Tag: Music News & Interviews

  • DJ Ranx Benefit at Rockstar Nightclub, Thursday, May 7

    DJ Ranx Benefit at Rockstar Nightclub, Thursday, May 7

    Sad news to report about Russ Rankin, a.k.a. DJ Ranx of KDHX and the leader of Dubtronix: He had a stroke and a heart attack last week.

     

    DJ Ranx Benefit at Rockstar Nightclub, Thursday, May 7

    To help defray medical bills, stalwart local reggae acts Murder City Players, Youth & Roots and Yard Squad will be performing a benefit show for him at the Rockstar Nightclub on Thursday, May 7. Guest vocalists are promised by those planning the event. Doors are at 8, the show starts at 9, and admission is just $8.

  • St. Louis Weekend Concert Calendar, April 17 to 19

    St. Louis Weekend Concert Calendar, April 17 to 19

    Busy weekend!

    Friday, April 17

    *Solange/Teresajenee, Webster University

    *Pretty & Nice/Radical Sons, Firebird

    *Jason Ringenberg/Rough Shop, Off Broadway


    *Loyal Earth Fest at the Old Rock House
    *Unwed Sailor/Jovian Chorus/Dear Future, Luminary Center for the Arts
    *Alvin Jett and Phat NoiZ, Riddles
    *Daniel Francis Doyle/.e, Lemp Neighborhood Arts Center
    *Everett Dean, Deluxe
    *Left Arm/The 75s, Kemper Art Museum
    *Parkway Drive, Fubar
    *Poor People of Paris, Atomic Cowboy
    *Soulard Blues Band, BB’s Jazz Blues & Soups
    *Autovein/The Incurables/Postcard/RadioRadio, etc., The Library
    *FLOW Organ Trio, The Gramophone

    Saturday, April 18
    *Record Store Day! at aPop, Vintage Vinyl and Euclid Records
    *Paul Simon, Fabulous Fox
    *Loyal Earth Festival, Old Rock House
    *DJ Enoch is Real, The Gramophone
    *So Many Dynamos (7-inch release show)/Bronzed Chorus, Billiken Club
    *Panic Attack/The Matter/Gregg Thomas, etc., The Library
    *Magic City, Mangia
    *The Marquette Weekend, Firebird
    *Robert Sarazin Blake/The Union Electric/Malone, Off Broadway
    *Steve Forbert, Focal Point
    *That’s My Daughter, Deluxe

     

    Sunday, April 19
    *Pennywise/Pepper, Pop’s
    *Loyal Earth Festival, Old Rock House
    *Wayne “The Train” Hancock, Off Broadway
    *Doug Macleod, Music Folk (2 p.m.)/BB’s Jazz Blues & Soups (9 p.m.)

