There is this show on Fox called the X-Factor in case you haven’t heard. I actually don’t believe that a show has been more hyperbolically hyped than the X-Factor in the history of American television. It is the most over-the-top reality singing competition I have ever seen.
Basically, the show is hybrid American Idol (for those most familiar with Simon Cowell‘s first US project) and The Voice (another US show that was probably based on the UK version of the X-Factor). The show, which unlike American Idol has much looser age restrictions (12-), features four judges who mentor four different teams of performers (girls, boys, over 30s, and groups). If you haven’t been watching, the show is now up to the Top 12, and American now gets their hands on the performers and chooses who moves on and who is ousted from the seizure-inducing lights, oversized video screens, and odd camera angles of the live show. Remaining in the conversation are 3 members of each group, and, honestly, they are all pretty talented.
I, because I am apparently a huge sucker for reality singing competitions, have been an avid watcher of the show, and feel that this is a good opportunity to give my predictions for the rest of the way. What are my qualifications? I have watched every singing competition show since American Idol premiered and have a pretty solid track record of picking winners.
Below, I am going to choose who I believe will be the top performer to remain in each group. Now, since it is America’s turn to decide, no grouping is safe, and acts can go home despite their affiliation. What I’m saying is that the next three weeks could possibly see all three groups getting out. Will that happen? Probably not. But it is now possible. After I choose my “best of the grouping,” I am going to pick my expected winner of the show. I’m torn between a few performers and I think the judges/producers of the X-Factor have done an excellent job of making this difficult on voters. It’s going to be fun. Shall we begin?
BOYS
Chris Rene
Chris Rene has the most inspirational story of the competition. A recovering drug addict with a son generally takes the cake. He also has something exceptionally important for the show. Unadulterated talent. Rene is a double threat. He won over the judges with a performance of a self-made rap/hip-hop song (which I will post below). But the man can also sing. His voice is smooth and delicate. His range is not fantastic (I think he is still maturing as a singer), but it is absolutely good enough to propel him to the end of the competition. Rene also carries himself with (as I labeled yesterday when watching a recording of the show with my family) a humble swagger. He just seems that he must have confidence in himself. The way he moves and performs would suggest it. But his sincere respect and emotion certainly portray him as humbled by the competition.
This is the direct opposite of one of his direct competitors, Astro, a teenage rapper, who is simply not young enough to understand what humble even means. His cockiness is funny and I can’t hold it against him. He wants to be a rapper. A rapper needs to be overly confident. It helps him, but also hurts him. I just don’t see it going over well with the American public (despite L.A. Reid‘s clear hopes of making him his next Justin Bieber – Reid, one of the judges, signed Bieber). His other competition is Marcus Canty. Canty is interesting. He may have the best voice in the competition. Seriously, he sounds like a young Stevie Wonder. He is an excellent performer and can seriously be an Usher-type musician. He is just a bit forgettable and doesn’t have Rene’s story. That’s why my pick is Chris Rene.
GIRLS
Drew
Drew has an eclectic, original and fantastic voice. It is effortless and ethereal (as judge Nicole Scherzinger described it). It’s not quite pop and not quite country, but a hint of a southern twang layers her clean chops. Drew (her last name is Ryniewicz so someone decided that they should just call her Drew – adding her to the endless list of artists who have changed, or eliminated their last names – see Gene Simmons or Bob Dylan, or should I say Chaim Weitz Hebrew and Robert Zimmerman) is an incredible talent and an early, understandable favorite. I am picking her because I just think she has the most subtle, incredible voice on the show. I mean, come on, she is 14 years old. Quite impressive.
Simon Cowell (the girls group leader) picked the strongest combination of contestants. Going up against her is Melanie Amaro (originally eliminated by Simon, but then brought back after Simon admitted his “terrible mistake” – which was as clear of a publicity stunt as I’ve ever seen). Amaro is a concoction of Jennifer Hudson and Mariah Carey. Her voice and range are spectacular. She is stiff competition. Then there is 13-year-old Rachel Crow, whose bubbly personality will put her on Broadway after The X-Factor. Guaranteed. She is an actress, who happens to have a good voice. Amaro can gain popularity as a ballad singer and Crow is infectious and can be a serious teen-talent, invoking images of youthful female 60’s singers (as my dad aptly pointed out). Crow did do some Surpremes last episode. The category is difficult and I’m going with Drew because she brings something too original to the table to give up.
