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[Bad Music For Bad People]

Nedelja, 7. septembar @ KC GRAD | 22:00

 

 

Memfis je zbog Sun Records produkcije 50-tih godina 20. veka važio za rodni grad rokenrola, a poslednjih 20+ smatra se glavnim gradom garažnog roka ponajviše zahvaljujući Jacku Oblivianu (Jack Yarber). Osim što je tokom 90-tih predvodio dva vrlo uticajna garage-punk benda – Compulsive Gamblers i Oblivians – Jack Oblivian je i po raspadu potonjih svirao u par sjajnih grupa sa legendama kakve su Arthur Lee, Andre Williams, Nathaniel Mayer, Tav Falco, Jeffrey Evans, ali i paralelno radio na sopstvenoj solo karijeri sa bendom koji je menjao imena od The Tearjerkers do Jack-O & The Tennessee Tearjerkers, te svirao u (pored ostalih) još tri izuzetno važne grupe: South Filthy, Cool Jerks i Knaughty Knights.

                                           

Jack Oblivian rođen je u mestu Corinth, Mississippi 1967. Jedan od prvih bendova, Johnny Vomit & the Dry Heaves, formirao je sa rođakom Jimboom Mathusom (Squirrel Nut Zippers). U Memfis se sele zajedno sredinom 80-tih i sviraju pod imenom The End. Jimbo ubrzo napušta Memfis, a Jack ’91. okuplja prvi ozbiljniji sastav Compulsive Gamblers sa Gregom Cartwrightom. Uprkos odličnim pesmama bend objavljuje tek par singlova dok se materijal za long-play krčka i čeka neka bolja vremena za objavljivanje.

 

1993. Jack Yarber, Greg Cartwright i Eric Friedl prave Oblivians, lo-fi punk/blues trio i nepune dve godine posle izbacuju prvu dugosvirajuću ploču „Soul Food“ za Crypt Records. Ideja je sledeća: sva trojica koriste prezime Oblivian (posveta jednom od najvažnijih bendova u istoriji rokenrola – Ramones), nema basa, sva trojica pevaju i sviraju gitare i bubnjeve, kompletna produkcija je lo-fi (posveta The Gories iz Detroita) i šibaju trash-garage. Sličan recept ubrzo će koristiti mnogi, posebno u vezi sa odsustvom svake pitke produkcije i bas gitare (White Stripes i Black Keys na prvim pločama). Za samo pet godina Oblivians su snimili tri albuma za Crypt Records, par 10’’ i kompilaciju neobjavljenog materijala za Sympathy For The Records Industry, te više singlova za razne izdavače, mahom u SAD. Važnije od ovih podataka jeste da se, iako nisu bili prvi bend koji je koristio raspalu opremu, nije imao bas i ukrstio je nepomirljive žanrove (blues i punk ili garage punk), Oblivians danas smatraju jednim od najuticajnijih garage bendova s kraja 20. veka. Drugi garage revival talas koji je iznedrio neviđeni broj novih grupa započeo je sa The Gories krajem 80-tih, ali su baš Oblivians nekoliko godina posle svojim beskompromisnim i pankerskim pristupom bluzu čitavu stvar daleko ozbiljnije zakotrljali i približili klincima koji su prangijali svoje instrumente po garažama i podrumima širom SAD.

1998. razilaze se bez svađe. Eric Oblivian posvećuje se svojoj izdavačkoj kući Goner Records, a Jack i Greg pokušavaju opet sa Compulsive Gamblers daleko uspešnije nego ranije, a zahvaljujući prašini koju su Oblivians podigli za pet godina postojanja. Ipak, posle par godina i par albuma Jack se posvećuje solo karijeri, a Greg formira Reigning Sound.