  • St. Louis Weekend Concert Calendar: April 10 to 12

    St. Louis Weekend Concert Calendar: April 10 to 12

    Friday, April 10

    *Diplo, The Gargoyle

    *Bonnie Prince Billy/White Magic, Pageant

    *Orbz (CD release show), Firebird

    *Greg Osby/Willie Akins, Jazz at the Bistro

    *Beth Bombara (CD release)/Grace Basement/David Beeman, Off Broadway

    *Gutbucket, Mad Art Gallery

    *Lez Zeppelin, Blueberry Hill’s Duck Room

    *Spark1duh?, Lemmons

    *Wooden Kites/The Livers, Deluxe

    *Celtic Woman, Fabulous Fox Theatre

    Saturday, April 11

    *Backyard Tire Fire/Pokey LaFarge, Off Broadway

    *Bamboozle Left: The Cab, We the Kings, nevershoutnever!, Pageant

    *Greg Osby/Willie Akins, Jazz at the Bistro

    *Bob Corn, Lemp Neighborhood Arts Center

    *Domani International, Cicero’s

    *Gumbohead, Broadway Oyster Bar

    *Ohtis/Theodore, Schlafly Tap Room

    *Raglani, et al, Apop Records

    *Sparky and Rhonda Rucker, Focal Point

    *The Commoners, Mangia

    *Voice of Addiction, Lemmons

    *The Homewreckers, Deluxe

    *Celtic Woman, Fabulous Fox Theatre

    Sunday, April 12

    *Michael Jonas, Off Broadway

    *Bernard Allison, Beale on Broadway

    *Too Slim and the Taildraggers, BB’s Jazz, Blues and Soups  

  • St. Louis Weekend Concert Calendar: April 3 to 5

    St. Louis Weekend Concert Calendar: April 3 to 5

    Friday, April 3

    *The Ting-Tings/DJ Superconductor, Pageant

    *Rosebuds/Megafaun, Lemp Neighborhood Arts Center

    *Beach House/Raglani, Billiken Club

    *Goldcure, Way Out Club

    *Glass Waves, The Gramophone

    *Tionol, Schlafly Tap Room

    *Off With Their Heads/Humanoids, Firebird

    *The Spares, Music Folk

    *Fresh Heir/Earthworms, Off Broadway

    *Jake’s Leg, Cicero’s

    Saturday, April 4

    *Lee Ving/Exene Cervenka, Deluxe

    *Educated Guess/Arts & Sciences/Abracadabras, Firebird

    *Aaron Kamm and the One Drops, Broadway Oyster Bar

    *Billy Peek, Gramophone

    *Left Arm/Private Dancer/She Got Ugly, The Wedge

    *Bobby Rush vs. Marquise Knox/Rum Drum Ramblers, BB’s Jazz, Blues and Soups

    *Tionol, Union Avenue Opera House

    *Bridgeton Air Defense, Lemmons

    *People Noise/The Art, Off Broadway

    *Ticketmaster New Music Spotlight, Pageant

    Sunday, April 5

    *Champions of Breakfast, Firebird

    *Blue October/Ours, Pageant

    *Ten out of Tenn tour (feat. Griffin House, more), Duck Room

    *Johnny Vega$ benefit, Off Broadway

    Monday, April 6

    *Bad Veins/Eulogies, Firebird

    *Hold Steady/War on Drugs, Gargoyle

  • St. Louis Weekend Concert Calendar: February 13 to 15

    St. Louis Weekend Concert Calendar: February 13 to 15

    Friday, February 13
    *Maze featuring Frankie Beverly/Keith Sweat/Teena Marie, Chaifetz Arena
    *G Love and Special Sauce, Pageant
    *The Diplomats of Solid Sound feat. the Diplomettes, The Gramophone
    *The Round-Ups/Johnny Vegas et al, Off Broadway
    *Delmar Kingz/Santone/Space/Jonezy/Family Affair/John Hill, Duck Room
    *Nothing Still/Ava, Wait/Sudden Passion, Firebird
    *The Orbz/Lemay Odyssey/Lindbergh Babies, Lemmons
    *Al Jarreau, Touhill
    *The Pointer Sisters, Ameristar Casino
    *Bunnygrunt/Sex Robots, Schlafly Tap Room
    *Cassie Morgan, Vintage Vinyl (7 p.m.)
    *Japanese Bat Bomb, Stagger Inn
    *Pomeroy ,Old Rock House
    *Three Fortys (CD release), Cruisin’ Rte. 66
    *Weird Body Parts ( CD release)/Daydream Astronauts, Lemp Neighborhood Arts Center
    *Leroy Pierson (early)/Rough Grooves (late), BB’s Jazz, Blues and Soups
    *MIles of Wire, etc., Way Out Club
    *The Disappeared/The Highway Companion/Ashes and Iron/Cuban Missiles, Cicero’s
    Saturday, February 14
    *Turbo Fruits, Deluxe
    *Chicago Afrobeat Project, Old Rock House
    *AXO, Mangia
    *Miss Jubilee and the Humdingers, Beale on Broadway
    *Nite Owl/Wildmann/DJ K-Nine, Duck Room
    *Aaron Mansfield/ Alex Ray & The Last Place/ Cody Alan/ Sheila Shahpari/ Vijoy Rao/ Birdie Calvert, Firebird
    *Javier Mendoza, Off Broadway
    *Tenement Ruth/Bob Reuter, Schlafly Tap Room
    *Illphonics, Gramophone
    *Tom Hall (early)/Renee Smith Band (late), BB’s Jazz, Blues and Soups
    *Punch You in the Face/Saw is Family, Way Out Club

    Sunday, February 15
    *Jon Hardy and the Public/Fattback/Dock Ellis Band/Dirty 30’s/World Famous Tractor Pull, Off Broadway
    *Delta Spirit/Other Lives, Gargoyle
    *Delta Spirit, Vintage Vinyl, 4 p.m.
    *Seether, Pageant
    *Eric Sardinas and Big Motor, BB’s Jazz, Blues and Soups

