Well all the bands that are coming, particularly the bigger acts will have a problem since their dilemma of trying to mix the old and the new stuff, seeing that most of they had a new album in the last 18 months. None more so than Motion City Soundtrack. They have flown under the radar for quite some time in the alternative rock and pop-punk world yet their stage presence, stage antics and ability to lyrically write fantastic songs bodes well for 2010. After releasing their newest record, My Dinosaur Life, in late January 2010, this will surely be the majority of the act with such poppy and catchy track as Worker Bee, Delirium, Her Words Destroyed My Planet, Stand Too Close and Disappear, they essentially could cover the whole 40 minute set with the new album... but they won't. Of course there will be moments of the older stuff while fans love and obviously some new fans will enjoy the set due to the increasingly poppy yet meaningful lyrics and music by Motion City Soundtrack.
1.Worker Bee
2.The Future Freaks Me Out
3.My Favourite Accident
4.Broken Heart
5.Delirium
6.This Is For Real
7.When “You're” Around
8.Pulp Fiction
9.Motherfuckers
10.Last Night
11.A Lifeless Ordinary (Need A Little Help)
12.Even If It Kills Me
13.Attractive Today
14.Stand Too Close
15.Perfect Teeth
16.Her Words Destroyed My Planet
17.L.G. FUAD
18.Disappear
19.Everything Is Alright
Confirmed Act 1: Motion City Soundtrack
13 February 2010
Comments: (0)Labels: Alternative Rock, Motion City Soundtrack, Pop-Punk, Soundwave 2010
Preview to Soundwave Festival 2010 – Sydney
Well T-minus 8 days to Soundwave Festival 2010, the premier punk, rock, metal and emo showcase of the best acts from Australia and around the world. We've all seen the timetable and after months of speculation and changes I bring you the bands that I will be attending. Some that I wish I could attend and setlists of them, well at least hopeful setlists!
Soundwave Festival 2010 Mix Volume 1
1. Anti-Flag - The Press Corpse
2. Jimmy Eat World - A Praise Chorus
3. Motion City Soundtrack - Delirium
4. Jane's Addiction - Mountain Song
5. Faith No More - Epic
6. The Get Up Kids - Ten Minutes
7. Paramore - Ignorance
8. Anti-Flag - Power To The Peaceful
9. Faith No More - We Care A Lot
10. The Get Up Kids - Holiday
11. Jane's Addiction - Stop!
12. AFI - Miss Murder
13. Motion City Soundtrack - Disappear
14. Paramore - Brick By Boring Brick
15. AFI - Medicate
16. Jimmy Eat World - Blister
17. Motion City Soundtrack - Everything Is Alright
18. Jimmy Eat World - Sweetness
2. Jimmy Eat World - A Praise Chorus
3. Motion City Soundtrack - Delirium
4. Jane's Addiction - Mountain Song
5. Faith No More - Epic
6. The Get Up Kids - Ten Minutes
7. Paramore - Ignorance
8. Anti-Flag - Power To The Peaceful
9. Faith No More - We Care A Lot
10. The Get Up Kids - Holiday
11. Jane's Addiction - Stop!
12. AFI - Miss Murder
13. Motion City Soundtrack - Disappear
14. Paramore - Brick By Boring Brick
15. AFI - Medicate
16. Jimmy Eat World - Blister
17. Motion City Soundtrack - Everything Is Alright
18. Jimmy Eat World - Sweetness
12 February 2010
Comments: (0)Labels: AFI, Anti-Flag, faith no more, Jane's Addiction, Jimmy Eat World, Motion City Soundtrack, paramore, Soundwave 2010, The Get Up Kids
The Power of Music
What makes a song eternal? What makes a song so fundamental, so profound, so timeless that it continues to speak to us year after it was written? And what do such songs mean to us, as individuals and as a society?
Great songs can crystallise a moment in time. They can define lives and create – or at least shape – collective identities. That is, popular music reflects our personal history but also our collective public history. Songs have the power to influence events, alter the course of social history and change political history.
On an individual level, a song can echo our mood, and affect it. It can entertain us, comfort us in moments of sorrow, reflect who we are and what we believe. It can also reinforce group identity, and isolate us from those we deem different from ourselves. Songs can be transformative – anyone who has been profoundly moved by a piece of music knows this. Sometimes we can sense a song's meaning without fully understanding exactly what the song is saying; even if you don't know the words to 'Amazing Grace', its effect can be profound. Songs can make us laugh, listen and cry. While songs can bring us joy, they can also make us angry – angry enough to do something. The power of words, whether son or spoken, can change minds and move people to action. Some work by changing the climate of opinion.
Most people agree that poetry can change lives. And most will also concur that a piece of fiction – a particular well-crafted novel, say, or a brilliant short story – can change the way we think, alter long-held attitudes and beliefs. The American novelist Michael Chabon believes that 'words can kill, or save us' and author Tobias Wolff once said, 'You can only say what you can first imagine.' Speeches are also powerful forms of communication. Throughout the centuries, the power of a speech by, for instance, Martin Luther King Jr, Winston Churchhill, Gough Whitlam or, more recently, Barack Obama, has moved people to act or at least reflect. There is little doubt that a well-spoken and well-delivered phrase can goad people to action.
But what about songs? It's true they hold a particular power over us, over our emotions and memory. With one chord, one riff, one line from a lyric, we can be transported back to particular time and place, to an experience that feels as real as the day it happened. Individuals or couples have 'their song', and generations, eras and even countries do too. 'Waltzing Matilda', for example, could only belong to Australia.
In Sing Me Back Home, Dana Jennings explains the effect that a particular genre of music, in his case country, has on him and his family. 'Country,' he writes, 'profoundly understands what it's like to be trapped in a culture of alienation: by poverty, by a shit job, by lust, by booze, by class.' For Jennings, country music is a familiar place to turn to when down on his luck. It is a refuge in the hard times.
But can songs actually change lives? Yes, I think they can – and do. A song can soothe, comfort and assuage, but it can also anger, cajole and persuade. A song can free the imagination and allow one to be open to new experiences. A song can change the world because a song that comes along at the right moment, at the right time, can change they way one sees the world. And if attitudes can change, the world itself can change, even if only incrementally.
Whatever the intention of a songwriter, a song often assumes a life of its own. It may have taken Bob Dylan all of ten minutes, as he claims, to write 'Blowin' in the Wind', but the effect it had on people was immeasurable. Sometimes, songs make an impact only gradually. 'I believe in songs,' Sting told Daniel J. Levitin. 'But it's difficult to imagine that a song would change anything overnight. What you can do is to plant a seed in someone's brain, as seeds were planted in mine to make me the political animal that I am.
Songs also change the world in a more subtle way, by influencing the music of the future. Didn't a great songwriter like Carole King change the world as much, if not more, than other artists' strident sloganeering? Since their initial release in the 1960s, songs such as 'Up on the Roof', 'One Fine Day' and especially 'Will You Love Me Tomorrow?' - which she co-wrote with then-husband Gerry Goffin – have influenced hundreds of musicians from the Beatles on down.
Just as other generations had epiphanies while reading books, many of what would later be called the rock and roll generation had their 'Aha!' moments while listening to a particular song or artist. When John Lennon first heard Elvis Presley on Radio Luxembourg, for example, his world turned upside-down. Rock and roll have Patti Smith 'a sense of tribe', as she prepared to enter a brotherhood – and sisterhood – of fellow seekers who sought to save the world, in her words, 'with love and the electric guitar'.
Things have changed since then, of course. We are no longer as committed to the idea that change can be triggered by a work of art, a piece of music or words on a page. And yet, some still stubbornly cling to the motion that these things are still possible. One should never underestimate the power of music.
Great songs can crystallise a moment in time. They can define lives and create – or at least shape – collective identities. That is, popular music reflects our personal history but also our collective public history. Songs have the power to influence events, alter the course of social history and change political history.
On an individual level, a song can echo our mood, and affect it. It can entertain us, comfort us in moments of sorrow, reflect who we are and what we believe. It can also reinforce group identity, and isolate us from those we deem different from ourselves. Songs can be transformative – anyone who has been profoundly moved by a piece of music knows this. Sometimes we can sense a song's meaning without fully understanding exactly what the song is saying; even if you don't know the words to 'Amazing Grace', its effect can be profound. Songs can make us laugh, listen and cry. While songs can bring us joy, they can also make us angry – angry enough to do something. The power of words, whether son or spoken, can change minds and move people to action. Some work by changing the climate of opinion.
Most people agree that poetry can change lives. And most will also concur that a piece of fiction – a particular well-crafted novel, say, or a brilliant short story – can change the way we think, alter long-held attitudes and beliefs. The American novelist Michael Chabon believes that 'words can kill, or save us' and author Tobias Wolff once said, 'You can only say what you can first imagine.' Speeches are also powerful forms of communication. Throughout the centuries, the power of a speech by, for instance, Martin Luther King Jr, Winston Churchhill, Gough Whitlam or, more recently, Barack Obama, has moved people to act or at least reflect. There is little doubt that a well-spoken and well-delivered phrase can goad people to action.
But what about songs? It's true they hold a particular power over us, over our emotions and memory. With one chord, one riff, one line from a lyric, we can be transported back to particular time and place, to an experience that feels as real as the day it happened. Individuals or couples have 'their song', and generations, eras and even countries do too. 'Waltzing Matilda', for example, could only belong to Australia.
In Sing Me Back Home, Dana Jennings explains the effect that a particular genre of music, in his case country, has on him and his family. 'Country,' he writes, 'profoundly understands what it's like to be trapped in a culture of alienation: by poverty, by a shit job, by lust, by booze, by class.' For Jennings, country music is a familiar place to turn to when down on his luck. It is a refuge in the hard times.
