Mid-Life Crisis = Standup Comedy Routine

So in September my twin boys went off to University and suddenly my wife and I had the house to ourselves again for the first time in eighteen years. Empty nest syndrome? Not on your nelly. Mid-life crisis (my parents divorced after 25 years once their only child disappeared off up to uni), no, not on your life. I don't just seem to have a richness of free time, I seem possessed of more focus and energy with them gone. After not a single live reading through until the start of September, by Christmas I would have hit double figures. I've written a lot, including starting a new project and coincidently landed a first publishing deal for one of my novels with a small independent publisher (more of which in future). So I guess I'll be busy with preparing a marketing and promotion campaign for the book in the new year.

So business as usual for me, except maybe more so. Only... a couple of nights I performed my first ever stand up comedy routine. Now that surely is a symptom of mid-life crisis, bursting out into new territory, trying something completely different from what has gone before? Except writing and performing a comedy routine really wasn't that much different from writing and reading live. Unless you're one of those comedians like Tim Vine who just gets up on stage and tells joke after joke without much in the way of narrative, comedians are story tellers. More often than not, their stories are based around the character of themselves that they project on stage. So in many ways little different from a protagonist created by an author in any novel. Except that there is this tension between the character they present on stage and the true life person, as the audience try and figure out how much of the act is an act and how much they are really like the persona coming through the mic. I make the same calculations as a writer, because I believe no matter how far seemingly removed from yourself a fictional character may be, it still represents some part of your psyche. So for my routine, I did draw on my own life and then had great fun playing and distorting it into, well a fiction. The character is a 50+ year old geezer (that'll be moi) looking back to his youth and the influence of punk rock. That much is true, as is maybe the character taking a slightly sad hypocritical, non-dewey eyed look at what he is now compared with the ideals of punk. But in doing so I exaggerate for comic effect a lot of that tension between then and now, (for example this character talks about no longer being able to pogo on account of a skiing accident, when in fact I have never been skiing in my life). I also bring punk ideals up to date in a way that is probably completely specious, in talking about them in the context of Trump's election and the influence of social media. The Jam get a hammering in the routine but at the time they were the band I saw play live more than any. Sham 69 getting a pasting is in fact representative of my true feelings about them.

In terms of the genesis of the routine, I was watching a live show by my favourite standup comedian Stewart Lee, who deconstructs his comedy even as he performs it (echoes with plenty of my own fiction writing). And in the middle of it - I can't remember the exact prompt - I started composing a routine about punk lyrics (I know, heresy to be writing material of your own when watching your favourite standup performing his act). I mean these were songs I've been listening to and occasionally singing aloud for the past 40 years, so I was able to put my hand on to their lyrical content and started imagining performing a running commentary on some of them. Added into the mix was a couple of twitter hashtag puns I'd made in the past when the hashtag is band or lyric themed and suddenly a whole routine was coming together. Was I really going to try and perform this myself, live in front of an audience? Well if it stood up to the test of me writing it out and it still seeming like a good thing then I already had the perfect open mic night for trying it out. So on my tube journey home from Stewart Lee I wrote out in my notebook what had been in my head in the course of that Thursday evening. On the Saturday I sat down to transcribe those notes and write a full version. Since that was completed by Sunday, I felt this thing was a goer. Now the only thing was to memorise it.

That is the main difference between performing comedy and reading prose live. You don't have the book/script in your hand. Now I'm used to acting out my own stories with gesture and expression, so that aspect didn't pose me an issue. But here I'd had to learn 1500 words perfectly, because as all good comics show, the exact word choice can be very important and funny in itself. So I rehearsed all week. At night with my head on my pillow, I went through the routine in my mind. Didn't get much sleep last week. But I managed to memorise it all and at the show last Friday was pretty much word perfect and raised a few sniggers and snorts from the audience. A couple of people came up afterwards and said they enjoyed the set. I don't think this represents a career change, but was both a really useful thing to do from a writing point of view and though I don't have a bucket list, I think it was something I'd always had a sneaking desire to do at least once.

One final point, I knew that if I was going to perform it live, I would also record a version back home to put on YouTube. Yet there is a huge difference between performing into a microphone where you only get one shot at it in real time and recording to camera where just a few hours after I'd been word perfect in front of an audience, it took about 15 takes just to get through the first 2 of 7 sections. There's is nothing quite like the prod of a microphone and an audience to keep you tightly focused.

