind it. It's also one of the rare exceptions on this album (and perhaps the ONLY one) where they did a better job than the musical cast did. The Green Day version just doesn't seem like the emotional drag that the musical version is, and I think that's why I prefer it.
Start to finish, you go up and down with Green Day and the cast. It's a journey full of all kinds of emotion. This album is so good, it makes me want to fly to New York so I could see this show on Broadway. And I HATE New York with every bone in my body. It's just that good. All musical theater should be like this. I'd love to see other bands try to pull this off. Maybe Weezer can resurrect Songs from the Black Hole (the follow-up to their debut album, but ended up becoming Pinkerton). Or The Donnas can go on tour to support their upcoming Meatballs musical.
Green Day is one of the greatest bands in the last twenty years. With work like this, I expect them to stay on top for another twenty years. Keep it up, guys.
If, in 1995, you tried to tell Green Day or any of their fans that they'd pull of something like this, he/she probably would have punched you in the face. But the soundtrack to the American Idiot musical shows how far Green Day has come in their 20 years together. This album shows both the band's maturity, as they all approach 40, yet how they've remained young at heart with their devotion to all things rock and their punk attitude.
I cannot stress how great this musical soundtrack is. In fact, I'd even say it's an improvement over the original American Idiot and 21st Century Breakdown albums. Everyone involved just took this thing to another level. The cast of the musical has incredible vocal range, hitting and sustaining notes in a way that Billie Joe never could. They made such a production of the music by adding string sections and choruses (I love that kind of stuff; the more, the better, IMO). But Green Day didn't just sit on the bench during the recording of these tracks. They did what they do best on this album: they recorded most of the music themselves. Yes, that's Mr. Armstrong on guitar, Mike Dirnt on bass, and Tre Cool on drums. Finally, the album is uncensored. Honestly, you think Green Day would allow that? Hell no. No parental advisory label on the album either (not sure how they pulled that off, as the F-bombs are clearly audible throughout the album).
This is the first album I've ever listened to that IMMEDIATELY gave me goosebumps. And this was on a warm, sunny Sunday afternoon, during the summer, in a hot car, after picking it up at my local Best Buy. It instantly got to me, and I fell in love with it (and Green Day).
The album starts off with the title track, and you notice the first of the subtle changes with the music itself. The intro is a little bit different than that from the original version of the song. The goosebumps kick in when the cast sings round during the bridge from the guitar solo to the final chorus. So good...
The goosebumps continue into track 2, Jesus of Suburbia. Especially when "Heather" (Mary Faber), one of the female lead character, comes in for part 4 of this song, Dearly Beloved, and again for part 5, Tales of Another Broken Home. It's haunting, sending chills down my arms.
The next track, Holiday, starts off with an awesome bass intro. Mike Dirnt did a great job with it, trumping Billie Joe's original guitar intro. The "ooh, ooh, OOOOOH" during the guitar solo, the "THREE FOUR!!", the deep-toned piano into and during the bridge. Amazing. They melded into the rest of the song very well.
Boulevard of Broken Dreams starts out with an acoustic guitar intro that nicely mellows down the raw energy from the first three tracks. This relaxed tone is calmed down even more by the string section and lead character "Johnny" (John Gallagher, Jr.), but it kicks back into gear during the second chorus and bridge into the guitar solo. The outro really drives it home and brings the goosebumps back in full force.
Track 5 is Favorite Son. At first, I thought this was a new song written for the musical, but after some digging around on the Internet, I found out it was an unreleased B-side from the original American Idiot album, and it was eventually used in the protest compilation "Rock Against Bush, Vol. 2". I won't get into the politics this song MAY convey, but it's a damn good song. A real hidden gem. I love the female backup vocals chanting "Oh no, it's a drag" during the chorus that are anything but. The song stops briefly before the third verse goes off with a very appropriate "Now where's your fucking champion?" and a series of "Doot doo doo"s from those ladies singing backup. Chants of "It's your favorite son" and a drum outro segue nicely into Are We the Waiting. The entire cast continues delivering goosebumps with the choruses of "Are we, we are/Are we, we are the waiting". Tre Cool finishes out this song with a very nice drum solo. The outros for these two songs are some of the best drum work on the entire album. Tre one of the best in the business these days BY FAR.