OVER 30
Josh Krajcik
Josh Krajcik, who has staked his claim on the show as burrito-maker turned Joe Cocker-esque crooner, will win the over 30’s category because he is the closest thing the show has to a rock singer. Seriously, think about it. He is the only one. Krajcik’s bluesy, soulful voice remarkable. His unkempt look only adds to his appeal. He is likeable and his voice is powerful at all ranges.
The other two over-30 performers are Leroy Bell and Stacy Francis. I like Bell and Francis. Francis is an old-fashioned ballad singer with a voice tinged with exasperated passion (something that comes with years of trying and failing). Bell has a sweet, sultry, Motown-esque voice. Both artists should have been picked up years ago, but for one reason or another they were not. Bell and Francis will carry the older vote more so than Krajcik because they resemble the “dreams never die” message. I think Krajcik will carry some younger votes (and the rock crowd) and, because more young individuals watch this show and vote, he will be the last one standing in this group.
GROUPS
Stereo Hogzz
Unsurprisingly, two of the remaining three groups were acts that the judges created from performers who did not make it to the judge’s home round. Yes, the judges made two groups, coached them, and sent them out to perform. Since the egos of the judges are, I don’t know, kind of big, their creations have gotten some favoritism. Judge Paula Abdul, to her credit, did a great job with the groups, and one out of the two judge-created groups deserves to be in.
Stereo Hogzz was not a judge created group, but they will be the last one standing from the category. Why? They are a reincarnation of the Boyz II Men R&B, hip-hop fusion boy bands that were popular in the 90s. There is a place for that in the market today. Stereo Hogzz’ most recent performance showed exactly what they are and can be. It was R&B mixed with a bass/techno breakdown. I think that they will succeed even if they do not win.
They are competing against a InTENsity and Lakoda Rayne. InTENsity is a combination of a bunch of under 20s. Some are budding artists. Some are not. The sound is Glee-like, but even more corny and dull. They are cute, but, won’t remain long. Lakoda Rayne, on the other hand, can be supremely succesful. The equation is awfully simple. Four good-looking girls singing country music and harmonizing. Each has good enough lead potential with decent enough vocal distinction. This was a smart combination. I didn’t like them at first, but now I think that they can give the Hogzz and everyone else a run for their money. They may be slightly forgettable, but I actually believe that they can do well after the show.
FINAL PREDICTION!!!
So here we go. Who will win? Most likely, it will not come down to such an even split. It could. But I seriously doubt that the top four has performers from each category. I am very tempted to say that the winner will be Drew, and I know many people feel this way. But I have a hunch. I believe the winner of the show will be Chris Rene. I think so because he has the full package. Likeability, good voice, good story, lasting power, solid look, marketability, and the important ability to both rap and sing. He takes home the prize. Drew comes in second or third.
This prediction would not be full, though, without a dark horse. Looking over the remaining contestants, I am attempting to narrow down a top four. I think that the groups will be the first grouping to have no acts left. I’m going to give two dark horses. First, watch out for this Lakoda Rayne group. They are the only quasi-country group (unless you consider Drew country, which she is not, but she could pull off any song it seems). Remember last year’s American Idol. It came down to two country singers. Country is HUGE in the US. Lakoda Rayne can go to the end or they can be out in two performances. It can go either way. My second dark horse is Marcus Canty. If L.A. Reid does this correctly, he will turn Canty into Usher. At least he will try to do that. If he does, Canty can lose the forgettable label and become a favorite. Upbeat, modern song choices mixed with creative choreography and wardrobe will help with this.
No matter what, this is going to be interesting. That is only my opinion and please don’t shell me if you don’t agree. I want to know what you all think? Comment below and let’s talk about it.
If there are two things I’d like for you, my faithful and always wonderful reader, to get from this Obscure Classic Rock post (besides the fact that I must come off as an obsequious music writer – I do have unpopular sentiments, trust me), it is that a band name is exceptionally important and that bands that famous classic rock musicians played in prior to the pinnacle of their success often go understated. We will get to the name part a little later. For now, I want to provide some commentary on the latter point.