But can songs actually change lives? Yes, I think they can – and do. A song can soothe, comfort and assuage, but it can also anger, cajole and persuade. A song can free the imagination and allow one to be open to new experiences. A song can change the world because a song that comes along at the right moment, at the right time, can change they way one sees the world. And if attitudes can change, the world itself can change, even if only incrementally.
Whatever the intention of a songwriter, a song often assumes a life of its own. It may have taken Bob Dylan all of ten minutes, as he claims, to write 'Blowin' in the Wind', but the effect it had on people was immeasurable. Sometimes, songs make an impact only gradually. 'I believe in songs,' Sting told Daniel J. Levitin. 'But it's difficult to imagine that a song would change anything overnight. What you can do is to plant a seed in someone's brain, as seeds were planted in mine to make me the political animal that I am.
Songs also change the world in a more subtle way, by influencing the music of the future. Didn't a great songwriter like Carole King change the world as much, if not more, than other artists' strident sloganeering? Since their initial release in the 1960s, songs such as 'Up on the Roof', 'One Fine Day' and especially 'Will You Love Me Tomorrow?' - which she co-wrote with then-husband Gerry Goffin – have influenced hundreds of musicians from the Beatles on down.
Just as other generations had epiphanies while reading books, many of what would later be called the rock and roll generation had their 'Aha!' moments while listening to a particular song or artist. When John Lennon first heard Elvis Presley on Radio Luxembourg, for example, his world turned upside-down. Rock and roll have Patti Smith 'a sense of tribe', as she prepared to enter a brotherhood – and sisterhood – of fellow seekers who sought to save the world, in her words, 'with love and the electric guitar'.
Things have changed since then, of course. We are no longer as committed to the idea that change can be triggered by a work of art, a piece of music or words on a page. And yet, some still stubbornly cling to the motion that these things are still possible. One should never underestimate the power of music.
Tegan and Sara News for Australia
Canadian twins Tegan and Sara return to
After years of selling out headline tours and their recent experience in joining the summer festival circuit, which saw them playing to thousands at the Falls Festivals, Southbound and Sunset Sounds in 2008, Tegan and Sara tours have become one of the most anticipated live shows among Aussie music lovers. Their on stage chemistry, incredible musical abilities, infectious pop sensibilities and direct connection with their fans has won hearts all over the world.
In 2010 the girls return with a show full of new songs off ‘Sainthood’, as well as a few crowd favourites.
“Their onstage chemistry - and namely effortless banter - added to their appeal, with the pair indulging in storytelling and play fighting far more than they reportedly have in other Australian gigs. With a new album set for release this year, it may be some time before Adelaide gets another taste of these talented siblings whose charm, talent and individuality truly set them apart” THE ADVERTISER
“The anthemic 'Nineteen' then blasted through the speakers, with Tegan and Sara changing guitars and keyboard roles throughout a whole host of their songs. Their harmonies were brilliant, with a few imperfect moments that just seemed to endear the girls to the crowd further.” NINE MSN
“Pop music never looked so appealing.” THE DRUM MEDIA
“Overall, a top performance from the Canadian twins who are quick becoming a household name.” BEAT MAGAZINE.
Tegan and Sara
TIME TRAVEL (AUSTRALIA)!
photo by Lindsey Byrnes, from ON, IN, AT!
we’re thrilled to announce our upcoming tour details for Australia! Festivals! Headline shows! The best espresso in the world! Kangaroos! Surfing! Intense jet lag!
The last time we made the trek across the ocean to visit you, it was in January 2009. The trip was paced in such a relaxed way that everyone felt as though they were on vacation. I was very sick the entire trip and I spent much of the tour-cation watching the band and crew run around on the beach swatting flies and squealing about jelly fish from the comfort of my air conditioned bungalow. i would use the word frolic to describe the skipping and jumping done on the beaches during our many days off. Band and crew bodies clad in lycra, skin glistening with spf 100, I realized that a tour-cation in iceland would be more MY style…but I am in the minority. All the sun-burning and swimming enhanced the group’s Australian experience and we can’t wait to return (boardies and rashies in tow) to visit you once again!
We were thrilled to see HELL made it into the triple J top 100 this year! We’re planning to bring our biggest, longest and best show as a gesture of appreciation! Thank you for the continued support Australia!
skq
Tegan and Sara Australian Tour 2010
Saturday 1 May - Bendigo Showground - Bendigo, VIC
Groovin’ The Moo Festival - with Vampire Weekend, Silverchair, Spoon, Empire of the Sun
Tickets on sale Feb 16 at gtm.net.au or moshtix.com.au
Sunday 2 May - Murray Sports Complex - Townsville, QLD
Groovin’ The Moo Festival - with Vampire Weekend, Silverchair, Spoon, Empire of the Sun
Tickets on sale Feb 16 at gtm.net.au or moshtix.com.au
Tuesday 4 May - The Tivoli - Brisbane, QLD
With special guests Astronautalis and The Jezabels
Tickets on sale Feb 12 at www.ticketek.com.au or 132 849
Doors 7.00pm
Friday 7 May - Big Top - Sydney, NSW
With special guests Astronautalis and The Jezabels
Tickets on sale Feb 12 at Big Top Box office - 1300 BIG TOP or www.bigtopsydney.com and www.ticketek.com.au
Doors 7.00pm
Saturday 8 May - Maitland Showground - Maitland, NSW
Groovin’ The Moo Festival - with Vampire Weekend, Silverchair, Spoon, Empire of the Sun
Tickets on sale Feb 16 at gtm.net.au or moshtix.com.au
Sunday 9 May - The Meadows - Canberra, ACT
Groovin’ The Moo Festival - with Vampire Weekend, Silverchair, Spoon, Empire of the Sun
Tickets on sale Feb 16 at gtm.net.au or moshtix.com.au
Tuesday 11 May - Forum Theatre - Melbourne, VIC
With special guests Astronautalis and The Jezabels
Tickets on sale Feb 12 at www.ticketek.com.au or 132 849
Doors 7.00pm
Thursday 13 May - Thebarton Theatre - Adelaide, SA
With special guests Astronautalis and The Jezabels
Tickets on sale Feb 12 at Venuetix www.venuetix.com.au or (08) 8225 8888
Doors 7.00pm
Friday 14 May - Fremantle Arts Centre - Fremantle, WA
With special guests Astronautalis and The Jezabels
Tickets on sale Feb 12 at www.heatseeker.com.au or Heatseeker retail outlets
Gates open 5.30pm
Saturday 15 May - Pat Usher Foreshore Reserve - Bunbury, WA
Groovin’ The Moo Festival - with Vampire Weekend, Silverchair, Spoon, Empire of the Sun
Tickets on sale Feb 16 at gtm.net.au or moshtix.com.au
The White Striples News January 2010
The White Stripes are set to release their first ever official live album.
The band will release the 16-song record on CD and vinyl on March 15 to accompany the regular DVD release of Canadian tour documentary Under Great White Northern Lights.
Following its deluxe release last year, the Emmett Malloy-directed film will be released on DVD on the same day.
The duo's first live album draws on recordings taken from the same 2007 tour as the documentary, which say Jack and Meg White play across Canada.
The album's tracklisting is as follows:
'Let's Shake Hands'
'Black Math'
'Little Ghost'
'Blue Orchid'
'The Union Forever'
'Ball And Biscuit'
'Icky Thump'
'I’m Slowly Turning Into You'
'Jolene'
'300 MPH Torrential Outpour Blues'
'We Are Going to Be Friends'
'I Just Don’t Know What To Do With Myself'
'Prickly Thorn, But Sweetly Worn'
'Fell In Love With A Girl'
'When I Hear My Name'
'Seven Nation Army'
The band will release the 16-song record on CD and vinyl on March 15 to accompany the regular DVD release of Canadian tour documentary Under Great White Northern Lights.
Following its deluxe release last year, the Emmett Malloy-directed film will be released on DVD on the same day.
The duo's first live album draws on recordings taken from the same 2007 tour as the documentary, which say Jack and Meg White play across Canada.
The album's tracklisting is as follows:
'Let's Shake Hands'
'Black Math'
'Little Ghost'
'Blue Orchid'
'The Union Forever'
'Ball And Biscuit'
'Icky Thump'
'I’m Slowly Turning Into You'
'Jolene'
'300 MPH Torrential Outpour Blues'
'We Are Going to Be Friends'
'I Just Don’t Know What To Do With Myself'
'Prickly Thorn, But Sweetly Worn'
'Fell In Love With A Girl'
'When I Hear My Name'
'Seven Nation Army'
23 January 2010
Comments: (0)Labels: 90s Rock, Garage Rock, Jack White, Meg White, The White Stripes
Motion City Soundtrack - My Dinosaur Life
This album was written by the five members of Motion City Soundtrack, produced by Mark Hoppus of Blink-182 fame, and mixed by the legendary Andy Wallace. If that isn't enough to describe just how undeniably accessible and fun "My Dinosaur Life" is, then I must continue.
This album seems to find Motion City Soundtrack coming through a difficult time, but with a but sunnier outlook than that of their previous album, "Even If It Kills Me". The opening track, "Worker Bee", is not a typical super-fast sugar rush like the listener may be expecting if they are familiar with this band. It is, comparatively, a mid-tempo track in this context. It still has the quality that makes it perfect to open the gates on a great pop-rock album, and sets the tone for a bumpy yet enjoyable ride.
"Her Words Destroyed My Planet", if I had to wager, will be recognized as a big hit sooner rather than later. If you don't believe me, watch the video. Try not to have flashbacks to the memorable Fall Out Boy video for "Dance, Dance". I dare you.
"Disappear" may be the angriest track this band have ever released, or at least the most frenetic. The vocals sound like a panic attack that somehow managed to find its way to a microphone.
Motion City Soundtrack shines brightly when they lay their hearts on the line. "Stand Too Close" will prove this, if you don't believe me. If you don't wistfully recall some lost love or recover a deep-seated pain from listening to "Skin and Bones", you're a robot, and in the words of William Murderface, robots are NOT to be trusted.