    Monday, February 16
    *Foxy Shazam/The A.K.A.s/Dr. Manhattan, Off Broadway

  • The Year in Music: 2008’s Top Ten Latin Songs

    The Year in Music: 2008’s Top Ten Latin Songs

    Americans who still think of Latin music as mariachi bands and gyrating Ricky Martins and Shakiras might want to lend a closer ear to the genre. This country’s Hispanic population isn’t just growing, it’s growing more diverse. More and more unique musical styles are being gobbled up, and that should come as good news to alternative gringos hoping to spruce up their castellano. This year’s Latin-music highlights come from all over the Spanish-speaking map. We’ll start in the farthest geographic corner: an island in the Mediterranean.

    Latin_Buika.jpg

    BUIKA

    Niña de Fuego

    (WEA International)
    Afro-Spanish artist Buika epitomizes cultural and ethnic diversity. Over three decades ago, her parents fled political turmoil in the former Spanish colony of Equatorial Guinea and made a new life for themselves in a gypsy neighborhood on the island of Mallorca. After stints as a Tina Turner impersonator in Vegas and as the vocalist on some chic house and funk albums made for the European clubs, Buika has found her niche in flamenco and Latin jazz. This year’s Niña de Fuego contains many of the same gitano elements found on her successful LP Mi Niña Lola, and pushes the boundaries further by adding Mexican ranchera. Only someone as strangely bohemian as Buika could pull together these emotive styles with just the right amount of melodrama.

    Latin_Pinkertones.jpg

    THE PINKER TONES

    Wild Animals

    (Nacional)
    Barcelona’s Pinker Tones have traded most of their native Catalán for English — both in language and in beat. On Animals, harmonic backing vocals combine with synthesizers and wah-wah pedals to produce 1980s-style pop and rock steady. The song titles couldn’t be more fitting. “Hold On” starts with a choir and then hits the gas with an accelerated Beck-like groove. That’s followed by the even more retro number “S.E.X.Y.R.O.B.O.T.” and the happy-go-lucky reggae track “The Whistling Song.” But Pinkertones do take pride in some forms of hip-swiveling: Be prepared to shake your mod booty to “Electrotumbao.”

    Latin_Paez.jpg

    FITO PÁEZ

    Grandes Canciones

    (Sony International)
    Going even more retro is Argentina’s legendary Fito Páez. A pioneer of
    pop rock en español, Páez waxes nostalgic on this greatest-hits album.
    Millions of South American rockers are sure to hold up their lighters,
    arena-style, to the memories conjured up by Páez’s whimsical
    combination of piano and poetic lyrics on songs like “La Rueda Mágica”
    and “Mariposa Tecknicolor.”

    Latin_Bajafondo.jpg

    BAJOFONDO
    Mar Dulce
    (Decca)
    Since dropping the “Tango Club” title from its name, this
    electronic-music collective has broadened its musical horizons. They
    now include the African rhythms of Uruguay’s candombe, Andalusian
    hip-hop as presented by Spain’s La Mala Rodríguez, and a healthy
    sampling of North and South American pop and blues, represented here by
    contributing artists such as Britain’s Elvis Costello, America’s Nelly
    Furtado, Mexico’s Julieta Venegas, Argentina’s Gustavo Cerati and
    Uruguay’s Jorge Drexler. The movie-like symphonics are enough to liven
    the winter doldrums of any holiday party.

    Latin_Babasonicos.jpg

    BABASÓNICOS

    Mucho

    (Universal Latino)
    Yet another Argentine outfit manages to walk the line between
    commercial pop and alternative rock. Babasónicos’ Mucho has much to
    offer a wide range of listeners, with a sound reminiscent of the late
    1980s and early ’90s, when the group first experienced success. The
    opening tune, “Yo Anuncio,” sounds like a bit like Jellyfish, while
    “Pijamas” is a reminder of the new-wave movement, and “Estoy Rabioso”
    packs enough punch to generate a relatively safe mosh pit. Gotta
    carpool or share the stereo with officemates? This album is likely to
    keep the masses pleasant in tight quarters.