St. Jimmy has a very quick pace to it, full of all kinds of energy, bringing you back up from the last track. I didn't like this song at first, thinking it was too busy, too noisy, too all over the place, but after listening it to it a couple more times, it grew on me. I can listen to it without pressing the skip button on my media player, but it'll never be my favorite track of this album, unlike...
Give Me Novacaine. This is my favorite song from the original American Idiot album. You can keep all those other songs that got released as singles, but this one? It's all mine. It starts out with the same drum beat as the album cut, but then the drums stop and an acoustic guitar starts, with Michael Esper ("Will") singing a couple seconds later, then a stringed portion during the first chorus. It turns the goosebumps up to 11. It gets me EVERY time. Then after the second chorus, the drums come in hard and fast, the cast belts out a "Aaah, novacaine", and a small snippet from a stringed instrument, BOOM, right into the guitar solo. Turns the goosebumps up to 12!! After the final chorus, the tempo comes back down, but not for long.
Track 9 is a medley of Last of the American Girls from 21st Century Breakdown and She's a Rebel from American Idiot. The cast goes back and forth between the two songs, not just lyrically, but musically. Last of the American Girls is backed solely by a stringed section, with She's a Rebel with the full rock, like the original. This medley is greater than the sum of their parts. Each original was good, but the two together is unbelievable. Everyone involved in this arraignment is a genius.
This album turns somber again with the stringed intro for Last Night on Earth. Another haunting song with "St. Jimmy" (Tony Vincent), "Heather", and "Whatshername" (Rebecca Naomi Jones) on vocals. It's chilling. Finishing off the roller ride of down, up, down, and back up again from these last four songs on Disc 1 is Too Much Too Soon. Another Green Day B-side, this time from the American Idiot single. It's got that classic, "I don't give a fuck" Green Day attitude. You just want to sink your teeth into it. Strong guitar riff, constant drum beat, driving bass line. Real good modern punk rock sound. The big "FUCK YOU!!" drives that point home so well.
Disc 2 kicks off with the first half of Before the Lobotomy. The organ intro sets up the four-man round of cast members Stark Sands ("Tunny"), Chase Peacock, Joshua Henry, and Ben Thompson. Each one finishes their respective verses, then repeats their parts as the next man joins in. I can picture a dark stage, with a spotlight coming down on each one they enter. It gets a little busy at the end, but you can still make out most of the words. Very well done. Extraordinary Girl, sandwiched between the two parts of Before the Lobotomy, has a very Middle Eastern tone with the opening beats and backing vocals. The reprise of the former song lights the fire after these two very relaxed songs. Again, goosebumps start as soon as this track opens up and will stay with you the rest of the way.
When It's Time is a song from WAY back in the Green Day. According to Wikipedia, Billie Joe Armstrong wrote during the Kerplunk! days for his wife Adrienne. It's a very sad song, with "Johnny" alone on vocals and guitar. It really touches you. You won't feel down for long, as Know Your Enemy will pick you back up again. It moves you to get up and do something about all the crap you've experienced in you rlife. It ends abruptly after a couple of minutes, which is a little disappointing. The original version clocked in a little over three minutes. They certainly could have done more with it, especially when you crash right into...
...21 Guns. This is probably the best track on the whole album. Six of the seven main characters sing this together, but it's the women ("Whatshername", "Extraordinary Girl", and "Heather") who really knock it out of the park. Haunting, chilling, driving, all filling you up with more goosebumps. It's got all the emotions we've heard across the album rolled up into this song. It's easy to see why a version of it with Green Day and the entire cast all together (with Billie Joe Armstrong handling most of lead male vocals himself) was released as a single. It finishes up with a couple lines from Nobody Likes You, part 3 of Homecoming. "Heather" sings "Nobody likes you, everyone left you/They're all out without you, havin' fun". Those words will stick with you FOREVER. I just can't get them out of my head.