The sound of this album has all of the guitar, synth and drums that you expect from this band. But as a fan, and a musician who started on four strings, I urge the listener to dig deep and appreciate the deftness of Matt Taylor's bass playing. Taylor's developing skill certainly anchors the sound of this album.
Lyrics and Singing: Justin Pierre is a master lyricist not because he paints an abstract and dark canvas of enigmatic poetry. He is a master of his role as main lyric writer for Motion City Soundtrack because he tells his story with brutal honesty, down to every anal-retentive detail of whatever inspires the track in question. Whether it is the disillusioned but hopeful spirit conveyed in the key lines of opening track "Worker Bee" (I've been a good little worker bee / I deserve a gold star"), the pop-culture references that this band have become known for ("Her Words Destroyed My Planet", "Stand Too Close"), or the hilariously and nonchalantly profane "@!#?@!", the lyrics never let up in tone.
My only gripe is that for a guy who claims to be sober and clean, Mr. Pierre seems to have a continuing fixation on drugs, evidenced in "Delirium". It's still a catchy and memorable track, but how many times can one man beat the same dead horse?
Impression: Is there a number higher than 10 that I can choose for this category? Honestly, this is my favorite Motion City Soundtrack album since the beginning of their career. "My Dinosaur Life" has established that not only are this group of outcast musicians and misfit Midwesterners catchy, but they are competent. Motion City Soundtrack has made an album that plays to every strong point of every note or lyric that this quintet have previously put to celluloid or computer. It shoe-gazes without being overly self-aware. It is bouncy, bouyant, and I can safely say it is brilliant.
This album seems to find Motion City Soundtrack coming through a difficult time, but with a but sunnier outlook than that of their previous album, "Even If It Kills Me". The opening track, "Worker Bee", is not a typical super-fast sugar rush like the listener may be expecting if they are familiar with this band. It is, comparatively, a mid-tempo track in this context. It still has the quality that makes it perfect to open the gates on a great pop-rock album, and sets the tone for a bumpy yet enjoyable ride.
"Her Words Destroyed My Planet", if I had to wager, will be recognized as a big hit sooner rather than later. If you don't believe me, watch the video. Try not to have flashbacks to the memorable Fall Out Boy video for "Dance, Dance". I dare you.
"Disappear" may be the angriest track this band have ever released, or at least the most frenetic. The vocals sound like a panic attack that somehow managed to find its way to a microphone.
Motion City Soundtrack shines brightly when they lay their hearts on the line. "Stand Too Close" will prove this, if you don't believe me. If you don't wistfully recall some lost love or recover a deep-seated pain from listening to "Skin and Bones", you're a robot, and in the words of William Murderface, robots are NOT to be trusted.
The sound of this album has all of the guitar, synth and drums that you expect from this band. But as a fan, and a musician who started on four strings, I urge the listener to dig deep and appreciate the deftness of Matt Taylor's bass playing. Taylor's developing skill certainly anchors the sound of this album.
Lyrics and Singing: Justin Pierre is a master lyricist not because he paints an abstract and dark canvas of enigmatic poetry. He is a master of his role as main lyric writer for Motion City Soundtrack because he tells his story with brutal honesty, down to every anal-retentive detail of whatever inspires the track in question. Whether it is the disillusioned but hopeful spirit conveyed in the key lines of opening track "Worker Bee" (I've been a good little worker bee / I deserve a gold star"), the pop-culture references that this band have become known for ("Her Words Destroyed My Planet", "Stand Too Close"), or the hilariously and nonchalantly profane "@!#?@!", the lyrics never let up in tone.
My only gripe is that for a guy who claims to be sober and clean, Mr. Pierre seems to have a continuing fixation on drugs, evidenced in "Delirium". It's still a catchy and memorable track, but how many times can one man beat the same dead horse?
Impression: Is there a number higher than 10 that I can choose for this category? Honestly, this is my favorite Motion City Soundtrack album since the beginning of their career. "My Dinosaur Life" has established that not only are this group of outcast musicians and misfit Midwesterners catchy, but they are competent. Motion City Soundtrack has made an album that plays to every strong point of every note or lyric that this quintet have previously put to celluloid or computer. It shoe-gazes without being overly self-aware. It is bouncy, bouyant, and I can safely say it is brilliant.
Alice In Wonderland Soundtrack
AT THE REQUEST OF A FRIEND, I HAVE RECORDED A COVER VERSION OF THE FAIN/HILLIARD SONG 'VERY GOOD ADVICE' FROM THE OLD WALT DISNEY 'ALICE IN WONDERLAND' FILM, FOR THE NEW WALT DISNEY (TIM BURTON) 'ALICE IN WONDERLAND' FILM...
IT'S IN WITH THESE
AND OUT ON THE 2ND OF MARCH I THINK...
01. Alice Performed by Avril Lavigne
02. The Poison Performed by The All-American Rejects
03. The Technicolor Phase Performed by Owl City
04. Her Name Is Alice Performed by Shinedown
05. Painting Flowers Performed by All Time Low
06. Where's My Angel Performed by Metro Station
07. Strange Performed by Tokio Hotel and Kerli
08. Follow Me Down Performed by 3OH!3 feat. Neon Hitch
09. Very Good Advice Performed by Robert Smith
10. In Transit Performed by Mark Hoppus with Pete Wentz
11. Welcome To Mystery Performed by Plain White T’s
12. Tea Party Performed by Kerli
13. The Lobster Quadrille Performed by Franz Ferdinand
14. Running Out of Time Performed by Motion City Soundtrack
15. Fell Down a Hole Performed by Wolfmother
16. White Rabbit Performed by Grace Potter and the Nocturnals
ANY OTHER NEWS THAT'S FIT TO PRINT?
I HAVE RECORDED A COVER FOR A JOHN MARTYN TRIBUTE ALBUM, AS WELL AS A COUPLE OR THREE OTHER 'COLLABORATIONS'... THERE IS AN 'EXCLUSIVE' ITUNES ALBUM STILL IN THE WORKS... AND PART TWO OF THE 'DREAM' SESSIONS IS SLOWLY TAKING SHAPE...
THERE IS HOWEVER A LOT OF FLUX AROUND...
SO MORE REAL NEWS WHEN THE AIR CLEARS
RSX
IT'S IN WITH THESE
AND OUT ON THE 2ND OF MARCH I THINK...
01. Alice Performed by Avril Lavigne
02. The Poison Performed by The All-American Rejects
03. The Technicolor Phase Performed by Owl City
04. Her Name Is Alice Performed by Shinedown
05. Painting Flowers Performed by All Time Low
06. Where's My Angel Performed by Metro Station
07. Strange Performed by Tokio Hotel and Kerli
08. Follow Me Down Performed by 3OH!3 feat. Neon Hitch
09. Very Good Advice Performed by Robert Smith
10. In Transit Performed by Mark Hoppus with Pete Wentz
11. Welcome To Mystery Performed by Plain White T’s
12. Tea Party Performed by Kerli
13. The Lobster Quadrille Performed by Franz Ferdinand
14. Running Out of Time Performed by Motion City Soundtrack
15. Fell Down a Hole Performed by Wolfmother
16. White Rabbit Performed by Grace Potter and the Nocturnals
ANY OTHER NEWS THAT'S FIT TO PRINT?
I HAVE RECORDED A COVER FOR A JOHN MARTYN TRIBUTE ALBUM, AS WELL AS A COUPLE OR THREE OTHER 'COLLABORATIONS'... THERE IS AN 'EXCLUSIVE' ITUNES ALBUM STILL IN THE WORKS... AND PART TWO OF THE 'DREAM' SESSIONS IS SLOWLY TAKING SHAPE...
THERE IS HOWEVER A LOT OF FLUX AROUND...
SO MORE REAL NEWS WHEN THE AIR CLEARS
RSX
14 January 2010
Comments: (0)Labels: Alice in Wonderland, All-American Rejects, Avril Lavigne, Franz Ferdinand, Grace Potter and the Nocturnals, Kerli, Motion City Soundtrack, Pete Wentz, Plain WHite Ts, Robert Smith, Woilfmother
People's Choice Awards 2010
Here are the winners in the music categories for the 2010 awards
Favorite Female Artist: Taylor Swift.
Favorite Country Artist: Carrie Underwood.
Favorite Male Artist: Keith Urban.
Favorite Breakout Music Artist: Lady Gaga.
Favorite Hip-Hop Artist: Eminem.
Favorite Rock Band: Paramore.
Favorite Music Collaboration: “Run This Town,” Jay-Z featuring Rihanna and Kanye West.
Favorite R&B Artist: Mariah Carey.
Favorite Pop Artist: Lady Gaga.
Favorite Female Artist: Taylor Swift.
Favorite Country Artist: Carrie Underwood.
Favorite Male Artist: Keith Urban.
Favorite Breakout Music Artist: Lady Gaga.
Favorite Hip-Hop Artist: Eminem.
Favorite Rock Band: Paramore.
Favorite Music Collaboration: “Run This Town,” Jay-Z featuring Rihanna and Kanye West.
Favorite R&B Artist: Mariah Carey.
Favorite Pop Artist: Lady Gaga.
Sainthood - Tegan and Sara
Tegan and Sara, those two Canadian identical twins whom have joined the indie-pop cruise around the music world release their 6th LP amd om the outset it promises to be an excellent transformation from Under Feet Like Ours back in 1999. The twins have joined forces, once again, with Death Cab for Cutie guitarist, Chris Walla, on their development from teenage indie rock to a more adult music scene as they delve into darker and deeper subjects, yet still revolving around their common themes through their songs over the last 10 years - love and relationships. Over their 10 years of experience in the music industry, they are the hidden pioneers of indie rock and pop and now have grown into their own, after the hit album in 2007, The Con. Upon witnessing the surge to success of The Yeah Yeah Yeahs with Fever to Tell and It's Blitz, Tegan Quin and identical twin, Sara Quin, release their own record to mark the sudden mainstream popularity of indie rock and pop.