 

Yarberov novi bend The Tearjerkers (potom Jack-O & The Tennessee Tearjerkers) snima tri albuma za Sympathy For The Record Industry („Bad Moon Rising“, 2001. | „Don’t Throw Your Love Away“, 2005. i „Jack-O Is The Flip Side Kid“, 2006.), a potom jedan za Goner Records („The Disco Outlaw“, 2009.). Od prelaska na Big Legal Mess 2010. godine (potkuću Fat Possum Records: The Black Keys, Iggy & The Stooges, Dinosaur Jr...) sva izdanja se potpisuju krajnje jednostavno sa Jack Oblivian. Muzički izraz smešten je na teren koji Yarber istražuje po raspadu Oblivians: punk estetika u interakciji sa snažnom emocijom blues/soul pesme. Poslednja ploča „Rat City“ (Big Legal Mess/Fat Possum, 2011.) dobila je dosta pozitivnih kritika, a recenzenti su složni u vezi jedne stvari – niko kao Oblivian ne uspeva tako umešno da veže zvuk Rolling Stones iz vremena „Exile On Main St.“ i „Sticky Fingers“ sa lokalnim nasleđem crne (blues, R’n’B/soul) i bele (country) muzike. Sve ovo propušteno kroz za Obliviana neizbežni punk filter rezultira savršeno ukusnom džambalajom.

 

 

Prošle godine Oblivians u originalnoj postavi snimaju povratnički album – „Desperation“, a u studiju Dana Auerbacha iz Black Keys. Priča o kraljevima garažnog rokenrola ponovo je aktuelizovana i nastupima na nekoliko festivala i u više bitnih klubova u SAD. Jack Oblivian bi do kraja godine trebalo da ima i novu ploču, a pre toga dolazi na mesec i po dana dugačku evropsku turneju da potvrdi svoje mesto na tronu najvećeg garažnog rokera poslednjih 15-ak godina.

 

Beogradski koncert održaće se u nedelju, 7. septembra u KC Grad-u (Braće Krsmanović 4). Pored Obliviana nastupiće i Repetitor kao domaća podrška i atraktivne mlade nade garažne scene Memfisa - The Sheiks.

Karte u pretprodaji na šanku KC Grad-a i u Pinball Wizard Records prodavnici do 7. avgusta – 1000 dinara, od 7. avgusta do 6. septembra – 1200 dinara i na ulazu u KC Grad 7. septembra – 1500 dinara.

 

http://en.wikipedia....iki/Jack_Yarber

http://en.wikipedia.org/wiki/Oblivians

https://www.facebook.com/jackoblivian

http://www.fatpossum...s/jack-oblivian

http://www.allmusic....59617/biography

http://www.last.fm/music/Jack+Oblivian

http://pitchfork.com...15841-rat-city/

http://en.wikipedia.org/wiki/Repetitor

http://repetitor.bandcamp.com/

http://www.moonleere...ists/repetitor/

http://thesheiks901.bandcamp.com/

Video:

http://www.mtv.com/v...-no-money.jhtml

https://www.youtube.com/watch?v=3tmhuj8t-Rk

https://www.youtube.com/watch?v=0KjdbAnipew

https://www.youtube.com/watch?v=7IgqUNrqo-o

 

Poster:

[Bad Music For Bad People]

http://www.trouserpr...php?a=oblivians

[Bad Music For Bad People]

Karte od danas u pretprodaji na šanku KC Grad-a, a od ponedeljka 28. jula i u Pinball Wizard Records prodavnici!!

[Bad Music For Bad People]

http://www.mtv.com/v...html#id=1609015

[Bad Music For Bad People]

[Bad Music For Bad People]

http://www.tajanstve...mphis-tn-u-s-a/

[Bad Music For Bad People]

[Bad Music For Bad People]

Pitchfork recenzija:

 

Just as a new generation of musicians is finding inspiration in lo-fi indie from the early 1990s,Jack Yarber has more or less abandoned the scene for a grittier sound that's more junkyard than garage. A onetime member of Memphis stalwarts the Compulsive Gamblers and the Oblivians, he's also recorded a handful of albums under a variety of aliases, plying a mid-fi, R&B-tinged boogie rock that has more in common with Suicide or how you wish New York Dolls sounded than with his former projects. Rat City, released under the Jack Oblivian moniker, is a solo record in the truest sense, with Yarber playing almost all the instruments himself and only occasionally outsourcing to local musicians like librarian/badass Ross Johnson and local guitarist John Paul Keith. These songs are Camaro'ed out, streamlined for headlong tempos and seedy urgency.

