June 1997 ear candy by Leslie Harpold |
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Got the Knack?
My next door neighbor Candace and I
used to play The Cars "Candy-O" and
both Knack records when I was in
eighth grade to distraction. We'd
sit on my front porch, turn it all
the way up and watch the boys from
Northwest have soccer practice right
across the street. These were high
school boys, so we figured the full
volume declaration of our musical
taste would irresistibly draw them
to us, although in retrospect, I'm
sure any attention we got was
largely based on our tube tops.
Still, to hear those songs with the
hisses and pops of vinyl intact is
to get in touch with some deep
primal stirring of mine. To feel
that brink of sexual tension, like a
Pavlovian dog, it feels a little
like waiting too long to pee, right
when you're trying to decide if you
still need to go or not.
I almost got the same feeling listening to the new Foo Fighters record. If
only they had the presence of mind to put that little hissing noise at the
beginning, I would have thought at times I was listening to "...but the
Little Girls Understand," the sophomore and swan song record from The Knack.
I'm a little worried about the Foo Fighters.
See, the parallels between the two bands are slightly less obvious than
say, the whole "Kennedy had a secretary named Lincoln" and "Lincoln had a secretary named Kennedy" conspiracy, but they're there if that's what you're
looking for. I wouldn't have looked if tracks like Monkeywrench and
Wind Up didn't bear such a striking resemblance to The Knack's
Tell Me You're Mine and the reprise to Mr. Handleman.
FF's Doll, the now obligatory power ballad by mod rock artists seems
to merely serve as the epilogue to It's You where the remorse for
The Knack's overzealous declaration of strong emotion kicks in.
When The Knack first emerged in 1977 with "Get the Knack" their beat
driven, hook laden power pop captured the hearts and burgeoning hormones of
a whole generation of pre- and post-pubescent kids who were looking for
something with a little more urgency than the sunny pop of dominant musical
forces of the time like Wings and Pablo Cruise, but without the nasty album
rock aftertaste of Foghat and the watered down orchestration of bands like
Styx. Enter Doug Fieger and his crew, inexplicably dividing the hearts of
critics, and experiencing wild success on the charts. By the time the
next record came out, the hits were overplayed (and of course there were
all those Ayatollah song parodies to the tune of My Sharona) and the
critics waited to pulverize them in the press, seemingly, no matter what
the record sounded like.
"...but the Little Girls Understand" was a nod to the naysayers, The Knack
made no secret of the fact that they were well aware at the real force
behind their success. (I remember hearing other girls swoon "he looks like
John Ritter, but cuter" numerous times) .
So - where are the similarities? Well, mainly, the records sound alike,
both "The Colour and the Shape" and "...but the Little" are the bands
highly anticipated second releases and both records sound a lot alike.
It's also safe to say that both records are solid and wholly listenable,
laced with formulaic pop that especially appeals to the "gonna get my
driver's license this summer and blast this from Mom's stereo" set, but
will still be found on the lips of every twenty and thirty something that
considers themselves "with it."
I still think both groups debut records were better. Once The Knack's
second record fell off the charts, that was the last we heard from them
until My Sharona was old enough to be a novelty song, and I'd hate to see
this summer be all the Foo Fighters we get until the "Big Chill" or
"Reality Bites" of the Millennial Generation is made and Big Me is on the
soundtrack. I'm keeping my fingers crossed that the band will continue to
grow and put out good records, if only because Pat Smear needs the work.
There's not a lot of call for really old punk guys who can still rock.
The difference likely lies in the fact that the Fighters are the bastard
children of a long line of great bands, and have a much better perspective
- not to mention exponentially more raw talent than The Knack. After
listening to "The Colour and the Shape" though, seeing the similarities was
just unavoidable.
The final saving grace for the Foo Fighters are two tracks that, while they
have certain Knack-like undertones, kind of have a life of their own.
My Hero I can find no better way to describe than by saying it
sounds like a cover of a Nirvana song that never existed, complete with the
attitude and pose of self loathing, and Everlong, by far the
album's strongest track actually comes dangerously close to sounding like
what everyone hoped the next Foo Fighters record would sound like.
Don't get me wrong, this is an excellent album and one that makes me wish I
still had a front porch to sit on while I blared this record to impress the
soccer players, and of course, I just don't look that good in a tube top
now that the whole nubility-of-a-13-year-old has worn off completely. I'm
just saying that I hope that once the hullabaloo dies down, this isn't the
last we hear from the Fighters until they turn up at some county fair ten
years from now as the novelty nostalgia attraction that opens for the funny
car race.
back to the junk drawer
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