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| chris563 |
 Posted: Thu Aug 12, 2004 5:23 pm |
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Joined: 28 May 2004
Posts: 50
Location: SF CA USA
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heh heh.
hey if I lived in NYC I would definitely go see this:
>>>>>>>>>>>>>>>>>>>>>>>>>>>
VINCENT GALLO LIVE AT ROTHKO
Wednesday, August 25, 2004
2 shows 8 pm and 11 pm
Don't miss Vincent Gallo and Sean Lennon in a rare live performance which will include music from Vincent's album "When". The ticket price includes a FREE ticket to see The Brown Bunny during its opening weekend (August 28 & 29--select shows) at the Landmark Sunshine on Houston St. in New York.
Tickets are $18 advance and $22 the day of the show. They are available from www.ticketweb.com (search Vincent Gallo) or in person at Etherea Records, 66 Avenue A NYC.
Rothko
116 Suffolk Street (@ Rivington)
2 blocks East of Avenue A/Essex |
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| chillywilly |
| Posted: Thu Aug 12, 2004 5:30 pm |
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Joined: 20 May 2004
Posts: 8251
Location: Salt Lake City
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That's pretty cool, Chris.
Family Circus meets The Osbournes... he he.
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Chilly
"If you should die before me / Ask if you could bring a friend" |
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| unohoo |
| Posted: Fri Aug 13, 2004 10:01 am |
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Joined: 30 May 2004
Posts: 210
Location: Houston, Tx
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| Viktor Vaughn. Isn't that another one of MF Doom's aliases? I need to step my game up on dude, I hear too much buzzing in my ear about him to ignore it. |
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por favor believe it |
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| juepucta |
| Posted: Sat Aug 14, 2004 3:02 am |
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Joined: 22 May 2004
Posts: 52
Location: Los Angeles, California
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I actually like "When" a lot. Minimalistic stuff. Should be interesting to hear live.
G. |
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| jeremy |
| Posted: Sat Aug 14, 2004 7:46 am |
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Joined: 21 May 2004
Posts: 6794
Location: Derby, England and Hamilton, New Zealand (yes they are about 12,000 miles apart)
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The final installement of Jeremy’s Top Eighties’ Tracks: The Top Three
3. Tainted Love Soft Cell (1981)
Soft Cell were an unlikely duo, a refreshing, if slightly seamy alternative to the New Romantics. Their unique and influential sound, described as suicide meets July Garland, was a fusion born out of the group's love of electronica and northern soul. Neil Tennant has been quoted as saying that without Soft Cell, “There wouldn't have been the Pet Shop Boys,” not that we should hold that against them.
In the UK at least Soft Cell were not one hit wonders. Prior to releasing Tainted Love they had established their credentials with their debut EP Memorabilia, credited by some as being the first techno record. They went on to have a string of top five hits in the UK Bedsitter, Torch, What! and one of my favourites Wave Hello, Say Goodbye which features a great line that only Marc Almond could get away with “We’re strangers meeting for the first time, ok.”
Should a cover version of a soul nugget from a previous decade feature at all in an eighties’ top twenty, let alone at number three? It could be argued that it was prescient of the sampling, shameless lifting of riffs and multitudinous cover versions that would become a characteristic of the decade. However, like all processes, its worth should be gauged in terms of added value, and Tainted Love deserves its place.
The lyric was the perfect vehicle for Marc Almond's theatrical delivery and the electronic arrangement that contained a new battery of hooks completely re-invented the song for the new era. It became the year's best-selling British single, as well as a major hit around the world. In the United States it was to remain in the Billboard Top 100 chart for over one year and remains one of the most perfectly crafted pop songs of the eighties.
2. Fools Gold The Stone Roses[b](1989)
[b]rave
n.
1. The act or an instance of raving.
2. Informal. An extravagantly enthusiastic opinion or review: The play received raves.
3. An all-night dance party, especially one where techno, house, or other electronically synthesized music is played.
4. Chiefly British. A raucous party; a rave-up.
Far be it for me to quarrel with The American HeritageŽ Dictionary of the English Language, Fourth Edition but their third definition of the word rave cannot really be considered complete without a least a passing mention of MDMA, the drug more commonly known as ecstasy, but usually referred to as E by its closer acquaintances.