So here is the probably one-off standup routine for your delectation and pleasure.




The songs referenced in the routine:

Sex Pistols "God Save The Queen"


The Clash "White Man In Hammersmith Palais"


Talking Heads "Psychokiller"


Ramones "Sheena Is A Punk Rocker"


The Adverts "Gary Gilmore's Eyes"


The Jam "Down In the Tubestation At Midnight"


Gang Of Four "Guns For Butter"

28 Far cries - story prompts

In my latest collection of flash fiction "28 Far Cries", the stories were largely written over the course of 3 months earlier this year at the rate of one a week. This is a very different way of writing from say a novel, since you have to come up with a whole fresh idea from what you did a week before. But this is not as difficult as it sounds, since every day throws up potential story prompts, sometimes in most surprising ways. They can be just everyday observations, people, songs, books, or more specifically a phrase or word in a book. Sometimes a title can come to you first and then you have to find the story that the title conjures up.

So here are the prompts for each of the 28 stories in the collection.

“Road To Nowhere” - this started with the title after the Talking Heads’ song of the same name stuck in my head and just developed from there.

“The Idea Of A Man” - a coalescing of three images that had always stayed with me, a body from Pompeii, the convoys of Iraqi dead in the desert and a body preserved intact from a Scandinavian bog. 

“Ur, Um” -  I’d read those stories where someone wakes up one morning to find they are fluent in Chinese or Russian all of a sudden and wanted to think about what might happen if the original Ur-language came back from extinction and what it might provoke. I was really pleased when the title came along as it did albeit late in the process, a story about language and literacy captioned with almost complete illiteracy!

“Cop Aesthetic” - I can’t quite remember the full genesis of this, but I have always found vultures fascinating creatures and the notion of finding them meditative was one starting point, followed by the notion of the vulture taking care of corruption in the animal kingdom, with a detective doing the same among humanity.

“Staring At The Sun” - prompted by me developing floaters in one of my eyes.

“The New Editors” - this started life as being about the mutation of words on a computer screen under the effect of a virus, but the editor idea crept in and shifted the thrust of the whole story. I don’t think this about editors by the way!

“Nemesis” - I wanted to write an anti-superhero story while we were being bombarded with them in the movies with one lame new release after another. It turned into a realism tale that interrogated the genre of the superhero.

“Shape, Structure, Time” - after reading the work of Alain Robbe-Grillet, I wanted to try and write something along a similar idea. This is a story without characters, but represents a movement in time as traced across a human built structure. Robbe-Grillet is a genius at this. I aimed to make mine uniquely British however.

“Root And Branch” - when parents contemplate their failings, turned up to eleven!

“The Interplanetary Flaneur” - I wrote the bulk of this a long time ago when slogan T-shirts were all the rage. But it only fully coalesced when I hit on the notion of an observer from another world.

“Nocebo” - we all have issues with swallowing pills don’t we? Also reading about the high-ranking Nazis in Hitler’s bunker who took cyanide rather then be captured by the Red Army.

“Geiger Countering” - reading the short stories of Gary Lutz and the way he thrusts words together to make detonations inside the reader’s head, something incendiary just went off in my head and led to this tale.

“Happy Sour” - reading in the bath a book of stories by Brian Evenson and he used the simple phrase “Happy Hour” in a story and my brain went into association overdrive. What if happy hours weren’t actually happy? I had about seven sentences formed in my head by the time I climbed out of the bath and they were the skeleton of the story. Whole thing was completed in an hour.

“Fix Bayonets” - I saw a TV programme where singer Marianne Faithful was exploring her lineage and the programme covered how the Red Army had engaged on a series of mass rapes in Vienna as they went on to do throughout Germany. I knew about Germany, but had no idea about Vienna.

“Lupus” - another one of those hurling reality to do battle with a myth, in this case a real life disease against the myth of the werewolf.

“Percapita” - the videoing of Western hostages being beheaded naturally provokes utter revulsion, but I wanted to get beyond that since revulsion means a turning away from trying to understand the mechanisms at work. I wanted to think about the different cultural issues around the whole thing, including that of film-making, audience and the language of propaganda. About two months after I wrote this, Facebook showed beheading videos under the banner of debate. They soon pulled them under the public outcry.

“Still Ill Man” - I avoid central London as much as possible, but I had to go to Covent Garden where you are beset by jugglers, mime artists and human statues. There was one head to toe in silver paint and in that image was this story born. It was like a human being in a metal carapace and I imagined him imprisoned rather than encased. 