As producers tell fans that they should be prepared for a new and radical change from vintage Tegan and Sara, even more so that when The Con was released, this is supposedly the first record where both Tegan and Sara have written the album in unison. However, this does not seem to be the case with 2009's Sainthood. Fans have acknowledged the two distinct composing styles of Tegan and Sara; either siding towards Tegan's pop-oriented songs with a major focus of lyrics or Sara's deeper and more complex compositions, both musically and lyrically. This seems to be a constant throughout Sainthood as well, yet their content in different from their origins and for the better, especially in the mainstream music industry that the majority of society lives in, making it a more accessible record than previous ones.
Sainthood opens with Arrow, and is distinctively a Sara track with the opening synth lines. It provides a deeper and more 'adult' opening for an album with the repeating metaphor, 'feathers of an arrow' and truly sets the tone for Sainthood and their path to 'perfection'. Yet, Tegan still steals the majority of the album with her radio-friendly tracks as she writes those nice power-pop tracks with the ease of listening and mainstream popularity. Hell becomes the first single off the record, and the other obvious Tegan tracks would likely follow including In Directing, The Cure; Tegan's tribute to the Cure, which mimics the keyboard lines from their 1989 album Disintegration and the track Lovesong, and the new-wave/power-punk influenced track - Northshore. Nonetheless, Sara's musical talent is still clearly evident on Sainthood, with more probably would be the second single on the record - Alligator and a wonderful outro to Sainthood, the 1-2 punch of Sentimental Tune and Someday. This finale of the record shows glimpses of what Tegan and Sara would be like if they wrote together, yet this may dishearten hardcore fans, who want songs of the past. But, Tegan and Sara have taken the other path of the Y-intersection, into the future and as they reach 10 years writing and performing in the music industry and hitting their mid-30s soon, truly have shown the maturity to write an excellent album as a whole, while still writing about love, sex and relationships and still keeping in touch with fellow indie-pop stars, The Yeah Yeah Yeahs.
8/10
31 December 2009
Comments: (0)Labels: Disintegration, Indie Rock, Indie-Pop, Tegan and Sara, The Cure, The Yeah Yeah Yeahs
What We All Come To Need
With Pelican having recently jumped ship from Hydrahea Records to Southern Lord (the current spiritual home of all things slow and heavy), the question of whether they would return to their more sludge/doom-oriented roots, as opposed to the more classic rock-inspired sounds of City of Echoes, hangs heavy over the group's fourth album, What We All Come To Need.
This album though isn't a step backwards for Pelican. Nor it is really a step forwards. Besides the addition of vocals for the first time (which we'll get to in a minute), What We All Come To Need is pretty much business as usual for the Chicago four-piece. The songs here are a mixture of the shorter, more traditionally-structured pieces on City of Echoes and the more length explorations of 2005's The Fire In Our Throats. Guitarists Trevor de Brauw and Laurent Schroeder-Lebec have by now perfected their intuitive interplay, balancing thick-skinned metallic riffs with glistening melodies, while the fraternal rhythm section of Bryan and Larryr Herweg provides a simple but effective framework within which they can move about. Familiar, then, but still highly enjoyable.
And then, on closer Final Breath, comes the album's one true surprise - an appearance by Shiner/The Life And Times vocalist Allen Epley. It's a risky move, as instrumental bands adding vocals to the mix have a tendency to go horribly wrong. But Epley somehow finds a sympathetic space within the song; his voice works more as another instrument than any kind of focal/vocal point, there by swiftly dodging potential disaster.
5/10
This album though isn't a step backwards for Pelican. Nor it is really a step forwards. Besides the addition of vocals for the first time (which we'll get to in a minute), What We All Come To Need is pretty much business as usual for the Chicago four-piece. The songs here are a mixture of the shorter, more traditionally-structured pieces on City of Echoes and the more length explorations of 2005's The Fire In Our Throats. Guitarists Trevor de Brauw and Laurent Schroeder-Lebec have by now perfected their intuitive interplay, balancing thick-skinned metallic riffs with glistening melodies, while the fraternal rhythm section of Bryan and Larryr Herweg provides a simple but effective framework within which they can move about. Familiar, then, but still highly enjoyable.
And then, on closer Final Breath, comes the album's one true surprise - an appearance by Shiner/The Life And Times vocalist Allen Epley. It's a risky move, as instrumental bands adding vocals to the mix have a tendency to go horribly wrong. But Epley somehow finds a sympathetic space within the song; his voice works more as another instrument than any kind of focal/vocal point, there by swiftly dodging potential disaster.
5/10
Phrazes For The Young - Julian Casablancas
With no new output forthcoming from The Strokes just yet, fans are having to settle for the numerous side projects, the most anticipated of which is surely the debut solo offering from frontman and creative driving force, Julian Casablancas. Opening song, Out Of The Blue, illustrates a dichotomy that occurs throughout, as cynical lyrics disguise what is actually a musically celebratory and largely radio-friendly album. "Somewhere along the way, my hopefulness turned to sadness/ Somewhere along the way, my sadness turned to bitterness," Casablancas grumbles in his deliciously languid slur. But, just when the tone seems to have been set, he leaps into a rousing, joyous chorus. Phrazes For The Young oftens references the '80s. The synth-drenched Left And Right In The Dark even threatens to burst into Ultravox's Dancing With Tears In My Eyes before reining itself in and ending like something from Strokes' debut It This It.
With eight tracks totalling 40 minutes, the album could have done with some fat-trimming and one senses there may ahve been a handful of three-minute pop classics here had Casablancas shown more self-discipline. This is a minor quibble though and there are enough surprising left turns to keep things interesting, like the laid-back soul of 4 Chords Of The Apocalypse and the country influenced Ludlow St. While such deparatures validate Casablancas' side project as worthwhile and necessary, the songs that fall closer to that distinctive Strokes sound are actually the highlights. So, no matter how good Phrazes For The Young might be - and it is good - it ultimately leaves the listener longing for a new Strokes album. Still, as a stopgap, this'll do nicely.
6.5/10
With eight tracks totalling 40 minutes, the album could have done with some fat-trimming and one senses there may ahve been a handful of three-minute pop classics here had Casablancas shown more self-discipline. This is a minor quibble though and there are enough surprising left turns to keep things interesting, like the laid-back soul of 4 Chords Of The Apocalypse and the country influenced Ludlow St. While such deparatures validate Casablancas' side project as worthwhile and necessary, the songs that fall closer to that distinctive Strokes sound are actually the highlights. So, no matter how good Phrazes For The Young might be - and it is good - it ultimately leaves the listener longing for a new Strokes album. Still, as a stopgap, this'll do nicely.
6.5/10
Never Cry Another Tear - Bad Lieutenant
Having offered some pretty unremarkable non-New Order projects in the past, Bernard Summer is abck to have another stab at things within Peter Hook, now that New Order have split for surely the last time.
Aside from the lack of Hooky's bass lines, Never Cry... inevitably sounds a lit like New Order, but offers more straightforward guitar rock and debuts new vocalist Jake Evans, who shares lead duties with The Seahorses. At its best, it's Noel Gallagher on a bad day. Thankfully, Summer's vocal, as always, is great. It's hard to pinpoint what makes it so special. Maybe it's the way he manages to sound effortless, remote and yet slightly strained all at once, while injecting tiny fragments of emotion. Regardless, his iconic voice is one of the few shining lights here. Lyrics are occasionally a problem though. Summer has never been an especially challenging lyricist and while in the past there was a certain charm to the simplicity of his words, here his wordplay comes across as cliched and lazy. This is Home boasts gems like, "Gonna take you higher than a bird can fly/ Girl I'm so in love with you/ Don't even think that it is true."
Some songs here ware better than latter-day New Order, but that's not saying much. Never Cry... is not a terrible record, but it feels like Summer could have churneed this out in his sleep.
Aside from the lack of Hooky's bass lines, Never Cry... inevitably sounds a lit like New Order, but offers more straightforward guitar rock and debuts new vocalist Jake Evans, who shares lead duties with The Seahorses. At its best, it's Noel Gallagher on a bad day. Thankfully, Summer's vocal, as always, is great. It's hard to pinpoint what makes it so special. Maybe it's the way he manages to sound effortless, remote and yet slightly strained all at once, while injecting tiny fragments of emotion. Regardless, his iconic voice is one of the few shining lights here. Lyrics are occasionally a problem though. Summer has never been an especially challenging lyricist and while in the past there was a certain charm to the simplicity of his words, here his wordplay comes across as cliched and lazy. This is Home boasts gems like, "Gonna take you higher than a bird can fly/ Girl I'm so in love with you/ Don't even think that it is true."
Some songs here ware better than latter-day New Order, but that's not saying much. Never Cry... is not a terrible record, but it feels like Summer could have churneed this out in his sleep.
Them Crooked Vultures
This is the new project featuring Dave Grohl, Josh Homme and John Paul Jones, who individually have had involvement at some point in arguably some of the most influential (commercially or otherwise), if not most popular bands of the last 40 years. With this much talent present, it could be easily assumed that the "too many cooks spoil the broth" saying would apply. Thank the gods through this is actually one of the better records released in 2009, as it comes to an end, and, as one would expect, it covers epic shoegaze and sour blues to lo-fi rock and everywhere in between.
The album is complimented by splatterings of slide guitar and lap steel such as on New Fang and Stevie Wonder-type synth and organ on Scumbag Blues, a song worth listening to purely for the drum sound Songs For the Deaf nostalgia. This album works on a number of elvels in being some of the desert sessions B-sides that never made the cut, but for the most part it's a bunch of raging tunes that travel a number of different places. Off the charts heavy moments can also be found; such is the case with No One Loves Me And Neither Do I - you'll want to be sitting down from 2:43 onwards - while Elephants starts in one place and ends in another with many of these tracks on first listen not finishing how one might expedct them to. What really makes this album work though is that it sounds as if you're right in the studio with them and one can almost visualise what it would have been like making a record as unique and satisfying as these crooked vultures have.