    Latin_Aterciopelados.jpg

    ATERCIOPELADOS

    Río

    (Nacional)
    Travel to Colombia and pop life gets even funkier. On Río, it’s evident
    that Aterciopelados haven’t forgotten their indigenous, rebellious
    urban roots. As always, frontwoman Andrea Echeverri’s slightly nasal
    voice harmonizes divinely over a cool collection of alt-rock laced with
    reggae, cumbia and other Andean styles. The band undulates from spacey
    and mysterious to hard-driving and happy as it tackles everything from
    motherhood (“28”) to immigration (“Bandera”).

    Latin_Calle13.jpg

    CALLE 13

    Los de Atrás Vienen Conmigo

    (Sony International)
    Puerto Rico’s five-time Grammy and Latin Grammy award-winning veterans
    segue from straightforward hip-hop to an alternative reggaetón that
    incorporates everything from rock steady to cumbia. It’s ballsy to the
    point of requiring a parental advisory, but nonetheless thoughtful in
    the way it busts out ironic chants and ragamuffin rhymes. Given the
    band’s dark humor, it’s not surprising that this album received musical
    contributions from cheeky Panamanian salsa god Ruben Blades on “La
    Perla Feat” or legendary Mexican rockers Café Tacuba on “No Hay Nadie
    Como Tú.”

    Latin_Orishas.jpg

    ORISHAS

    Cosita Buena

    (Phantom Sound and Vision)
    This Cuban hip-hop outfit’s high-energy music shows that the band is
    culturally bound to the island no matter how far its members have
    dispersed across Europe (last we heard, one was in Paris, another in
    Milan, and another in Madrid). The raps here are hard-driving and the
    beats are punchy, but the underlying rhythms are as Cuban as the Buena
    Vista Social Club. No need to scratch your head when you come across
    the term a guarachar in Orishas’ lyrics. You’ll find your body doing
    exactly that to this CD’s groovy beats.

    Latin_Reggae.jpg

    VARIOUS ARTISTS

    Latin Reggae

    (Putumayo)
    Reggae’s popularity in Spanish-language countries is celebrated with a
    diverse cast of Latino artists including Puerto Rico’s Cultura
    Profética, Argentina’s Los Cafres, Chile’s Gondwana, and Spain’s Macaco
    and Amparanoia. Sure, these alternative tastemakers are well aware of
    the cool ways they could have melded music from the Andes to Andalusia
    into their own brand of skanking. Instead, they’ve paid ‘nuf respect to
    reggae’s roots by staying true to the genre’s original sound and
    socially conscious lyrics.

    Latin_Umalali.jpg

    VARIOUS ARTISTS

    Umalali: Garifuna Women’s Project

    (Cumbancha)
    Edging farther west, you’ll find a blend of Babylonian music all its
    own. The Garifuna people were born of shipwrecked slaves and Carib
    natives in St. Vincent, then exiled by British colonists to the
    Atlantic Coast of what is now Belize, Guatemala and Honduras. Remixed
    by forward-thinking Belizean producer Ivan Duran, the music on this
    compilation album is as complex as the women who sing it. Elements of
    rock, blues, funk and even Cuban son intermingle with the Garifunas’
    beat-based punta music to drive home messages of suffering and
    survival. You don’t have to speak a lick of the Garifunas’ unique
    native tongue to understand the emotion behind their singing and
    chanting.

    — Julienne Gage

    More 2008 in Review:

    Top Pop Songs
    Top Indie Rock
    Top Dance Mixes
    Top Alt-Country/Americana
    Worst Lyrics: A Final Four Bracket-Style Competition
    Top Reissues
    Craziest Rap Songs
    Top Metal Songs
    Top Hip-Hop/Rap Songs
    Top Country Songs

  • Interview: Australian Pink Floyd keyboardist Jason Sawford

    Interview: Australian Pink Floyd keyboardist Jason Sawford

    The Australian Pink Floyd Show is more than just a tribute band. Using laser lights, video screens and massive inflatables, TAPFS attempts to recreate the psychedelic Pink Floyd trip that much of the highly influential band’s fan base is too young to have witnessed before. In advance of its two-night stint at the Fabulous Fox Theatre, keyboardist Jason Sawford spoke to Ryan Wasoba about the band’s ambitious production of The Wall, the unfortunate passing of Richard Wright, and its trademark monstrous inflatable pink kangaroo. Tickets are $39.50 to $49.50, and the show starts at 8 p.m. both nights.

    Ryan Wasoba: Word on the street is that you’re going to be performing The Wall in its entirety. Is that the whole program?
    Jason Sawford: No, no. We’re doing the whole album and we’re doing a few extra numbers from some other albums, sort of a short greatest-hits set.