Furthermore the techno and house, techno, house, or other electronically synthesized music played at these all-night dance parties was also known, for a period, as rave. And so popular did raves and rave music become in England in the late eighties and early nineties that the associated social phenomenon warranted the term rave culture.
There is a degree of regional and even national rivalry on the who, where and when of rave. Undoubtedly, as house and ecstasy are both American in origin, the pleasurable association of the two would have also been discovered there. However, for whatever reason, as it went no further, this is largely irrelevant. In England, both London and Manchester consider themselves the seedbed and hothouse of rave. Manchester’s role, especially in creating a uniquely English soundtrack to rave is significant, but I think its claim, as propagated in the film Twenty-four Hour Party People, to be the principle pioneer is overstated. The truth is in that in this global, wired age nothing moves as quickly as an idea, and a London soul boy can have more in common with a cool clubber from Chicago than with his old skool friends.
I subscribe to the popular theory that the synergy between house and ecstasy was fostered by DJs and holidaymakers in the clubs of Ibiza, and that they brought the hedonistic "Balearic" vibe back to cool-hungry London in late 1987. The rest, as they say, is history. For the next five years, before the authorities took fright and the scene fragmented, every weekend would see a Woodstock’s worth of revellers in warehouses and fields around the country giving themselves to the ecstasy and rave’s hand in glove embrace.
For those on E, rave’s repetitive rhythms induced not irritation, but a near rapturous trance; its flowing textures became tactile; its synthetic sounds sensuous; its beeps and flashing lights, vivid and vital; its immersive embrace a return to the womb. Even the long, sleepless descent from the heights was shared and savoured.
The summer of 1989 was when rave broke out of its metropolitan enclaves to become a national phenomenon. Homegrown, British house was finding its own way, and that way was up. In Manchester the sound was baggy, the clothes extra baggy. No song summed up the sound and spirit of the so-called second summer of love better than wonderfully liquid Fools Gold a decisive meld of dance and indie, the track that made British music cool again.
1. Love Will Tear Us Apart Joy Division (1980)
There are times when pop music transcends whatever it is to be something else.
I was aware of Joy Division before I heard this song; there is a 12” of their earlier hit Transmission gathering dust somewhere in my garage.
Do you remember vinyl? Wasn’t a lovely thing, heavy and solid, yet fragile and temperamental. It had to be stored with care, carefully lifted from its cover, you could feel its weight balanced on your finger tips, it smelt like a hot oily motorbike, like an old electrical plug from a radiogramme that had been overheated too many times, or a deep red claret, brought up from the cellar. It was with a mixture of trepidation and expectation that you carefully placed the arm on the rotating disc. There was an inevitable ugly skip a faint crackle and before being ushered in through rock ‘n’ rolls hallowed portals. It was a ceremony, a paying of respect, but not an obsequious one. Like Like tasting a fine wine, taking time to admire its colour and aroma, to let its flavours play on your tongue, it was a ritual that enhanced the experience, a paying a tribute that brought its own reward. Somehow it makes the music on a toss it around and throw it in CD or on a push button I-pod jusy too easy; it makes the music seem cheaper, disposable, like a ready-made microwave dinner.
Although I had been a fan of other Manchester bands of the time such as the truly great Magazine, The Buzzcocks and The Fall. I think that it was on hearing the haunting Love Will Tear Us Apart was the moment when I had to finally ditch my Southern prejudices and accept that the centre of the music world had shifted a couple of hundred miles north, I mean way up north, Manchester town. An obvious choice maybe, but what could I do?
Number one and two; 1980 and 1989; it is not inappropriate that Manchester bands topped and tailed the decade, though the city’s pre-eminence would not last much longer. As the eighties closed, something, and not just unwashed teenagers, was smelling strange in Seattle, Pulp were building a growing following and Blur were listening to their Yardbirds records.
However, though favoured by the rock press and white boys who took their rock music seriousaly, grunge and Brit Pop would flatter to deceive; outside rock’s incestuous, self-justifying, world, the nineties would be a decade of dance: KLF (Kopyright Liberation Front) would launch their illicit assault on the charts; we would see the rise of the superstar DJ, the triumph of techno and the enduring power of hip hop. But that’s another decade. Of course, like the poor, heavy metal will always be with us. |
_________________
I am angry, I am ill, and I'm as ugly as sin.
My irritability keeps me alive and kicking.
I know the meaning of life, it doesn't help me a bit.
