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The Alarm - Marching On (Live)

Never underestimate the power of corporeal politics. Today, hundreds of thousands of people marched through the streets of American cities demanding political action on gun control. In downtown Portland, ME thousands streamed down Congress St. and gathered at City Hall. I was there. It was powerful. When you are united with others in your community, marching, there is an energy -- a sense of unstoppable momentum. It is also reassuring. We are not alone in standing up to the insanity. We are one. I am inspired by the Americans (especially the women and young people) who have once again discovered the power of peaceful, non-violent protest. If we continue to march in these numbers, politicians will hear us. The continuing volume of our chants and rhythm of our marching feet, knocking at their door, will remind them to legislate on behalf of us -- the people. All of the money in the world can't pay back the moral deficit and heal the wounded conscience of NRA-backed legislators
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Patti Smith - My Generation (Live)

It's National Women's History Month. If Suzi Quatro was the queen of rock & roll, then Patti Smith was the leader of the female punk insurgency that redefined the genre. The 30th anniversary addition of Horses includes a bonus disc of the album recorded live in 2005 with Tom Verlaine (Television) on guitar and Flea on bass and trumpet. Tucked at the end of the disc is a sublime, nearly seven minute rendition of The Who's "My Generation." Whereas Roger Daltrey's version looked towards the possibilities of the future, Smith's looks back, exuding regret and anger. "My generation. We had dreams... We had dreams, man! And we fucking created George Bush! New generations! Rise up! Rise up! Take to the streets! Make change! The world is yours! Change it! Change it!" Black Lives Matter. Women's March. #MeToo. #Enough. #NeverAgain. This one's for the people in the streets! Change will come.

The Pretenders - Message of Love

The pep rally drum beat and angular guitars catch your ear right away on this tune. Chrissie Hynde's quasi-singing delivery is classic. The sound of The Pretenders on their first two albums is perfect. "Message of Love" wasn't played to death on FM and still sounds fresh to me. Hynde's message rings true: "Now the reason we're here As man and woman Is to love each other Take care of each other When love walks in the room Everybody stand up Oh it's good, good, good Like Brigitte Bardot"

The Sherbs - I Have The Skill

Take early 80s Genesis, add a tad more new wave to the sauce, drop 'em in the middle of a crocodile infested continent and you've got The Sherbs -- another great example of a late 70s band with proggy tendencies transitioning into early 80s pop. The herky-jerky rhythm and loving dose of synthesizers in this tune is what stands out to me. I love the little arpeggios the dude throws in on the synths. It's just a smidge more prog than your typical new wave hit of '81. "I Have The Skill" hit 61 on the U.S. pop charts. Did you ever hear it on your FM station back in the day? Me neither. Why not, dude? Singer, Daryl Braithwaite, throws in some great middle school metaphors throughout the tune. My favorite is "I am the shoreline, you are a breaker." So Aussie! But, when he gets to the end of the verse, he casts aside figurative language and gets starkly realistic with the line, "All I can say is this life that we're living is a death defyi

The Brains - Money Changes Everything

It's become undeniably evident that the president of the United States had a sexual fling with a porn star while his wife was pregnant. Right before the 2016 election, his lawyer paid Stormy Daniels off with $130,000. POTUS denies the whole thing. I'm so sick of money and the terrible things that it enables. It's pretty obvious no one in the GOP or Trump's base is going to bat an eye at this little hush money cover up. What it reveals about the soul of America is no surprise, but still troubling. Yeah, money changes everything. Even the core values of religious zealots and fiscally conservative nut jobs. But, we should have known that. The Brains called it back in '80. "You think you know what we're doing. We don't pull the strings. It's all in the past now. Money changes everything." The Brains were a hard rocking quartet from Atlanta, Georgia. For their 1980 debut, Steve Lillywhite stepped in to the production role, added a littl

Jules & the Polar Bears - Good Reason

Jules & The Polar Bears is one of those bands that you want to like, but continue to remain on the fence about even after a decade of failed listens. Recently, I've been sampling bands from the late 70s and early 80s who released fake new wave albums -- major label acts who played middle of the road rock, but disguised it in skinny ties, brightly colored sweaters and catchy, Cars-y keyboard riffs. Jules & The Polar Bears are a good example. Their first record, 1978's Got No Breeding, was compared to Dylan, The Kinks and Springsteen. Personally, I hear a quirky Jackson Browne in the songwriting. Everything sounds bearded and mid-tempo, except Jules Shear, the singer. He gives the band a distinct sound with his "singing at the top of my range" yelp. But even with Shears' interesting squelch, the songs never break out of 70s rock conformity. The guitarist's resemblance to a member of Orleans or Doobie Brothers is telling. Enter 1979's "FenĂȘt

April Wine - I Like To Rock

April Wine. There. I said it. Lately, when no one's looking (or listening) I like to take a quick swig of their intoxicating (or adrenalizing?) mid-70s Canadian adventure rock... especially when I'm washing dishes. It's my guilty pleasure . But it shouldn't be and I want to be upfront about this. Recently I was reading some Chuck Kosterman. The way he framed things really struck a chord with me. "The term 'guilty pleasure' is simply ridiculous; there is simply no band or artist (or movie or hobby or…) that exists that one should feel guilty for liking; to say otherwise implies that a) allowing “insecure” people to dictate your likes and dislikes is alright and b) being involved with certain aspects of life is somehow unacceptable, based on an unreliable, and often times bizarre, scale that you are keen on following." I first heard about April Wine while reading "Trouble Boys," the recent Replacements biography. Turns out Bob Stinson