Top Albums 2009
1. Grizzly Bear – Vecatimest
2. Doves – Kingdom Of Rust
3. Jónsi & Alex – Riceboy Sleeps
4. Neko Case – Middle Cyclone
5. St. Vincent – Actor
6. Zee Avi – Zee Avi
7. Brandi Carlile – Give Up The Ghost
8. Various Artists - Dark Was The Night
9. Yeah Yeah Yeahs – It’s Blitz
10. Bat For Lashes – Two Suns
11. xx – xx
12. The Mars Volta - Octahedron
13. Animal Collective - Merriweather Post Pavilion
14. Camera Obscura – My Maudelin Career
15. Phoenix – Wolfgang Amadeus Phoenix
16. Hope Sandoval & The Warm Inventions – Through The Devil Softly
17. Julian Plenti – Julian Plenti Is…Skyscraper
18. Julian Casablancas - Phrazes For The Young
19. David Sylvian – Manafon
20. Mono – Hymn To The Immortal Wind
Friday, December 25, 2009
Thursday, October 29, 2009
Hope Sandoval Through The Devil Softly and Live @ The Fillmore 9/26/09
The new Hope Sandoval & The Warm Inventions new release Through The Devil Softly was much anticipated, for good reason. It marked the only release from Hope in the past eight years, the last being the first release by her and this band, Bavarian Fruit Bread, in 2001. They have released three EP's during this time, all met with limited commercial success or critical acclaim.
There is alot to celebrate here with this release. She and Colm Ó Cíosóig, drummer of the cult shoegaze band My Bloody Valentine, have taken as much time as needed to complete this project. It never seems like Hope is ever in any real big hurry to finish anything. The last Mazzy Star release, Among My Swan, was released in 1996. The cult following of this "paisley underground" staple is still relevant and active. Judging by the diverse crowd at her recent show, which I will go into further on in this posting, she continues to add new, young fans that could not have been around for her early releases with Opal and Mazzy Star. Such is the charisma and draw by so many to Hope's brilliant glow.
Now, I'll talk a little about this release. It is exactly what you might expect from Hope Sandoval in many ways, yet, it seems so fresh and new. Her voice is captivating and her delivery is impeccable. The overall appeal of this release for me is the acoustic overtones throughout the release. Very simplistic acoustic instrumentation with guitar, bass, violins and Hope on the glockenspiel, and occasional keyboards, with very minimal percussion. Sure, there's still alot of low-key electric guitar, some slide, as there is in all Hope Sandoval projects. It just seems to compliment Hope's breathy, sensual vocal style. For those into catagorizing it, alt. country or folk is as close to any styles in my mind. At the record store I manage, the database says Folk but I still put it in Pop.
"Blanchard" is the first single off of the album and I believe it was the right choice. It was one of Hope's four solo writing credited songs, even though she has writing acknowledgement on all eleven tunes.
Another favorite song worth mentioning on this release is "Satellite", the last song on the album. It starts out with waves crashing on the shore, which goes on throughout the song, and vocals as if singing into a walkie talkie. It really gives the feel of a distant time gone by. It is a beautiful way to end a most enjoyable release.
Hope Sandoval & The Warm Inventions Live @ The Fillmore 9/26/09
This was one of my most anticipated shows in recent years. I had never been able to "see" Hope live in any of her previous incarnations with Opal, Mazzy Star or The Warm Inventions. I highlighted "see" as I really didn't get alot of anticipated visual contact with Hope or the rest of the band, for that matter, at this show. I'll go into that a little later.
First off, it was my first visit to the hallowed grounds of The Fillmore in San Francisco. Growing up in L.A., all you would hear about was the epic concerts in the late-60's at this famous venue. I was not disappointed at all! Upon entering the building, you ascend the stairs into the venue. There is a small lobby area with a few rooms for checking items, buying souvenirs, etc. To the right, is the entrance to the ground floor. It is a wooden floor in the middle and a raised stage area. Looking up, you see a second floor with large, framed window openings for people to look out of while sitting at tables. I could see that most of them were occupied even 30 minutes before the opening act was to appear.
After ascending the staircase, you enter the poster room. There was a DJ spinning in there when I met my friend and her roommate. We sat at a table and had a few drinks and admired the seemingly hundreds of framed posters from acts that had appeared there over the years. It was a varitable who's who of music royalty from all different genres. What a spectacular room!
We decided to decend onto the 1st Floor about 30 minutes before Hope appeared. This was a general admission show so I knew that I would be standing throughout. We took a spot to the far right-hand side of the floor, fairly close to the front. I could see pretty clearly over everyone due to my height. It was a nice vantage point. There were seats on the perimeter of the floor but most people were standing in the middle of the floor all the way back to the entrance doors.
When Hope and the band finally appeared, the stage was bathed in dark blue spots. The screen behind the stage throughout the show would flash abstract images in loops ranging from dancers to abstract images and even the Circus Circus sign on the Vegas Strip. It was often reversed negative imagery, sometimes it was in color and sometimes in black and white. It enhanced the overall effect of the show. The images did change every song but rarely do I recall the images matching specifically with the songs.
After the first song, I was expecting to see the lights come up and have Hope talk to the audience. This did not happen nor did it at any time throughout the show. This was really my only disappointment. I know of Hope's legendary shyness in interviews and on stage but was wishing that she would interact with the audience. Most of the interaction with the audience was her chastising someone for taking a flash photo, which was strictly forbidden. They frisked people on the way in and there were several signs forbidding photography of any kind. All of the photos that you see on this entry are from others that were able to get close enough to her to get a shot with very little light. Every once in a while, someone would yell something in between songs and she would reply, "I can't HEAR you"! To which the automatic retort of "we can't SEE you" would be bellowed by at least one of her fans.
The music was simply delightful. The band was very tight and as it was on the record, Hope's vocals were perfectly complimented by the gentle flow of the music. I had only heard the album twice all the way through before the show, since the CD wasn't released until the following Tuesday. I caught a few songs on Rubberband Girl's show on KALX, since they received a promo copy of the CD. In a way, it was nice to be introduced to many of the songs live for the first time. I enjoyed "Suzanne" from the first EP and full recording, of course. The rest of the show was great, too. As was the album, very acoustic, lo-fi, flowing and beautiful.
As I left the venue and walked back to my hotel, I was disappointed to not be able to have seen much of Hope due to the dark lighting and stage set up. I did not know how to approach this review and wanted to roll it around in my head a while before doing so. I have been onto her Facebook fan page recently to see what others thought of the shows. It seemed, like me, that there was an ambivalence in just how people reacted to the shows. In the end, I found myself defending her performance at the SF show when a fan announced their displeasure.
I had finally come to the conclusion that even though I was unable to really "see" Hope that I did enjoy the show alot. The old saying "those in glass houses should not throw stones" resonates loudly here. Eccentricity is my middle name and why should I not afford that same luxury to an artist that I admire greatly? I am proud to say that I was at this show that I am reviewing and I did enjoy it immensely...and do you know what? I would see her again and again!
Oh, by the way, the rumors are that Mazzy Star is close to releasing a new record. In her recent Rolling Stone interview, Hope said that she and David Roback are still working on their fourth release and that "We're almost finished (with the record). But I have no idea what that means." I will be keeping my fingers crossed for an early-2010 release.
K
Sunday, October 11, 2009
Top 28 Albums 2000-2009
Ok, Blythe, you asked for it! Top 28 it is!
Here are my faves of the last decade. These are titles that have meant the most to me out of the hundreds that were considered for this list. There were many others that could have, would have and should have made this list but I'm sticking with these:
28. The Innocence Mission Befriended (2003)
Karen Peris has such a lovely voice and this album from start to finish showcases her amazing talent. It is one of their most beautiful recordings. The song writing is exceptional. Some call them shoegaze and some call them folk. I just call them one of my all-time favorite bands.
27. Black Rebel Motorcycle Club Howl (2005)
You had better get right with your maker! This is a down home, gospel tent revival, delivered by the good Revs. Peter and Robert. Prepare to tap your toes and be uplifted and inspired by the boys on this great recording!
26. Serena-Maneesh Serena-Maneesh (2006)
Great band from Norway. They play some shoegaze and some dreampop. Their song "Your Blood Is Mine" is like a rocket ascending, running out of fuel, turning around and screaming back towards Earth assaulting you sonically on descent. Suddenly, the parachute bursts forth and it lands with pillowy softness. Truly not to be missed!
25. Hope Sandoval & The Warm Inventions Bavarian Fruit bread (2001)
This is the lead-singer of Mazzy Star and the drummer for My Bloody Valentine's first collaborative effort. As usual, very beautiful, flowing vocals from Hope. The big song was "Suzanne" but the whole album is great. For all you Mazzy Star fans out there, you won't be disappointed.
24. Emma Pollock Watch The Fireworks (2007)
This is the first solo effort from The Delgados vocalist. Emma really took me by surprise with this one. Great vocals and songwriting. She sings from the heart and is currently working on her second release. If you like this, you will most likely enjoy most of the releases by The Delgados.
23. Elbow Asleep In The Back (2001)
This band won the prestigious Mercury Prize for Best Album in UK in 2008 for Seldom Seen Kid. This effort was their first and introduced the talented Guy Garvey, lead vocalist of the band, to the world. The first song called "Any Day Now" is one of my favorites. Once you hear this band, you'll want to pick up their other releases, trust me.
22. The Czars The Ugly People vs. The Beautiful People (2001)
This band was discovered by Simon Raymonde of the Cocteau Twins. There are elements of shoegaze, drone as well as alt-country. Lead singer John Grant has a very unique vocal style and his lyrics are pretty freakin' deep. The song "Drug" is melancholy as hell and I love it. This Denver-based group is pretty cool, in my book.
21. Interpol Turn On The Bright Lights (2002)
One of the influential bands leading the post-punk revival in the early part of the decade, this album is still solid as hell. The song "NYC" was the first standout on this recording but the whole album is really good. A staple band of the college radio scene since this debut release, it deserves a solid spot on this list.
20. The Strokes Is This It (2002)
Notorious as the leaders of the garage rock revival sound at the beginning of the decade. This album was what really kicked it all off for the movement and the band. No song is over 4:00 here, hit it and quit it style. I like it!
19. Yeah Yeah Yeahs Fever To Tell (2003)
Karen O has a way of seducing you with her groans, moans and squeals. Even though I adore their first EP, this garage-rock style album is another example of nailing each song quick and getting on to the next. To coin a phrase by Mr. Bowie, "wham, bam, thank you, ma'am"!
