The Modfather (back) in the rag trade

22 06 2011

Paul Weller has teamed up with his best friend’s ornery little brother, Liam Gallagher, to put out a clothes line on Liam’s Pretty Green label. Pretty Green, of course, is a jam song, so it is fitting Paul would want to sell his designs through Liam’s label.

Who knows how much of Weller is in the actual line, but it gets his name. The noted clothes horse has designed gear in the past for Ben Sherman (a clothier I would wear all the time if I had the cash to burn.)

Weller’s Pretty Green stuff launches on June 23.

You can see his line here:


For Clarence

19 06 2011

It’s all over the news. Clarence Clemons passed away yesterday (6/18) from a stroke. I’ve never been a Springsteen fan and I don’t care too much for saxophone most of the time. Of course, Clarence had a career that went well beyond his work with Bruce. Whatever Clarence was doing, if I saw him on TV, I stopped and watched. He had a magnetic personality, at least on stage. He was simply one of those rare natural entertainers that you couldn’t help but enjoy. There aren’t really words that better describe him for me. Most of the time a musician like him is a bit player in a band, but Clarence was obviously more than that. Why do you think his unfortunate passing is getting all this attention? People loved his music and him. I share their sadness in his passing.

It’s got a funky beat and I can dance to it. B+!

14 06 2011

Out of nowhere, this song raced to mind.  I had forgotten there was a video for it.  More than that, I had forgotten that it looked like it was shot on American Bandstand (it wasn’t.)  I never really considered this a disco tune, but watching the video, with all the the funky-polyester-clothes-long-hair-wearing people grooving to the slow beat, I don’t know how I could have ever thought of this as anything but a disco track.

It goes without saying that the Beatles defined their times (with the help of others of course.)  The farther away the Fab Four, as individuals, got from their Beatles days, the less they remained innovators and the more they became imitators.  This was McCartney’s shot (one of several maybe) at making a disco hit.  It worked, too.  This was a monster song.  I loved it as a kid but I never associated it with the Beatles.

Ten years after the White Album, which sounds timeless, McCartney was making music that, while entertaining, captured (only) a small window of time.  To put it somewhat critically, he made hits that were almost guaranteed to sound dated within a few years.  And they do.  They’re still fun, and maybe that’s all they need to be.