I know beauty and I know a good thing when I see it. |
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| censored-03 |
| Posted: Sat Aug 14, 2004 5:44 pm |
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Joined: 24 May 2004
Posts: 3058
Location: Gotham, Big Apple, The Naked City
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| I think I just heard Julia Fordham for the first time today, at least consciously. She has been recording since 1989. She's got a smoky, funky and very pretty voice along with some very tasty material. I got my hands on her "best of" album The Julia Fordham Collection on Virgin. To my ears she bares a resemblance to Christine MacVee, Annie Lennox and on a couple songs Joni Mitchell. I should say though, as with all good singers, she really has her own signature sound. Her songs I Thought It Was You ('98 remix) and Killing Me Slowly are mournfully brilliant vocal powerehouses...she's the real shit. Can anyone tell me more about her ? Where have I been ? |
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"Life is a comedy for those who think and a tragedy for those who feel."
-- Horace Walpole |
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| zwirnm |
| Posted: Sun Aug 15, 2004 2:47 am |
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Joined: 30 May 2004
Posts: 46
Location: Washington, District of Columbia
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Susan and I went to opening night of the Bite of Oregon yesterday, an annual music and food festival in Portland, to sample the goods and the bands - Pedro the Lion, Death Cab for Cutie, and They Might Be Giants were the opening night, a pretty good indie rock gig for a $5 suggested contribution to the Special Olympics.
It's a bit hard to put yourself in the right mindset for David Bazan's mystical/religious/political indie rock at 6:30 on a blazingly hot afternoon, in front of the Vietnamese food stands and the Oregon Country Beef displays, but Pedro the Lion did a pretty good set. Much of the material was from the new Achille's Heel record but he did loads of stuff from Control and Winners Never Quit as well. He had loads of dedicated fans already, happily playing along with his deadpan question and answer sessions (something he approaches seriously, even though by now it's schtik). Don't know how he managed to get a song like "Indian Summer," with its bilious anti-corporate messages, into the mix during a family-friendly event like the Bite.
I've seen Pedro around six or seven times so didn't object to moseying out to see Gypsy Caravan, a Portland-based belly dance ensemble, on a smaller side stage. They were pretty amazing - the one time I saw them before they used pre-recorded music but here they had an electrified oud/lute, live drums, and flutist, which added a lot to the performance. The crowd loved them.
We missed most of the Death Cab, a band I wasn't ever that into, and returned to the stage only after many opportunities to nosh on Oregon's finest produce... marionberry shortcake included. They Might Be Giants is a band which I've, shockingly, never seen in concert, a situation I was happy to remedy. They had an enormous crowd, and building on the dual John Kerry/George Bush appearances in Portland yesterday they had an enormous rap/metal intro-thing exhorting the crowd, "Vote for John-John", an appropriate slogan. The set covered some newer material from Spine, most of which I'd never heard, like "Experimental Film" and a great song called "Robot Parade," which we loved. Also some classics - "Birdhouse in Your Soul," the Oregon-relevant "James K Polk" - and loads of witty banter. They were awesome, crowd was awesome, weather is great, pity we couldn't stay for the whole show. |
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| Macca00 |
| Posted: Sun Aug 15, 2004 8:17 am |
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Joined: 30 May 2004
Posts: 390
Location: Liverpool/England
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Hate to be the bearer of bad tidings of another 60s legend, but: http://news.bbc.co.uk/1/entertainment/music/3566160.stm#top .
censored, Julia Fordham has been a prominent figure on the British jazz scene since the late 80s. She's the daughter of John Fordham, an English jazz musician & jazz critic for the U.K. newspaper, the Guardian. I'm not certain but she should have her own website. The BBC website has a pretty thorough music section, which offers a searchcheck facility for any artist/group, & Julia Fordham's details can be found there. www.bbc.co.uk . |
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| Marc |
| Posted: Sun Aug 15, 2004 11:05 am |
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Joined: 19 May 2004
Posts: 8424
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zwirnm,
you got yourself a lovely looking wife. Congratulations. Treat her right. |
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| soozala |
| Posted: Sun Aug 15, 2004 2:01 pm |
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Joined: 18 Jun 2004
Posts: 62
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| Just heard the sad news about Charlie Watts..... he has Throat Cancer.... |
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| pedersencr |
| Posted: Sun Aug 15, 2004 2:23 pm |
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Joined: 21 May 2004
Posts: 921
Location: New Orleans
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zwirnm,
Avery nice picture of you both. You look like you are made for each other. Congratulations again and much happiness together.