“The Quality Of Writing Is Strained” - I’ve always been interested in the physical act of writing, of forming alphabets and the play on the word “tablet” pulled it all together.

 

“Our Father” - an offshoot of a novella I was writing, so the two came in parallel. A slightly different take and tone in this story than the longer piece.

“Unsighted” - waiting to meet someone in central London who never showed up. I think I hung around uselessly for 90 minutes. Revenge is writing a story about it, though this went through so many drafts, the story ended up being at the expense of the person waiting, not the one who failed to show. 

“Skin Bar” - this was two separate ideas that became conjoined in one story. First was the angularity of a human body dancing against the unyielding metal pole and then there came all the stuff about skin once I realised that the surface of metal too was just another skin surface.

“Type-O Negative” - I’d just done a reading at a literary festival and was waiting around in an arts book shop in case anyone from the show was coming back and I was invaded with the words that mutate into other words in this story. I think something about the adrenaline high from being on stage prompted the space for this process. I had an hour long bus journey home and wrote the whole story during that trip.

“Off Colour” - riffing off expressions and phrases involving colours, such as “feeling blue” or “seeing red” and how unsatisfactory they were really. 

“Lord Of War” - I think I’d been reading about the all-conquering Mongols. It’s quite rare for me to write anything with faintly mythic undertones, but that’s how this story turned out.

“Night Terrors” - one of the few myths that does interest me is that of the incubus/succubus. But I wanted to write a story where the grim reality of human cruelty and persecution was far worse than any nightmarish monster.

“No Laughing Gas Matter” - I think what came first was the notion of drug addicts being immune from a chemical attack and only later did the notion of them saving the world come about.

“Human Viscosity” - I like writing about the physical properties of substances and in this case it was how various liquids moved. Liquids that form part of the human body and I wanted to portray a relationship through how these liquids acted, rather than directly referring to any characters.

“Quickie Divorce” - a parallelism of action and motive in two characters with a shared aim and a mutual contract. Told one word at a time. I like the pacing that enables.

States Of Mind - Songs about mental states

The music that was birthed by "The Blues", personal laments of woe, depression and the like, mental states have always been present in rock music. So here's 15 songs around the theme of mental states.


No prizes for guessing the first one-
1) Black Sabbath - "Paranoid"

I was never a fan of Heavy Metal, but this song broke through my natural resistance and affords the grudging acknowledgement that it is undoubtedly a classic. Doesn't excuse hair and clothes though as demonstrated on this video. I own a pair of Ozzy Osbourne style slippers by the way. Oh what has become of Heavy metal? it's become merchandised into asininity like every other music style.



2) Jimi Hendrix - "Manic Depression"
Not great quality I'm afraid, but in a way it only lends to the unsettling nature of its subject matter. Of course mental health experts would insist on the track being renamed Bi-Polar disorder. My father suffered it under its old guise. Not easy to live with, not knowing if he would be bouncing off the ceiling one day, and refusing to get out of bed to go to work the next.



3) Clipse - "Ego"
The heart of it all if you're a Freudian. In an industry dominated by the exaggerated projection of the ego, perhaps Rap projects it the furthest. In this particular case, Clipse's album tracks are littered with song titles drawn from therapy such as "Counselling" and "Life Change" as they struggle with the trappings of their success.



4) Talking Heads - "Psychokiller"
David Byrne is a curious egg, (though not as odd as David "Behemoth" Thomas from Pere Ubu, must have been something in the New York water in the late 1970s) but I've just bought his learned tome "How Music Works" which I'm looking forward to reading.



5) Rolling Stones - "19th Nervous Breakdown"
Not one of my fave tracks of theirs, I prefer "Paint It Black" to be honest and it's such a strong song it even survived a murdering by the band The Mo-dettes.



6) Pink Floyd - "Comfortably Numb"
The shadow of founding member Syd Barret who succumbed to mental illness possibly brought about by drug use, sits large over Roger Waters' composition with other titles such as "Brain Damage" and "Shine On You Crazy Diamond".



7) King Crimson - "21st Century Schizoid Man"



8) The Kinks - "Acute Schizophrenia Paranoia Blues"
Ray Davies was known to have the odd quirk or two wan't he?