    I understand you’re doing The Wall to celebrate the album’s thirtieth anniversary.
    That is one reason. I think the other reason is that we’ve done Dark Side of the Moon and Wish You Were Here and Animals; The Wall was the next logical step for us. We’d been talking about it for a long time and It’s been about a year in the planning of it, so we decided to finally put it together.

    Musically speaking, is The Wall harder to execute than some of Pink Floyd’s other albums? It is a much longer record, first off.
    Well, it has its own specific challenges. I mean, it’s not necessarily more difficult musically than any other albums, but there’s a lot to learn and a lot to do — and trying to get it all together in the time we had was very challenging. It’s a kind of semi-theatrical production, and we’re trying to tell the story the way we do it with animation and the theater and the whole show, it’s been quite tricky.

    Last time you came to St. Louis, I believe you were doing Dark Side of the Moon.
    That’s correct.

    Have you done Animals and Wish You Were Here in the States before?
    We’ve done Wish You Were Here in the States. We’ve never done Animals but we’ve done it in the UK. I wonder how Animals would go in the States. We’ve always found people didn’t know it so well, so we haven’t done it as much as say, Dark Side of the Moon, but it’s a great album and we do like doing it when we get the chance.

    Is that one of the challenges of your job? I mean, you guys are bigger Pink Floyd fans than most, I assume. Is it frustrating that there are huge sections of the catalog that you probably can’t do? Do you feel like you can only do a certain amount of the catalog that people know?
    That’s true, yeah. I mean, we are obviously Pink Floyd fans and there is a lot of stuff I’d love to play, but you can’t go into a big arena and do A Saucerful of Secrets or something like that. I mean, it’s quite strange music. It has a following, but people are more familiar with certain albums and that tends to govern a lot of what we play. And we try to do more interesting numbers when we can and we have done that from time to time.

    So is it safe to say there are some albums you’ll probably never end up doing?
    Probably. We like to cover material from some of those albums anyway, but doing an entire album of say, Ummagumma, we’re not very likely to do something like that. But we are likely to do something like The Final Cut, which is more accessible to people but still lesser known. But we’re doing The Wall, which is perfect for now because we’ve never done it before.

    Has the passing of [Pink Floyd keyboardist] Richard Wright made an impact on this tour at all?
    Well, obviously it’s something I’m very aware of as a keyboardist in a Pink Floyd tribute band, but the tour was planned over a year in advance and Richard Wright’s passing happened so suddenly, we didn’t have time to allow it to affect the tour. We have talked about doing some sort of tribute in the show, maybe playing “Wish You Were Here” in dedication or something, but at this point in time we’re concentrating on doing The Wall.

    So what’s up with the big inflatable pink kangaroo?
    Yes, we have used the pink kangaroo on previous tours we don’t tend to use it so much on this one but we do use a big pig from time to time. At the moment, because we’re doing a theatrical performance of The Wall, it’s hard to find a place where to put the pink kangaroo because it kind of alters the set a bit. Often it’s the venue that dictates where you can place things, so there’s a lot of practical considerations on putting a show together with these inflatables. If the venue is big enough we’ll use them.

    Is the kangaroo kind of your symbol, being Australian and all?
    Yeah, it’s sort of a visual pun, really. Pink Floyd used a pink pig so we use a pink kangaroo. It’s become sort of our trademark.

    So I suppose that’s your way of individualizing yourselves. I’m sure it’s hard to inject your own personality as musicians when you’re exclusively covering the material of another band.
    Yeah, we have to put our own touch on things. We could just sort of play Pink Floyd and do it exactly the way it is, but sometimes it’s nice to have a little of our own identity there. It sort of distinguishes us from a lot of other Pink Floyd tribute bands and it seems to work actually, this little combination of Australiana with Pink Floyd. It lightens the show a little bit because Pink Floyd tends to be pretty dark at times.

    That’s where the big inflatable pink kangaroo comes in?
    Exactly.

  • Peter Hook No Longer with New Order — So Why Does the Band Play On?

    Peter Hook No Longer with New Order — So Why Does the Band Play On?

    So, it appears that bassist Peter Hook has decided to leave New Order. (That, apparently, was news to the rest of the band.) Drummer Stephen Morris and vocalist Bernard Sumner are (ostensibly) carrying on under the New Order name.