Letterbomb brings the bar back up again (it's just one roller coaster ride after another). "Whatshername" carries the torch on this one solo with her voice. I expect Rebecca Naomi Jones to have a long, successful career after all is said and done. She's definitely one of the stars on this album. She belts out, "It's not over 'til you're underground," and just have to nod my head in agreement. The great guitar work and drums also carry this song to that higher level. It comes down again with Wake Me Up When September Ends. Another one of the vast improvements over the original version by Green Day. Again, conveying great sadness, more appropriate to its original intent (a story about Billie Joe's father passing away while he was a teenager). It really makes you reflect on those low members in your life, when you just wanted the calendar to turn the page to something better.
Homecoming starts bringing the show to a close, but it's doing so at full speed. The energy rides high through all five parts of this song, closing out with the entire cast singing the same last lines as 21 Guns. Whatshername is the final track from the musical itself, with a sobering piano intro and "Johnny" reflecting back on everything that's happened throughout the story line. Those aspects and the stringed portion after the first verse make you think, "Geez, it's just never gonna be the same, and that sucks..." But all hope is not lost. In the final sequence of goosebumpery, the "Aaaaaah..."s and guitar solo carry you into the cast repeating the chorus of "Remember, whatever/It seems like forever ago", you get the hope back. Yes, things have changed, but you can't go back and "fix" them. You have to continue down the road you're on.
The album closes out with Green Day's own version of When It's Time. It reminds me a lot of Good Riddance (Time of Your Life), but this one has the weight of the full band behind it. It's also one of the rare exceptions on this album (and perhaps the ONLY one) where they did a better job than the musical cast did. The Green Day version just doesn't seem like the emotional drag that the musical version is, and I think that's why I prefer it.
Start to finish, you go up and down with Green Day and the cast. It's a journey full of all kinds of emotion. This album is so good, it makes me want to fly to New York so I could see this show on Broadway. And I HATE New York with every bone in my body. It's just that good. All musical theater should be like this. I'd love to see other bands try to pull this off. Maybe Weezer can resurrect Songs from the Black Hole (the follow-up to their debut album, but ended up becoming Pinkerton). Or The Donnas can go on tour to support their upcoming Meatballs musical.
Green Day is one of the greatest bands in the last twenty years. With work like this, I expect them to stay on top for another twenty years. Keep it up, guys.
Sunday, August 29, 2010
Having a Blast (or five)
I've been on a huge Green Day high the last couple of months. No, not Mary Jane, but the band. Partly because their recent commercial success permanently solidified them as my #3 band, but I'd also like to think it's because my Minnesota Twins have battled back from being 3.5 GB of Chicago to leapfrog them and Detroit for the AL Central lead. It'd had me thinking about one of my many fantasies: becoming the first player in MLB history to hit 5 (yes, FIVE) home runs in a game.
I know I stated that if I were a closer in the majors, I'd come onto the field to The Who's "Baba O'Riley". As a position player, however, I'd go with Green Day hits for my plate appearances. I'd rotate through a list of ten or twenty, including (but not limited to) "American Idiot", "Who Wrote Holden Caufield?", "Basket Case". The intros for each song would be played as I make my way from the on deck circle to home plate. If I were to hit a home run, the guitar solo would come over the sound system as I'm rounding the bases, greeting my teammates at home plate, and going back into the dugout. For my place in history, I'd go with these five, in order of game progression (first song for first plate appearance, etc.).
Picture a warm, early September afternoon at Target Field (or maybe Busch Stadium)...
** Geek Stink Breath - A power packed song to get the day started. Something to get the crowd going with a lot of energy (and they're going to need it). I'd start off with a solo home run in the 1st to give my team the early lead.