18. Cat Power The Greatest (2006)
This record really caught me off guard. Cat Power, Chan Marshall in real life, assembled some of the best studio musicians around for this solid effort. Very heartfelt from beginning to end, this record is loaded with gems. "Where Is My Love" is a classic ballad that showcases her seductive, breathy vocal style.
17. Beirut Flying Club Cup (2007)
I have always loved bands that set themselves apart from the rest. Beirut incorporates European folk with a peculiar mix of strings, horns and percussion. Almost gypsy sounding on some songs and mariachi on others, I fell head over heels for this recording. Zach Condon is a rare talent that has a bright future. Thankfully, we get to reap the rewards of this gift for years to come.
16. Tool Lateralus (2001)
What can you say about Maynard and the boys on this one? Diversity abounds throughout. Low key, hard rock, noise,acoustic and great vocals all in one album. Their genius use of feedback and filtered noise makes this my definitive recording for this great band.
15. Doves Lost Souls (2000)
One of my favorite bands, Doves (formerly Sub Sub) hail from Manchester, England. This is their first release, nominated for the coveted Mercury Prize in 2000. It incorporates a variety of styles and has a way of sweeping you away to another place. I call it epic rock for the new millennium. "Catch The Sun" is my favorite tune but it's chocked full of goodies from beginning to end. Everytime I play this for someone who's never heard it, they want to know how they've never heard it before!
14. Emiliana Torrini Fisherman's Woman (2005)
A beautiful recording from a lovely person. Emiliana has a gentle nature and beautiful voice. This recording is very acoustic and low-key. Her storytelling is mesmerizing and the song "At Least It Was" has always held a soft spot with me. Open a bottle of red wine and wind down with this one.
13. Muse Absolution (2004)
Muse is a British Art Rock band that has been compared to Radiohead. I don't get the comparison. This record has great ballads, power rock with my favorite song, "Stockholm Syndrome", and electronic elements strewn throughout. Matthew Bellamy's vocals are powerful, dramatic and energetic. This was on my playlist for two months when it came out.
12. Coldplay Rush Of Blood To The Head (2002)
I know, I know, you can't stand Coldplay! I don't care what you say, this album is solid from start to finish. I won't even single out any songs as it would take the album as a whole out of context. There is such a myriad of emotion, skill and musicianship exhibited throughout this effort. Ok, so you don't think I'm cool anymore, oh well. Pretentious still, but definitely not cool.
11. Radiohead In Rainbows (2007)
Yup, here is the first Radiohead sighting. Some of you knew it was coming. This band is criticised for so much. Even my most critical friends of Thom and Co. liked this effort for the understated delivery and lack of dramatic license. Whatever, it is pretty fucking good, whether you like the band or not. I love the band and I love this album! Check out "Jigsaw Falling Into Place" and "All I Need".
10. Sigur Ros ( ) (2002)
My first listen to this recording blew me away. I had never heard of this Icelandic band before. I was floored that it was so different from any other ambient-noise recording I'd heard before. The vocals were haunting but fit with the music so well. It has a flow that is hypnotic yet so accessible. Eclectic, yes. Eccentric, perhaps. Relevant, definitely. Open-minded people here only, please, as there will be no commercial radio on this one. One of the most ultra-cool live shows I've ever seen!
9. Beck Sea Change (2002)
Beck dug deep on this one, a real departure from "Devil's Haircut" days. This is low-fi all the way. Orchestral and acoustic, musically. Heartbreaking, forlorn, resigned and introspective, lyrically. If Owen Bradley had been around, this would have been right up his alley. I don't recommend drinking Jack while listening to this one and whatever you do, watch out for the dog in the road!!
8. Grizzly Bear Veckatimest (2009)
One of the truly relevant albums this decade. This was one of those that blew me away for the first spin. This Brooklyn-based band is now accessible to so many because of this release. The blending of layered vocals, subtle instrumentation, orchestration and powerful lyrics is masterful. It will most certainly be at the top of my year-end list for '09.
7. Fleet Foxes Fleet Foxes (2008)
My favorite album of '08, this recording has alot of folk and storytelling elements to it. I love the way that the delivery seems so easy and simple, yet complex at the same time. When you watch Robin Pecknold sing, there is an understated element about the music that makes you want to embrace it. This is their first full-length release and I cannot wait for the next one to come out.
6. Radiohead Kid A (2000)
Here is my favorite Radiohead of the decade. I know, all of the music critics picked this one, too. I can't help that this album is great. Those of you that "don't get" Radiohead, I am sorry. I believe that you are missing out on musical art here. "How To Disappear Completely" and "Optimistic" are vital tracks.
5. Elliott Smith Figure 8 (2000)
A tragic figure, Elliott Smith was not the nicest guy by all accounts before his death in 2003. He didn't have the greatest singing voice and he didn't have pop idol looks. What this man did have was the ability to write unbelievably great songs. He was a very good musician. He is one of those artists that didn't pull any punches. He bared it all for those to see; good, bad and ugly. I will never get sick of this recording, ever. He'll always be known as the guy who wrote the Academy Award nominated song for Good Will Hunting to most. I will always regret all of the great songs that I will never hear him write and perform due to his early death.
4. Delgados Hate (2003)
My favorite album from one of my favorite bands. Dubbed "the depressed cousins of The Flaming Lips" by Rolling Stone magazine, The Delgados took their name from a Tour de France winning cyclist from the 80's. The first song, "The Light Before We Land" was the theme to the anime series Gunslinger Girl and is my favorite song. The record has ballads, clever lyrics, sweeping orchestration in places and catchy hooks. They won the Mercury Prize in 2000 for the album titled, The Great Eastern in 2000. Very underrated in my book!
3. Aimee Mann Bachelor No.2 or, The Last Remains Of The Dodo (2000)
People who know me know of my affinity for Aimee. She has always seemed like my cosmic twin when I listen to her. This recording has a history. She wanted to release it late in the 1990's on her label at the time but they refused to until she changed it to their liking. She refused. Eventually, they dropped her and she started her own label. She signed other artists and gave them what she had wanted. Ownership of their intellectual properties and the majority of the profits. Aside for this yarn, the material on this record is great. Recommended songs are Academy Award nominated song "Save Me" from the Magnolia soundtrack, "Ghost World" and "Calling It Quits".
2. Mojave 3 Excuses For Travellers (2000)
I have worn this one out in the past decade. Brilliant songwriter and singer, Neil Halstead, of Slowdive fame, fronts this alt-country band. He also brought along Rachel Goswell and Ian McCutcheon from Slowdive. The level of perfect execution on this record is inspiring. Neil really knows how to hit you where it hurts. The tempo is decidedly slower but those of you who enjoy classic ballads and heartaches o'plenty, will dig this one alot.
And the envelope, please...(insert drumroll here)
1. Doves The Last Broadcast (2002)
Yes, there are a million reasons why this shouldn't have been at the top of my list but here it stands. I drove all the way to L.A. to see this tour because of the impact that it had on me. Every song had relevance to me and it was one of those albums that you look back at with the fondest of memories. My favorite songs are "There Goes The Fear", "M62 Song" (an adaption of the King Crimson song "Moonchild") and "Caught By The River".
There you have it. A daunting task but a fulfilling one. I would love to see more decade lists from people. Come on, what have you got to lose?
The rest of my SF trip is coming VERY soon, I promise!!
Karl
Here are my faves of the last decade. These are titles that have meant the most to me out of the hundreds that were considered for this list. There were many others that could have, would have and should have made this list but I'm sticking with these:
28. The Innocence Mission Befriended (2003)
Karen Peris has such a lovely voice and this album from start to finish showcases her amazing talent. It is one of their most beautiful recordings. The song writing is exceptional. Some call them shoegaze and some call them folk. I just call them one of my all-time favorite bands.
27. Black Rebel Motorcycle Club Howl (2005)
You had better get right with your maker! This is a down home, gospel tent revival, delivered by the good Revs. Peter and Robert. Prepare to tap your toes and be uplifted and inspired by the boys on this great recording!
26. Serena-Maneesh Serena-Maneesh (2006)
Great band from Norway. They play some shoegaze and some dreampop. Their song "Your Blood Is Mine" is like a rocket ascending, running out of fuel, turning around and screaming back towards Earth assaulting you sonically on descent. Suddenly, the parachute bursts forth and it lands with pillowy softness. Truly not to be missed!
25. Hope Sandoval & The Warm Inventions Bavarian Fruit bread (2001)
This is the lead-singer of Mazzy Star and the drummer for My Bloody Valentine's first collaborative effort. As usual, very beautiful, flowing vocals from Hope. The big song was "Suzanne" but the whole album is great. For all you Mazzy Star fans out there, you won't be disappointed.
24. Emma Pollock Watch The Fireworks (2007)
This is the first solo effort from The Delgados vocalist. Emma really took me by surprise with this one. Great vocals and songwriting. She sings from the heart and is currently working on her second release. If you like this, you will most likely enjoy most of the releases by The Delgados.
23. Elbow Asleep In The Back (2001)
This band won the prestigious Mercury Prize for Best Album in UK in 2008 for Seldom Seen Kid. This effort was their first and introduced the talented Guy Garvey, lead vocalist of the band, to the world. The first song called "Any Day Now" is one of my favorites. Once you hear this band, you'll want to pick up their other releases, trust me.
22. The Czars The Ugly People vs. The Beautiful People (2001)
This band was discovered by Simon Raymonde of the Cocteau Twins. There are elements of shoegaze, drone as well as alt-country. Lead singer John Grant has a very unique vocal style and his lyrics are pretty freakin' deep. The song "Drug" is melancholy as hell and I love it. This Denver-based group is pretty cool, in my book.
21. Interpol Turn On The Bright Lights (2002)
One of the influential bands leading the post-punk revival in the early part of the decade, this album is still solid as hell. The song "NYC" was the first standout on this recording but the whole album is really good. A staple band of the college radio scene since this debut release, it deserves a solid spot on this list.
20. The Strokes Is This It (2002)
Notorious as the leaders of the garage rock revival sound at the beginning of the decade. This album was what really kicked it all off for the movement and the band. No song is over 4:00 here, hit it and quit it style. I like it!
19. Yeah Yeah Yeahs Fever To Tell (2003)
Karen O has a way of seducing you with her groans, moans and squeals. Even though I adore their first EP, this garage-rock style album is another example of nailing each song quick and getting on to the next. To coin a phrase by Mr. Bowie, "wham, bam, thank you, ma'am"!
18. Cat Power The Greatest (2006)
This record really caught me off guard. Cat Power, Chan Marshall in real life, assembled some of the best studio musicians around for this solid effort. Very heartfelt from beginning to end, this record is loaded with gems. "Where Is My Love" is a classic ballad that showcases her seductive, breathy vocal style.