9) Cypress Hill - "Insane In The Brain"
Or kids, don't do drugs...
I recently tracked down a book called "Whispers -  The Voices Of Paranoia" for some research, but was very disappointed that although the case studies were interesting stories, most were prompted by drug abuse which wasn't quite what I was after. The author did that to me deliberately...



10) Coil - "Panic"
Coil were a band who actively pursued the lesser known regions & emotions of the human mind in their music. Partly through drugs and also through the occult, myth and ritual. Big Alastair Crowley fans. Still, I don't hold that against them.



11) Sonic Youth - "Schizophrenia"
Their best ever song was called "Expressway To Yr Skull" which I saw them play live and was blown away by and couldn't wait to own on the forthcoming album. And when the record came out, they'd renamed the track "Madonna, Sean & Me" which doesn't quite carry the same impact somehow...



12) Suicidal Tendencies - "Institutionalized"
I first came across this song on the movie "Repo Man" and what a great song it is. But then the band went all stupid skate rock and that was that.



13) Jonathan Richman & The Modern Lovers - "She's Cracked"
Trouble with Jonathan Richman is that you can't really take any of his songs too seriously with his droll delivery. Still can't disguise how great some of his songs were though.



14) Breeders - "Happiness Is a Warm Gun"
Yeah I know it's a Beatles song but I infinitely prefer this version. So shoot me. Mind you even the Beatles' original is better than U2's version.



15) Nirvana - "Lithium"
The fact that Kurt Cobain put a shotgun to his head probably suggests her knew what he was singing about in songs like this one. My father was prescribed lithium; imagine putting a metal into your bloodstream, well that's what lithium treatment is.

Music Can Be Murder - songs about killing

Rock and roll lifestyle eh? It's one thing throwing a telly out of a hotel window, but the business sure is obsessed with songs about the ultimate crime, that of killing and murder. Here's 20 of the best.

1) Roberta Flak - "Killing Me Softly"
The grandmammy of them all, Roberta's purring delivery slays me every time. So sweet, there's almost no hint of the menace behind the lyrics.



2) MC 900ft Jesus - "The Killer Inside Me"
This guy was so criminally overlooked as a performer that it kills me (see what I did there?) Lots of dark undertones in his delivery have jaunty, half really sinister. Genius.



3) Talking Heads - "Psychokiller"
Can't remember if this was their debut release, but what a song to announce your arrival with. New York art-punk, with French in the lyrics just to underline the artiness of it! From when they were still you know, like good.



4) Neil Young - "Cortez The Killer"
I was never a big Neil Young fan, his voice a bit too reedy for my tastes. But plenty swear by him so I honour that. An American singing a song about imperialism, what are the chances?



5) Barrington Levy - "Murderer"
This has the uncanny feel of someone discovering a body, and screaming murderer, murderer into the air to announce it to the whole community so they come running. I love it so much, I used it in my novel "Time After Time". The French call and response audience aren't really up to the challenge!



6) 999 - "Homicide"
Another overlooked minor classic, this is a rare British example of the genre. Musically pretty sophisticated for what was essentially a punk band. Don't you just love the scratchiness of the video? Ah punk nostalgia...



7) Mekons - "Kill 1980"
Actually scrub that, as the next few show, there are plenty of British examples of the kill song genre. Post-punk-turned country-folk-punk Mekons this song saw the introduction of the violin to their line up and to good effect I can't help but feel.



8) The Cure - "Killing An Arab"
This song gets into many of my charts, as it was seminal to both my musical and literary development. An older cousin of mine suggested that I listen to this song and then read Camus' "L'Etranger" both of which I duulky did and was blown away by both. The 'cool' points at school I was initially seeking after from consuming both just no longer seemed to matter...



10) Robert Cray - "Killing Floor"
Classic blues, there are lots of versions of this from Howlin Wolf to Led Zeppelin, but most weren't live & in colour!



11) Bodycount - "Cop Killer"
Yup, that song that caused all the furore in the US. A very average bit of thrash metal, elevated to legendary status by the outrage. Will the authorities never learn? As John Lydon once sung, "Ignore it and it will go away"



12) Dead Kennedys - "Kill The Poor"
... or the other way is to do it with lashings of humour and irony. Mind you I think this still managed to upset some folks who thought the sentiments were real.



13) Angelic Upstarts - "The Murder Of Liddle Towers"
Liddle Towers was a minor professional boxing trainer who died after being arrested by the Police. Two different bands (The other being Tom Robinson Band) penned songs demanding the truth about his death to be investigated, possibly something of a record, but one of those moments when music tries to advocate for something useful.



