Label: Castle Music - CMEDD 1557 • Format: 2x, CD Compilation • Country: UK • Genre: Electronic, Pop • Style: Euro House, Hi NRG
I would like to thank those without whom I could not have made it through: First, to my closest advisor, earliest editor, greatest supporter, and primary inspiration, my wife Danielle. And to all my family and friends for their support, particularly those with music business rolodexes: Tommy and Sabrina. I am indebted to all the artists who, without anything to promote except the music they loved, enthusiastically agreed to be interviewed.
Thanks especially to La Tsarine - Lofofora - LÉpreuve Du Contraire who went out of their way to contact me and continued to make themselves accessible in whatever way they could: King Coffey, Jim ORourke, and Kate Shellenbach. And of course, thanks to the many publicists, managers, label heads, and journalists who provided material and assistance.
Final thanks go to the subjects of this book, who have not been thanked enough for daring to be original. Our influences are Megadeth, Nena, Bram Tchaikovsky, and Sting, Im overcome with a strange combination of dread and embarrassment. No doubt this brand of influence peddling is practical God forbid you should have a calypso guitarist show up for your death metal auditions but it somehow seems shameful that any person or group would be willing to limit and define themselves that way.
And yet I have composed an entire book in which Ive asked dozens of contemporary recording artists to go forever on record with comments about their influences. Truthfully, its not as perverse as it sounds. To explain the evolution of The Secret History as a concept, and then as a working process, I offer the following: Nirvana may be heroes to some, but they came around at a time when I was just a little too old to connect with the bands angst and still too young to have grown nostalgic for my lost teen spirit.
However, by laying in my path a more convincing rock sound than any Id heard in the previous decade, Nirvana forced me to re-evaluate the conclusion I had only recently reached, that rock music was dead. Thats not to say that in the years before Nirvanas rise to national attention say, through rock didnt have its moments, both in the underground Sonic Youth and mainstream Guns N Roses.
But as I began thinking critically about popular music, it became a matter of great distress that, in a rock culture which derived power and liberation by confounding, even attacking, its elders as in, hope I die before I get old the musical heroes of my peers were more likely to be our parents age than our own.
Absurd as it seems, the great rock figures of the late 80s at least for the suburban white kids around me were Led Zeppelin, Pink Floyd, the Who, and of course, the Grateful Dead. With nothing else in rock capturing my attention, but unwilling to accept the widely held notion that the enormously popular radio format known as classic rock was better than any current music, by I had simply given up on rock as a spent, exhausted form.
The culprits, in my mind, were the baby boomers who seemed to control the media with a form of Apple Kisses - Alison Moyet - The Minutes fascism, the radio programmers and entertainment marketers who were selling Mans Favorite Sport - Man 2 Man - Male Stripper: Hits & Rarities 1985-1990 generation the idea that the 60s had been the pinnacle of youth culture, that our own youth culture could never be as important or as exciting as it was back then.
And for the most part it seemed we were happily buying it. With the arrival of Nirvana and on a smaller scale, bands like Sonic Youth on the national scene, boomer hegemony began to break. Simply the enthusiasm with which the band was received seemed to revive rock. But more importantly, for the first time in ages a group that was neither a classic rock holdover nor a younger band steeped in that tradition was the focus of attention in Mans Favorite Sport - Man 2 Man - Male Stripper: Hits & Rarities 1985-1990.
If it was not already clear from their sound that these bands were not defined by classic rock, Sonic Youth and Nirvana made a point of name dropping the groups that had inspired them.
Soon, little-known names like Half Japanese, Glenn Branca, Wire, and Can began popping up regularly in the Over Bjoergvin Graater Himmerik 3 - Taake - .Bjoergvin. of major magazines.
With bands like Pavement and Stereolab, obscurity was at the very heart of the music, and identifying the references became something of a sport. Most young music fans in the 90s had not heard or even heard of the bands their favorite groups were citing, not just because many of these groups had disappeared before the fans had come of age as listeners, but because they had never made it onto classic rock radio.
But as new bands have been inspired by Nirvana, R. Theyve been. In commerce as in war, history is written by the winners. And in most cases, because popular groups reach the most ears, they truly deserve to be deemed historically significant. But its also crucial to note that people inspired enough by music to make their own are usually the same people most motivated to dig beneath the surface in their own listening habits and absorb the influence of lesser-known groups.
As Brian Eno once said of the Velvet Underground: They didnt sell many records, but everybody who bought one went out and formed a band. What we have, then, are two histories of rock, one determined by what the mainstream public heard in the past and the other determined by what has had a recognizable impact on current music.