** Holiday - More energy for more power. And it'd work. A two-run shot in the third breaks the tie and puts us on top once again. Score at this point would be 3-1.
** When I Come Around - Take the tempo down a little bit. Try to play it cool from having a good day at the dish. This fifth inning, three-run homer would increase our team's lead to 6-2. After this third round-tripper, the fans would be giving me a standing ovation, and I'd come out of the dugout non-chalantly for a curtain call. I don't know why they'd be so into it. The game's far from over (as they'll soon find out), and plenty of people hit three home runs in a game all the time. Big deal...
** J.A.R. (Jason Andrew Relva) - Here's where things get interesting. Our opponent has battled back and taken an 8-7 lead on us. I'm coming up in the seventh, with a man on second and a shot at the record books. Only 15 men have accomplished this feat in MLB. With one swing, I become #16 and put us back in front 9-8. I get another standing ovation from the crowd and acknowledge it, showing a little more emotion about it compared to the last one.
** Hitchin' a Ride - That lead became short lived. Our opponent is up 11-9 heading into the bottom of the ninth. I come up with two outs, bases loaded. After a first-pitch ball, their closer fools me once with a nasty slider I swing at (shame on him), then catches me looking at a sweeping curve (shame on me). One more pitch to decide the whole thing. I swing and connect with his next offering, a fastball on the outside part of the plate. I start a VERY slow trot down the line, while I and everyone else in the stadium (including those of us on the field) watch the flight of the ball to left center field, the stringed portion at the end of the bridge comes on the speakers. As the ball clears the fence and lands, Billie Joe screams "SHIT!" and the solo kicks in. Everyone is going crazy. I jump for joy once on my way to first, then shake my right fist as I head to second. I give a big Kirby Puckett-esque fist pump on my way to third, then make the turn home where my teammates are awaiting. They've got a nice three-foot radius cleared out for me. After I touch home plate and raise both my arms in the air in celebration of our 13-11 win, we do a World Series-caliber jumping group hug/mob (like Joe Carter and the 1993 Toronto Blue Jays).
I stay on the field for a few minutes to take it all in, maybe give an interview (where I don't want to talk about my accomplishment, but how we won an important game to put us in prime position in our run into the playoffs). We ride the high of that game into the division lead, League Divison and Championship Series, and finally a World Series victory.
Certaintly a VERY far-fetched dream. But hey, it's for the love of the game, so it's OK.
I know I stated that if I were a closer in the majors, I'd come onto the field to The Who's "Baba O'Riley". As a position player, however, I'd go with Green Day hits for my plate appearances. I'd rotate through a list of ten or twenty, including (but not limited to) "American Idiot", "Who Wrote Holden Caufield?", "Basket Case". The intros for each song would be played as I make my way from the on deck circle to home plate. If I were to hit a home run, the guitar solo would come over the sound system as I'm rounding the bases, greeting my teammates at home plate, and going back into the dugout. For my place in history, I'd go with these five, in order of game progression (first song for first plate appearance, etc.).
Picture a warm, early September afternoon at Target Field (or maybe Busch Stadium)...
** Geek Stink Breath - A power packed song to get the day started. Something to get the crowd going with a lot of energy (and they're going to need it). I'd start off with a solo home run in the 1st to give my team the early lead.
** Holiday - More energy for more power. And it'd work. A two-run shot in the third breaks the tie and puts us on top once again. Score at this point would be 3-1.
** When I Come Around - Take the tempo down a little bit. Try to play it cool from having a good day at the dish. This fifth inning, three-run homer would increase our team's lead to 6-2. After this third round-tripper, the fans would be giving me a standing ovation, and I'd come out of the dugout non-chalantly for a curtain call. I don't know why they'd be so into it. The game's far from over (as they'll soon find out), and plenty of people hit three home runs in a game all the time. Big deal...