14) Adam And The Ants - "Killer In The Home"
When Adam Ant suddenly hit on the formula for chart success in both music and look, this song was the only one from that period that I actually liked. Mind you he still slipped in one of his trademark pirate/red Indian/highwayman references in that trite way of his.



15) Carter USM - Midnight On The Murder Mile
For a duo, this band sure made a racket. They signed my copy of their album when they did a set in the record shop I was working in. Since all their songs were paeans to South London, I asked them to sign it 'to a North Londoner'. Nice chaps.



16) Muse - Assassin
The idea of Muse being angry enough to kill anyone makes me snort! Still, fair song musically.



17) John Lee Hooker - I'm Gonna Kill That woman
... unlike blues singers who you entirely believe they're capable of murder. Awesome. One of the few songs Nick Cave hasn't been able to do justice to in his cover versions.



18) The Bug - "Murder We"
Lots of The Bug's songs are exceedingly angry no matter who the guest vocalist is. An angry man clearly. And dubstep is usually so mellow...



19) Rage Against The Machine - "Killing In The Name Of"
I dunno, I always found this song a bit too bloated to get its sentiments across, but when it was hijacked to prevent some crappy UK TV talent show winner becoming the Christmas chart topping number 1 that was just fine by me. Still didn't go out and buy it though.



20) Snoop Dogg -  Serial Killa
Hima so bad he drop 'is 'aitches when  he raps. Can't take this seriously though I probably should

Ace Of Bass - 20 top bass driven tunes

     It's always the lead guitarists who get all the muso-glory. Drummer get the jokes made about them, singers do the interviews and bassists? Well bassists are like the invisible man of the band. Here's a list of 20 songs to partly redress the balance. They may not all be bass licks by musical virtuosos, but the song wouldn't be the same with a lesser bassline.

1) Buzzcocks - "Whatever Happened To?"
How's this for a bass intro? The instrument really came into its own with punk, since the limited musical abilities of the early punkers meant that the primitive sounds just merged into a noisy squall. But solo bass intros allowed some separation out at the beginning of the song and there were many punk bassists who suddenly stepped more into the limelight than in previous musical eras.

2) The Stranglers - "Nice'N'Sleazy"

This was the band who maybe made me really fall in love with the instrument. Jean-Jacques Burnel's bass was just so dirty sounding, as befit their lyrics. Yeah there were persistent rumours that he couldn't actually play and the keyboardist Dave Greenfield was actually playing the riffs, but Burnel was a classically trained musician so I don't buy it. The lowest of low-end bass!

                                       

3) Wire - "Like a Heartbeat"

Wire were always more arty purveyors of punk rock, musically stripped down. the bass pulse as a heartbeat, what could be simpler than that? Stunningly effective. Suddenly it was the upfront bass sound that people could dance to, just like in reggae. 

                                      

4) Talking Heads - "Psychokiller"

Meanwhile, over in New York where New Wave preceded punk unlike in Britain, there were some accomplished musicians showing a punk attitude but with musical virtuosity to boot. If I wanted to look like JJ Burnel, I wanted Tina Weymouth to be my girlfriend. Quite simply a psychokiller of a bass intro.

                                    

5) Pere Ubu - "Heart Of Darkness"

And just to emphasise New York's primacy of the accomplished New Wave sond, comes Pere Ubu and another paranoia-suffused bass intro. Both these tracks have the bass as the more primary instrument and don't they sound all the better for it? New York in the early 80s must have been one messed up city.

                                    

6) Public Image Ltd - "Poptones"

The brief flare that was punk rock was quickly replaced by New Wave in Britain with similar values to those in the US. Arch musical experimentalists PIL had the musical genius that is Jah Wobble on bass, heavily influenced as his name suggests by bass-heavy dub reggae. A bass sound that is both dense and fragile at the same time. Outstanding.     

    

       

7) The Ruts - "Love In Vein"
Part of punk and New Wave was a formal link up and experimentation with reggae and reggae musicians. Ruts were out and out punk but had very close local ties to roots reggae band Misty and the two shared many bills on the Rock Against Racism tour. Here the crossover is clear in one of the most achingly sad and beautiful songs by a punk band.