17. Beirut Flying Club Cup (2007)
I have always loved bands that set themselves apart from the rest. Beirut incorporates European folk with a peculiar mix of strings, horns and percussion. Almost gypsy sounding on some songs and mariachi on others, I fell head over heels for this recording. Zach Condon is a rare talent that has a bright future. Thankfully, we get to reap the rewards of this gift for years to come.
16. Tool Lateralus (2001)
What can you say about Maynard and the boys on this one? Diversity abounds throughout. Low key, hard rock, noise,acoustic and great vocals all in one album. Their genius use of feedback and filtered noise makes this my definitive recording for this great band.
15. Doves Lost Souls (2000)
One of my favorite bands, Doves (formerly Sub Sub) hail from Manchester, England. This is their first release, nominated for the coveted Mercury Prize in 2000. It incorporates a variety of styles and has a way of sweeping you away to another place. I call it epic rock for the new millennium. "Catch The Sun" is my favorite tune but it's chocked full of goodies from beginning to end. Everytime I play this for someone who's never heard it, they want to know how they've never heard it before!
14. Emiliana Torrini Fisherman's Woman (2005)
A beautiful recording from a lovely person. Emiliana has a gentle nature and beautiful voice. This recording is very acoustic and low-key. Her storytelling is mesmerizing and the song "At Least It Was" has always held a soft spot with me. Open a bottle of red wine and wind down with this one.
13. Muse Absolution (2004)
Muse is a British Art Rock band that has been compared to Radiohead. I don't get the comparison. This record has great ballads, power rock with my favorite song, "Stockholm Syndrome", and electronic elements strewn throughout. Matthew Bellamy's vocals are powerful, dramatic and energetic. This was on my playlist for two months when it came out.
12. Coldplay Rush Of Blood To The Head (2002)
I know, I know, you can't stand Coldplay! I don't care what you say, this album is solid from start to finish. I won't even single out any songs as it would take the album as a whole out of context. There is such a myriad of emotion, skill and musicianship exhibited throughout this effort. Ok, so you don't think I'm cool anymore, oh well. Pretentious still, but definitely not cool.
11. Radiohead In Rainbows (2007)
Yup, here is the first Radiohead sighting. Some of you knew it was coming. This band is criticised for so much. Even my most critical friends of Thom and Co. liked this effort for the understated delivery and lack of dramatic license. Whatever, it is pretty fucking good, whether you like the band or not. I love the band and I love this album! Check out "Jigsaw Falling Into Place" and "All I Need".
10. Sigur Ros ( ) (2002)
My first listen to this recording blew me away. I had never heard of this Icelandic band before. I was floored that it was so different from any other ambient-noise recording I'd heard before. The vocals were haunting but fit with the music so well. It has a flow that is hypnotic yet so accessible. Eclectic, yes. Eccentric, perhaps. Relevant, definitely. Open-minded people here only, please, as there will be no commercial radio on this one. One of the most ultra-cool live shows I've ever seen!
9. Beck Sea Change (2002)
Beck dug deep on this one, a real departure from "Devil's Haircut" days. This is low-fi all the way. Orchestral and acoustic, musically. Heartbreaking, forlorn, resigned and introspective, lyrically. If Owen Bradley had been around, this would have been right up his alley. I don't recommend drinking Jack while listening to this one and whatever you do, watch out for the dog in the road!!
8. Grizzly Bear Veckatimest (2009)
One of the truly relevant albums this decade. This was one of those that blew me away for the first spin. This Brooklyn-based band is now accessible to so many because of this release. The blending of layered vocals, subtle instrumentation, orchestration and powerful lyrics is masterful. It will most certainly be at the top of my year-end list for '09.
7. Fleet Foxes Fleet Foxes (2008)
My favorite album of '08, this recording has alot of folk and storytelling elements to it. I love the way that the delivery seems so easy and simple, yet complex at the same time. When you watch Robin Pecknold sing, there is an understated element about the music that makes you want to embrace it. This is their first full-length release and I cannot wait for the next one to come out.
6. Radiohead Kid A (2000)
Here is my favorite Radiohead of the decade. I know, all of the music critics picked this one, too. I can't help that this album is great. Those of you that "don't get" Radiohead, I am sorry. I believe that you are missing out on musical art here. "How To Disappear Completely" and "Optimistic" are vital tracks.
5. Elliott Smith Figure 8 (2000)
A tragic figure, Elliott Smith was not the nicest guy by all accounts before his death in 2003. He didn't have the greatest singing voice and he didn't have pop idol looks. What this man did have was the ability to write unbelievably great songs. He was a very good musician. He is one of those artists that didn't pull any punches. He bared it all for those to see; good, bad and ugly. I will never get sick of this recording, ever. He'll always be known as the guy who wrote the Academy Award nominated song for Good Will Hunting to most. I will always regret all of the great songs that I will never hear him write and perform due to his early death.
4. Delgados Hate (2003)
My favorite album from one of my favorite bands. Dubbed "the depressed cousins of The Flaming Lips" by Rolling Stone magazine, The Delgados took their name from a Tour de France winning cyclist from the 80's. The first song, "The Light Before We Land" was the theme to the anime series Gunslinger Girl and is my favorite song. The record has ballads, clever lyrics, sweeping orchestration in places and catchy hooks. They won the Mercury Prize in 2000 for the album titled, The Great Eastern in 2000. Very underrated in my book!
3. Aimee Mann Bachelor No.2 or, The Last Remains Of The Dodo (2000)
People who know me know of my affinity for Aimee. She has always seemed like my cosmic twin when I listen to her. This recording has a history. She wanted to release it late in the 1990's on her label at the time but they refused to until she changed it to their liking. She refused. Eventually, they dropped her and she started her own label. She signed other artists and gave them what she had wanted. Ownership of their intellectual properties and the majority of the profits. Aside for this yarn, the material on this record is great. Recommended songs are Academy Award nominated song "Save Me" from the Magnolia soundtrack, "Ghost World" and "Calling It Quits".
2. Mojave 3 Excuses For Travellers (2000)
I have worn this one out in the past decade. Brilliant songwriter and singer, Neil Halstead, of Slowdive fame, fronts this alt-country band. He also brought along Rachel Goswell and Ian McCutcheon from Slowdive. The level of perfect execution on this record is inspiring. Neil really knows how to hit you where it hurts. The tempo is decidedly slower but those of you who enjoy classic ballads and heartaches o'plenty, will dig this one alot.
And the envelope, please...(insert drumroll here)
1. Doves The Last Broadcast (2002)
Yes, there are a million reasons why this shouldn't have been at the top of my list but here it stands. I drove all the way to L.A. to see this tour because of the impact that it had on me. Every song had relevance to me and it was one of those albums that you look back at with the fondest of memories. My favorite songs are "There Goes The Fear", "M62 Song" (an adaption of the King Crimson song "Moonchild") and "Caught By The River".
There you have it. A daunting task but a fulfilling one. I would love to see more decade lists from people. Come on, what have you got to lose?
The rest of my SF trip is coming VERY soon, I promise!!
Karl
Monday, October 5, 2009
My Visit To KALX
Hi,
A little late with this entry but with a day long trip to Phoenix, two in-stores and a mild bout with the flu, it's been a long week. I will probably break my SF trip into three entries, starting with my visit to:
I was in the final stages of planning my trip to SF to see Hope Sandoval when I received an invitation from my friend of eight years, Erin Ruiz-Prunchak. A little further background is needed here. Erin also happens to be the Operations Coordinator for the world-famous college radio station on the UC Berkeley campus, KALX 90.7FM. She also DJ's the 6-9pm slot every Friday night as Rubberband Girl. Her invitation was to sit in while she hosted her shift on 9/25. I was honored to accept her kind offer.
I arrived at the station a little after 5pm, a little sweaty from my hike up the hill from the BART station and through the beautiful Cal Berkeley campus. She greeted me at the door and gave me a tour of the office area. She showed me the DJ schedule board that was laid out on a giant greaseboard. It was a very impressive jigsaw puzzle that had all of it's pieces fitting in all the right places. This is one of the important resposibilities that she has at the station. It looks like something that would keep me up nights! Since all DJ shifts are filled on a volunteer basis, it is not an easy task for her.
After placing my belongings safely into her office, we went into the music library. Wow! What a sight! Literally thousands of records:
and CD's:
filed meticulously, row after row. Since she was busy preparing for her show in less than one hour, she gave me a quick rundown on how everything was filed. After nearly three decades in music retail, it didn't take long to get the layout straight.
There was an area with hundreds of new and recent releases all stickered with a code. Green dot meant unfavorable reviews with red dot signifying positive reviews on the CD. A few had both, obviously a few differences of opinion but I can see how it would be very helpful. Music taste is different for everyone and DJ's are no exception to this rule. As she prepared, I scoured the bins looking for a few gems that I asked her to play, if it worked in with her set. I have been listening to her show regularly since she was awarded this time slot a few months ago. I am able to tune in from Las Vegas by going to iTunes and clicking on Radio, under the Library heading, and then College/University Radio to KALX.
Right before 6pm, as the previous DJ signed off, Rubberband Girl stepped in to the booth. She put on her first tune and settled in. Seeing RG (Rubberband Girl) slide gently from task to task was impressive. She had an array of equipment and computers at her disposal. If my memory serves me correctly, she was utilizing two CD players, two vinyl turntables, her computer with her personal notes and music research, the sound board and other devices used for pre-recorded announcements. There was even a huge reel-to-reel player off to the side. She also logged every song onto a screen with artist, song, album and label. This info goes to the KALX website so that listeners can retrieve the last 24 hours of songs played on the station, a great idea. I had planned on taking pictures but completely lost myself in the experience and flailed in this responsibility miserably. Here's another stock photo of the booth:
After a few initial songs, she introduced herself and anounced the previous songs and launched into her second set. As the evening wore on, I noticed that she had routines that had to be maintained. Once a song started, RG would be on the prowl for the next track to queue up. She explained that she wanted the song to fit the mood of the set. Often, she would have a song ready to go and would change her mind and go with an alternate choice, agonizing over her decision. One of her choices for the evening, a song called "China" by The Red Rockers, sat on the turntable for about 45 minutes while she waited for the right time to play it.
Occasionally, RG would announce a ticket giveaway to a certain numbered caller. After announcing the artist and venue, she would start the song and answer her phones. Once a winner was found, she would get name and contact number and congratulate them. A handful of calls followed with a quick polite reply of "KALX, sorry, tickets are gone".