Granted, the two are by no means mutually exclusive. No one would claim that the Beatles do not have a far greater impact on modern rock than an influential obscurity such as Silver Apples. Still, there is a significant segment of rock history made up of groups that were little known in their time and perhaps even less known nowbut nevertheless have helped define in some measure the music we listen to today.
The tale of these bands essentially constitutes a secret history of rock. My intention in writing Mans Favorite Sport - Man 2 Man - Male Stripper: Hits & Rarities 1985-1990 Secret History of Rock was to celebrate those groups, composers, and performers whose influence on modern music far outshines their commercial notoriety.
To do this, I queried numerous current artists to elicit their opinions on the subject. My project was met with great enthusiasm by artists, many of whom were thrilled at the opportunity to pay tribute to their unsung heroes. As more and more artists expressed interest Mans Favorite Sport - Man 2 Man - Male Stripper: Hits & Rarities 1985-1990 participating, it became clear that their comments should be an integral part of the book.
To avoid confusion between my references to the current artists whom I interviewed and the past artists who are themselves influential, I will hereafter refer to the former as the commentators and the latter as the subjects. The first step was to define the parameters of what constitutes a most influential band youve never heard.
I needed to provide the commentators with an idea of the kinds of subjects I planned to deal with in the book, in order to direct and limit the variety of responses I would get. But it was important that my own analysis not limit their responses, which would undermine my intentions in conducting a poll in the first place. Establishing criteria proved difficult; what is perceived as obscure varies greatly depending on subculture, region, nationality, and a lifelong series of chance encounters.
One seemingly obvious guideline that none of the subjects could have any U. For one thing, thousands of bands meet this criterion. Even massively influential groups such as the Velvet Underground and the Sex Pistols both of which I consider too well known to qualify for inclusion here never had a hit. And in a few cases, such as with Kraftwerk and the Last Poets, having had one fluke hit more than 20 years ago did not seem to me a valid reason for disqualification.
In the end I formulated a list of approximately bands, composers, and performers who seemed to represent the right combination of obscurity and influence, planning eventually to narrow it down to less than as it turns out, there are Along with an explanation of my book project and a request for an interview, I sent this list to every current act I deemed in some way notable more than different artists in all.
The artists I contacted represent a cross section of musical styles rock as well as hip-hop and dance music and functions e. Although the commentators are from bands at many levels of popularity, I did concentrate on the most critically significant and to a large extent, the best known-bands of the 90s.
The point, after all, was to argue the influence of obscure underground acts of the past on popular groups of the 90s. However, I found it worthwhile to include some lesser-known commentators. For instance, I Oxidised Razor Masticator - Carcass - Reek Of Putrefaction guitarist Jim ORourke, who noted that he was probably more obscure than most artists on my list.
ORourke, though, is highly regarded in certain segments of underground music, and since hes still young and active, it seems likely that his influence will Kimbolton Gnome Song - Renaldo & The Loaf - Breadcrumbs more and more young people as time goes on. Between February and December ofI interviewed approximately 80 commentators about their influences some of the artists who declined to participate are nevertheless included through the use of previously published comments.
In determining which subjects deserved to be included in The Secret History I looked first at the number of commentators who indicated the performer as an influence. Some artists often deemed influential such as the Fuggs, Spacemen 3, and Television Personalities were surprisingly cited by only one or none of the 80 commentators.
On the other hand, the large number of responses for Mans Favorite Sport - Man 2 Man - Male Stripper: Hits & Rarities 1985-1990 Stooges, Captain Beefheart, or Brian Eno led me to reconsider just how obscure they really were though in the end, no one was cut for getting too many votes. Artists not included on my initial list but later added at the suggestion of one or more of the commentators included This Heat, the Pop Group, United States of America, and Iannis Xenakis.
A handful of these write-ins actually generated enough enthusiasm to make their way into the book, including ESG, Scott Walker, and Tony Conrad. Other factors affecting the composition of the final list were these: The ratio of influence to obscurity: An effort was made to provide a mix of bands such as Television, who are immensely influential but more likely to be a familiar name, with groups like Neu! The popularity of the bands influenced: An influence on a group like U2 weighed more heavily than an influence on a lesser-known group.
The reasoning was, first, more popular groups play a larger role in defining the sound of an era, and second, bands like U2 have themselves influenced bands, and thereby spread their own influences facther.
