The O-town Scene

Vinyl Vault 'Elvis Presley,' by Elvis Presley RCA Victor, 1956 It is one of the most significant cultural arti- facts of the 20th century. But does it deserve to be merely an artifact; an iconic and often referenced museum piece from long ago? If legend or reputation can overshadow the true artistic merits of one's career, then Elvis Presley is certainly victim. Before Graceland, before the jumpsuits, obesity, death and bizarre tales, there was a 20-year-old kid from Memphis who accidentally transformed American culture so quickly and radically that pop culture could be categorized into two eras: Before Elvis and After Elvis. Born in Tupelo, Miss., in 1935, and mov- ing to Memphis at age 14, Elvis Presley was a poor, shy child who spent more time watching the world around him than he did interacting in it. As a teenager, he worked odd jobs and hung around he blues clubs on Beale Street in downtown Memphis. B.B. King recalled often seeing him quietly shuffling around from club to club. After his high school graduation, he walked into the offices of Sun Records armed with a toy guitar and asked for a few min- utes of studio time to record some ballads. When pressed by the secretary to compare himself to another singer, Presley earnestly replied "I don't sound like nobody." The owner, Sam Phillips, saw something in Presley, who he felt could bring the Mem- phis Rhythm and Blues sound to the world. Teamed up with local musicians Scotty Moore Before Graceland, before the jumpsuits, obesity, death and bizarre tales, there was a 20-year-old kid from Memphis who accidentally transformed American cul- ture so quickly and radically that pop culture could be categorized into two eras: Before Elvis and After Elvis. and Bill Black, Phillips asked Presley to play every song he knew. The last song he played, "That's All Right," was quickly pressed as a single and sent off to local radio stations. Three days later, the song was played repeatedly as the phones rang off the hook at Memphis' most popular radio show. The Elvis phe- nomena had begun, and he was 18 years old. After massive success throughout the South, RCA Victor signed him to a recording contract, and two days after his 21st birthday, he began his first album. The result, his eponymous debut, is nothing short of revolutionary. There is no pretense here, it's merely a 21-year-old kid making raucous, pulsing, live rock and roll. It's no wonder there was such a backlash to Presley by older generations: it sounds dangerous. He croons, yells, whoops, hollers and hiccups in a way that still makes you want to move. It was the first rock and roll album to top the charts, and it stayed there for 10 weeks in 1956. Within a matter of months, dozens of rock and roll artists were being promoted by major record labels. Today, it is hard to separate the camp from the icon. But, before the velvet paintings and impersonators, Elvis Presley led a charge that brought about most of the significant cultural changes of the past 50 years. He not only intro- duced rock and roll to millions, but also legiti- mized it, along with youth culture as a whole. The proof is still here. It's time to deconstruct Elvis Presley the caricature. Step one is to put on Elvis Presley and listen. James Derek Sapienza is a 25-year-old musician and artist. His record col- lection contains more than 1,000 LPs and singles, which he has been collect- ing since he was 8. to look for their album under. New Music Notes |by Mark Boshnack Back to the music. There is so much exciting recent music out there now, I feel I need to pick up the pace a little bit for this column. I'm going to plow through a little bit of the pileup of what I have been listening to, but the reader shouldn't take the brevity of these reviews as anything but the need to cover some ground. 'Endless Now,' by Male Bonding The first one is "Endless Now" by Male Bonding, a British band that has released its second album. It has that angry punk sound and feel, but offers a solid group of songs with a sense of melody that makes this album a probable contender on many top album lists of 2011. I am going to have to start thinking of my picks soon. Any readers that want to help me sort out this year should feel free to email me their suggestions. 6 O-Town Scene Sept. 29, 2011 One of my favorite songs by Male Bonding is "Bones." It offers some soaring guitar riffs, lyrics about love, fear and pain, and a beat that never stops. I hear a little more tune- ful version of the Clash in the whole album. "Before It's Gone" has guitar hooks reminis- cent of that group, mixed with some indie sensibilities in this tale of taking control. Whether the band is plowing full speed ahead on "Channeling Your Fears" or "Car- rying," or slowing down on "The Saddle," if a listener likes power punk, check this one out. 'Strange Weather, Isn't It,' by !!! (Chk Chk Chk) For those who can't get enough funk, a band that takes the award for the most per- plexing name deserves my readers' attention. !!! (Chk Chk Chk) can be forgiven for mak- ing it hard to know what letter of the alphabet "Stranger Weather, Isn't It?" offers up a genre-blending mix of funk, rock, dance and whatever else makes it impossible to sit still while listening. It gets right into a groove with the opening "AM/FM" and really doesn't stop. The band started in California in 1996, their name inspired by the movie "The Gods Must Be Crazy," and if they make albums like this, I don't care what it's called, as long as I can find it. On songs such as "The Most Certain Sure" they sound like Talking Heads in their prime, and for anyone who likes good modern music that should be enough. "Hollow" has a dark groove that updates Bob Dylan's "Like a Rolling Stone" for today's club scene. 'Slave Ambient' by War on Drugs "Slave Ambient" by War on Drugs offers up some tasty shoegaze rock with its soft, seduc- tive drone. The group, led by Adam Gran- duciel, reminds me of Kurt Vile, who funny enough was in the band when it formed in Philadelphia in the mid-2000s. They went their own ways a few years but kept a similar sound, harking of classic rock, while veering off in their own directions _ War being a little more melodic and experimental. "Baby Missles" is one of the best songs, reminiscent of Arcade Fire, or Bruce Spring- steen from his "I'm on Fire" phase. "Best Night" has a steady beat and a catchy tune, ending with a great jam. Other standouts are "It's Your Destiny" and "Your Love is Call- ing my Name," with the latter reminding me of Tom Petty in "Running Down a Dream." It doesn't pretend to be anything other than a chance to rock hard, which is always ap- preciated. It's going to be another busy couple of weeks, with the new album by rock super- group SuperHeavy already a favorite. The new one by Wilco is also out, so that will also be getting some of my time as well. It's too early to tell whether either will make it to this column, which aims to bring readers the best in new music. Mark Boshnack is a music fiend, and a reporter for The Daily Star. He can be reached at mbosh- nack@thedailystar.com.

• Cover