Before talented artists hit it big in popular bands, they almost always start in another band. The band may contain members of the ultimately successful line-up, but, it is exceptionally rare that every member of the known line-up grew up and formed the band together. Now, usually the first band is fallow, raw, and, therefore, understandably unsuccessful. But we are talking about the 60s and 70s, man. Even the bands before the bands were awesome. So why didn’t they just succeed at the outset?
Remember a few posts ago I mentioned how the Seeds experienced decreased popularity by mid-1968. The Seeds, a very talented band that in a lesser talented year may have been among some of the top acts, were going up against bands like, hmm, let’s see, The Doors, The Beatles, The Rolling Stones, The Mamas and the Papas, Simon and Garfunkel – need I really continue? Quite simply, the talent was incredible, and unfortunately bands frequently fell between the cracks. One such band (keeping with the semi-Fall theme) was the Birds. No, not the Byrds. The Birds.
These Birds
And now we come back to the first thing I wanted you to take from this post. When you name your band, be original. Choose something that some other group (perhaps from across the pond) won’t think of. It is, though, rather impossible to anticipate same-name problems, so sometimes you must go on luck. The Birds and the Byrds were producing music at the same time, and at the height of The Birds’ British success, The Byrds’ version of “Mr. Tambourine Man” was just released (1965) by the British CBS Records. And, unfortunately for the Birds, it went to town on the UK single charts. A slight issue, right. While both bands might have spelt the avian animal’s common name differently, they pronounced the name the same, and that’s what did the Birds in.
The Birds are known as being Ronnie Wood’s first band. Wood later played with The Creation, Faces and, now, the Rolling Stones. Bassist Kim Gardner also got his start with the Birds, later playing in The Creation with Wood. The Birds, though, unfortunately get that “first band” title too often. They were a talented act that, in 1964, were labeled as the next big thing, receiving equal billing with the Who at some concerts.
The Birds were formed in 1964 when the members were teens in Yiewsley, London. In addition to Wood and Gardner, the band featured vocalist Ali McKenzie, guitarist Tony Munroe, and drummers Bob Langham and Pete McDaniels. They originally called themselves the Thunderbirds (which was actually the name of a 60’s band from Iowa, but, one that did not achieve success equaling the Byrds, so if the Birds kept their original name, both bands would have probably been able to coexist.) They changed their names because they were to play a show on the same bill as Chris Farlowe whose backing band was named the Thunderbirds. Whole lotta’ name problems, hah?
The band earned a recording contract with Decca after a “Ready Steady Go” Battle of the Bands, and they released their first two singles “You Don’t Love Me” and “Leaving Here.” They would continue to release music (including “That’s All I Need You For” which was a never recorded track from the 1967 movie Deadly Bees) until a lack of success led to the group, which at once held much promise, disbanding. But, like I mentioned, a lack of success did not mean that the band wasn’t good, and the Birds represent another great band that was not able to have sustainable success during what was both the best and worst time to be a musician (the mid-late 60s).
“That’s All The I Need You For” (which as you can see was only partially done for the movie. The end features Ali McKenzie’s reformed Birds line-up playing the song.) features McKenzie’s excellent R&B/Mod rock voice mixed with some quality guitar work.
“Leaving Here” is an excellent first release. Lively energy is emitted from the song in the fast-paced chord-heavy guitar track and the turned-up note-striking guitar solo. You can hear that British R&B (“maximum R&B”) much in the style of the Who, the Creation, the Smoke, and other Mod-style bands playing at the same time as the Birds. The music was dance-able, hyper and melodious (even with the fuzzy, loud guitar). And the Birds were excellent at creating it for the short time that they did play together.
When I interviewed Jacob Miller I asked him what I ask every musician that I interview. If you were stuck on an island with only access to three albums what would you choose to listen to for an extended period of time. Miller, a 21-year-old blues/country/ragtime acoustic fingerstyle technician originally from Wisconsin, answered, “Townes Van Zandt’s Flyin’ Shoes, Tift Merritt’s Another Country, and Ton Van Bergeyk’s Lulu’s Back in Town. And I thought, wow, how diverse and fitting for his cited musical genres. We have Van Zandt’s country croon, Merritt’s twang, and Van Bergeyk’s insane finger-picking guitar skill. “All on vinyl,” he completed his list with a laugh.