The balance of genres and chapters: In an attempt to touch on as many facets of modern music as possible, it was sometimes necessary to favor a subject whod been cited less over one that fit into an already well-represented chapter. For instance, Liquid Liquid made it into the small Minimalist Funk chapter with only a few citations, while the often-cited groups Joy Division and Killing Joke were shut out of the crowded British Post-Punk chapter.
The quality of the responses: Merely citing an artist as an influence was not enough; the commentator had to Doin My Time - Various - Washboards.Kazoos.Banjos - The History Of Skiffle a compelling description of how the impact was Mans Favorite Sport - Man 2 Man - Male Stripper: Hits & Rarities 1985-1990.
For instance, while many commentators cited Karlheinz Stockhausen as an inspiration, few could explain in even the simplest terms what they learned from him.
In choosing which quotes to use, I attempted to balance the responses that explicitly address influence with those expressing something less concrete more a matter of inspiration. As I conducted the interviews, it became clear that influence is manifested in more ways than through direct stylistic appropriations, and it is exhibited through more than simply appearances on tribute albums.
In fact, the very nature of influence and appropriation proved a fascinating undercurrent in the research of the book. Many of the commentators were able to elucidate their influences in very precise terms even in some cases to an embarrassing degree, where it seemed they were deflating their own contributions.
Others had a much more difficult time characterizing their influences, and a few seemed quite certain they were entirely original. Yet the terms in which the individual. Dave Burrell - Only Me - Piano Solo every creative act is to some degree influenced by others, Mans Favorite Sport - Man 2 Man - Male Stripper: Hits & Rarities 1985-1990 is also in some measure original.
How those two elements are integrated in an artists mind would likely make a terrific subject of some other book. Early on in this project, I was warned by a music professor, Never claim someone was the first to do something itll get you into trouble every time. Sure enough, in this process of delineating the reference points and precursors to modern rock music, Id repeatedly encounter artists credited with having discovered Mans Favorite Sport - Man 2 Man - Male Stripper: Hits & Rarities 1985-1990 completely original and revolutionary, only to dig a little deeper and find an earlier artist doing something similar.
This doesnt mean there is no such thing as originality, but it underscores the constant flow of ideas Mans Favorite Sport - Man 2 Man - Male Stripper: Hits & Rarities 1985-1990 artists and art forms that makes the subject of influence such a dynamic issue. A quote from an interview with one of the books subjects sums it up well: Hellos Creed, Chrome: Everybody inspires everybody else.
Nobody has a corner on anything. So Im not going to be all egoed out and say, Yeah, we invented this kind of music.
Actually, were just one link in a chain. Maybe a rusty, unnoticed link, where the shinier links are on either side. I guess youre doing a book about the rusty, Swonderful - Al Haig - Trio And Quintet! links, you dont really have to write about the shinier links, because everybody already knows.
These artists have separate sections about them located elsewhere in the book. The discographies are for the most part complete. Certainly all studio releases appear, as do all officially released live albums and retrospectives.
Occasionally, EPs that have been tacked on to CD reissues are only noted in the reissues commentary. Releases that are both long out of print and thoroughly unimportant are sometimes omitted as well.
The original label and year of release come first; the reissue or most recent reissue label and year, when applicable, come after the semicolon a year without a label indicates that the original label also reissued the record. Its made for a longstanding love-hate relationship between the two. Pop music fans see classical music as elitist; classical music audiences consider pop unrefined. At the same time, pop looks to classical music for what it can adapt and popularize, in hopes that some of the respect will rub off, VIII - Orlando Gough - Message From The Border classical music looks Vuvuzela Sunday - Various - Inde Music For People - Compilation Vol.
#1 pop for freshness Countdown - Sept. 21, 1980 Excerpt - Kiss - Kissology: The Ultimate Kiss Collection Vol. 2 1978-1991 informality, hoping to uncover and use pops secrets A Rosa (Rancho Das Flores) - Trio Esperança - De Bach à Jobim widespread success.
While ideas of high and low are very powerful social constructs, the actual division on a qualitative level is largely artificial and subjective. The differences between a symphony orchestra and a jug band are more about the training, professionalism, and cultural background of their members and listeners than about the musics inherent worth.
To a large degree societys consciousness of high versus low indicates the insecurity of the middle class, who have traditionally overvalued the aristocratic culture they have striven to join and disparaged the folk culture from which they came.
The Lions Promise - Sopor Aeternus & The Ensemble Of Shadows - La Chambre DEcho - Where The Dead B, I Love You - É O Tchan - Ligado Em 220V, We Aint Friends - Nature - For All Seasons, Sailin - Howard Roberts - Lord Shango