    My question is: Why? Look, I love New Order as much as the next person. I’ve been rocking “Regret” all weekend. But I have zero — no, make that less than zero — desire to hear a New Order album without Hook’s liquid bass. I mean, does anyone?

    Since Joy Division, for pete’s sake, Hook has been the anchor of the group, the person that made New Order distinctive. Sure, Sumner’s vocals are completely distinctive too — but as Electronic proved, his voice is fluid enough to work in different contexts. In fact, if I want to listen to Sumner sing without Hook, I’d listen to Electronic. (“Getting Away With It,” yo.) But Hook’s bass — which he uses as much for melody and texture, as rhythm — made New Order great.

    I beg the band, retire the New Order name. At this point, any future albums will have an asterisk. Or the qualification: “Well, it’s post-Hook New Order.” How can they not? Countless bands insist on tarnishing their legacy by releasing sub-par albums with replacements (cough, Echo and the Bunnymen). Continue recording together, Sumner and Morris; just find another name for yourselves.

    Maybe Hook will reform Monaco, which was basically New Order lite; according to Wikipedia, its two albums should be reissued soon. And “What Do You Want From Me?” was one of the best singles of 1997.

    Whatever, here’s a video for “Regret.” Which the band is bizarrely playing on the beach. With the cast of Baywatch. (The Peach Pit must have already been booked.) David Hasselhoff swoops in at 2:30 in a most hilarious way. God, I miss the 1990s.

    Annie Zaleski

  • Katrina Elam

    Katrina Elam

    As a beautiful blond young-country charmer with a knack for soaring choruses, Katrina Elam shares superficial similarities with the soulless Faith Hill, last seen in an overapt role as a Stepford wife. But Elam’s pop-damaged peers can’t match her passionate delivery and pristine phrasing. Her debut disc showcases not only her rich, expressive voice but also her surprisingly subtle songwriting. Elam’s nuanced takes on relationship issues are a welcome change from the genre’s usual frying-pan-to-head slapstick sass, and her slow songs, delicately decorated with piano and strings, never become bloated ballads. Elam isn’t too pensive to party; she serenades the yee-haw crowd with the fiddle-fueled “I Want a Cowboy,” and she gallops through most tracks at a perky-pony pace that should keep her set list lively.

  • The Ten  Most Hated Men in Rock

    The Ten Most Hated Men in Rock

    David Byrne has done it right. Destined to live high on the hog by way of Talking Heads royalties until the day he dies, the adventurous quirkmeister has been nothing but ballsy since his seminal new-wave outfit parted ways. You may not like everything he’s tried since his career apex, but complacency has, to his credit, been Byrne’s worst enemy.

    Sting, meanwhile, is another story. This turtleneck-sweatered Jaguar shill has so desecrated his Policeman legacy that we’re not entirely convinced the current soft-rock incarnation isn’t the original Sting’s evil twin. He is, without question, the most hated man in rock.

    A better question is: Who’re numbers two through ten? According to San Francisco Chronicle pop-music critic Aidin Vaziri, the runner-up is Eric Clapton, a ranking based almost exclusively on the guitar god’s synth-slop collaborations with Babyface. While we may not agree with this ranking, the criteria for what makes a rocker “hated” is more or less spot on: have talent, use it well for a substantial period of time, then intentionally squander it for commercial riches, fame and/or forced mass appeal.

    Admittedly, it is tough to find ten men who strictly adhere to such requirements, so we’ve chosen — with the help of a secret, eleven-man panel — to implement a graded system in which talented sellouts merit weightier consideration than, say, Johnny Rzeznik or Fred Durst. That said, to exclude such ass-clowns from this list outright would be doing a public disservice. So too would including Sting, as he is as consensus a top dog as doggies can top. Without further ado, let the hatred begin!



    1. Paul McCartney
    Barely qualified to carry John Lennon’s roach clip while both toiled with a grotesquely overrated boy band known as the Beatles, Sir Paul’s true colors have reverberated loudly and horribly since Mark David Chapman put a tragic slug in Yoko’s hubby. “Band on the Run” could have been written by a third grader, and McCartney’s duets with alleged pedophile Michael Jackson — and the ensuing public pissing match over Wacko Jacko’s savvy purchase of the Beatles’ catalogue — cemented McCartney’s legacy of poor taste and idiocy. And wasn’t it great when Sir Paul, sharing the stage with Madonna at the close of the 1999 MTV Music Awards, thought Lauryn Hill was a man, referring to the artist of the year as “some guy named Lawrence Hill?” Nice one, asshole. Worst of all, who can forget the post-9/11 ode to freedom named, with typical genius, “Freedom”? Marrying a young, blond, one-legged starfucker twelve hours after burying your hero-philanthropist wife was a good one too, mate. Go fuck yourself, McCartney. You deserve worse than that, but such dread is unattainable on this earth. We can only hope Satan delivers the goods to Sir Paul in Hell, where knighthoods carry no currency.

