What do these bands
have in common: The Stooges, The Jam, The
Police, Crowded House, Take That, Rage Against
the Machine (RATM) and Creedence
Clearwater Revival (CCR) ? Well, if it wasn't for the
addition of schmaltzy boy band Take That the correct
answer could be that all these acts sit somewhere on the rock
'n roll spectrum. In actual fact, this illustrious list is
brought together by the somewhat dubious fact that they have
all reformed or are in the process of reforming.
For some of these
acts, like Take That, Crowded House and RATM,
it has been only ten years or less since they disbanded. But
CCR, who are rumored to be reuniting for a once off
performance at Glastonbury this year, haven't played together
since breaking up acrimoniously in 1971.
The Jam
were hastily disbanded by Paul Weller in 1982, and although he
is not involved in the reunion tour currently taking place in
the UK, it is the first time Bruce Foxton and Rick Buckler
have played together in 25 years, and 30 years since the
release of The Jam's first single 'In The City'.
Crowded House
played a free outdoor farewell concert to a record crowd in
excess of 100,000 in 1996, and despite the death of much loved
drummer Paul Hester, they have announced a world tour and new
album titled, 'Time on Earth'. In fact, front man Neil Finn is
a repeat offender; in 2006 he and brother Tim reformed
legendary New Zealand band Split Enz and embarked on a
sell out tour of Australia.
But it is The
Police who have captured the hearts of sentimentalists
with a long awaited announcement that band members Sting, Andy
Summers and Stewart Copeland had finally buried the hatchet
and would reform for a world tour this year. Most dates have
already sold out and some websites, such as
www.teleticketservice.com, are encouraging those who
missed out on tickets to register for their online waiting
list such is the demand.
But aside from the
giddy nostalgia trip and barrage of re-releases that will
undoubtedly hit stores in a bid to capitalize on these
reunions, what contribution will be made to music? The band
members of RATM (now Audioslave) are the only
real exceptions in a group of musicians who no longer
influence music outside their back catalogue. Even seminal
bands like The Stooges - who released their first album
since 1973's 'Raw Power' this year - have failed to make an
impression on the market or add to the enviable legacy they
created in the late 60s and early 70s. Similarly, The
Rolling Stones' best album in many years ('A Bigger Bang',
2005) failed to make an impact outside of the obligatory album
sales.
There is little
hope that The Jam in its current line up will buck this
trend, as Foxton and Buckler attempt to release the band's
first original material since 1982 without singer/songwriter
Paul Weller.
Although The
Police have hinted at the possibility of a new album
release, it seems more likely that their reunion is little
more than a highly profitable trip down memory lane and not a
platform on which Sting and Co. can re-enter the charts.
This poses the
question, "does the reformation of these once great bands do
more to harm their lofty reputations than it does to build on
them?"
There are two
schools of thought: one is that a reunion will introduce the
band to a new generation and inspire a revival of their
music. The other is far less romantic and is often cited as a
reason not to reform by band members reluctant to pull on the
leather pants and jump in the tour bus (or private jet as the
case may be). Paul Weller is perhaps the most honest exponent
of the latter argument.
Questioned
countless times over the past 25 years about the likelihood of
reforming The Jam, Weller has generally given the same
brutal answer: "…that would never happen. Why would I want to
go back? For nostalgic reasons? That's never good enough. My
philosophy is to embrace the new day and get on with it. If
the band reformed now it'd just be a sad cabaret and that's
not what I'm about at all."(NME, 29/11/2005) Nor is Weller
concerned about The Jam's music being forgotten: "I
think it's a great thing that The Jam's music has
endured over the years and people still love it and still play
it. It still means something to people and a lot of that's
because we stopped at the right time, it didn't go on and
become embarrassing."(BBC News, 10/01/2006)
These words may
come easily to Weller - after all, he has enjoyed continued
success not only with The Style Council but also
through an enduring solo career that sees him perform on the
main stage at Glastonbury again in 2007. For the likes of
Foxton and Buckler, the chance to perform such revered songs,
in front of adoring audiences, is not to be sniffed at. The
same could be said for Summers and Copeland.
But there is an
undeniable truth in the frank assessment of Weller. No matter
how passionately the fans want to see their favorite band back
on stage and no matter how many stadiums they fill and records
they sell, it will never be the same.
Promoters will
maintain that there is just a different 'aesthetic' this time
- a tried and tested spin used to hide the fact that the
'reincarnated' rockers are too old to play with the kind of
energy that made them a hit the first time around. The same
promoters will mask this decrepitude by enlisting younger,
trendier acts to support them and by ensuring that the stage
is so packed with lights, dry ice and pyrotechnics that the
front row will be more likely to eat popcorn than pogo.
So when shelling
out for these overpriced tickets to 'the land time forgot',
bare this in mind: there will be no acrobatics of the type
performed by David Lee Roth, nor will there be the spontaneous
destruction of musical equipment so famously practiced by
The Who. Instead, you will witness prosthetic hips and
heavy makeup - intermissions and auxiliary guitarists quietly
strumming from behind the speaker stacks. Iggy Pop is perhaps
the only exception, and may be one of the few performers of
his generation still capable of igniting the most modish of
crowds with his unabashed self-mutilation and convulsive
dancing.
Some free advice
then: rather than spending 120 dollars on what will inevitably
resemble an elderly game of charades, spend your hard earned
coin on three or four gigs at venues where you can see the
stage without the aid of a big screen and where the front man
will drop to his knees in a rock 'n roll epiphany and not
acute angina.