Erin has great taste in music, in my opinion. She plays a variety of very diverse musical styles, alot of my personal favorites included. They range from contemporary indie, world music, 80's and 90's post punk/new wave, electronic dance/pop, power pop, international pop, contemporary and traditional folk, obscure 60's garage and various lo-fi to name a few. She was also kind enough to play a few of the songs that I chose, for which I am grateful.
The show went quickly to me and before you know it, it was 9pm. I would have enjoyed hanging out playing music literally all night and began to wonder why I never pursued this as a hobby. Erin really made everything look so easy and seemless. It is obvious the passion she has as a DJ and her love for music but seeing this in person was a real treat. It is an experience that I will never forget and I am grateful for the opportunity that she gave me.
Since her station is listener-supported radio, fund drives are needed to run the daily operations. This is another one of Erin's many responsibilities. Later this month, KALX will be starting up this vital fund-raising program. If you are interested in supporting a great institution, you can obtain more info from the KALX website:
http://kalx.berkeley.edu/
More on SF later this week including my review on the Hope Sandoval & The Warm Inventions show from The World-Famous Fillmore on Saturday, 9/26!
K
A little late with this entry but with a day long trip to Phoenix, two in-stores and a mild bout with the flu, it's been a long week. I will probably break my SF trip into three entries, starting with my visit to:
I was in the final stages of planning my trip to SF to see Hope Sandoval when I received an invitation from my friend of eight years, Erin Ruiz-Prunchak. A little further background is needed here. Erin also happens to be the Operations Coordinator for the world-famous college radio station on the UC Berkeley campus, KALX 90.7FM. She also DJ's the 6-9pm slot every Friday night as Rubberband Girl. Her invitation was to sit in while she hosted her shift on 9/25. I was honored to accept her kind offer.
I arrived at the station a little after 5pm, a little sweaty from my hike up the hill from the BART station and through the beautiful Cal Berkeley campus. She greeted me at the door and gave me a tour of the office area. She showed me the DJ schedule board that was laid out on a giant greaseboard. It was a very impressive jigsaw puzzle that had all of it's pieces fitting in all the right places. This is one of the important resposibilities that she has at the station. It looks like something that would keep me up nights! Since all DJ shifts are filled on a volunteer basis, it is not an easy task for her.
After placing my belongings safely into her office, we went into the music library. Wow! What a sight! Literally thousands of records:
and CD's:
filed meticulously, row after row. Since she was busy preparing for her show in less than one hour, she gave me a quick rundown on how everything was filed. After nearly three decades in music retail, it didn't take long to get the layout straight.
There was an area with hundreds of new and recent releases all stickered with a code. Green dot meant unfavorable reviews with red dot signifying positive reviews on the CD. A few had both, obviously a few differences of opinion but I can see how it would be very helpful. Music taste is different for everyone and DJ's are no exception to this rule. As she prepared, I scoured the bins looking for a few gems that I asked her to play, if it worked in with her set. I have been listening to her show regularly since she was awarded this time slot a few months ago. I am able to tune in from Las Vegas by going to iTunes and clicking on Radio, under the Library heading, and then College/University Radio to KALX.
Right before 6pm, as the previous DJ signed off, Rubberband Girl stepped in to the booth. She put on her first tune and settled in. Seeing RG (Rubberband Girl) slide gently from task to task was impressive. She had an array of equipment and computers at her disposal. If my memory serves me correctly, she was utilizing two CD players, two vinyl turntables, her computer with her personal notes and music research, the sound board and other devices used for pre-recorded announcements. There was even a huge reel-to-reel player off to the side. She also logged every song onto a screen with artist, song, album and label. This info goes to the KALX website so that listeners can retrieve the last 24 hours of songs played on the station, a great idea. I had planned on taking pictures but completely lost myself in the experience and flailed in this responsibility miserably. Here's another stock photo of the booth:
After a few initial songs, she introduced herself and anounced the previous songs and launched into her second set. As the evening wore on, I noticed that she had routines that had to be maintained. Once a song started, RG would be on the prowl for the next track to queue up. She explained that she wanted the song to fit the mood of the set. Often, she would have a song ready to go and would change her mind and go with an alternate choice, agonizing over her decision. One of her choices for the evening, a song called "China" by The Red Rockers, sat on the turntable for about 45 minutes while she waited for the right time to play it.
Occasionally, RG would announce a ticket giveaway to a certain numbered caller. After announcing the artist and venue, she would start the song and answer her phones. Once a winner was found, she would get name and contact number and congratulate them. A handful of calls followed with a quick polite reply of "KALX, sorry, tickets are gone".
Erin has great taste in music, in my opinion. She plays a variety of very diverse musical styles, alot of my personal favorites included. They range from contemporary indie, world music, 80's and 90's post punk/new wave, electronic dance/pop, power pop, international pop, contemporary and traditional folk, obscure 60's garage and various lo-fi to name a few. She was also kind enough to play a few of the songs that I chose, for which I am grateful.
The show went quickly to me and before you know it, it was 9pm. I would have enjoyed hanging out playing music literally all night and began to wonder why I never pursued this as a hobby. Erin really made everything look so easy and seemless. It is obvious the passion she has as a DJ and her love for music but seeing this in person was a real treat. It is an experience that I will never forget and I am grateful for the opportunity that she gave me.
Since her station is listener-supported radio, fund drives are needed to run the daily operations. This is another one of Erin's many responsibilities. Later this month, KALX will be starting up this vital fund-raising program. If you are interested in supporting a great institution, you can obtain more info from the KALX website:
http://kalx.berkeley.edu/
More on SF later this week including my review on the Hope Sandoval & The Warm Inventions show from The World-Famous Fillmore on Saturday, 9/26!
K
Monday, September 21, 2009
Yeah Yeah Yeahs - The Pearl @ The Palms Las Vegas 9/19/09
I am writing about my witnessing of the Yeah Yeah Yeahs show last Saturday night at The Pearl in The Palms in support of their third, and latest album, It's Blitz!.
If I had to use one word to describe this show, it would be energy. Who needs fossil fuels when you have Karen O? Harness a fraction of the energy that she expends during her performance on stage and this world would be just fine.
The stage had an interesting backdrop of a giant eyeball in the middle of five giant rings. It looked like the classic hypnosis graphic that you see on cartoons. The Pearl has some of the best acoustics in Las Vegas and tonight proved it. Even though I was seated and not in the throng of people in the general admission pit area, the sound was great!
The band opened the show with "Shake It", which I hear hasn't been played at all of the shows on this tour. Karen O was wearing leopard-skin tights with white short-shorts over them and a cape, to start with. Throughout the show, she would change her cape to a giant American Indian-looking blanket cape and a few other interesting garments.
They segued right into "Dull Life", which is a song that I really dig. The whole time, Karen O is a whirling dervish on stage. The crowd in the pit area was hopping all night. Nick Zinner was amazing on guitar as was Brian Chase on drums. They, too, had a very high energy level that was easy to feed off of even from where I was sitting.
They also played several more of my favorites including "Heads Will Roll" and "Soft Shock". I really liked Karen O's interaction with the audience. She would often stop and let the crowd finish lyrics during songs. One song in particular, "Cheated Hearts", she walked down to the front row and let at least 20 or more people take turns singing one of the two-note embellishments. This was very popular with the crowd.
After finishing up with "Zero", the band came back out for a three song encore. This included my favorite song of the night, a very slow acoustic version of the song "Maps". Karen O seemed to be genuinely choked up at the end of the song as it was a very stirring rendition.
I was tired by the end of the show due to working all day but I am glad that I was able to see one of the best bands that I had yet to see. If you are into high-energy, danceable music and upbeat stage presence, then the Yeah Yeah Yeahs are the show for you!
Viva! Karen O and the Yeah Yeah Yeahs!
K
Sunday, September 6, 2009
Romance Of Young Tigers
I wanted to talk about a band that is now defunct but made enough of an impact on me to write about. The name of the band was Romance Of Young Tigers. They will leave a legacy of two releases to their name, both EP's.
A little background check shows that they were from Dayton, Ohio, and a two guitar and one bass band that never did find a drummer. Instead, they opted for the use of loops. Soon after the release of their second EP, they disbanded.
The first release, called I Have Supped Full On Horrors, was my first exposure to the band. They immediately struck me as unusual since I noticed the lack of any discernable vocals during my first time through it. Three of the four songs are over eight minutes long, one reason that the word "throwback" comes to mind as a general description for them. The use of bows on guitar is evident, leaving an immediate comparison to some of the works of Sigur Ros, without the vocals of course. There is a distinct use of feedback throughout their recordings. The third song, "The Sound And The Fury", sounds like it could have been a cast-off from the Sigur Ros album titled (). It is very mesmerizing and has ambient overtones, ambient of the 80's and not electronica ambient. It is a recording that could have easily been released by 4AD. It has structure in a non-traditional sense. You might even imagine it as part of a soundtrack, some foreboding overtones would lend well to a horror or indie thriller.
The second and final release was titled "Marie". It was recorded live in October of 2007 and contains no overdubs. This one really threw me for a loop. I immediately felt like I was thrust back into my 80's ambient period where minimalist styles, abstract classical or experimental noise was my choice of music. The first person that came to mind, as the first song "Marie Pt.1" started, was Brian Eno. Eno is a hero of mine and as this 15+ minute song meandered very slowly to audible sound, I imagined one of my first times hearing the groundbreaking recording called Thursday Afternoon. It has Eno-esque overtones but really had strong elements I remember from Pink Floyd's Saucerful Of Secrets. Very minimal droning, flowing sounds, creeping their way up in volume and intensity. I found myself imagining a seascape. A boat is on calm seas, minimal wind and a sun visible through the clouds. As the song moves on towards the end, the music is almost inaudible. It is like a calm before the storm. Then the second and final song begins, 17+ minutes in length, as a build up. It is more ominous with the use of a bass sound, almost like the bass pedal on an organ. Again, it builds up but this time it's like the clouds darken and the sun is now gone. A rumble of thunder in the distance and then it is upon you. The waves are becoming more and more violent, the wind is now a gale. The boat is starting to be tossed up and down with the violence of the storm. The music and volume then slowly ebbs to it's silent and watery grave.
Here is a very short, live video of the band that I found:
This style of music is not well suited for those into mainstream, highly-structured song writing and performance. It is beautiful and melancholy instrumentation that takes you on a voyage if you let it. It is intelligent, morose, image-provoking and subtle in many ways. You might even call it "stoner music for the 21st century", if you choose. I would recommend both of these recordings to anyone into abstract movie orchestration. The modern term used to describe this music is noise, it is anything but.