8.5/10
The album is complimented by splatterings of slide guitar and lap steel such as on New Fang and Stevie Wonder-type synth and organ on Scumbag Blues, a song worth listening to purely for the drum sound Songs For the Deaf nostalgia. This album works on a number of elvels in being some of the desert sessions B-sides that never made the cut, but for the most part it's a bunch of raging tunes that travel a number of different places. Off the charts heavy moments can also be found; such is the case with No One Loves Me And Neither Do I - you'll want to be sitting down from 2:43 onwards - while Elephants starts in one place and ends in another with many of these tracks on first listen not finishing how one might expedct them to. What really makes this album work though is that it sounds as if you're right in the studio with them and one can almost visualise what it would have been like making a record as unique and satisfying as these crooked vultures have.
8.5/10
01 December 2009
Comments: (0)Labels: Dave Grohl, Foo Fighters, hard rock, John Paul Jones, Josh Homme, Led Zeppelin, Queens of the Stone Age, Them Crooked Vultures
Solution to Sold Out Acts - Punk Rock and its British Explosion
Johnny Rotten LOOKS bored. The emphasis is on the work 'looks' rather than, as Johnny would have you believe, on the word 'bored'. His clothes, held together by safety pins, fall around his slack body in calculated disarray. His face is an undernourished grey. Not a muscle moves. His lips echo the downward slope of his wiry, coat-hangered shoulders. Only his eyes, register the faintest trace of life.
Johnny works very hard at looking bored. Leaning against a bar; at a sound check; after a gig; making an entrance to a party; onstage; when he's with women. No, actually, then he's inclined to look quite interested.
Why is Johnny bored? Well, that's the story.
This malevolent third-generation child of rock'n'roll is the Sex Pistols' lead singer. The band plays exciting, hard, basic punk rock. But more than that, Johnny is the elected generalissimo of a new cultural movement scything through the grassroots disenchantment with the present state of mainstream rock. You need look no further than the letters pages of any Melody Maker to see that fans no longer silently accept the disdain with which their heroes, the rock giants, treat them.
They feel deserted. Millionaire rock stars are no longer part of the brotherly rock fraternity that help create them in the first place. Rock was meant to be a joyous celebration; the inability to see the starts, or to play the music of those you can see, is making a whole generation of rock fans feel deepressingly inadequate.
Enter Johnny Rotten. Not content to feel frustrated, bored and betrayed, he and the Sex Pistols - Glen Matlock, Paul Cook and Steve Jones - have decided to ignore what they believe to be the elitist pretensions of their heroes, who no longer play the music they want to hear. They are the tip of an iceberg.
Since January, when the Sex Pistols played their first gig, there has been a slow but steady increase in the number of musicians who feel the same way - bands like the Clash, the Jam, Buzzcocks, the Damned, the Surburban Sect and Slaughter and the Dogs. The music they play is load, raucous and beyond considerations of taste and finesse. As Mick Jones of the Clash says, "It's wonderfully vital. Their attitude is classic punk: icy-cool with a permanent sneer. The kids are arrogant, aggressive, rebellious. The last thing any of these bands make their audience feel is inadequate. Once again there is the feeling, the exhilarating buzz, that it's possible to be and play like the bands onstage.
It's no coincedence that the week the Stones were at Earls Court, the Sex Pistols were playing to their ever-increasing following at London's 100 Club. The Pistols are the personification of the emerging British punk rock scene, a positive reaction to the complex equipment, technological sophistication and jaded alienation which has formed a barrier between fans and stars.
Punk rock sounds simple and callow. It's meant to. The equipment is minimal, usually cheap. It's played faster than the speed of light. If the musicians play a ballad, it's the fastest ballad on earth. The chords are basic, numbers rarely last longer than three minutes, in keeping with the clipped, biting cynicism of the lyrics. There are no solos. No indulgent improvisations.
It's a fallacy to believe that punk rockers like the Sex Pistols can't play dynamic music. They power through sets. They are never less than hard, rough and edgy. They are the quintessence of a raging, primal rock-scream.
The atmosphere among the punky bands on the circuit at the moment is positively cut-throat. Not only are they vying with each other, but they all secretly aspire to take Johnny Rotten down a peg or two. They use him as a pivot against which they can assess their own credibility.
It the BSP/ASP Syndrome. The Before or After Sex Pistols debate which wrangles thus: 'We saw Johnny Rotten and he CHANGED our attitude to music' (The Clash, Buzzcocks) or 'We played like this AGES before the Sex Pistols' (Slaughter and the Dogs) or 'We are MILES better than the Sex Pistols' (the Damned). They are very aware that they are part of a new movement and each one wants to feel that he played a part in starting it.
All doubts that the British punk scene was well under way were blitzed two weeks ago in Manchester, when the Sex Pistols headlined a triple third-generation punk rock concert before an ecstatic capacity audience.
Participation is the operative word. The audiences are revelling in the idea that any one of them could get up on stage and do just as well, if not better, than the bands already up there. Which is, after all, what rock and roll is all about.
When, for months, you've been feeling that it would take ten years to play as well as Hendrix, Clapton, Richard (insert favourite rock star's name), there's nothing more gratifying than the thought, 'Jesus, I could get a band together and blow this lot off the stage.'
The growing punk rock audiences are seething with angry young dreamers who want to put the boot in and play music, regardless. And the more people feel that 'I can do that too', the more there is a rush on to that stage, the more cheap instruments are bought, fingered and flayed in front rooms, the more likely it is there will be the rock revival we've all been crying out for.
There's every chance (although it's early days yet) that out of the gloriously raucous, uninhibited melee of British Punk Rock - which even at its worst is move vital than much of the music perfected by the Platinum Disc Brigade - will emerge the musicians to inspire a fourth generation of rockers.
The arrogant, aggressive, rebellious stance that characterises the musicians who have played the most vital rock and roll has always been glamourised. In the 50s it was the rebel without a cause exemplified by Elvis and Gene Vincent, the Marlon Brando and James Dean of rock. In the 60s it was the Rock'n'Roll Gypsy Outlaw image of Mick Jagger, Keith Richard and Jimi Hendrix. In the 70s the word 'rebel' has been superseded by the word 'punk'. Although initially derogatory, it now contains all the glamorous connotations once implied by the overused word 'rebel'.
Punk rock was initially coined, about six years ago, to describe the American rock bands of 1965-68 who sprung up as a result of hearing the Yardbirds, the Who, Them, the Stones. Ability was not as important as mad enthusiasm, but the bands usually dissipated all their talent in one or two splendid singles which rarely transcended local hit status. Some of the songs, however, like 'Wooly Bully', '96 Tears', Psychotic Reaction', 'Pushin' Too Hard', have become rock classics.
In Britain, as 'punk rock' has been increasingly used to categorise the livid, exciting energy of bands like the Sex Pistols, there has been an attempt to redefine the term. There's an age difference, too. New York punks are mostly in their mid-twenties. The members of the new British punk bands squirm if they have to tell you that they are over 18. Johnny Rotten's favourite sneer is 'You're Too Old'. He's 20.
The British punk rock garb is developing independently, too. It's an ingenious hodgepodge of jumble sale cast-offs, safety-pinned around one of the choice risque T-shirts especially made for the Kings Road shop, Sex.
Selling an intruiging line of arcane 50s cruise-ware, fantasy glamour ware and the odd rubber suit, this unique boutique is owned by Malcolm McLaren, ex-manager of the New York Dolls, now the Sex Pistols' manager.
His shop has a mysterious atmosphere which made it the ideal meeting place for a loose crowd of truant, disaffected teenagers. Three of them were aspiring musicians who, last October, persuaded McLaren to take them on. They wanted to play rock'n'roll. They weren't to know what they were about to start and even now no one is sure where it will lead. All Steve, Glenn and Paul needed, then, was a lead singer.
A few weeks later, Johnny Rotten strayed into the same murky interior. He was first spotted leaning over the jukebox... looking BORED.
Johnny works very hard at looking bored. Leaning against a bar; at a sound check; after a gig; making an entrance to a party; onstage; when he's with women. No, actually, then he's inclined to look quite interested.
Why is Johnny bored? Well, that's the story.
This malevolent third-generation child of rock'n'roll is the Sex Pistols' lead singer. The band plays exciting, hard, basic punk rock. But more than that, Johnny is the elected generalissimo of a new cultural movement scything through the grassroots disenchantment with the present state of mainstream rock. You need look no further than the letters pages of any Melody Maker to see that fans no longer silently accept the disdain with which their heroes, the rock giants, treat them.
They feel deserted. Millionaire rock stars are no longer part of the brotherly rock fraternity that help create them in the first place. Rock was meant to be a joyous celebration; the inability to see the starts, or to play the music of those you can see, is making a whole generation of rock fans feel deepressingly inadequate.
Enter Johnny Rotten. Not content to feel frustrated, bored and betrayed, he and the Sex Pistols - Glen Matlock, Paul Cook and Steve Jones - have decided to ignore what they believe to be the elitist pretensions of their heroes, who no longer play the music they want to hear. They are the tip of an iceberg.
Since January, when the Sex Pistols played their first gig, there has been a slow but steady increase in the number of musicians who feel the same way - bands like the Clash, the Jam, Buzzcocks, the Damned, the Surburban Sect and Slaughter and the Dogs. The music they play is load, raucous and beyond considerations of taste and finesse. As Mick Jones of the Clash says, "It's wonderfully vital. Their attitude is classic punk: icy-cool with a permanent sneer. The kids are arrogant, aggressive, rebellious. The last thing any of these bands make their audience feel is inadequate. Once again there is the feeling, the exhilarating buzz, that it's possible to be and play like the bands onstage.