Charles |
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| ehle64 |
| Posted: Sun Aug 15, 2004 2:41 pm |
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Joined: 20 May 2004
Posts: 7149
Location: NYC; US&A
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| Who knew avatars could be so goddamned big?? |
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| chillywilly |
| Posted: Sun Aug 15, 2004 3:28 pm |
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Joined: 20 May 2004
Posts: 8251
Location: Salt Lake City
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congrats zwrinm.. btw, nice pic and big avatar
soozala... yeah, just read it this morning about Charlie Watts. Says a full recovery is expected. Evidently he quit smoking decades ago (accoridng to the Yahoo news brief I read). Sounds like the Stones are going back to the studio here soon.... one more left in them you think or another decade? |
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Chilly
"If you should die before me / Ask if you could bring a friend" |
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| chillywilly |
| Posted: Sun Aug 15, 2004 3:42 pm |
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Joined: 20 May 2004
Posts: 8251
Location: Salt Lake City
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Back in 1997, the following was said by founding keyboardist Ray Manzarek:
Quote: When asked if the Doors would reform with a new vocalist to promote the box set, an agitated Manzarek dismissed such a tour as "tacky."
However, he quickly added that a tour in one to two years is not inconceivable. Who would fill in for Morrison? "How about Chrissie Hynde?" suggested Manzarek.
Fast forward to today for the current incarnation of the Doors featuring Ian Astbury on vocals, with only two founding members left (Ray and Robby) - BTW, what is this about some of these 60's groups with only two founding members left??
Here's a couple of links to sites showing Ray eating his own words from 7 years ago.
http://www.thedoors.com/band/?fa=21stc
http://www.amazon.com/exec/obidos/tg/detail/-/B0002A2W3Q/qid=1092602323/sr=8-1/ref=sr_8_xs_ap_i1_xgl74/104-8687314-2663128?v=glance&s=dvd&n=507846
Quote: Purists may scoff at The Doors of the 21st Century, but for those who believe in second chances, this concert succeeds as both reunion and revival of one of the greatest rock bands in history. Replacing the late, great Jim Morrison is a daunting task, but the addition of British vocalist Ian Astbury (who bears more than passing resemblance to Morrison) is a risk that pays off surprisingly well during this 102-minute gig, superbly recorded in Houston, Texas, during the band's 2003 world tour. Astbury respects Morrison's legacy, but wisely avoids slavish re-creation of "the Lizard King"'s inimitable style; he's paying affectionate tribute while channeling his own vocal energy into Morrison's poetry. In performing the entirety of the Doors' classic L.A. Woman along with other timeless hits, keyboardist Ray Manzarek and guitarist Robby Krieger (drummer John Densmore moved on to a variety of solo projects; he's replaced here by Ty Dennis) make good on a 32-year-old promise to give Doors fans the tour that Morrison's death pre-empted, adding what the Doors never officially had: a bass player (Angelo Barbera) to re-create the LP's rhythm section. The band's in excellent form here, so let the naysayers whine; this DVD proves that new Doors are better than no Doors at all. --Jeff Shannon
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Chilly
"If you should die before me / Ask if you could bring a friend" |
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| Marc |
| Posted: Sun Aug 15, 2004 3:53 pm |
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Joined: 19 May 2004
Posts: 8424
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I cut and pasted this from a news site. Note the "related articles". Finally, Bush is doing something positive.
Rolling Stones Star's Cancer Fight
Rolling Stones drummer Charlie Watts has stunned fans with the shock news he's been battling throat cancer since June.
The 63-year-old Brown Sugar musician is determined to beat the illness and is keeping his strength up by walking to his weekly radiotherapy sessions at London's Royal Marsden hospital from his home in nearby Chelsea.
His spokesman says, "Having been diagnosed with throat cancer, following a minor operation in June, Charlie Watts is reaching the end of radiotherapy treatment.
"He is expecting to make a full recovery and start work with the rest of the band later in the year."
Watts is being looked after by his wife of 40 years, Shirley.
His Stones bandmates, Sir Mick Jagger, Ronnie Wood and Keith Richards, are being kept up-to date with his progress.
Copyright World Entertainment News Network 2004
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