It is a shame that we will not be able to see more releases from this band. I would have really enjoyed seeing what direction that they decided to take their unique style of music. Oh well, I guess we'll never know.
K
Sunday, August 30, 2009
St. Vincent
I wanted to write about a very original artist on the current scene, St. Vincent.
Her given name is Annie Clark. A little background check reveals that for three years, she went to the prestigious Berklee College Of Music in Boston, MA before dropping out. She was a former member of a cool band called The Polyphonic Spree, an elaboration of this unique band requires a separate entry. She also was part of Sufjan Stevens' touring band. Now that we have that out of the way, we can talk about her solo work.
Her first release, Marry Me, came out in 2007 on Beggars Banquet. You can tell immediately that she has a non-traditional voice and instrumentation in her music. Starting off with the first tune, diversity abounds. The song is "Now, Now" and it starts out with her explaining to someone about what she is not. Potentially to an abusive significant other. There are hints of orchestration, several backing vocalists layered as they sing the chorus of the title and other key lines. The end of the song builds to a crescendo with heavy guitar work and ends with a crash. Very nice introduction to her solo career!
She has a few songs on her first album that for some might seem irreverent to certain beliefs. In "Jesus Saves, I Spend" she makes references to Jesus and compares her differing role in life with his. The context is a little disjointed as is the constant infusion of different non-traditional pop instruments and sounds. She has a beautiful love song called "All My Stars Aligned" that showcases a traditional vocal style that is truly lovely. She sings about a special someone that she is setting her sights on and how she is hoping for a future with them.
On her second album, released earlier this year called Actor, she continues to expand on her ability to put forth sounds and noises not often heard in today's pop scene, one of her most endearing qualities. The first song to strike me on this release was "Save Me From What I Want". Again, her vocal layering on the chorus is intriguing. The marching beat of the snare drum gives the song a drone feel, much like the lyrics bemoaning the drab quality of the relationship she's in. The song "Actor Out Of Work" is very upbeat and catchy. I could see this hitting the clubs with a remixed version. It revolves around the comparison of her significant other's personal qualities to that of an actor. Check out the cool video below (with lots of crying).
The last song to discuss is "Just The Same But Brand New". Again, it highlights her abilities to successfully emit emotionally in a slower song. It has elements of dreampop with her continued non-traditional use of percussion.
St. Vincent is great for so many reasons. She wrote all but one song on both of her releases. The lyrics are intelligent and most songs deal with metafor in some way or another. Some songs make no sense at all but that's part of her appeal. She constantly changes the mood and tone in each song. Her unique insertion of electronic and traditional horns and percussion is refreshing. She has her own branded style after two releases that keeps you wanting to come back for more. I find myself drawn to her latest release for it's ability to show you something that you missed the first five times you heard it.
Like me, if quirky lyrics, delivery and instrumentation are your thing, you cannot go wrong with either one of these releases. Look for St. Vincent to continue to make a lasting impression on the music scene. I am pretty confident that Actor will be gracing my year-end Top Ten list.
K
Sunday, August 23, 2009
Emiliana Torrini - L.A. El Rey Theatre 8/19/09
Hi,
I was fortunate enough to see one of my favorite current artists live this week in L.A., Emiliana Torrini. The show was at a converted movie theatre, alot like the Wiltern but smaller, called the El Rey Theatre. This venue wasn't used for concerts when I lived in L.A. before '98. It is very intimate but the acoustics are good and the ambience is nice.
The opening act was Anya Marina. I must admit that I wasn't very knowledgeable about her catalog but she was entertaining nonetheless. She was personable, witty, intelligent as her songs reflected. She played for about 45 minutes and was well received by the audience.
Emiliana and her band went on stage around 10pm. She was dressed in an outfit that needs to be seen and not described, see it below this paragraph. It looked like a round piece of material with holes cut in it so her arms could protrude outwards. Occasionally, her arms would disappear into the dress. Someone yelled out, "What are you doing in there?". She replied, "Pulling up my trousers". Everyone laughed at this response.
Her setlist included most of my favorites, sans three. She started out with the song called "Fireheads", the first song on her latest release Me & Armini. She was in good spirits throughout. She played several more songs from the latest album and mixed in a few from the other two.
Three of my favorites from the first album, Love In The Time Of Science called "Summerbreeze", "Unemployed In Summertime" and "Tuna Fish" were executed to perfection. She didn't sing my favorite song from the same album called "Telepathy". Perhaps it was due to the large orchestration backing needed to pull it off.
She sang several songs from the second release titled The Fisherman's Wife. This included mainstays "Nothing Brings Me Down", "Lifesaver" and "Heartstopper". Noticeably missing, though, was "At Least It Was".
From Me & Armini, she also played "Ha Ha", "Hold Heart" and "Beggar's Prayer" among others. In several countries around the world, including her native Iceland, the song "Jungle Drum" reached #1 on the charts! I really had hoped to hear "Birds", which she played, and "The Bleeder", which she did not.
Describing Emiliana's presence on-stage is a pleasure. She was constantly smiling throughout the show. She appears to be a very happy person. It was infectious as I found myself smiling throughout as she sang. She talked to the crowd before many of her songs. There were stories about the construction of the songs and anecdotes regarding the writing or instrumentation. In her story before she sang "Nothing Brings Me Down", she talked about the hot weather after a long rain storm. She opened the windows for the warm breeze to come through, drank a bottle of wine and turned the stereo up to 11 while listening to Megadeth.
She was in the middle of another interesting story when a girl from the crowd yelled, "Just sing it already". She got this surprised look on her face and, without skipping a beat, said in a friendly voice "I have the mic, you don't". This drew a strong round of applause from the audience.
She talked about her show performed the previous night in San Francisco at a beautiful venue called The Great American Music Hall. She said that it was like performing on top of a cake with the ornate decor looking like "yummys" and such.
If I had to give a one word description of the performance, it would be "heart". Emiliana spoke, sang, smiled and related to us all from the heart. Her demeanor, expressions, and inflections emitted an inner beauty that I have always taken from her music. She appears as if she really enjoys her journey through this life through everything that she does.
I am so glad that I was able to make it to her show and plan on making it a ritual to see her everytime that she hits the west coast with a tour. I strongly recommend catching her show if she passes your way.
K
Tuesday, August 18, 2009
Rude Boy - The Clash (1978) DVD
It had been a long time since I have watched this movie, or rockumentary, or whatever you want to call it. I originally saw it on the only format available until it's re-release on DVD in 2006...VHS!!
Here are my observations of this film:
The movie is disjointed as hell as a feature motion picture. I can forgive this for many reasons, which I will go into throughout this posting. The lead character is this guy named Ray Gange. They used his real name even though he is not playing himself in the movie. As was true in real life, he knew Joe Strummer. This is the reason why he was put into the movie in the first place. Ray is "on the dole" as the term goes, meaning he is on welfare. He's not the most hard-working or ambitious guy in the world. He loves music, though, and The Clash in particular. He works in a sex shop selling adult magazines and devices. This helps supplement his meager unemployment checks that he receives. He ends up talking his way into being a roadie for The Clash after Joe tells him that there's no paying gig available. That is really the gist of the whole movie plot as it pertains to him.
The artistic plot of this movie is really strange for lots of reasons. From the beginning, they try to interlace issues that were prevalant in late-70's, pre-Thatcher England. The biggest issues at that time were racial, social differences between right and left-wing parties(surprise!), and hard economic times. They bring these scenes in at strange times and succeed in confusing just what the point or direction of the movie is about. A speech by Margaret Thatcher regarding prevailing violence of the times was thrown in for good, or not so good, measure. There are several scenes with Ray and Joe just shooting the shit or drinking beer. Mick Jones really doesn't speak much in the film except to tell Ray that he is "keeping an eye on him" as he gives the impression that he doesn't like him too much. These are the critical views of what I saw.
The best reasons for watching this film are everything about The Clash. The live songs by The Clash are first-rate. The first one is at a small club in Birmingham called Barbarella's. The song that they play is called "Police And Thieves" and it kicks ass! This is the kind of gold that you hope to get as a Clash fan, if you've never seen it before. Since these are real gigs that they are playing, it is genuine to the form. Here is the song from the movie:
The other live performances of note are The Clash sharing a bill at Victoria Park with Tom Robinson Band, Steel Pulse, and X-Ray Spex. Their version of "White Riot" is pure, raw Clash at their best. Joe Strummer is animated and in great form. The performance of "White Man In Hammersmith Palais" at the Glasgow Apollo is a gem. They also do a great version of the song made famous by the Bobby Fuller Four called "I Fought The Law" here live at The Lyceum in London:
The extras on the DVD have a few really nice features. They show two live BBC performances never seen before of "Clash City Rockers" and "Tommy Gun" that are also worth the price of the DVD. They throw in two additional live songs that didn't make the final cut of the film. They are a different version of "White Riot" and a song called "English Civil War". The interviews with Ray and with The Clash's real life road manager, Johnny Green, playing himself in the movie, are also very honest in revealing their perspective on just what it meant to be there. They both talk about their fondest Joe Strummer memories, too, as the DVD production was done about one year after his untimely death.
If you are looking for The Clash's version of "Hard Day's Night", you will be disappointed. If you are a hardcore Clash or Joe Strummer fan, you will love it for all of the live performances that you will see. This film really gives you a great peephole vision of what it was like to be on stage with The Clash in their punk rock prime. For this reason, I will recommend it to any Clash fan or anyone interested in good, raw, live music during punk rocks heyday in late-70's England.
Cheers!
K
Here are my observations of this film:
The movie is disjointed as hell as a feature motion picture. I can forgive this for many reasons, which I will go into throughout this posting. The lead character is this guy named Ray Gange. They used his real name even though he is not playing himself in the movie. As was true in real life, he knew Joe Strummer. This is the reason why he was put into the movie in the first place. Ray is "on the dole" as the term goes, meaning he is on welfare. He's not the most hard-working or ambitious guy in the world. He loves music, though, and The Clash in particular. He works in a sex shop selling adult magazines and devices. This helps supplement his meager unemployment checks that he receives. He ends up talking his way into being a roadie for The Clash after Joe tells him that there's no paying gig available. That is really the gist of the whole movie plot as it pertains to him.