It's no coincedence that the week the Stones were at Earls Court, the Sex Pistols were playing to their ever-increasing following at London's 100 Club. The Pistols are the personification of the emerging British punk rock scene, a positive reaction to the complex equipment, technological sophistication and jaded alienation which has formed a barrier between fans and stars.
Punk rock sounds simple and callow. It's meant to. The equipment is minimal, usually cheap. It's played faster than the speed of light. If the musicians play a ballad, it's the fastest ballad on earth. The chords are basic, numbers rarely last longer than three minutes, in keeping with the clipped, biting cynicism of the lyrics. There are no solos. No indulgent improvisations.
It's a fallacy to believe that punk rockers like the Sex Pistols can't play dynamic music. They power through sets. They are never less than hard, rough and edgy. They are the quintessence of a raging, primal rock-scream.
The atmosphere among the punky bands on the circuit at the moment is positively cut-throat. Not only are they vying with each other, but they all secretly aspire to take Johnny Rotten down a peg or two. They use him as a pivot against which they can assess their own credibility.
It the BSP/ASP Syndrome. The Before or After Sex Pistols debate which wrangles thus: 'We saw Johnny Rotten and he CHANGED our attitude to music' (The Clash, Buzzcocks) or 'We played like this AGES before the Sex Pistols' (Slaughter and the Dogs) or 'We are MILES better than the Sex Pistols' (the Damned). They are very aware that they are part of a new movement and each one wants to feel that he played a part in starting it.
All doubts that the British punk scene was well under way were blitzed two weeks ago in Manchester, when the Sex Pistols headlined a triple third-generation punk rock concert before an ecstatic capacity audience.
Participation is the operative word. The audiences are revelling in the idea that any one of them could get up on stage and do just as well, if not better, than the bands already up there. Which is, after all, what rock and roll is all about.
When, for months, you've been feeling that it would take ten years to play as well as Hendrix, Clapton, Richard (insert favourite rock star's name), there's nothing more gratifying than the thought, 'Jesus, I could get a band together and blow this lot off the stage.'
The growing punk rock audiences are seething with angry young dreamers who want to put the boot in and play music, regardless. And the more people feel that 'I can do that too', the more there is a rush on to that stage, the more cheap instruments are bought, fingered and flayed in front rooms, the more likely it is there will be the rock revival we've all been crying out for.
There's every chance (although it's early days yet) that out of the gloriously raucous, uninhibited melee of British Punk Rock - which even at its worst is move vital than much of the music perfected by the Platinum Disc Brigade - will emerge the musicians to inspire a fourth generation of rockers.
The arrogant, aggressive, rebellious stance that characterises the musicians who have played the most vital rock and roll has always been glamourised. In the 50s it was the rebel without a cause exemplified by Elvis and Gene Vincent, the Marlon Brando and James Dean of rock. In the 60s it was the Rock'n'Roll Gypsy Outlaw image of Mick Jagger, Keith Richard and Jimi Hendrix. In the 70s the word 'rebel' has been superseded by the word 'punk'. Although initially derogatory, it now contains all the glamorous connotations once implied by the overused word 'rebel'.
Punk rock was initially coined, about six years ago, to describe the American rock bands of 1965-68 who sprung up as a result of hearing the Yardbirds, the Who, Them, the Stones. Ability was not as important as mad enthusiasm, but the bands usually dissipated all their talent in one or two splendid singles which rarely transcended local hit status. Some of the songs, however, like 'Wooly Bully', '96 Tears', Psychotic Reaction', 'Pushin' Too Hard', have become rock classics.
In Britain, as 'punk rock' has been increasingly used to categorise the livid, exciting energy of bands like the Sex Pistols, there has been an attempt to redefine the term. There's an age difference, too. New York punks are mostly in their mid-twenties. The members of the new British punk bands squirm if they have to tell you that they are over 18. Johnny Rotten's favourite sneer is 'You're Too Old'. He's 20.
The British punk rock garb is developing independently, too. It's an ingenious hodgepodge of jumble sale cast-offs, safety-pinned around one of the choice risque T-shirts especially made for the Kings Road shop, Sex.
Selling an intruiging line of arcane 50s cruise-ware, fantasy glamour ware and the odd rubber suit, this unique boutique is owned by Malcolm McLaren, ex-manager of the New York Dolls, now the Sex Pistols' manager.
His shop has a mysterious atmosphere which made it the ideal meeting place for a loose crowd of truant, disaffected teenagers. Three of them were aspiring musicians who, last October, persuaded McLaren to take them on. They wanted to play rock'n'roll. They weren't to know what they were about to start and even now no one is sure where it will lead. All Steve, Glenn and Paul needed, then, was a lead singer.
A few weeks later, Johnny Rotten strayed into the same murky interior. He was first spotted leaning over the jukebox... looking BORED.
18 November 2009
Comments: (0)Labels: 70s, Buzzcocks, Dire Straits, Johnny Rotten, Punk, Punk Rock, Slaughter and the Dogs, The Clash, The Damned, The Jam, The Sex Pistols
AFI - Crash Love
Eighteen years into their career, AFI have made their first rock album. No fancy genre terms, no elctronics or maudlin' 'emo' lyricism, just hard-hitting, blood-rushing, guitar heavy rock. Frontman, the Morrisey-aping Dave Havok, is a vocal force with less screaming and greater alto depthh. The instrumentation has mutated since 2006's Decemberunderground; compressed drums squeeze out of End Transmission, matched with guitarist Jade Puget's complex yet irresistible riffs. Unimpressive lyrics of "the broken radio was playing suicide" aside, it's near pop perfection, only exceeded by Too Shy To Scream, which has an intro frighteningly similar to Adam & The Ants' Goody Two Shoes, being a clapalong rhythmfest with chugging guitars. Veronica Sawyer is a 90s inspired love letter paired to music made for driving around town with a broken heart.
Lyrically Havok has embraced a greater outward outlook as there's less introspection and louder speak of the world at large. Medicate is slick, catchy and polished for a shiny pop rock gleam, skimming the surface of finding solace in numbness, whether it is literal substance abuse or otherwise. I Am Trying Very Hard To Be Here is a comtemptuous dig at celebrity with "So lose your past/ I'm sure you'll find it's in the way all the time". Sacrilege touches on the death of religion in a dogmatic age, only to have its raging flow stiffed by the perfunctory balladeering of Darling, I Want To Destroy You.
Crash Love will surely cause a ruckus among the dedicated with cries of "SELL-OUT" or "Punk is Dead", but AFI have transitioned from punk to goth and now to rock seamlessly with appealing results.
8/10
Lyrically Havok has embraced a greater outward outlook as there's less introspection and louder speak of the world at large. Medicate is slick, catchy and polished for a shiny pop rock gleam, skimming the surface of finding solace in numbness, whether it is literal substance abuse or otherwise. I Am Trying Very Hard To Be Here is a comtemptuous dig at celebrity with "So lose your past/ I'm sure you'll find it's in the way all the time". Sacrilege touches on the death of religion in a dogmatic age, only to have its raging flow stiffed by the perfunctory balladeering of Darling, I Want To Destroy You.
Crash Love will surely cause a ruckus among the dedicated with cries of "SELL-OUT" or "Punk is Dead", but AFI have transitioned from punk to goth and now to rock seamlessly with appealing results.
8/10
25 October 2009
Comments: (0)Labels: 90s Rock, AFI, Crash Love, Emo, Medicate, Punk Rock. Rock, Sell-Out
The Get Up Kids - Something To Write Home About
So, this is a pretty good record I must say and after purchasing the 10th anniversary CD/DVD with a live performance of the entire album, this will be a good band to check out if you are attending Soundwave Festival 2010, pending the timetable annoucement (I know there's gonna be at least one clash because the lineup is so AMAZZZIINNG!!).
Opening with Holiday, it sets a punk-inspired alternative rock album with some easily identifiable pop-punk sounds. The vocals give their genre away, and some pop-punk rhythms help us rock out to the track. And gee... wouldn't we all like to be on a holiday right now?
Here, come out the alternative rock of TGUK with Action & Action with a pop-punk riff mixed with a synth and keyboards. This style follows with several tracks, Red Letter Day, the uptempo Ten Minutes and I'm a Loner Dottie, a Rebel...
Evidently, we see the influence that TGUK have on many modern bands, and following on from the gothic rock and metal scene in the 80s, they form the backbone of the second wave of Emo, as cited by pop-Emo group - Fall Out Boy.
But of course, any great album needs to have contrast and change, to make those singles and iconic songs on the record stand out. We are introduced to this lower tempo indie rock through Valentine and even more so with Out of Reach with its soothing acoustic guitar, which is very well recorded with the emphasised bass notes and slides.
The lyrics throughout the album, make it a very enjoyable and meaningful album, shown in Out of Reach - "Out of sight. Out of mind. Out of reach... Start over..." Even in the high tempo punk inspired Ten Minutes, "It's like I've fallen in love, while I just fall apart." lyrics have a strong role in the song.
Beautifully, the album's end starts with a cover of The Cure's Close To Me, which I would almost listen to instead of the original, except that they are missing one key factor - Robert Smith's vocals. Finally, Something To Write Home About ends with a maginificent outing track. It begins with its beautiful piano arpeggios and faint electric guitar. Lyrics clearly want to be heard, and the assurance given that I'll Catch You means that we'll always have Something To Write Home About.
7.5/10
Next, I'm feeling towards AFI's new record Crash Love.
Opening with Holiday, it sets a punk-inspired alternative rock album with some easily identifiable pop-punk sounds. The vocals give their genre away, and some pop-punk rhythms help us rock out to the track. And gee... wouldn't we all like to be on a holiday right now?
Here, come out the alternative rock of TGUK with Action & Action with a pop-punk riff mixed with a synth and keyboards. This style follows with several tracks, Red Letter Day, the uptempo Ten Minutes and I'm a Loner Dottie, a Rebel...