8) The Jam - "Funeral Pyre"
By now punk had gone all mainstream and bands like the Jam were having regular singles in the Top 10 of the charts. This song is unusually heavy and free-form for what was a tight threesome and everyone normally remembers the drum solo closing out the song, but actually bassist Bruce Foxton was also allowed off his tight leash to twiddle and thump away. Powerpop.

9) The Cure - "A Forest"
The Cure were never punk. A bit low-fi pop on their debut album and soon to move into stadium Goth. But in between was their second melancholy album and this track showing a bass also driving a song, but without the bluster and pose of songs with harder edge. The sound of a higher end bass. Who'd be a bassists though? The Cure's Laurence Tolhurst went to Court to sue over lack of royalties saying he contributed ineffably to the Cure sound. He lost.

10) Dead Kennedys - "We Got a Bigger Problem Now"
Hopping back over the pond and New Wave had taken the reverse journey and morphed into punk, thrash and hardcore. Progenitors of that were San Fransisco's Dead Kennedys with Klaus Flouride on bass. Here he has a little lounge music lick to satirise the right wing's music of choice. This song was a reworking of their earlier hit "California Uber Alles" written about the right-wing Governor Jerry Brown. But with californian Ronald reagan ascending to the Whitehouse, the US did as they say, have a bigger problem than that now... The West coast can do its own rather nice line in paranoia too.

11) Minutemen - "Anchor"
But US punk wasn't all thrash. The Minutemen were a trio whose musical abilities allowed them to include folk and jazz elements to their tightly blended mix. Guitar and bass alternated duties as leading songs and the band introduced Mike Watt, bass guitarist supreme upon the world.

12) World Domination Enterprises - "Asbestos Lead Asbestos"

If lead guitars can carry you along highways or out into space, the bass nearly always roots you back into the urban city. Here World Dom with their dub reggae penchant utterly nail the grime of their West London roots. Guitars are wielded like axes or played over the heart and chest, or even teasing over their sex, but bass guitars are always low-slung, closer to the ground. And of course they have a longer fretboard, to keep other people further at arms length...

                                         

13) Gang Of Four - "To Hell With Poverty"
The funk is introduced to New Wave. George Clinton and other funk bands were perhaps the only other precursors of punk who might bring the bass into the foreground. Since Gang Of Four's guitar sound was so choppy and intermittent, they needed a bass sound to carry the weight of some songs and fill in the gaps.

14) Beastie Boys - "Gratitude"
Hip hop could sample any sound it wanted. Yet when the Beastie Boys went back to their live instruments and punky roots, they brought delicious distortion to their bass sound. Ramp it up! RIP Adam MCA Yauch.

15) Birthday Party - "Mutiny In Heaven"
Punk, New Wave, Goth, what did any of it mean anymore by the mid-80s? There was a flowering of indie bands each pursuing their own underground tracks. The Birthday Party from Australia were one such blossoming that couldn't really be pigeonholed. But bassist Tracy Pew with his cowboy hat and biker fashion, sadly now dead from his grand mal seizures, was always driving the band forward with their off beat drum section, sometimes one drummer, sometimes two which he had to compete with as well as compliment. A bass rumble truly to soundtrack the rhythms of Hell!

16) Gun Club - "Sexbeat"
Psychobilly (UK) or swamp blues (US) was creative another offshoot and here the bass truly lends a quality of swampy sludge even as it drives the blues throb along in its train-driving manner.

17) Jesus And Mary Chain - "Sidewalking"
Meanwhile from Scotland, a band who wanted to be the surfer punks, the Beach Boys with a lot of reverb on top. I kind of liked their schtick, but the bass was always prominent among the feedback squall of the lead. It had to be, to keep it all together.

18) Cop Shoot Cop - "Shine On Elisabeth"
Two basses no guitars, this is a no brainer. 1 hi-end bass, one low-end bass, a heavnely heavy duty throbbing racket. This is my bass nirvana I think (the Buddhist ideal highest state of non-being, not Kurt Cobain's outfit).

19) Thee Johns - "White Boy Engineer"
There was a fashion for rock bands having drum machines instead of live drummers which definitely changed the vibe. Drum machines always sounded a bit tinny and brittle, so the bassist had to inject the weight into the musical grooves to compensate.

20) White Denim - "Let's Talk About It"
And so to the present day. I don't much about this band but we seem to be still where we were with permission for the bass sometimes to grab the glory in a song. Even with a geeky looking guy on bass like this one! Thanks for listening