The artistic plot of this movie is really strange for lots of reasons. From the beginning, they try to interlace issues that were prevalant in late-70's, pre-Thatcher England. The biggest issues at that time were racial, social differences between right and left-wing parties(surprise!), and hard economic times. They bring these scenes in at strange times and succeed in confusing just what the point or direction of the movie is about. A speech by Margaret Thatcher regarding prevailing violence of the times was thrown in for good, or not so good, measure. There are several scenes with Ray and Joe just shooting the shit or drinking beer. Mick Jones really doesn't speak much in the film except to tell Ray that he is "keeping an eye on him" as he gives the impression that he doesn't like him too much. These are the critical views of what I saw.
The best reasons for watching this film are everything about The Clash. The live songs by The Clash are first-rate. The first one is at a small club in Birmingham called Barbarella's. The song that they play is called "Police And Thieves" and it kicks ass! This is the kind of gold that you hope to get as a Clash fan, if you've never seen it before. Since these are real gigs that they are playing, it is genuine to the form. Here is the song from the movie:
The other live performances of note are The Clash sharing a bill at Victoria Park with Tom Robinson Band, Steel Pulse, and X-Ray Spex. Their version of "White Riot" is pure, raw Clash at their best. Joe Strummer is animated and in great form. The performance of "White Man In Hammersmith Palais" at the Glasgow Apollo is a gem. They also do a great version of the song made famous by the Bobby Fuller Four called "I Fought The Law" here live at The Lyceum in London:
The extras on the DVD have a few really nice features. They show two live BBC performances never seen before of "Clash City Rockers" and "Tommy Gun" that are also worth the price of the DVD. They throw in two additional live songs that didn't make the final cut of the film. They are a different version of "White Riot" and a song called "English Civil War". The interviews with Ray and with The Clash's real life road manager, Johnny Green, playing himself in the movie, are also very honest in revealing their perspective on just what it meant to be there. They both talk about their fondest Joe Strummer memories, too, as the DVD production was done about one year after his untimely death.
If you are looking for The Clash's version of "Hard Day's Night", you will be disappointed. If you are a hardcore Clash or Joe Strummer fan, you will love it for all of the live performances that you will see. This film really gives you a great peephole vision of what it was like to be on stage with The Clash in their punk rock prime. For this reason, I will recommend it to any Clash fan or anyone interested in good, raw, live music during punk rocks heyday in late-70's England.
Cheers!
K
Bat For Lashes
This entry centers on a talented young artist known as Bat for Lashes. Her real name is Natasha Khan and she is 29 years old and is from Brighton, England, on the coast. She is of Pakistani and English descent.
Right off the bat, no pun intended, she impresses me not only because she writes all of her own songs but she is a very decent musician. She plays guitar as well as keyboards and autoharp. In the first song, "Horse and I", on her first album called Fur and Gold, she plays the harpsichord. This plays on my impressions of her as being a very unique, non-traditional artist that is willing to take chances. This goes a long way with me. Some have dubbed her as the first Brit artist to successfully join what has come to be known as the "freak folk" movement.
On Fur And Gold, released in 2007, she captures a mood of a reticent gothic and a lingering renaissance feel. It almost reminds me of a song that you could hear while watching a scene in any of the LOTR Trilogy on a rolling landscape of green fields. Very mystical and image-provoking qualities in her approach.
The song that really impresses me the most is called "Sad Eyes". This ballad is heartbreaking in so many ways. The piano is very understated as her smoldering vocals imprint a desperate feeling of resignation to a love that may never happen. Easily, my favorite song on her first effort. Here is a short, live version:
I also want to point out another great effort on this version for the Bruce Springsteen song called "I'm On Fire". This song was not on the first release but was added later as an extra track version. The song was already a slower song but she really brings it to a crawl. It accentuates her brilliant ability to sing a ballad and is breathtakingly beautiful in it's delivery.
Her debut was nominated for the prestigious Mercury Prize for 2007, a worthy accomplishment, indeed. She did win the Vanguard Award at the 2007 ASCAP Awards for her efforts.
Her second album was released earlier this year and is titled Two Suns. It is a concept album where she adopted a personna of a woman named Pearl. The album has immediate differences heard on the second song. There is a deep bass and beat that do not appear on the first album. This is due to the collaboration with an artist named Yeasayer. The overall feel is still of a medievel nature but has raised comparisons to Kate Bush in her vocal styling of the songs. I believe Kate to be more technically precise but understand why the comparisons are made.
My favorite song on this album is called "Siren Song". She calls herself by her alter-ego, Pearl, in this song and proceeds to seduce you with her honesty and devotion to her man. She accepts her evil nature as who she is and knows that her lover will leave her due to this eventually. Very captivating delivery and enthralling in it's execution.
Another song of note is called "Traveling Woman". It is a song that may be an autobiography to inspire other young women like herself to not give up on the dream. She insists to stay true and not be taken down by the lies that can pull you down.
This second effort was also nominated for the Mercury Prize for not only the album but for the song called "Daniel".
I am very impressed by Bat For Lashes. I expect to see continued success for her and look forward to her next release.
K
Right off the bat, no pun intended, she impresses me not only because she writes all of her own songs but she is a very decent musician. She plays guitar as well as keyboards and autoharp. In the first song, "Horse and I", on her first album called Fur and Gold, she plays the harpsichord. This plays on my impressions of her as being a very unique, non-traditional artist that is willing to take chances. This goes a long way with me. Some have dubbed her as the first Brit artist to successfully join what has come to be known as the "freak folk" movement.
On Fur And Gold, released in 2007, she captures a mood of a reticent gothic and a lingering renaissance feel. It almost reminds me of a song that you could hear while watching a scene in any of the LOTR Trilogy on a rolling landscape of green fields. Very mystical and image-provoking qualities in her approach.
The song that really impresses me the most is called "Sad Eyes". This ballad is heartbreaking in so many ways. The piano is very understated as her smoldering vocals imprint a desperate feeling of resignation to a love that may never happen. Easily, my favorite song on her first effort. Here is a short, live version:
I also want to point out another great effort on this version for the Bruce Springsteen song called "I'm On Fire". This song was not on the first release but was added later as an extra track version. The song was already a slower song but she really brings it to a crawl. It accentuates her brilliant ability to sing a ballad and is breathtakingly beautiful in it's delivery.
Her debut was nominated for the prestigious Mercury Prize for 2007, a worthy accomplishment, indeed. She did win the Vanguard Award at the 2007 ASCAP Awards for her efforts.
Her second album was released earlier this year and is titled Two Suns. It is a concept album where she adopted a personna of a woman named Pearl. The album has immediate differences heard on the second song. There is a deep bass and beat that do not appear on the first album. This is due to the collaboration with an artist named Yeasayer. The overall feel is still of a medievel nature but has raised comparisons to Kate Bush in her vocal styling of the songs. I believe Kate to be more technically precise but understand why the comparisons are made.
My favorite song on this album is called "Siren Song". She calls herself by her alter-ego, Pearl, in this song and proceeds to seduce you with her honesty and devotion to her man. She accepts her evil nature as who she is and knows that her lover will leave her due to this eventually. Very captivating delivery and enthralling in it's execution.
Another song of note is called "Traveling Woman". It is a song that may be an autobiography to inspire other young women like herself to not give up on the dream. She insists to stay true and not be taken down by the lies that can pull you down.
This second effort was also nominated for the Mercury Prize for not only the album but for the song called "Daniel".
I am very impressed by Bat For Lashes. I expect to see continued success for her and look forward to her next release.
K
Sunday, July 19, 2009
Memorable Shows III
Depeche Mode
The Joint - November 26, 2005
Playing The Angel Tour
Michael Jackson
L.A. Sports Arena - January 26, 1989
Bad Tour
Aimee Mann
Paris Hotel Pool L.V. - July 26, 2003
Liz Phair
HOB Las Vegas - July 27, 2003
Cowboy Junkies
HOB Las Vegas - June 26, 2002
Go-Go's
Mandalay Bay Beach L.V. - August 18, 2001
David Bowie
L.A. Forum - August 15, 1983
Serious Moonlight Tour
The Cure
Dodger Stadium - September 8, 1989
Disintegration Tour
Howard Jones
Irvine Meadows Amphitheatre - June 4, 1985
Dream Into Action Tour
The Mars Volta
Sam Boyd Field L.V. - October 28, 2006
Vegoose Music Festival
Still more at a later time.
K
The Joint - November 26, 2005
Playing The Angel Tour
Michael Jackson
L.A. Sports Arena - January 26, 1989
Bad Tour
Aimee Mann
Paris Hotel Pool L.V. - July 26, 2003
Liz Phair
HOB Las Vegas - July 27, 2003
Cowboy Junkies
HOB Las Vegas - June 26, 2002
Go-Go's
Mandalay Bay Beach L.V. - August 18, 2001
David Bowie
L.A. Forum - August 15, 1983
Serious Moonlight Tour
The Cure
Dodger Stadium - September 8, 1989
Disintegration Tour
Howard Jones
Irvine Meadows Amphitheatre - June 4, 1985
Dream Into Action Tour
The Mars Volta
Sam Boyd Field L.V. - October 28, 2006
Vegoose Music Festival
Still more at a later time.
K
Saturday, July 18, 2009
Friday, July 17, 2009
Clearlake "Cedars"
'Sup?
Lately, I have been listening to alot of indie music from the past that I am just now discovering. I saw a CD in the bins at work recently and I had to give it a spin. Sometimes this approach works out and you pat yourself on the back for taking the chance. Sometimes you wonder what the fuck you were thinking. This time it worked out well.
The name of the band is Clearlake. They formed in late-1999 and released their first single in 2000. After some early critical acclaim and an appearance on Jools Holland's show, they cut their first album in 2001. Cedars is their second release and even though alot of people believe in the sophomore jinx, it did not happen here.
Their sound is definitely Brit Indie. Their sensibilities remind me alot of two other UK bands that I adore, The Delgados and Elbow. A few of the songs on this recording, including the first track "Almost The Same", have real radio hit potential. The track that I latched onto after the third run through is one called "Treat Yourself With Kindness". It starts out with a real jangly dischord sound with guitar feedback and lack of direction. It makes you wonder just where it is heading. Then Jason Pegg, lead vocalist, comes in and offsets the dischord with a real catchy vocal hook. The song builds into a crescendo and eases back down. It really shouldn't work but it does in a big way. I found a rather bizarre YouTube video of it last week. When I went back to attach the link to it, the freakin' thing was gone! You can find the song on Last.FM, if you are a member, or a few other sites if you want to get a listen to it.
They are currently working on a fourth release, Dark Blue, due sometime in 2009 that I will now be anxiously awaiting. Here is a video from their third album, Amber, called "It's Getting Light Outside"...it's worth a gander:
They recorded a pretty cool cover of Neil Young's song "Cinnamon Girl" on the single CD called "I Wonder If The Snow Will Settle". It's got a slightly heavier guitar sound than Neil's version did. It brings back memories of when when it was first released back when I was in 7th grade.