Evidently, we see the influence that TGUK have on many modern bands, and following on from the gothic rock and metal scene in the 80s, they form the backbone of the second wave of Emo, as cited by pop-Emo group - Fall Out Boy.
But of course, any great album needs to have contrast and change, to make those singles and iconic songs on the record stand out. We are introduced to this lower tempo indie rock through Valentine and even more so with Out of Reach with its soothing acoustic guitar, which is very well recorded with the emphasised bass notes and slides.
The lyrics throughout the album, make it a very enjoyable and meaningful album, shown in Out of Reach - "Out of sight. Out of mind. Out of reach... Start over..." Even in the high tempo punk inspired Ten Minutes, "It's like I've fallen in love, while I just fall apart." lyrics have a strong role in the song.
Beautifully, the album's end starts with a cover of The Cure's Close To Me, which I would almost listen to instead of the original, except that they are missing one key factor - Robert Smith's vocals. Finally, Something To Write Home About ends with a maginificent outing track. It begins with its beautiful piano arpeggios and faint electric guitar. Lyrics clearly want to be heard, and the assurance given that I'll Catch You means that we'll always have Something To Write Home About.
7.5/10
Next, I'm feeling towards AFI's new record Crash Love.
21 October 2009
Comments: (0)Labels: Alternative Rock, Emo, Holiday, Indie Rock, Pop-Punk, Soundwave 2010, TGUK, The Get Up Kids
The Essence of Punk Rock
In my eyes, Punk is the ANTI-Genre, or ANTI-Trend if u will… It started with the Ramones and Sex Pistols… until then, bands were generally the same when it came to the apparel… These 2 bands broke the trend and dressed up like bad-asses… Punk was born Punk lost it’s direction when people started considering it a Genre that had certain criteria… Punk is not a trend… it’s NOT conforming to a sound… Nirvana was punk because during the reign of the hair-metal bands he decided not to go with the trend… Punk will rise again… Just look at what’s on the radio and MTV now… It’s a bunch of trendy little whiners that focus more on their IMAGE than writing compelling music… even their music writing is becoming too fucking trendy… if i hear one more “three days grace” sounding vocalist i’m going to shoot myself… same goes with the tween bands that wear more make-up than my sister… we’re just repeating the 80’s with all this glam-rock… soon a band will rise and they won’t need the make-up to attract fans… their music will bring people to their feet again and all these shit bands will have nobody to imitate… cuz how do you imitate “good music” with no real talent…
Jane's Addiction - Nothing's Shocking
Jane’s Addiction is the symbol of alternative rock through the late 80s and early 90s and Nothing’s Shocking is their Led Zeppelin IV – a masterpiece which encompassed all the skills of the band and defined their roots and musical style. Namely, this record revolves around a lot of funk and metal – inspired mainly by Dave Navarro and Perry Farrell. However, neither of the two singles released received the credit or fame like they deserve.
Opening with Up The Beach, it provides a silent and overdriven guitar extended guitar chords to follow – reminding me of the 70s psychadelic and prog rock. Some beautiful phrases of guitar mixed with the occasical Farrell lyric present an ideal opening track showing what Jane’s Addiction is – at least musically at first.
Ocean Size is like Up The Beach, even with a similar title, at first. Soft soothing acoustic guitar arpeggios until the rock gods come crashing down – with heavy percussion, lyrics and guitar riffs. Throughout the song, Farrell contrasts it with Navarro’s acoustic guitar track to his typical metal inspired solos. A beautifully wriiten song with contrasting styles through the song – typical of Jane’s Addiction.
Following we have Had A Dad and we are introduced to the funk metal that Jane’s Addiction is known for. Fast tempo, with a catchy riff and goes right into guitar solos early on in the track. Lyrically, it is why I love Farrell and Jane’s Addiction with pauses in the track for the occasional yelp or caw.
Ted, Just Admit It… is slower with a ‘cool’ bassline and Farrell uses very strange sounds instead of those usual English words in the beginning of the track. Reminding me of funk jazz with a rock theme to it, we have very unique guitar licks with no real structure and is in real contrast to the repeated lyric ‘Nothing Shocking’ much like the album cover – two naked Siamese twins which is, well quite shocking to the normal human, but of course we are talking about Jane’s Addiction here.
Setting the tone for the album, it follows with several other tracks of similar style before we reach Mountain Song, the first single of the album, although the video clip was not initially released due to explicit content. A strong and catchy bassline, which really shows what alternative rock is and should be – hard rock and punk inspired music and uses some very good melody and the guitar effects make it even better – with overdrive and some short delay, I could listen to the track all day.
Idiots Rule follows and uses some more funk inspired guitar solo introductions with trumpet, and this really does make it alternative with extra and unneccesary instruments, well at least we thought that before. A strong bassline with a hint of slap makes it unnoticed due to the other instruments present but listen with good equipment, it makes it so much better.
Jane Says – the other single on the album, opens with the acoustic chord progression mixed with Farrell’s unique voice and this follows through the whole track making in more contrast and showing that Jane’s Addiction is more that fret-bashing and funk-metal solos. Although Farrell’s voice is so powerful that it almost takes over instead of the guitar.
Closing with Pig’s in Zen makes a good album an amazing album. Metal inspired riffs with short licks make it a great song to rock out to and even though Farrell’s lyrics are quite overpowering, the fantastic bassline and guitar takes over – just like all rock bands should. Cannot wait for February, 2010 – Soundwave is gonna go off!!!!
8/10
Upcoming review… I’m leaning towards The Get Up Kids or another minor act on the Lineup. Any requests?
Opening with Up The Beach, it provides a silent and overdriven guitar extended guitar chords to follow – reminding me of the 70s psychadelic and prog rock. Some beautiful phrases of guitar mixed with the occasical Farrell lyric present an ideal opening track showing what Jane’s Addiction is – at least musically at first.
Ocean Size is like Up The Beach, even with a similar title, at first. Soft soothing acoustic guitar arpeggios until the rock gods come crashing down – with heavy percussion, lyrics and guitar riffs. Throughout the song, Farrell contrasts it with Navarro’s acoustic guitar track to his typical metal inspired solos. A beautifully wriiten song with contrasting styles through the song – typical of Jane’s Addiction.
Following we have Had A Dad and we are introduced to the funk metal that Jane’s Addiction is known for. Fast tempo, with a catchy riff and goes right into guitar solos early on in the track. Lyrically, it is why I love Farrell and Jane’s Addiction with pauses in the track for the occasional yelp or caw.
Ted, Just Admit It… is slower with a ‘cool’ bassline and Farrell uses very strange sounds instead of those usual English words in the beginning of the track. Reminding me of funk jazz with a rock theme to it, we have very unique guitar licks with no real structure and is in real contrast to the repeated lyric ‘Nothing Shocking’ much like the album cover – two naked Siamese twins which is, well quite shocking to the normal human, but of course we are talking about Jane’s Addiction here.
Setting the tone for the album, it follows with several other tracks of similar style before we reach Mountain Song, the first single of the album, although the video clip was not initially released due to explicit content. A strong and catchy bassline, which really shows what alternative rock is and should be – hard rock and punk inspired music and uses some very good melody and the guitar effects make it even better – with overdrive and some short delay, I could listen to the track all day.
Idiots Rule follows and uses some more funk inspired guitar solo introductions with trumpet, and this really does make it alternative with extra and unneccesary instruments, well at least we thought that before. A strong bassline with a hint of slap makes it unnoticed due to the other instruments present but listen with good equipment, it makes it so much better.
Jane Says – the other single on the album, opens with the acoustic chord progression mixed with Farrell’s unique voice and this follows through the whole track making in more contrast and showing that Jane’s Addiction is more that fret-bashing and funk-metal solos. Although Farrell’s voice is so powerful that it almost takes over instead of the guitar.
Closing with Pig’s in Zen makes a good album an amazing album. Metal inspired riffs with short licks make it a great song to rock out to and even though Farrell’s lyrics are quite overpowering, the fantastic bassline and guitar takes over – just like all rock bands should. Cannot wait for February, 2010 – Soundwave is gonna go off!!!!
8/10
Upcoming review… I’m leaning towards The Get Up Kids or another minor act on the Lineup. Any requests?
20 October 2009
Comments: (0)Labels: 80s, Alternative Rock, Dave Navarro, Funk, Funk Metal, Jane's Addiction, Led Zeppelin, Metal, Perry Farrell
Soundwave Countdown
126 days intil Soundwave starts and with so many acts, I’m looking to psych up with reviews every 2 days. That adds up to over 60 albums!! Spark up, because first on the list is Jane’s Addiction – Nothing Shocking.
Soundwave 2010 - Sydney
Nuff Said – One of the greatest lineups to come to Oz in my memory.
http://www.soundwavefestival.com/lineup
http://www.soundwavefestival.com/lineup
Plane Mix
I have just been there and back from AMUC in Hobart, Tasmania. So, in preparation, I ahve decided to make myself a plane mix although it is clearly biased due to the fact that it is based around the music I have been listening to in the last month or so.
Before I reveal the list, I think we need to examine what would make a good plane mix. So, when I’m on a plane, I end up reading a book; usually on music history and the like. Therefore, it’s usually good to have some good relaxing music but that needs to be contrasted to the fast rhythm of rock and especially punk rock after witnessing NOFX and Bad Religion.
Pity, but the flight isn’t very long and it was about 100 minutes long so not even two hours so obviously not a huge playlist was chosen and well as a struggle to find good tracks since the music brought was only about 100 GB on my iPod.