Miller is a member of a special breed of modern musician, one who does not do a disservice to his inspirations, but rather carries on the warm tradition of their music. His unique brand of bluegrass and ragtime inspired finger-picking is peaceful and the tunes emit an effortless Nick Drake-like relaxation, but they also are effervescently folksy in the vein of Dave Van Ronk and early Bob Dylan.
“That Same Old Feelin'” is a great song to open Miller’s collection with. This, and 12 other tracks appear on Miller’s debut album Blue Ridge Ramble, a hearty, mature career opener and a great buy. “That Same Old Feelin” encaptures the sunny afternoon, on-the-porch, feel; so acute, you almost feel that you are there sipping a cold beer.
Fittingly, this is exactly what Miller was going for with the album.
“Laid back is definitely the feel I’d like to portray with my music,” Miller said. “The majority of my time West was spent on the porch playing and drinkin’ with friends. The old time style just seems to paint a simple picture; something that’s easy to fall into.”
Miller, who first picked up an acoustic guitar (his aunt’s) when he was 12, moved to Portland, Oregon, at 18, with intentions to pursue music. “I moved into a house of phenomenal folk/blues traveling kids,” Miller said. “I became enthralled with old time, backcountry blues, and bluegrass from the early-mid 20th century. A good friend and housemate of mine, Cliff Mitchell, introduced me to finger-style ragtime and things just seemed to escalate from there.”
Miller continues to put in the time and effort to study the genre and better his ability. That is refreshing. He is only 21 years old and the talent simply oozes from him. Let’s check out another tune from the album.
“Bone Orchard Blues” is my favorite song off of the album. The verse is obviously carried by the creative, repetitive guitar hook that is so reminiscent to traditional blues that it is like someone reincarnated Mississippi John Hurt (whom Miller cites as an inspiration) and put him in the recording studio. Miller does not have Hurt’s deep croon, but his droning, one-tone vocal style fits the depressed blues lyric well. It’s impressive sophistication. And, in the style of his blues inspirations, Miller is currently traveling with no particular destination in mind.
“As far as touring, my plans are ever-changing. I’ve spent this last year traveling around without a clear destination. But it’s nice, as I seem to stumble upon shows to jump on rolling through the various towns I’ve stayed in. I’m currently in Arizona for another week or two and plan on catching a greyhound to California to stay with some friend for a bit. I plan to busk some while in San Fran. Afterwards I’ll be making my way back up to Portland to visit some family and play as many bars/venues as I can find. From there, it’s pretty open-ended.”
Oh it’s totally Six Degrees of Your iPod time! If you haven’t seen this game played on the blog before I will explain it briefly. By now you probably own an iPod or other mp3 music playing device. Well, on said device there should be a shuffle option. The point of this game is to shuffle randomly through six songs. Now can you connect the first and the sixth? Occasionally you get a gift (like I have today), but sometimes it is extremely difficult, and there have been times where I have made connections through several other bands. Now do keep in mind one very important part of the game. You do NOT have to connect the specific songs together. If you do, well, you get serious bonus points. That is sometimes actually impossible. But you can trace the artists to each other in fun ways. Let’s play.
1.) “La Grange” by ZZ Top
The little ol’ band from Texas with the exceptionally long beards (except for dummer Frank Beard ironically) released “La Grange” on their 1973 album Tres Hombres. The song is so recognizable because of guitarist Billy Gibbons‘ epic guitar riff. The riff is an absolute classic. You know a riff is good when it is known to mostly everyone who listens to the genre, and the genre is the wide world of rock. “La Grange,” which is about a brother on the outskirts of La Grange, Texas, is a hard-hitting, southern rock staple, and it is always enjoyable to listen to.