If you like indie music at all, you should like Cedars. I will be supporting this band now that I have heard their first few releases. Check it out, you might be pleasantly surprised like I was.
K
Sunday, July 12, 2009
Slowdive I Am The Elephant, U Are The Mouse ST
Hi,
I stumbled upon this recording done in 1999 by Slowdive on Ebay recently. I was not aware that it even existed, which made even more exciting when I saw it!
Apparently, Slowdive recorded the ST and it was never "officially" released. I have seen postings for it on the Mojave 3 site looking for it from 2006. The director of the film, Forest Wise, supposedly was negotiating with Neil Halstead about the possible official release of the soundtrack. At this point nothing has materialized. Someone has obviously leaked it, though, as I have found several sources on-line where you can download it. What I find most unusual is that several sites have versions of to DL but all of them have a different number of tracks and song titles. It probably means that I'll need to get them all to see if I can find any other hidden gems not on the one that I found originally.
Now that I have the brief history of this out of the effin' way, I would like to talk a little bit about the recording. It does sound alot like a soundtrack as certain tracks are refined and repeated in different incarnations. I refer to this mostly as a score and not as a compilation soundtrack of hits from various bands.
As I'm listening to it, I am reminded of the tone and structure of the final official Slowdive recording, Pygmalion. It is very ambient and I am imagining that these tracks could all have been released as "Pygmalion-Revisited", if they had chosen to do so. Continuing on into the heart of the recording, I hear the song called "Cranium". I am positive that this song was on Pygmalion as I've heard the song a million times. I know that there is no song by that title on that recording and come to realize that it is the song titled "Blue Skied An' Cleared"! They took the song and re-worked it slightly, keeping the same words and basic structure. I'm not sure whether I have an issue with this or not. If you want to put the song on the soundtrack, at least call it by the original title. It is my favorite Slowdive album and it is a beautiful song so I understand why they wanted to use it.
The Rachel Goswell vocals on the song "Ambient" are outstanding. She doesn't have alot of vocals in these offerings but what she does contribute is solid, as usual. She has mostly backing vocals to Neil's lead vocals on the songs with words. There are lots of short, sweet instrumentals to fill in gaps in between scenes, I'm sure, as many movie scores do. I have not seen the movie, yet, but I will track it down soon.
The best song from beginning to end on the version I have is called "Like Up". There are two versions of it on here, the second one called the rough mix. The latter version downplays the vocals and accentuates the instrumental side of it. It seems more acoustic with a little less of the subtle reverb in the final version. A very nice discovery, indeed.
There is a nice little mixed song at the end of the recording called "Watch Me". It reminds me of some of the mixes that you hear on the EP "5". Alot of reverb and drum machine percussion. The best acoustic instrumental is called "Painting/Lost". It is very slow and sweet and left me wanting more of it as it was far too short at only 1:44. There are also six different short versions of an instrumental titled "River Man" . It sounds like a bridge piece from one scene to the next. It is very acoustic but with less strings or keyboard string effects than other similar instrumentals on the recording.
If Slowdive is your thing, it is worth checking out at least one of the versions of this underground recording. I like finding little treasures like this and will delve into the many other variations I've seen on-line of the soundtrack.
Until later,
K
Sunday, June 28, 2009
Skydiving
Hi,
Another of my favorite past adventures is skydiving. I was fortunate enough to do this twice, both as tandem jumps. This means that there is an instructor with you when you jump. Most of the experts will tell you that they highly recommend two tandem jumps before going solo. It also means that you will only need a two-hour class instead of 8 hours if you bypass this recommendation.
The reason why I jumped in the first place was because of two colleagues of mine from a record store chain that I worked for called Music Plus. Their names were Yvonne and Katja. We had a regional meeting one day at the house of our supervisor, Stacey. I happened to bring a video tape of a bunjee jump that I had done in Las Vegas about one month earlier. They saw that and said that they had decided to try something like that but they wanted to skydive instead. They asked if I wanted to go and I said, to paraphrase, "hell, yeah"!
Anyway, we jumped this time at a place called Perris Valley Skydiving and decided to go again at the same place a few months later. The second time, we had a total of about twelve people who all saw our videos and just had to try it. It is the biggest adrenaline rush ever. For those looking for a way to experience flying in the safest, most amazing way ever, I recommend it. Some I know think that it is crazy but you have far better odds of getting in a car accident, according to the statistics, than getting hurt skydiving. Believe it or not, the hardest or scariest part about skydiving is not the actual falling from the sky once you jump but the plane ride up to two miles above the Earth! I continually second-guessed my asinine decision to jump headlong out of an airplane, parachute or not. Once you finally jump, it is great.
My second jump, a few months later, my tandem partner was a professional. He told me that he had over 2,400 jumps and that he parachuted into the main stadium at the Opening Ceremonies of the 1988 Seoul Summer Olympics! I was feeling pretty safe at that point. He suggested that since I had jumped once before that we try an advance maneuver jumping out of the plane, if I was up to it. The trick was that upon exiting the plane, we would roll over and look back up at the plane as others jumped. It was a pretty cool move except for one thing...I lost my right contact just as we flipped over, even WITH goggles! It was a "one-eyed" descent but was much more enjoyable than my first jump.
I uploaded my first jump to You Tube so check it out! It is weird to see me, circa 1992. I was all hair and a skinny 180 lbs! Dig the 'stache, too! (Theme to "Shaft" playing in the background).
K
Another of my favorite past adventures is skydiving. I was fortunate enough to do this twice, both as tandem jumps. This means that there is an instructor with you when you jump. Most of the experts will tell you that they highly recommend two tandem jumps before going solo. It also means that you will only need a two-hour class instead of 8 hours if you bypass this recommendation.
The reason why I jumped in the first place was because of two colleagues of mine from a record store chain that I worked for called Music Plus. Their names were Yvonne and Katja. We had a regional meeting one day at the house of our supervisor, Stacey. I happened to bring a video tape of a bunjee jump that I had done in Las Vegas about one month earlier. They saw that and said that they had decided to try something like that but they wanted to skydive instead. They asked if I wanted to go and I said, to paraphrase, "hell, yeah"!
Anyway, we jumped this time at a place called Perris Valley Skydiving and decided to go again at the same place a few months later. The second time, we had a total of about twelve people who all saw our videos and just had to try it. It is the biggest adrenaline rush ever. For those looking for a way to experience flying in the safest, most amazing way ever, I recommend it. Some I know think that it is crazy but you have far better odds of getting in a car accident, according to the statistics, than getting hurt skydiving. Believe it or not, the hardest or scariest part about skydiving is not the actual falling from the sky once you jump but the plane ride up to two miles above the Earth! I continually second-guessed my asinine decision to jump headlong out of an airplane, parachute or not. Once you finally jump, it is great.
My second jump, a few months later, my tandem partner was a professional. He told me that he had over 2,400 jumps and that he parachuted into the main stadium at the Opening Ceremonies of the 1988 Seoul Summer Olympics! I was feeling pretty safe at that point. He suggested that since I had jumped once before that we try an advance maneuver jumping out of the plane, if I was up to it. The trick was that upon exiting the plane, we would roll over and look back up at the plane as others jumped. It was a pretty cool move except for one thing...I lost my right contact just as we flipped over, even WITH goggles! It was a "one-eyed" descent but was much more enjoyable than my first jump.
I uploaded my first jump to You Tube so check it out! It is weird to see me, circa 1992. I was all hair and a skinny 180 lbs! Dig the 'stache, too! (Theme to "Shaft" playing in the background).
K
Thursday, June 18, 2009
4AD
Hi,
I haven't written about the greatest label ever on this blog, yet, so here goes.
The label is 4AD and it is responsible for some of the greatest music ever recorded. Founded in the late-70's by Ivo Watts-Russell and Steve Webbon, their first releases were right at the beginning of 1980. Ivo was hired by Beggars Banquet, not only a label but a record store chain in London. He convinced Beggars Banquet to finance his new label with the promise that any succeeding artists could be handed over for larger distribution. Originally calling their fledgling label Axis, they were prodded to find a new name for the label. 4AD came from a flyer that they saw and the rest is history.
Bauhaus was the first band that became popular for them. They signed them after the release of the cult single "Bela Lugosi's Dead" was pressed by the Small Wonder label. Thus began the legacy of this amazing label.
I have chosen to highlight and then list several other of my favorite bands from 4AD in this blog. I will start with my favorites.
Dead Can Dance
Founded by vocalists Lisa Gerrard and Brendan Perry in Australia in 1981, the band's first recording was self-titled on 4AD. It was released on February 27, 1984. This recording was very gothic sounding compared to later releases. It also lacked their marriage of world fusion and neo-classical styles to the eventual signature sound of the group. I prefer to call the style "renaissance" as I imagine this music might have been played during that era of history in the Middle Ages, had the instrumentation needed been available. All eight albums released by Dead Can Dance have been under the 4AD label. They disbanded in 1998 but reformed for a world tour in 2005.
Lisa Gerrard has released three solo works but has collaborated on dozens of other recordings and movie/TV scores. She was nominated for an Academy Award for her collaboration with Hans Zimmer on the score to the movie "Gladiator" in 2000. It did receive the Golden Globe Award in the same catagory.
Brendan Perry has one solo recording with a second due this year. He, too, has collaborated with many other projects and artists in various capacities.
Cocteau Twins
The band was founded in Scotland by guitarist Robin Guthrie and bassist Will Heggie. Vocalist Elizabeth Fraser would join the band soon thereafter. In 1983, Simon Raymonde would join the band on bass. They seemed to hit their stride upon his addition to the band.
The debut release for this group was titled Garlands on 4AD. It was released on September 1, 1982. For those of you that know this band at all, the style of this recording is far different than their other recordings. It is very gothic-sounding and you will often find a few songs from this release on goth collections from this era. One of the more popular titles was "Blood Bitch". With the addition of Raymonde, the band's new signature sound was to be molded.
If you can get your hands on it, one of my favorite collaborations was with the great Harold Budd on a project called Moon And The Melodies from 1986. This recording was very ambient. Fraser's haunting vocals provided the perfect partner for the music. Even though Raymonde and Fraser were present on this recording, it was not released under the name Cocteau Twins. Members of the group also participated in the collaborative super group, This Mortal Coil. I'll have more on them later. Cocteau Twins recorded a total of seven albums for 4AD, if you include "Moon And The Melodies". After leaving 4AD, they recorded another two with the Fontana label.