    2. Carlos Santana “Or else forget about it!” We wish we could, Carlos. And that would likely be possible had you made just one album of duets with flash-in-the-pan pop stars such as Matchbox Twenty’s Rob Thomas. But no, you followed it up with “a little bit of this” and “a little bit of that” with no-talent teen tart Michelle Branch on the dreadful Supernatural sequel, Shaman, and proceeded to ride the low-rent pop-culture train all the way to a spot on National Basketball Association playoff lead-ins with the Black Eyed Peas. Pathetic career trajectory for a man once considered to be the heir apparent to Jimi Hendrix, and Santana has no one to blame but himself. It’s not like his record label swooped in and said, “Say, Carlos, we need you to do this duet with the guy from Nickelback or else we’re going to drop your ass.” Look for him on the next Jennifer Lopez album.



    3. Jimmy Buffett
    Alcohol-rehabilitation counselors, antidepressant manufacturers and shrinks should present Buffett with gold-encrusted plaques of recognition thanking the Key West ukulele hack for supplying roughly half of their paying clientele. Here’s how the vicious cycle works: 1) Begin liking Buffett during perpetually drunk collegiate undergrad years; 2) prolong perpetual drunkenness by becoming Parrothead and attending Buffett shows until the age of 40; 3) crash car drunk on drive back from Buffett show at Pensacola Fairgrounds; 4) enter court-mandated rehab program; 5) get sober; 6) recognize how bad taste in music and hollow life was during personal “Cheeseburger in Paradise” bender; 7) start seeing shrink and taking Prozac; 8) realize that entire wardrobe consists of imitation Hawaiian shirts, huarache sandals, golf visors and jams; 9) start drinking again; 10) hit the road for Chattanooga stop of Buffett’s “Four Inebriated Horsemen” tour with Alan Jackson, Clint Black and Randy Travis. Margaritaville, unfortunately, has inescapable walls made of petrified ape dung, which is an apt description of Buffett’s entire catalogue.



    4. The Adams Family (Ryan & Bryan)
    You’ve been asking for this double entry, Ryan, by refusing, time and again, to cover “Summer of ’69” in concert. If you didn’t want to be confused with Bryan Adams — or, short of that, teased a little for being one consonant short of Canada’s pint-size pride — you should have changed your fucking name. Lots of rock stars do it, bro. Releasing three mediocre albums a year and mounting the likes of Winona Ryder and Parker Posey have done nothing to help R. Adams’ credibility either. Bryan, meanwhile, paved the way for mediocre soloists like Phil Collins and Patrick Swayze to cash in at the box office by contributing to Robin Hood. For this, the gravel-throated Canuck will never be forgiven, even if the aforementioned “Summer” is a true-blue gem.


    5. Elton John
    Bernie Taupin’s not-so-tiny dancer was way better in the Studio 54 era, when he was as high as a Rocket Man and actually cranked out adventurous pop hits with gusto. Now sober, Sir Elton seems content to belt out cheesy power ballads for animated-feature soundtracks, host garish awards-show afterparties and retrofit “Candle in the Wind” to cash in on the It-Dead Princess of the Moment. Leavin’ Levon far behind, indeed, and much the worse for it. Heaven hope the sun goes down on this pasty, toupee-wearing key tickler ASAFP.



    6. Johnny Rzeznik
    Feel free to debate whether what the Goo Goo Dolls record can even be considered rock. Also feel free to debate whether or not it’s music. Any way you slice the pie, this moronic, saccharine, neo-glam outfit is the worst band in America, with Rzeznik being the synthetic cherry filling. Quick, name one Goo Goo Dolls song! That’s okay, you’re not alone. The fact that Rzeznik ascends to this high a ranking without ever exhibiting an ounce of artistic talent is testament to how much people just want to drop-kick his pretty-boy bean through the goalposts at Fuckface Field. At least this Calvin Klein underwear-model wannabe has one thing going for him: Avril Lavigne evidently wants to ride him. And in Missouri, that’d be barely legal.