Rat City is not ironic cock rock: Oblivian betrays no smirk, just a coolly stoic expression capped with dark sunglasses. What should be limiting, however, is instead a blueprint for a stylistically diverse album, one that changes shape and direction almost with every song. Rat City is a bustling, ungentrified metropolis: Memphis standing in for 1970s New York City. With its disco-derived bassline and close-to-the chest drumming, "Crime of Love" wields a mirrorball as a murder weapon, and Yarber's cover of "Moses & Me" mugs the Tommy James original, drenching it in distortion but maintaining the original blues-pop energy. His greatest reach may be the album's greatest payoff: Local indie-pop outfit Star & Micey back him on "Girl on the Beach", which sounds like boardwalk-era Springsteen and Dexys Midnight Runners kicking over Wavves' sandcastle. It's an adult summer anthem with a fall release, a discrepancy that more or less sums up the song's sense of wistful frustration with unattainable people and unreachable places.

The downside of this rambling aesthetic is that Yarber occasionally comes across as a cipher, too cool and detached to maintain a specific perspective from one song to the next. Instead, what threads the album together isn't his vocals or even the songwriting, but the guitars. Yarber is a slyly inventive player, deploying concise riffs in a variety of styles and changing them subtly with each repetition. By himself, he's a commanding presence, but he's even better when he can bounce off a second guitarist, like Keith or Jake Vest. They bluster bluesily through "Mass Confusion" and roll out Bakersfield variants on "Kidnapper", simultaneously enabling the stylistic digressions to cohere into a focused record. They lend Rat City its punk shrewdness and endow these songs with a prickly intelligence that makes what could have been dumb rock sound seriously smart.

 

http://pitchfork.com...15841-rat-city/

[Bad Music For Bad People]

http://www.gradbeogr...ram.php?id=1020

[Bad Music For Bad People]

Žikica Simić pre neku godinu napisao opasnu recenziju Oblivianovog albuma "The Disco Outlaw":

http://www.politika....-Memfis.sr.html

[Bad Music For Bad People]

 

Quote

 

 

Another in the epic list of bands of underground garage rock legend Jack Yarber, the Tearjerkershave the same soulful mix of scuzzy rock and blues as any of his other projects. The stomping R&B of "White Lie, Black Eye" opens it up, combining the attitude of the Oblivians with the sensitivity of Cheap Trick's Robin Zander. "Stupid Cupid" has the same approach, but with a catchy '70s-type rock riff and a great dual guitar solo. Then the album opens up to a more twisted side, with the Stooges-esque "Wire Tapper Calling" and "Dollar to Death" sounding like a less distorted, keyboard-happy Ramones. Much like the Compulsive Gamblers or several other of his bands, what makes this so special is Yarber's interpretation of classic song styles, mixed with an uncanny ability to fill each self-deprecating lyric with a complete range of emotion and intensity. The psycho-country of "Bank, Gun, Jail" provides a great outlaw story, with Yarber's typically creative and at times humorous lyrics ("She was my Bonnie, I was her Clyde"). Other standouts include the frantic, upbeat crunch of "Earthquake Date" and the Western twang and futility of "living behind a tin badge" on "Devil's Border." Ten of the 12 tracks are originals, and Bad Mood Rising closes with "D.O.A. Blues," an unusual but solid garage-blues cover of a Van Halen song. Yarber's honesty and delivery, not to mention his appreciation of a well-written song, somehow make this scattered collection of songs sound timeless and essential.

 

[Bad Music For Bad People]

[Bad Music For Bad People]

https://myspace.com/...sic/music/songs

[Bad Music For Bad People]

[Bad Music For Bad People]