I have written about the 13th Floor Elevators extensively in the past. This Texas-based psychedelic act was one of the first psychedelic bands to come out of the Texas psychedelic scene, and it also was one of the first psychedelic bands in general. The band featured Rory Erickson and electric jug player Tommy Hall. The music was garage psychedelia, a true inspiration to many psychedelic bands who premiered in the ’67, ’68 and so on.
CONNECTION:
Now comes the fun part of the game. Like I said in the introduction, I was given a gift. Well, the answer is not a wide-known fact, but if you are familiar with ZZ Top guitarist’s Billy Gibbons’ first band, then this will not be difficult. Billy Gibbons, a Texas native himself, was originally in a Texas-based psychedelic band that he founded. It was called the Moving Sidewalks. Texas is a large state, but the psychedelic scene in the mid 60s was small enough that the Moving Sidewalks and the 13th Floor Elevators knew each other. The Moving Sidewalks actually opened for the 13th Floor Elevators at the Love Street Emporium, which was a Houston psychedelic music venue. The concert, though, was ended when Rory Erickson was arrested by police!
Get in the action and play the game yourself. Make sure to comment below with your results!
It is fitting that today’s Obscure Classic Rock band shares its namesake with a particular above-ground plant organ that will get a lot of attention over the upcoming weeks in New York. Fall foliage is gorgeous, until the colorful palette of leaves tumble to the ground and leave the trees barren, and the yard full of crunchy, multi-colored nuisances. Unless, of course, you enjoy the monotonous task of raking leaves. If that is so, Fall is your type of season.
Anyway, if you have not guessed, the band that I will be profiling today is The Leaves, a mid-60s garage-rock from California. Last week I profiled the Seeds, another garage-rock act from Los Angeles. From the Seeds to the Leaves to the…what other botany-based 60s band will I come up with.
The Leaves were formed in 1963 by bassist Jim Pons while he was a student at Cal State Northridge in LA. Originally called the Rockwells, the Leaves developed their new name from a response the band heard to the typical 60s greeting “what’s happening.” The response was, “the leaves are happening” and the Leaves stuck.
Pons was joined in the band by John Beck (vocalist), Bill Rinehart (lead guitar, replaced by Bobby Arlin), Tom Ray and Robert Lee Reiner. The Leaves began playing surf/dance rock and played their first show at a school gymnasium with Captain Beefheart and His Magic Band, thereby marking another fantastic concert at a school gym performed by awesome 60s musicians. After the Byrds left their residency at Ciro’s on the Sunset Strip, which was a rock n’ roll club in the 60s, The Leaves replaced them and were there discovered by singer/actor Pat Boone who got them a record contract.
And like a bat out of hell, the band released two popular singles in 1965. “Too Many People” which I am including under this paragraph and “Hey Joe,” even though “Hey Joe” wasn’t popular until it was released a third time. I’ll explain
Before I start talking about the song above, I’d like to talk about “Hey Joe” and the rest of the history of the band. Obviously, “Hey Joe” is most recognized as a Jimi Hendrix distored, hard-rock song; one of his guitar saturated pieces that oozes with emotion and pure awesomeness. But I do feel like many do not know that the song was not initially presented in its rock n’ roll form by Hendrix. (The song does have a history which I am not going to discuss in this post – stay tuned for a future history). The first version was The Leaves’ gritty, fuzzy, stripped down, developed version. The Leaves were a young band and “Hey Joe” was their tour de force. The song was initially released in 1965, but it was pulled back by the band because it was unsatisfactory. Then it was released again in 1966 and that recording flopped. It was not until original guitarist Bill Rinehart left and new guitarist Bobby Arlin experimented with a fuzztone, that the song became popular, a #1 hit in LA (#31 on Billboard).
He lived on Long Island and worked for the Jets (that is swell in my book!)
Let’s listen to the songs. “Too Many People” is clearly Beatle-inspired. It is a good example of repetitive garage rock. A constant riff, vocal melody, and a harmonica. Mix this with screaming fans and you have got yourself a mid-60s rock band. “Hey Joe” is just, well, different. The fuzzbox immediately screams a more mature form of garage rock, an improvement to the buzzing sound that became synonymous with garage rock. The song is packed with emotion, solid bass work and an enjoyable guitar. It is the rock original and it is important to recognize it as such.
The Music Court 