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by Sean Murphy

19 Aug 2010


You may have heard: Gibson (the fine folks who bring us some of our best guitars) has recently announced its selections of what it deems the Top 50 Guitar Albums.

Now, as someone who writes about music, I am acutely aware that one person’s list is another person’s purgatory. Put simply, when it comes to matters of taste and ranking (a particularly combustible combination), there is no pleasing everyone. In fact, there is no pleasing anyone, since the list makers themselves are invariably disappointed or frustrated. When you are talking about the best of the best, it is like boiling the Pacific Ocean to get a handful of salt.

So, it is in the spirit of augmenting and not critiquing (though there are many items on their list I find a bit objectionable) that I offer up an alternative Top 10 with some (very) honorable mentions. To avoid redundancy, my list will not duplicate any of the ones already selected by Gibson. Fortunately, there are more than enough to go ‘round, and despite some genuine head-scratchers (there are many items on the company’s list I find offensive, aesthetically speaking), it’s silly to quibble too much with a list that features most (but certainly not all) of the usual suspects.

by Nathan Pensky

18 Aug 2010


In the Beatles Anthology documentary, Paul McCartney tells of club dates during the band’s first international tour in Hamburg, where crowds booed and cried “Mach schau, mach schau!” up to the stage. When the nascent Fab Four learned that mach schau translates to “make show”, they did not have to be told twice. From then on they adopted the lively, hair-flopping stage antics that would later take the world by storm.

The emotional resonance to which McCartney refers seems distinct from visual accompaniment explicitly designed to correspond with musical performance. Acts that rely on light and video installations or Broadway-ready dancers aren’t really attempting mach schau in the same way the Beatles did or, say, the notoriously raucous shows of Bruce Springsteen. One performs, where the other exudes sheer enthusiasm. Perhaps most definitively emotive of all pop performances in this sense would be those of Little Richard, whose “whooo!” McCartney co-opted in the same way the Rolling Stones did the blues moan of Muddy Waters.

by Joseph Fisher

29 Jul 2010


Like so many residents of Washington, DC, I am originally from elsewhere—Boston, specifically. Earlier this summer, I took the opportunity to ship up to Boston to attend the wedding of one my closest friends. The date that he chose for the ceremony, June 12th, was a significant one because it fell during the twelfth meeting of the Boston Celtics and the Los Angeles Lakers in the NBA Finals. At the time of the ceremony, the series was tied 2-2.

I suppose that I should make it clear early on in this posting that I am neither a sports analyst nor a sports historian—and I am probably not much of a sports writer, either. Nevertheless, as I look back on the glorious wedding reception that followed my friend’s ceremony, I’m startled by how relevant the “storied” Boston-LA rivalry was to one particular song that the DJ played that evening.

About halfway through the reception, just as the party was moving from stately to unruly, the entire room was propelled onto the dance floor care of the opening one-two stomp of “I’m Shipping Up to Boston” by the Dropkick Murphys. I mean that, too. The. Entire. Room. Fathers and daughters, mothers and sons, grandmothers and grandfathers all jumping, dancing, and shouting the lyrics (or at least the “wah, oh-oh’s” backing each chorus). It was probably the most intense three minutes of the night, and the dance floor will never be quite the same as a result.

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