Lush
One of the most underrated bands ever, Lush was very versatile. The band was created through the friendship of Emma Anderson and Miki Berenyi at 14 years of age. The other original band members were Steve Rippon on bass, Chris Acland on drums, and Meriel Barham on vocals and guitar. They would later add Phil King as their bassist before their second album. They ended up recording three official albums for 4AD even though Gala, released mainly for the US and Japan from EP's and singles, was considered by many as a legitimate release. The first official release was titled Spooky on January 27, 1992.
The best attribute to the band, besides the great songwriting, was the ability to play many different styles of music very well. They were branded with the shoegaze moniker by the British press. This was both a blessing and a curse. They were so much more, as their fans can attest to. They could crank out a pop hit, i.e. "Ladykiller" and "Single Girl" and then turn right around and lay down an equally impressive ballad. Their layering of guitars and vocals were masterful. Seeing them live was truly a treat.
After drummer Chris Acland hanged himself in 1996, Miki Berenyi left the band and so was the end of Lush. Emma Anderson went on to form another very cool band called Sing-Sing with Lisa O'Neill. They released two full albums before calling it quits in early-2008.
Mojave 3
One of my first introductions to what is now known as "Alt Country" was with this great band. Neil Halstead is lead vocalist, guitarist and chief songwriter for the band. He formerly fronted the legendary shoegaze band called Slowdive. Other members include former Slowdive alums, Rachel Goswell and Ian McCutcheon, along with Simon Rowe and Alan Forrester filling out the rest of the band after their first album was released on 4ad. That album was titled Ask Me Tomorrow and debuted on October 16, 1995. They have recorded a total of five albums for 4AD.
The most amazing attribute to Neil's songwriting is his ability to project a stark reality to his words. He lays it all out on the table. Heartbreak, disappointment, romantic longing and acceptance are all on display for everyone to see. He is a great musician, too, which really makes him the complete performer.
I have never seen them live but was able to catch Neil last summer as he was supporting his second solo release titled Oh! Mighty Engine. He is quite talented and I expect to see him in one incarnation or another for years to come.
Red House Painters
This is the last artist that I want to spotlight on this entry. Mark Kozelek is the lead singer and songwriter for this very influential band. After moving to San Francisco from Atlanta with drummer pal, Anthony Koutsos, they signed with 4AD in 1992 after having one of their tapes passed on to the label by American Record Club frontman, Mark Eitzel. Their first release was titled Down Colorful Hill on September 14, 1992. It was made up mostly of early demos, some were on the tape first heard by 4AD. Red House Painters would go on to release a total of four albums with 4AD before moving to the Supreme Recordings label. This was after a dispute with the American division of 4AD refused to release Songs For A Blue Guitar due to creative differences with the recording.
It was apparent that Kozelek had a true gift. His vocal style was unique and his songwriting was introverted and personal. Besides his amazing ability to create an emotional bond with the listener, Mark was an exceptional guitarist. His gifted ability to blend his vocals with acoustic brilliance is what made the early recordings so amazing. He likes to record covers of many of his favorite songs from such artists as Leonard Cohen, Yes and Simon & Garfunkel, to name a few.
Mark now has his own label, Caldo Verde Records, and has recorded solo as well as with his current band, Sun Kil Moon.
To conclude my ode to 4AD, here is a list of many other great bands to record on this label:
* Clan Of Xymox (Xymox)
* Bauhaus (Peter Murphy, Tones On Tail, Love & Rockets)
* Throwing Muses (Tanya Donnelly, Belly)
* The Pixies (Black Francis, Frank Black)
* Modern English
* Gus Gus (Emiliana Torrini)
* The The
* The Breeders
* Le Mystere des voix Bulgares
There are many, many 4AD sampler discs that have been released over the years. If you find yourself thumbing through the used vinyl/CD bins and happen to come across one, it would be well worth it to try it out. I guarantee it!
K
I haven't written about the greatest label ever on this blog, yet, so here goes.
The label is 4AD and it is responsible for some of the greatest music ever recorded. Founded in the late-70's by Ivo Watts-Russell and Steve Webbon, their first releases were right at the beginning of 1980. Ivo was hired by Beggars Banquet, not only a label but a record store chain in London. He convinced Beggars Banquet to finance his new label with the promise that any succeeding artists could be handed over for larger distribution. Originally calling their fledgling label Axis, they were prodded to find a new name for the label. 4AD came from a flyer that they saw and the rest is history.
Bauhaus was the first band that became popular for them. They signed them after the release of the cult single "Bela Lugosi's Dead" was pressed by the Small Wonder label. Thus began the legacy of this amazing label.
I have chosen to highlight and then list several other of my favorite bands from 4AD in this blog. I will start with my favorites.
Dead Can Dance
Founded by vocalists Lisa Gerrard and Brendan Perry in Australia in 1981, the band's first recording was self-titled on 4AD. It was released on February 27, 1984. This recording was very gothic sounding compared to later releases. It also lacked their marriage of world fusion and neo-classical styles to the eventual signature sound of the group. I prefer to call the style "renaissance" as I imagine this music might have been played during that era of history in the Middle Ages, had the instrumentation needed been available. All eight albums released by Dead Can Dance have been under the 4AD label. They disbanded in 1998 but reformed for a world tour in 2005.
Lisa Gerrard has released three solo works but has collaborated on dozens of other recordings and movie/TV scores. She was nominated for an Academy Award for her collaboration with Hans Zimmer on the score to the movie "Gladiator" in 2000. It did receive the Golden Globe Award in the same catagory.
Brendan Perry has one solo recording with a second due this year. He, too, has collaborated with many other projects and artists in various capacities.
Cocteau Twins
The band was founded in Scotland by guitarist Robin Guthrie and bassist Will Heggie. Vocalist Elizabeth Fraser would join the band soon thereafter. In 1983, Simon Raymonde would join the band on bass. They seemed to hit their stride upon his addition to the band.
The debut release for this group was titled Garlands on 4AD. It was released on September 1, 1982. For those of you that know this band at all, the style of this recording is far different than their other recordings. It is very gothic-sounding and you will often find a few songs from this release on goth collections from this era. One of the more popular titles was "Blood Bitch". With the addition of Raymonde, the band's new signature sound was to be molded.
If you can get your hands on it, one of my favorite collaborations was with the great Harold Budd on a project called Moon And The Melodies from 1986. This recording was very ambient. Fraser's haunting vocals provided the perfect partner for the music. Even though Raymonde and Fraser were present on this recording, it was not released under the name Cocteau Twins. Members of the group also participated in the collaborative super group, This Mortal Coil. I'll have more on them later. Cocteau Twins recorded a total of seven albums for 4AD, if you include "Moon And The Melodies". After leaving 4AD, they recorded another two with the Fontana label.
Lush
One of the most underrated bands ever, Lush was very versatile. The band was created through the friendship of Emma Anderson and Miki Berenyi at 14 years of age. The other original band members were Steve Rippon on bass, Chris Acland on drums, and Meriel Barham on vocals and guitar. They would later add Phil King as their bassist before their second album. They ended up recording three official albums for 4AD even though Gala, released mainly for the US and Japan from EP's and singles, was considered by many as a legitimate release. The first official release was titled Spooky on January 27, 1992.
The best attribute to the band, besides the great songwriting, was the ability to play many different styles of music very well. They were branded with the shoegaze moniker by the British press. This was both a blessing and a curse. They were so much more, as their fans can attest to. They could crank out a pop hit, i.e. "Ladykiller" and "Single Girl" and then turn right around and lay down an equally impressive ballad. Their layering of guitars and vocals were masterful. Seeing them live was truly a treat.
After drummer Chris Acland hanged himself in 1996, Miki Berenyi left the band and so was the end of Lush. Emma Anderson went on to form another very cool band called Sing-Sing with Lisa O'Neill. They released two full albums before calling it quits in early-2008.
Mojave 3
One of my first introductions to what is now known as "Alt Country" was with this great band. Neil Halstead is lead vocalist, guitarist and chief songwriter for the band. He formerly fronted the legendary shoegaze band called Slowdive. Other members include former Slowdive alums, Rachel Goswell and Ian McCutcheon, along with Simon Rowe and Alan Forrester filling out the rest of the band after their first album was released on 4ad. That album was titled Ask Me Tomorrow and debuted on October 16, 1995. They have recorded a total of five albums for 4AD.
The most amazing attribute to Neil's songwriting is his ability to project a stark reality to his words. He lays it all out on the table. Heartbreak, disappointment, romantic longing and acceptance are all on display for everyone to see. He is a great musician, too, which really makes him the complete performer.
I have never seen them live but was able to catch Neil last summer as he was supporting his second solo release titled Oh! Mighty Engine. He is quite talented and I expect to see him in one incarnation or another for years to come.
Red House Painters
This is the last artist that I want to spotlight on this entry. Mark Kozelek is the lead singer and songwriter for this very influential band. After moving to San Francisco from Atlanta with drummer pal, Anthony Koutsos, they signed with 4AD in 1992 after having one of their tapes passed on to the label by American Record Club frontman, Mark Eitzel. Their first release was titled Down Colorful Hill on September 14, 1992. It was made up mostly of early demos, some were on the tape first heard by 4AD. Red House Painters would go on to release a total of four albums with 4AD before moving to the Supreme Recordings label. This was after a dispute with the American division of 4AD refused to release Songs For A Blue Guitar due to creative differences with the recording.
It was apparent that Kozelek had a true gift. His vocal style was unique and his songwriting was introverted and personal. Besides his amazing ability to create an emotional bond with the listener, Mark was an exceptional guitarist. His gifted ability to blend his vocals with acoustic brilliance is what made the early recordings so amazing. He likes to record covers of many of his favorite songs from such artists as Leonard Cohen, Yes and Simon & Garfunkel, to name a few.
Mark now has his own label, Caldo Verde Records, and has recorded solo as well as with his current band, Sun Kil Moon.
To conclude my ode to 4AD, here is a list of many other great bands to record on this label:
* Clan Of Xymox (Xymox)
* Bauhaus (Peter Murphy, Tones On Tail, Love & Rockets)
* Throwing Muses (Tanya Donnelly, Belly)
* The Pixies (Black Francis, Frank Black)
* Modern English
* Gus Gus (Emiliana Torrini)
* The The
* The Breeders
* Le Mystere des voix Bulgares
There are many, many 4AD sampler discs that have been released over the years. If you find yourself thumbing through the used vinyl/CD bins and happen to come across one, it would be well worth it to try it out. I guarantee it!
K
Subscribe to:
Posts (Atom)