    7. G.E. Smith
    We know: How can a Saturday Night Live bandleader named after a power company qualify for this list? Here’s how: Smith served as Hall & Oates’ lead guitarist from 1979 until 1985, which marked the peak of the Philly duo’s commercial viability. And — come on — was there any blond ponytail more ubiquitous than Smith’s during his ten-year SNL run? Absolutely not — homeboy played on every imaginable televised tribute concert, including Bob Dylan’s, Live Aid and Farm Aid. Indeed, where there was an Aid — and a camera — there was a blond ponytail, which Smith took great pains to flap across his face like a horse does with tail and ass. Smith was Michael Bolton before Michael Bolton was Michael Bolton. The difference is Smith didn’t even have to open his mouth to attain such reviled status; his “look at me!” facial expressions did it all.



    8. Conor Oberst & Chris Carrabba
    Who wants to hear sad, sad songs about the day-to-day pathos of well-to-do suburban white kids? Well-to-do suburban white kids, that’s who. And that’s about it. “Emo,” then, is really a genre within a genre within a genre, which makes it a mystery as to why these two wimps have been garnering so much ink and critical fellatio. Every song they write is overwrought and essentially intellectually dishonest. Everybody’s got problems, to be sure, but we’d love to transplant this double entry (two whiny weenies equal one man, by our count) of pastoral crackers to the ghetto for a few decades. Then we’ll see if they continue to pump out the same prepubescent pussy bait that’s gotten them this far.



    9. Fred Durst
    It doesn’t matter whether or not you believe Durst’s claim that he drilled Britney Spears six ways ’til Sunday; this rap-rock goofball is largely responsible for rock’s darkest era: the late 90’s (Kid Rock, you can take a bow too). Fortunately it looks like Durst’s career is over. Otherwise, he’d likely outstrip Rzeznik for the sixth spot and would rank number one if this poll were more concerned with sonic proficiency.



    10. Bob Weir
    You can actually stop truckin’ now, Bob. The Dead’s insistence on staying on the road post-Jerry Garcia has proven, beyond a shadow of a doubt, that the band was just a collection of semi-competent nerds with a prodigiously charismatic and talented frontman. And “Rock Star Bobby” is the worst of the bunch, a bona fide gravy trainer who would’ve probably invited frequent guest Huey Lewis to join the band as a full-time harmonica player had Garcia not understandably kept his pink Izod-wearing ass in check. Weir’s side project, Rat Dog, is basically a below-average bar band with a frontman who needs a teleprompter to remember his own lyrics. But frankly, given our unyielding love for all things Garcia, we were willing to forgive and forget until Weir & Co. jumped on a stage in a movie-studio lot to appear on Leno recently. With Garcia on the injured list (for good), Weir stepped in to sing lead vocals on “Touch of Grey.” Horribly. Why he didn’t just defecate on Jerry’s headstone instead, we’ll never know.



    Rounding out the Top Twenty:
    11. Glenn Frey & Don Henley. 12. Scott Stapp. 13. Rod Stewart. 14. Phil Collins. 15. Lenny Kravitz. 16. Steve Miller. 17. John Cougar Mellencamp. 18. Michael McDonald. 19. Max Weinberg. 20. Lars Ulrich.



    Honorable Mention:
    Eric Clapton, Anthony Kiedis, Kid Rock, Scott Weiland, Liam & Noel Gallagher, Zack de la Rocha, Peter Gabriel, Kenny Loggins, George Thorogood, Bob Seger, Ted Nugent, Stevie Ray Vaughan, Bruce Springsteen, Axl Rose, James Hetfield, Ozzy Osbourne, Steve Winwood, Bruce Hornsby, Billy Joel, Dave Matthews, John Popper, Julian Casablancas, Jack White, Rob Thomas, Huey Lewis, Jackson Browne, Dave Grohl, Chris Cornell, Mark McGrath, Melissa Etheridge and the lead singer of Maroon 5 (we’re too indifferent to even bother learning his name).

    Click the links beneath the photos to print out your very own “Least Wanted” posters, then hang them around town, CORE Project-style! (Note: All posters are in PDF format and require Acrobat Reader [available
    here] to view. Posters average 500k in size.)