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The Killers
Sometimes just getting the bare necessities covered can make all the difference. Like finding a place to rehearse. Since most neighbors don't like being blown off their couch, Rock groups have been relegated to practicing in basements and garages, usually with several inches of concrete between them and the outside world. But The Killers managed to score rehearsal space at the University of Nevada at Las Vegas - UNLV.
After being dumped by synth-popsters Blush Response over whether or not to relocate to L.A., keyboardist Flowers attended a 2002 Oasis show and decided next time around he'd like to be in a more guitar oriented band. An ad in a local music paper, referencing Oasis as an influence, led Flowers to hook up with Keuning. The two began writing songs with "Mr. Brightside" being their first effort. Keuning had a verse and Flowers added the chorus.
As often happens finding the rest of the group was a bit more difficult. A series of bassists and drummers tried out before Vannucii and Stoermer were enlisted. But even with the line-up in place it was tough going. Day jobs, rather than gigs, paid the bills. Flowers worked as a hotel bellhop, Keuning did time at Banana Republic while Stoermer was a medical courier hauling blood, urine and body parts. Knowing Vegas he was probably a very busy fellow. That left Vannucci who, aside from being a photographer at the Little Chapel of Flowers, was also a classical percussion student at UNLV.
After a few life-threatening rehearsals is a hot box of a garage, the ever resourceful Vannucci, was able to sneak the group into the UNLV band rehearsal space for late night sessions. That was much better, especially for Vannucci, since there was already a drum kit at UNLV he didn't have to haul his around.
The Killers, taking their name from a New Order video, soon built a local rep but their first label contract came from the London based indie Lizard King. The group left for England to record and tour. Later, an appearance at the CMJ (College Music Journal) show in New York led to a worldwide (except the UK) deal with Island. '04 saw the release of their "Hot Fuss" CD which went multi-platinum.
Still hanging on to their Vegas roots (refusing to relocate to L.A.), the Killers, in October, '06, released "Sam's Town," the title referencing an old school Vegas casino/hangout.
Not that there was a cause and effect but the group appeared on the season premier of Saturday Night Live and the following week "Sam's Town" reached #2 (behind Evanescence's "The Open Door") on the Billboard 200 album chart selling more CDs than Beck ("The Information") and Jet ("Shine On") combined.
"Sawdust," the Killers compilation of remixes, b-sides, unreleased songs and covers, was released in '07. The set featured "Tranquilize," a collaboration with the legendary Lou Reed.
You might suspect that a group called The Killers would sound like Motorhead, a full tilt outfit, or at the very least, a retro jump-jive boogie band. But they are neither. As their debut "Hot Fuss," shows, The Killers are an accessible pop-Rock group with a good ear for melody and enough punch to keep things interesting. "Mr. Brightside" has an '80s Rock feel especially with the lyric "choking on your lullabies." "Smile Like You Mean It" and "All These Things That I've Done" are appealing and worth repeated listens (as so many fans discovered).
It's funny. A group can spend years trying to get people to listen to them. But after achieving their goal and selling millions of CDs, they shift focus and assume their audience will gladly listen to anything they create. That can be a fatal mistake.
The Killers aren't the first group whose sophomore effort pales in comparison to their debut. Nor is "Sam's Town" unique in that that the lead/title track is the best song on the album. Also, beware of albums that have a beginning ("Enterlude") and an end ("Exitude"). It smacks of pretension. And usually the songs are barely passable. Here is no exception.
The only time people focus on lyrics is if the songwriter is particularly good at them (Dylan, Springsteen, Bono, Corgan, Armstrong, etc.). But generally, lyrics should tell a story or convey an emotion and not get in the way. Lyrics sometimes become the focus when the music is less than compelling. Rock lyrics aren't expected to be art. Or shouldn't be. But is it too much to ask that the lyrics reach beyond the usual drivel that emanates from junior high poetry classes? The line "can we climb this mountain?" from the single "When You Were Young" is a cliche. The song also uses metaphors better suited for the Weather Channel. "Bling (Confessions Of A King)" is an actual song title - enough said. On the strained "Uncle Jonny" they rhyme "out tonight" and "city light" like any 8th grader would. If you aren't going to come up with something better, then make sure the music Rocks. Unfortunately, those efforts are hit and miss.
Aside from the title track that sounds like hopped up Cars, "For Reasons Unknown" and the '80s synth driven "The River Is Wide" are appealing. "Why Do I Keep Counting" is the most cohesive of the ballads and works the best - which really isn't saying much.
Early in some band's career they record a number of songs, including demos, that get shelved. It's not that these tracks are particularly bad, rather they don't fit the current musical style or, more importantly, the marketing direction. Groups pitched as a creative force only release original material, no covers. Maybe a song is too much like the others on an album or not enough like them. Could go either way.
And let's not forget group politics. There's the band member who feels an alternate mix of a particular song is superior to the one released and won't shut up about it until his version is released. A lot of the time, no one but the band member and seriously devoted fans can tell the difference.
These tracks are tossed out on b-sides or land on a filler EP. Of course, if the band is a huge success, like the Killers, then these wayward tracks are eventually released on a full-length CD. It can either be viewed as shameless record label ploy designed to bilk fans out of a few dollars more or as a revealing look at a group's capabilities and considerations. "Sawdust" is the latter.
Sounds as though the Killers are trying to create a Folk "Walk On The Wild Side" with "Tranquilize." They don't get there but the track does offer Reed the opportunity to intone darkly (and that carries weight). "All The Pretty Faces" is a pop/goth shot but sounds surprisingly good. The Killers effectively cut to the chase on "Under The Gun" and "Move Over" while "Romeo And Juliet" provides some tongue-in-cheek histrionics. "Where The White Boys Dance" allows Flowers to up his register - to near falsetto - as the band percolates beneath.
The Killers cover Joy Division's "Shadowplay" and deliver an acceptable dance/pop diversion. They roll right through Queen's ice cream on the dramatic "Glamorous Indie Rock And Roll." Kinda funny to sound like Queen when singing about indie Rock since the Glam group was about as far from the indie ethos as a band could get. Turn around and the Killers stroll through George Thorogood's turf on "Leave The Bourbon On The Shelf." If Thorogood doesn't add this song to his set list he will have made a major career mistake. Their perfect cover of Kenny Rogers' weeper, "Ruby, Don't Take Your Love To Town" is impressive. On paper, this looks like a serious mistake but the lyrics apply to the Iraq War wounded as much, if not more, than those in Rogers' Vietnam era. They dispense with Rogers' inherent schlock and give the song a Folk/Country flavor that actually makes it listenable - no small achievement.
Obviously, not everything on "Sawdust" works and there are a handful of tracks that could have stayed in the closet. But overall, the set has an easy looseness that's not as prevalent in the group's other releases.
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