But at the same time, you told me when we talked last week that this is yet another clichéd sentiment, that music was at one time the center of the culture and that the internet has ruined that. You said that things like The Beatles and Michael Jackson and Nirvana were huge exceptions. I just think — when you mention those names, I think what … Continue reading Chuck Eddy interview, Oct 2017 (link)
Chuck E… So Addictive: Voice Music Editor in His Second rockcritics.com Interview By Steven Ward (March 2002) Rock critic Chuck Eddy. Love or hate? Let us count the ways… I love Chuck Eddy because his writing changed my life. I hate Chuck Eddy because now I spend way too much productive time reading and thinking about rock criticism (as opposed to, you know, listening to music). I love Chuck … Continue reading From the Archives: Chuck Eddy (2002)
Check out my in-progress Pinterest board — a misguided Z-A tour of the index for The Accidental Evolution of Rock ‘n’ Roll, Chuck Eddy’s 1997 critical tome, with occasional links to songs referenced. (I like how this snapshot renders it as a series of playing cards.) My other Pinterest boards (including remixes of Lipstick Traces and The Aesthetics of Rock) can be found here. Continue reading You Pin Me Round
But in Continental Europe, a style of disco developed that was notably more synthesized and austere, often sleazier or chillier or just plain sillier, than its U.S. counterpart. In other words, if rock fans building vinyl bonfires at White Sox games thought disco sounded inhuman, replacing musicianly perspiration and heart with icy technology and repetition, Eurodisco proved their point. Europe was farther from the nexus … Continue reading Synthesized austerity
A by no means comprehensive or conclusive survey of a Canadian power trio who once upon a time (much less so now) got under the skins of more rock critics than any other rock or pop artist going.
– – – – – – – – – – – – – – – – – – – – – – – – – – –
“For the record, those three are drummer Neil Peart, who writes all the band’s lyrics and takes fewer solos than might be expected; guitarist Alex Lifeson, whose mile-a-minute buzzing is more numbing than exciting; and bassist, keyboardist and singer Geddy Lee, whose amazingly high-pitched wailing often sounds like Mr. Bill singing heavy metal. If only Mr. Sluggo had been on hand to give these guys a couple good whacks…”
– Steve Pond, review of Rush live in Los Angeles, Rolling Stone, 1980
Geddy Lee’s high-register vocal style has always been a signature of the band – and sometimes a focal point for criticism, especially during the early years of Rush’s career when Lee’s vocals were high-pitched, with a strong likeness to other singers like Robert Plant of Led Zeppelin. A review in the New York Times opined that Lee’s voice ‘suggests a munchkin giving a sermon.’ Although his voice has softened over the years, it is often described as a ‘wail.’ His instrumental abilities, on the other hand, are rarely criticized.
– Wikipedia entry on Rush
But I hedged my bet right from the beginning too, and kept my day job at the welfare department all the way through, as I was a family man and it provided regular income and medical coverage, etc. That job also gave me another kind of coverage, as a rock critic, as since my writing didn’t furnish my primary income, I could be very choosy … Continue reading Nina Hagen vs. Journey
On the heels of last night’s NME chart from ’81, Chuck Eddy provides an overview of 50 singles from the same year over at Rhapsody, and captures the tenor of the year in a single sentence: “Stuff was getting weird.” Continue reading Singles, 1981, Eddy Edition