** J.A.R. (Jason Andrew Relva) - Here's where things get interesting. Our opponent has battled back and taken an 8-7 lead on us. I'm coming up in the seventh, with a man on second and a shot at the record books. Only 15 men have accomplished this feat in MLB. With one swing, I become #16 and put us back in front 9-8. I get another standing ovation from the crowd and acknowledge it, showing a little more emotion about it compared to the last one.
** Hitchin' a Ride - That lead became short lived. Our opponent is up 11-9 heading into the bottom of the ninth. I come up with two outs, bases loaded. After a first-pitch ball, their closer fools me once with a nasty slider I swing at (shame on him), then catches me looking at a sweeping curve (shame on me). One more pitch to decide the whole thing. I swing and connect with his next offering, a fastball on the outside part of the plate. I start a VERY slow trot down the line, while I and everyone else in the stadium (including those of us on the field) watch the flight of the ball to left center field, the stringed portion at the end of the bridge comes on the speakers. As the ball clears the fence and lands, Billie Joe screams "SHIT!" and the solo kicks in. Everyone is going crazy. I jump for joy once on my way to first, then shake my right fist as I head to second. I give a big Kirby Puckett-esque fist pump on my way to third, then make the turn home where my teammates are awaiting. They've got a nice three-foot radius cleared out for me. After I touch home plate and raise both my arms in the air in celebration of our 13-11 win, we do a World Series-caliber jumping group hug/mob (like Joe Carter and the 1993 Toronto Blue Jays).
I stay on the field for a few minutes to take it all in, maybe give an interview (where I don't want to talk about my accomplishment, but how we won an important game to put us in prime position in our run into the playoffs). We ride the high of that game into the division lead, League Divison and Championship Series, and finally a World Series victory.
Certaintly a VERY far-fetched dream. But hey, it's for the love of the game, so it's OK.
Monday, July 5, 2010
You guys could learn a thing or two...
Even though Weezer is and will forever be my favorite band, and I fell head over heels in love with The Donnas last Labor Day, I really think Green Day is the team to beat now.
If Green Day continues the musical and commercial success they've had over the last 12 months, the bands in my top two could fall out of their respective rankings. How can Weezer and The Donnas solidify their spots? Easy, just borrow from Green Day's playbook.
For example, Rivers Cuomo and the rest of Weezer should go back to Songs From the Black Hole. This album was planned as the follow up to the Blue Album, but the idea eventually fell apart and the end result was Pinkerton (which itself was a good album, but not the immediate commercial success that the Blue Album was, and more or less caused Cuomo to disappear from the scene for a few years). With the success of the American Idiot musical on Broadway, maybe it's time for Weezer to go back to that fountain. They can make it work, Rivers is just a musical genius, and I'm sure he and a broadway director would hammer out a damn good show.
As for The Donnas, they should also release their own Rock Band title. I love playing Green Day: Rock Band, even more than Rock Band 2. I realize that The Donnas: Rock Band is probably more of an EA decision than anyone else's, but I've thought most of this out. Three of the four venues would be Hugh Center Court at Jordan Middle School in Palo Alto, CA, site of their first performance when they were still in the eighth grade; the auditorium hosting the battle of the bands in the Take It Off music video; and Pappy and Harriet's Pioneertown Palace, site of Desert Moon 2, the holy grail of live Donnas performances. As for the song list, I think there'd be significant overlap with this sampler platter playlist and the DM2 setlist. I don't think you'd have full albums like GDRB, but definitely 4-5 songs from every single album they've released (might be a little tricky, though, since The Donnas have been on 3 separate record labels in their 17-year history).
I really can't make it any simpler than that. You have your orders, so get to work. :D
If Green Day continues the musical and commercial success they've had over the last 12 months, the bands in my top two could fall out of their respective rankings. How can Weezer and The Donnas solidify their spots? Easy, just borrow from Green Day's playbook.
