The Stooges’ late Ron Asheton was one of the most influential and vital guitarists in rock history. Not a technical virtuoso nor a versatile player, Asheton instead dazzled through the power and intensity of his attack, his primal, unforgettable riffs, and his scabrous, incendiary textures. He needed to ratchet up his sound to match Iggy Pop’s outsized personality and mic/stage presence, and that Asheton did, with flying sparks. His incisive, potent m.o. provided crucial DNA for the evolution of metal, punk, and glam rock.
In honor of his sadly early passing at age 60 earlier this month, I present what I think are Asheton’s most impressive moments. I could easily go on all day on this topic; it wasn’t easy to narrow them down to this number. (Here are NME's top 5 Asheton riffs.)
“Little Doll”: Those opening explosions and that descending riff: so much uplift and doom economically packed into one piece. The solo that occupies the second half becomes increasingly unnerving, mirroring Iggy’s abject desperation.
“No Fun”: Man, what a grinding, satisfying riff. When Iggy implores, “Come on, Ron, tell ’em how I, tell ’em how I, tell ’em how I feel,” Asheton responds with rousing, “at the end of his tether” exclamations in the six-string equivalent of boldfaced italics.
“Loose”: If you haven’t fucked or fought to this song, then you really haven’t fucked or fought. Birthday Party and many others were inspired to cover it, but nobody beats the original.
“Dirt”: Always made me think this was the Stooges trying to be Funkadelic circa 1970 (which is actually the year “Dirt” came out, but the groups were in close proximity). Asheton at his most crystalline and Eddie Hazel-esque.
“We Will Fall”: Proves Asheton was no one-shtick pony. You can hear the seeds of Swans and Loop in this haunting, simmering dirge.
"Down on the Street": Guitar as stalking wildcat, all animalistic urges/id-iful lust—yet precise with it.
It's a tragedy that the Israelis - a people who must understand better than almost anybody the horrors of oppression - are now acting as oppressors. As the great Jewish writer Primo Levi once remarked "Everybody has their Jews, and for the Israelis it's the Palestinians". By creating a middle Eastern version of the Warsaw ghetto they are recapitulating their own history as though they've forgotten it. And by trying to paint an equivalence between the Palestinians - with their homemade rockets and stone-throwing teenagers - and themselves - with one of the most sophisticated military machines in the world - they sacrifice all credibility.The Israelis are a gifted and resourceful people who fully deserve the right to live in peace, but who seem intent on squandering every chance to allow that to happen. It's difficult to avoid the conclusion that this conflict serves the political and economic purposes of Israel so well that they have every interest in maintaining it. While there is fighting they can continue to build illegal settlements. While there is fighting they continue to receive huge quantities of military aid from the United States. And while there is fighting they can avoid looking candidly at themselves and the ruthlessness into which they are descending.
(Via Daily Swarm)
This American Life had a great piece this week (originally aired in 1998) about creating music based on the likes and dislikes of the average person. Continued from a previous project creating paintings based on every country's visual preferences, Komar and Melamid surveyed 500 people on their musical tastes and then collaborated with composer Dave Soldier to create "The People's Choice Music." They recorded two songs, one that "will be unavoidably and uncontrollably “liked” by 72 ± 12% of listeners," and one that should be enjoyed by nearly no one. The "wanted" song is a generally unremarkable (but still funny) R&B track with synthesizers and saxophones, but the "unwanted" song is a brash, grating, and continuously hilarious piece of musical genius.
The most unwanted music is over 25 minutes long, veers wildly between loud and quiet sections, between fast and slow tempos, and features timbres of extremely high and low pitch, with each dichotomy presented in abrupt transition. The most unwanted orchestra was determined to be large, and features the accordion and bagpipe (which tie at 13% as the most unwanted instrument), banjo, flute, tuba, harp, organ, synthesizer (the only instrument that appears in both the most wanted and most unwanted ensembles). An operatic soprano raps and sings atonal music, advertising jingles, political slogans, and “elevator” music, and a children's choir sings jingles and holiday songs. The most unwanted subjects for lyrics are cowboys and holidays, and the most unwanted listening circumstances are involuntary exposure to commercials and elevator music. Therefore, it can be shown that if there is no covariance—someone who dislikes bagpipes is as likely to hate elevator music as someone who despises the organ, for example—fewer than 200 individuals of the world's total population would enjoy this piece.
If you just want a taste, skip to around 5:40. I'm not sure I've ever heard a combination of sounds that has made me laugh as hard.
"The Most Unwanted Song"
David Schmader posted this in The Morning News post on Slog, and it's such a weird/sad/weird again story that I can't help but repost:
A soldier from Fort Bragg died this morning in Denver from injuries suffered from a bar fight in Steamboat Springs on Friday night over a Jimmy Buffett song.Richard Lopez, 37, of Fayetteville, N.C., was pronounced dead at 4:16 a.m. today at Denver Health Medical Center. An autopsy by the Arapahoe County Coroner's office is scheduled for Tuesday.
The incident occurred before 12:15 a.m. Friday when police were called to a fight between five people outside the Tap House.
"The initial disagreement was about music being played on the jukebox," said Rae, adding that it was a Jimmy Buffet song.
"Richard Lopez and two other individuals put on the song, but two other individuals did not agree with it."
It was not known which Jimmy Buffett song was being played at the time, but the fight was taken outside the bar.
My dad loves Jimmy Buffett. As a kid, I had to listen to that damn "Fruitcakes" song over and over again, and as annoying as that got at times, I can't imagine killing a man over a Jimmy Buffett song. More so, I can't imagine dying over a Jimmy Buffett song.
(On another note: For those who were speculating that violence only happens in the hiphop music scene, and that the music played a role in the recent shootings at Chop Suey, I guess this blows a hole through that theory, huh? If a man can die over goddamn Jimmy Buffett, no band/song/genre is safe.)
It hit the internets yesterday, have a listen:
(via pitchfork)

...Right between one entry about Jay-Z and another about toy robots. The PB&J song is called "Nothing to Worry About" (maybe) from their forthcoming album Living Thing. Or, in Kanye's typically understated all-caps:
WORLD PREMIERE ... THEY SENT THE SONG TO ME FIRST! PETER BJORN & JOHN... SHIT IS DOPE!! DRUMS ARE CRAZY AND I LIKE THE KIDS ON THE HOOK. THERE NEW ALBUM IS CALLED "LIVING THING" ..... WITH ALL THAT SAID I DON'T KNOW THE NAME OF THE SONG... LOL!!!... I'M GONNA ASSUME IT'S CALLED, "NOTHING TO WORRY ABOUT"
You can download the song here.
I'm going to listen to it right now.
Update: Wow, I am really not feeling this track at all. The chorus is all clipped and fuzzy and like a not all that catchy re-version of "Amsterdam"'s chorus (PB&J not all that catchy? crazy!), the kids sound like a really weak nod to "D.A.N.C.E." or maybe the Avalanches remix of Belle & Sebastian's "I'm a Cuckoo," and the beat-heavy R&B verses and the attitude ("if you got problems/why don't you go and solve them") though maybe a good fit for Kanye's blog are not nearly as charming as, say, the fey wistfulness of "Young Folks" or the coy tussling of "Up Against the Wall." Guh. Maybe it will grow on me..??? (Also, did anyone ever listen to that instrumental PB&J album?)
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