Various Artists, Life Moves Pretty Fast: The John Hughes Mixtapes (Demon, 2022)

By Null

When I first heard there was going to be a John Hughes box set, I pictured a set containing all of his original movie soundtracks in their original forms. I had always loved the soundtracks for the films Pretty in Pink and The Breakfast Club. I then had a series of questions: Would they be in little facsimiles of the original LPs? How cool would that be? How many movies did John Hughes even make?

My immediate impression was shattered, however, when I learned that the box set was a series of four CDs, or “mixed tapes,” compiling selected tracks from his film made in the 1980s. I looked at the track list and was disgruntled by the fact that, not only were songs not in chronological order, but none of the great instrumental tracks from The Breakfast Club were present. I’m not even sure if they’re “great,” but I am used to them being there. These instrumental tracks are a major part of the listening experience of that album. I then pulled out The Breakfast Club soundtrack and was reminded of the weaker tracks that I often forget even appear on the record. It’s true, not all of John Hughes soundtracks were as solid as Pretty in Pink. As a matter of fact, I only have the two aforementioned soundtracks. Maybe most of them are awful. Do I even want to hear the soundtrack for She’s Having a Baby?

Once I finally got my hands on the box set and started listening, I realized that the people who put this collection together had the right idea. It is a great listen that never really reaches a moment of fatigue, which would undoubtedly happen if one had to sit through the entire litany of soundtracks in their entirety. As far as “mixed tapes” go, each disc has a flow that twists and turns with recognizable favorites and unknown, buried gems that span decades of music. 

This box set is highly recommended. 

And don’t worry, the original Pretty in Pink and The Breakfast Club soundtracks are both still in print for your listening pleasure. 

Finally, I have a physical copy of that song from National Lampoon’s Vacation. It’s the small things; life moves pretty fast.

Eulogy For a Giant Fucking Talent, Nik Turner

By Jimmy “Explosive Diarrhea” B.

 Do you know what almost never belongs in rock and roll? Saxophones. Like all of my rules and beliefs, there are exceptions. If the sax is played by Bruce Lamont, Dana Colley, or Nik Turner then I can accept it. One of these important sax blowing men, arguably the best of the lot - Nik Turner - died recently.

 I assume that most of the Taint Ticklers know that Nik Turner was one of the original members of Hawkwind where he played sax and flute. His playing wasn't that weak-ass horn blowing of someone like Clarence Clemons. Nik always played jazz. Early Hawkwind had an unusual sound that combined punk, hard rock, and jazz flourishes to create some of the most original progressive rock of the era. It is likely that if Nik had begun his career recording jazz albums he would be regarded as one of the great jazz sax players. He did make jazz albums later in life, although I doubt he sold enough jazz records to keep the lights on. 

 Outside of Hawkwind, Turner played on a bunch of records, sometimes his own projects and sometimes as a guest for other artists. His list of credits is long. I know Turner from four projects, Hawkwind, his solo jazz recordings, his solo space-rock albums, and a wonderful album he made with Youth from Killing Joke called Interstellar Energy (click play on the video below). 

 

 

I first heard Hawkwind when I was in my late-20s. This was a time when I was beginning to experiment with progressive rock. I had come from hard rock and metal so I found Hawkwind at the right time. I was also excited that Lemmy Kilminster played bass on three of the early Hawkwind records. I found a stash of Hawkwind records at a small thrift store below my favorite bar, The Speak Easy, in Lincoln, Nebraska. At the time, I had never heard Hawkwind so I only bought one of the records. The next day I was back at the thrift store buying the other three Hawkwind albums in the bin. Nik Turner helped me move along my musical journey to the jazz, progressive rock, bluegrass, country, and metal loving weirdo that I am now. 

 I assume that because you are reading a blog post you are staring at either a phone or a computer screen. Jump over to the website you use to find new music and listen to Interstellar Energy and some of the early Hawkwind tracks. Be careful though, Nik Turner's playing may prevent you from liking those old Bruce Springsteen (and the E-Street Band) or Huey Lewis and the News records ever again.

Farewell D.H. Peligro

By Null

The legendary drummer of Dead Kennedys died after hitting his head during a fall on October 28, 2022. Peligro had a long history playing in many bands and even released three albums under his own name. While I am unfamiliar with most of them, I intimately know all of his work in the Dead Kennedys, as this band absolutely changed my life. For me, D.H. Peligro will always be “the sound” of punk rock drumming. 

I cannot quantify how much each member of the Dead Kennedys meant to me. Jello Biafra’s socio-political lyrics involved satire that made listeners snicker with laughter, yet also left them heartbroken. His vocal delivery was a vicious attack on injustice and inhumanity wherever he found it. East Bay Ray’s guitar work complemented Jello’s lyrical style with a slashing, psychedelic surf rock. Klaus Flouride’s bass lines were the sound of perfection, tethering the band, and each song, to the ground. Behind all of this was the knocking stream engine of Peligro. He was the backdrop to the drama and theatrics, holding the show together. He could play with gentle hands and subtly until he hit the release valve, cueing the band to explode, as in the song “Riot.” He nailed swing-jazz, as in “We’ve Got a Bigger Problem Now.” He was able to hold the whole band down in a straight-up rock groove. He also played blisteringly fast hardcore punk that still baffles the mind. Best of all, the band could play loose and free, or be as tight as a tourniquet, often within the same song. Peligro was there for each lightening turn.

Like The Beatles or Led Zeppelin, each member had a specific roll to play resulting in a unique and instantly recognizable sound. Also, unlike today, where everything is overproduced, the Dead Kennedys sounded like a band in a room. Peligro’s drums sound like, well, drums, recorded with microphones, not processed on the some virtual-space.

There will not be full-blown articles in rock magazines analyzing and recounting the many triumphs in Peligro’s style, as was the case when John Bonham and Neil Pert died. But there should be. Unfortunately, music critics will simply note, “He was just a punk drummer.” Okay, that’s fine. It is as it always was. However, those who listened closely and took mental notes already know the brilliance of Peligro. We don’t need any validation of his ability, because it was completely evident when sitting in a bedroom with lyric sheets in hand and listening to the music with headphones. Peligro did not just play a part in a radical punk band; he was a member of one of the greatest and most important bands to ever record music.

Peligro rarely wrote lyrics for the Dead Kennedys—that was Jello’s role. However, he did write the lyrics to the second song on the album Frankenchrist, called “Hellnation.” I’ll let him have the last word.

Hellnation’s when they teach us

Profiting from greed

Hellnation’s what they give us

Coke, heroin & speed

Hellnation’s when they tell you

You gotta go clean up your act

You’re the one who dragged me here

And now you drag me back

To this Hellnation

Problem is, few care

About the people in despair

If you help no one

You’re guilty in the Hellnation

Hellnation’s when the president

Asks for four more fucking years

Hellnation’s when he gets it

By conning poor people and peers

Hellnation—got no choice

What’s the point of trying to vote?

When this country makes war

We all die in the same boat

In this Hellnation

Problem is, few care

About the people in despair

If you help no one

You’re guilty in the Hellnation

It’s the only world we’ve got

Let’s protect it while we can

It’s all there is and there ain’t no more

Hellnation—asking please

For a nuclear freeze

So the unborn kids

Get their chance to live and breathe

Hellnation asking aid

For the minimum wage

So the kids of tomorrow

Don’t wind up slaves to their trade

In the Hellnation

Problem is, few care

About the people in despair

If you help no one

You’re guilty in the Hellnation