For example, Rivers Cuomo and the rest of Weezer should go back to Songs From the Black Hole. This album was planned as the follow up to the Blue Album, but the idea eventually fell apart and the end result was Pinkerton (which itself was a good album, but not the immediate commercial success that the Blue Album was, and more or less caused Cuomo to disappear from the scene for a few years). With the success of the American Idiot musical on Broadway, maybe it's time for Weezer to go back to that fountain. They can make it work, Rivers is just a musical genius, and I'm sure he and a broadway director would hammer out a damn good show.
As for The Donnas, they should also release their own Rock Band title. I love playing Green Day: Rock Band, even more than Rock Band 2. I realize that The Donnas: Rock Band is probably more of an EA decision than anyone else's, but I've thought most of this out. Three of the four venues would be Hugh Center Court at Jordan Middle School in Palo Alto, CA, site of their first performance when they were still in the eighth grade; the auditorium hosting the battle of the bands in the Take It Off music video; and Pappy and Harriet's Pioneertown Palace, site of Desert Moon 2, the holy grail of live Donnas performances. As for the song list, I think there'd be significant overlap with this sampler platter playlist and the DM2 setlist. I don't think you'd have full albums like GDRB, but definitely 4-5 songs from every single album they've released (might be a little tricky, though, since The Donnas have been on 3 separate record labels in their 17-year history).
I really can't make it any simpler than that. You have your orders, so get to work. :D
Sunday, June 13, 2010
Welcome to the mountain top...
Your own kick-ass Rock Band title? A Broadway musical based on your multi-Grammy, multi-Platinum rock opera?
Welcome to Level 6, Green Day. Sit anywhere you like. Keep up the good work. Glad to have you aboard.
Welcome to Level 6, Green Day. Sit anywhere you like. Keep up the good work. Glad to have you aboard.
Friday, February 5, 2010
Top 10 Drummers
Disclaimer: This not a list of the best drummers of all-time, or the best drummers around right now, or anything like that. I am not qualified enough to judge the abilities of every drummer in the history of the world against each other and determine the best. Nor is this a list of the drummers from my favorite bands (though there is a noticeable overlap; 4 of these people are a member of one of my three favorite bands). This is a list of the people I'd pay just to watch them play drums, up close and personal (within 10 feet, and over their shoulders), without the rest of their respective bands. They are presented in no particular order.
Torry Castellano, The Donnas - My dream girl for the last five months. Get well soon, sweetie, I wanna see you play in MSP this year!!
Patrick Wilson, Weezer
Tré Cool, Green Day
Brad Arnold, 3 Doors Down
Longineu Parsons, Yellowcard - That guy is fast, holy lord!! Just listen to some Yellowcard and you'll be blown away.
Rivers Cuomo, Weezer - I know he's not the drummer for Weezer, but he's just as talented. He can play as well as anyone on this list.
Brad Wilk, Rage Against the Machine/Audioslave
Greg Eklund, Everclear - I will always see Everclear as the '94-'03 Art Alexakis-Craig Montoya-Greg Eklund trio
Dave Grohl, Nirvana/Foo Fighters - The BEST drummer on this list, by a good margin (IMO)
Chad Smith, Red Hot Chili Peppers
Torry Castellano, The Donnas - My dream girl for the last five months. Get well soon, sweetie, I wanna see you play in MSP this year!!
Patrick Wilson, Weezer
Tré Cool, Green Day
Brad Arnold, 3 Doors Down
Longineu Parsons, Yellowcard - That guy is fast, holy lord!! Just listen to some Yellowcard and you'll be blown away.
Rivers Cuomo, Weezer - I know he's not the drummer for Weezer, but he's just as talented. He can play as well as anyone on this list.
Brad Wilk, Rage Against the Machine/Audioslave
Greg Eklund, Everclear - I will always see Everclear as the '94-'03 Art Alexakis-Craig Montoya-Greg Eklund trio
Dave Grohl, Nirvana/Foo Fighters - The BEST drummer on this list, by a good margin (IMO)
Chad Smith, Red Hot Chili Peppers
Saturday, July 11, 2009
Do you have the time...