1. 3rd Planet – Modest Mouse
2. Mountain Song – Jane’s Addiction
3. Free Radicals – The Flaming Lips
4. Sympathy for the Devil – The Rolling Stones
5. Clash City Rockers – The Clash
6. Freakshow – The Cure
7. Re-Offender – Travis
8. Downed – Cheap Trick
9. Whole Lotta Love – Led Zeppelin
10. We Called It America – NOFX
11. 25 or 6 to 4 – Chicago
12. It’s Over – The Cure
13. Run Like Hell – Pink Floyd
14. Jumping Someone Else’s Train – The Cure
15. Money for Nothing – Dire Straits
16. Prayers for Rain – The Cure
17. Warthog – The Ramones
18. Stiffness When Idle – The Replacements
19. The Quitter – NOFX
20. Friday I’m In Love – The Cure
21. Slow Ride – Foghat
22. Ohio – Neil Young
23. Moondance – Van Morrison
24. No Go – The Ramones
25. Just Like Heaven – The Cure
Before I reveal the list, I think we need to examine what would make a good plane mix. So, when I’m on a plane, I end up reading a book; usually on music history and the like. Therefore, it’s usually good to have some good relaxing music but that needs to be contrasted to the fast rhythm of rock and especially punk rock after witnessing NOFX and Bad Religion.
Pity, but the flight isn’t very long and it was about 100 minutes long so not even two hours so obviously not a huge playlist was chosen and well as a struggle to find good tracks since the music brought was only about 100 GB on my iPod.
1. 3rd Planet – Modest Mouse
2. Mountain Song – Jane’s Addiction
3. Free Radicals – The Flaming Lips
4. Sympathy for the Devil – The Rolling Stones
5. Clash City Rockers – The Clash
6. Freakshow – The Cure
7. Re-Offender – Travis
8. Downed – Cheap Trick
9. Whole Lotta Love – Led Zeppelin
10. We Called It America – NOFX
11. 25 or 6 to 4 – Chicago
12. It’s Over – The Cure
13. Run Like Hell – Pink Floyd
14. Jumping Someone Else’s Train – The Cure
15. Money for Nothing – Dire Straits
16. Prayers for Rain – The Cure
17. Warthog – The Ramones
18. Stiffness When Idle – The Replacements
19. The Quitter – NOFX
20. Friday I’m In Love – The Cure
21. Slow Ride – Foghat
22. Ohio – Neil Young
23. Moondance – Van Morrison
24. No Go – The Ramones
25. Just Like Heaven – The Cure
Comments: (0)
Labels: Cheap Trick, Chicago, Dire Straits, Flaming Lips, Foghat, Jane's Addiction, Led Zep, Modest Mouse, NOFX, Pink Floyd, The Clash, The Cure, The Ramones, The Replacements, The Rolling Stones, Travis
The Cure News
‘DISINTEGRATION’ COMES OF AGE?!!
THE REMASTERED ‘DISINTEGRATION’ ALBUM (21ST ANNIVERSARY EDITION) WILL BE RELEASED WORLDWIDE IN SPRING 2010 ON UNIVERSAL AND RHINO IT WILL BE AVAILABLE AS PART OF A 3CD DELUXE EDITION, AS A SINGLE CD AND ON DOUBLE VINYL THE 3CD DELUXE EDITION WILL COMPRISE:
CD1 - DISINTEGRATION
01 PLAINSONG
02 PICTURES OF YOU
03 CLOSEDOWN
04 LOVESONG
05 LAST DANCE
06 LULLABY
07 FASCINATION STREET
08 PRAYERS FOR RAIN
09 THE SAME DEEP WATER AS YOU
10 DISINTEGRATION
11 HOMESICK
12 UNTITLED
CD2 - RARITIES (1988 – 1989) ALL PREVIOUSLY UNRELEASED VERSIONS (* PREVIOUSLY UNRELEASED SONG)
01 PRAYERS FOR RAIN -RS HOME DEMO (instrumental)-04/88
02 PICTURES OF YOU -RS HOME DEMO (instrumental)-04/88
03 FASCINATION STREET -RS HOME DEMO (instrumental)-04/88
04 HOMESICK -BAND REHEARSAL (instrumental)-06/88
05 FEAR OF GHOSTS -BAND REHEARSAL (instrumental)-06/88
06 NOHEART -BAND REHEARSAL (instrumental)-06/88 *
07 ESTEN -BAND DEMO (instrumental)-09/88 *
08 CLOSEDOWN -BAND DEMO (instrumental)-09/88
09 LOVESONG -BAND DEMO (instrumental)-09/88
10 2LATE (alt version) -BAND DEMO (instrumental)-09/88
11 THE SAME DEEP WATER AS YOU -BAND DEMO (instrumental)-09/88
12 DISINTEGRATION -BAND DEMO (instrumental)-09/88
13 UNTITLED (alt version) -STUDIO ROUGH (instrumental)-11/88
14 BABBLE (alt version) -STUDIO ROUGH (instrumental)-11/88
15 PLAINSONG -STUDIO ROUGH (guide vocal)-11/88
16 LAST DANCE -STUDIO ROUGH (guide vocal)-11/88
17 LULLABY -STUDIO ROUGH (guide vocal)-11/88
18 OUT OF MIND -STUDIO ROUGH (guide vocal)-11/88
19 DELIRIOUS NIGHT -ROUGH MIX (vocal)-12/88 *
20 PIRATE SHIPS -(RS solo) ROUGH MIX (vocal)-12/89 *
CD3 - ENTREAT PLUS RECORDED LIVE AT WEMBLEY ARENA 1989 REMIXED BY RS 2009 (* PREVIOUSLY UNRELEASED PERFORMANCE)
01 PLAINSONG *
02 PICTURES OF YOU
03 CLOSEDOWN
04 LOVESONG *
05 LAST DANCE
06 LULLABY *
07 FASCINATION STREET
08 PRAYERS FOR RAIN
09 THE SAME DEEP WATER AS YOU *
10 DISINTEGRATION
11 HOMESICK
12 UNTITLED
THE SINGLE CD WILL BE THE 12 TRACK ALBUM, AS WILL THE DOUBLE VINYL …AND IT IS LIKELY A REMASTERED VERSION OF THE ORIGINAL 8 TRACK ‘ENTREAT’ LIVE ALBUM WILL BE MADE AVAILABLE ONLINE… THERE WILL BE A LOT MORE REMASTERED CURE STUFF IN 2010… INCLUDING MIXED UP 2… THE CURE @ THE BBC BOX SET… IN ORANGE AND SHOW ON DVD… AND… ONWARDS!
THE REMASTERED ‘DISINTEGRATION’ ALBUM (21ST ANNIVERSARY EDITION) WILL BE RELEASED WORLDWIDE IN SPRING 2010 ON UNIVERSAL AND RHINO IT WILL BE AVAILABLE AS PART OF A 3CD DELUXE EDITION, AS A SINGLE CD AND ON DOUBLE VINYL THE 3CD DELUXE EDITION WILL COMPRISE:
CD1 - DISINTEGRATION
01 PLAINSONG
02 PICTURES OF YOU
03 CLOSEDOWN
04 LOVESONG
05 LAST DANCE
06 LULLABY
07 FASCINATION STREET
08 PRAYERS FOR RAIN
09 THE SAME DEEP WATER AS YOU
10 DISINTEGRATION
11 HOMESICK
12 UNTITLED
CD2 - RARITIES (1988 – 1989) ALL PREVIOUSLY UNRELEASED VERSIONS (* PREVIOUSLY UNRELEASED SONG)
01 PRAYERS FOR RAIN -RS HOME DEMO (instrumental)-04/88
02 PICTURES OF YOU -RS HOME DEMO (instrumental)-04/88
03 FASCINATION STREET -RS HOME DEMO (instrumental)-04/88
04 HOMESICK -BAND REHEARSAL (instrumental)-06/88
05 FEAR OF GHOSTS -BAND REHEARSAL (instrumental)-06/88
06 NOHEART -BAND REHEARSAL (instrumental)-06/88 *
07 ESTEN -BAND DEMO (instrumental)-09/88 *
08 CLOSEDOWN -BAND DEMO (instrumental)-09/88
09 LOVESONG -BAND DEMO (instrumental)-09/88
10 2LATE (alt version) -BAND DEMO (instrumental)-09/88
11 THE SAME DEEP WATER AS YOU -BAND DEMO (instrumental)-09/88
12 DISINTEGRATION -BAND DEMO (instrumental)-09/88
13 UNTITLED (alt version) -STUDIO ROUGH (instrumental)-11/88
14 BABBLE (alt version) -STUDIO ROUGH (instrumental)-11/88
15 PLAINSONG -STUDIO ROUGH (guide vocal)-11/88
16 LAST DANCE -STUDIO ROUGH (guide vocal)-11/88
17 LULLABY -STUDIO ROUGH (guide vocal)-11/88
18 OUT OF MIND -STUDIO ROUGH (guide vocal)-11/88
19 DELIRIOUS NIGHT -ROUGH MIX (vocal)-12/88 *
20 PIRATE SHIPS -(RS solo) ROUGH MIX (vocal)-12/89 *
CD3 - ENTREAT PLUS RECORDED LIVE AT WEMBLEY ARENA 1989 REMIXED BY RS 2009 (* PREVIOUSLY UNRELEASED PERFORMANCE)
01 PLAINSONG *
02 PICTURES OF YOU
03 CLOSEDOWN
04 LOVESONG *
05 LAST DANCE
06 LULLABY *
07 FASCINATION STREET
08 PRAYERS FOR RAIN
09 THE SAME DEEP WATER AS YOU *
10 DISINTEGRATION
11 HOMESICK
12 UNTITLED
THE SINGLE CD WILL BE THE 12 TRACK ALBUM, AS WILL THE DOUBLE VINYL …AND IT IS LIKELY A REMASTERED VERSION OF THE ORIGINAL 8 TRACK ‘ENTREAT’ LIVE ALBUM WILL BE MADE AVAILABLE ONLINE… THERE WILL BE A LOT MORE REMASTERED CURE STUFF IN 2010… INCLUDING MIXED UP 2… THE CURE @ THE BBC BOX SET… IN ORANGE AND SHOW ON DVD… AND… ONWARDS!
Subscribe to:
Posts (Atom)