..to listen to me whine?
Went to the Green Day concert last night with my friends Greg and Jen. It was excellent!! Well worth the $62. I gave it a 9 out of 10.
My only complaint was that they didn't play When I Come Around. They played Basket Case, Longview, and She from Dookie. The played my favorite song, Hitchin' a Ride (which I was not expecting). They played a bunch of songs from their new album, 21st Century Breakdown (it's why they're on tour in the first place). But how could they not play the song that helped them break through in the mid-90's? I just don't get it.
Other than that, it was a great show. Billie Joe in a helluva entertainer and stage presence. Dropping F-bombs and acting more like he's 17, not 37. Tre Cool zooming around the Fargodome before the show on a motor bike. And Mike Dirnt tearing it up on bass guitar. I can't wait for the next one.
And they're from Fargo!! Who knew?! That's awesome to have them back home again!
Hey, anyone wanna go to Minneapolis tonight? Green Day's at the Target Center, and tickets are still on sale...
Went to the Green Day concert last night with my friends Greg and Jen. It was excellent!! Well worth the $62. I gave it a 9 out of 10.
My only complaint was that they didn't play When I Come Around. They played Basket Case, Longview, and She from Dookie. The played my favorite song, Hitchin' a Ride (which I was not expecting). They played a bunch of songs from their new album, 21st Century Breakdown (it's why they're on tour in the first place). But how could they not play the song that helped them break through in the mid-90's? I just don't get it.
Other than that, it was a great show. Billie Joe in a helluva entertainer and stage presence. Dropping F-bombs and acting more like he's 17, not 37. Tre Cool zooming around the Fargodome before the show on a motor bike. And Mike Dirnt tearing it up on bass guitar. I can't wait for the next one.
And they're from Fargo!! Who knew?! That's awesome to have them back home again!
Hey, anyone wanna go to Minneapolis tonight? Green Day's at the Target Center, and tickets are still on sale...
Friday, September 30, 2005
Sad songs say so much
This is dedicated to Travis.
My friend drove off the other day
And now he's gone and all they say
Is you gotta live 'cause life goes on
But now I see I'm mortal too
And I can't live my life like you
You gotta live it up while life goes on
And I think it's alright
That I do what I like
'Cause that's the way I wanna live
It's how I give
And I'm still giving
Now I wonder 'bout my friend
If he gave all he could give
'Cause he lived his life like I live mine
If you could see inside my head
Then you'd start to understand
The things I value with my heart
And I think it's alright
That I do what I like
'Cause that's the way I wanna live
It's how I give
And I'm still giving
You know that
I know that
You're watching me
And I think it's alright
That I do what I like
'Cause that's the way I wanna live
It's how I give
And I'm still giving
Gotta make a plan
Gotta do what's right
Can't run around in circles
If you wanna build a life
And I don't wanna make a plan
For a day far away
While I'm young and while I'm able
All I wanna do is...
- J.A.R. (Jason Andrew Relva) by Green Day
My friend drove off the other day
And now he's gone and all they say
Is you gotta live 'cause life goes on
But now I see I'm mortal too
And I can't live my life like you
You gotta live it up while life goes on
And I think it's alright
That I do what I like
'Cause that's the way I wanna live
It's how I give
And I'm still giving
Now I wonder 'bout my friend
If he gave all he could give
'Cause he lived his life like I live mine
If you could see inside my head
Then you'd start to understand
The things I value with my heart
And I think it's alright
That I do what I like
'Cause that's the way I wanna live
It's how I give
And I'm still giving
You know that
I know that
You're watching me
And I think it's alright
That I do what I like
'Cause that's the way I wanna live
It's how I give
And I'm still giving
Gotta make a plan
Gotta do what's right
Can't run around in circles
If you wanna build a life
And I don't wanna make a plan
For a day far away
While I'm young and while I'm able
All I wanna do is...
- J.A.R. (Jason Andrew Relva) by Green Day
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