It's divided into three sections almost songs within the song of which I like the second—the heaviest—the best. Alex Lifeson adds some keening guitar textures as a bonus, and the whole thing zips by effortlessly. The album plays itself out on two strong tracks, "Way Out of Here" and "Sleep Together," the former distinguished by its tsumani of a chorus and crushing denouement with drummer Gavin Harrison performing unspeakable wondersthe latter by its ingenious string arrangement.
If you're a fan already, you're on board and nothing's going to stop you from diving right in, just as I did. There's 50 minutes of excellent music to enjoy. I just don't think they've bettered previous albums or hinted that they're going somewhere new in the future. I think this album and Lightbulb Sun are destined to be the dark horses of the catalogue, holding pattern albums ripe for rediscovery when I've spun classics like Stupid Dream and Deadwing one too many times.
Sunday, July 01, I couldn't have said it better myself. Friday, June 29, I'm almost finished with another issue of Unrestrained! We've got some upcoming masthead shakeups that I hope will result in an even better magazine. I know I have Cortez The Killer - Neil Young & Crazy Horse - New York 2004 (CD) ideas For the second issue in a row I've interviewed a band that intrigued the hell out of me, only to have that band's new album get a drubbing in the reviews section. That's fine by me; I realize I'm hardly the typical U!
The band in question last issue was Phazm, and this time it's Sleepytime Gorilla Museum. I'm a crummy journalist; something I realized during my Voivod junket in Montreal last year, watching Martin Popoff working the room with his voice recorder. Interviews fill me with dread, although I suspect I'm getting better at them—thinking on the fly and following up on morsels of unexpected information dropped by my interviewee.
The best parts about writing for U! Getting the finished magazine is cool too I can't actually read it again very closely. The nonsense I spew is just too painful.
I knew Nils Frykdahl of Sleepytime would be one of the good ones about a minute into the interview. He was just a staggeringly cool and articulate guy, and I'm sorry my piece couldn't have been twice as long.
Here are some of Cortez The Killer - Neil Young & Crazy Horse - New York 2004 (CD) outtakes Gorilla droppings? While explaining SGM's adherence to the principles of "Rock Against Rock" which he described as "a recognition of the need to destroy rock music in order to preserve what have been the useful elements of rock music" he mentioned that the movement had a number of historical precedents.
With that in mind, I asked him if these historical precedents had anything to do with Rock In Opposition.
Punk rock certainly had strong elements of that. The Rock In Opposition movement was a big inspiration for us. When I discovered that I thought, 'Oh my god, wait a minute!
The Rock In Opposition movement had strong ties to a European tradition of anarcho-communism, which, incidentally, we could use a dose of in the United States. Rock Against Rock is maybe more philosophical and more reckless. Is the hyper-complexity built into it from the start? Sometimes it is. Sometimes the hyper-complexity is there from the beginning and somebody comes in with a score, essentially, and passes out parts. Dan Rathbun [bass] tends to write that way.
My tendency has been the opposite—to come in with the most bare-bones version of a song, almost something you could sing around a campire with a guitar part and some vocal refrains or something.
Often those things will get built up very slowely, very rehearsal intensive, with very little going to paper. He was actually working on a video for 'The Companions. That song weighs in at around 10 minutes. We had just finished a mix of the Helpless Corpses song and said, 'Well, um, gee, this is a really different sounding song from that, but check this out. What do you think? So we sent him this mix of that, and he just loved it.
He immediately had all these ideas for it. He could right away picture the whole thing. The song was—and I have to be somewhat cryptic about this—written by an Irish sorcerer, as we mention in the liner notes. He was well acquainted with that particular Irish sorcerer, so he immediately was excited about working on it. The song of course ties in lyrically very strongly with all of the other themes on the record—the themes of death and recycling of matter and rebirth and persistence of form and all those things Labels: InterviewsSleepytime Gorilla Museum.
Tuesday, June 12, No matter how much the quintet piles on—and the songwriting does take an all-hands-on-deck approach—just when the clutter and counterpoint become too much to absorb, branches of musical accessibility eventually emerge as little handholds to which to cling.
This, of course, is the song they blew their wad on a splendid video for. Who are these people and why are they saying these things? So many questions…some of which Frykdahl answered when I interviewed him last week.
You should give this album some time, wait for the questions to come, and start chipping away at your own conclusions. Posted by The Mule at AM 5 comments:. Thursday, May 24, It's a hilarious litany of passive aggressiveness, mutual loathing, interpersonal diasters and all-round bad behaviour. It's amazing that that classic, fractious trio is back together again, touring and recording. Their show at the Commodore last night was big and loud, probably much the same as when they got in the van to play gigs for six people 20 years ago.
I last saw them in on the Green Mind tour after they'd ousted Lou Barlow by pretending to break up, then drafting in another bassist. Alterna-rock fever had hit, so the club 86th Street, I think it was was pretty full.
I was there alone and not liking the scene too much, especially after The Jesus Lizard a band I'd learn to love laid a bummer on everyone with an abrasive set.
Fifteen years later, the atmosphere at the Commodore was much more mellow. J's Stonehenge-like semicircle of Marshall stacks gave out during the first song, but no matter—Lou and Murph just kept hammering away till the song's end. The rest of the set went by uneventfully, with a sprinkling of new songs amongst the older material, with the requisite murmured "thank you"s and awkward silences between numbers.
The bonhomie between band members didn't exactly gush forth. Things seemed a little tense, but that's to be expected. They concentrated on throttling their respective instruments and, like most Cortez The Killer - Neil Young & Crazy Horse - New York 2004 (CD) bands, the sound they created—like Crazy Horse playing hardcore pushed through a fridge-sized distortion box—had that something that you can't attribute to any one element.
I'd hoped they might do "The Post. A solid show from a band I'm glad I got the chance to see again. Labels: Dinosaur Jrlive reviews. Tuesday, May 22, I got back today from Mayne Island, where I spent a fantastic long weekend with fancylady. The weather was just okay—rain, cloud, a sunny break or two—but we managed to get out for some walks to a couple points of interest.
These were quite literally points: Campbell Point and Edith Point. There was wildlife around, but we had to wait for it to come to us. Our first stop was a bit disappointing, with only a river otter or sea-weasel as I call them darting around. Edith Point had a couple seals and an eagle that flew low over us as it went to raid some gulls' bounty judging by the squawks that erupted after the eagle disappeared from view.
The eagle in question, in a photo that would suit a Jack Handey-style daily affirmation. Mainly we pursued indoor activities. I recorded another hard-fought of Mule music. Judging by my progress I'm afraid the next album will be nothing more than half-realized instrumental sketches.
And music—you have to bring a load of music to the island. I don't think we even got through half of what I packed, but the hit parade included: Falconer—Grime vs. Everyone's favourite numerical order Cortez The Killer - Neil Young & Crazy Horse - New York 2004 (CD) takes a violent turn. That's more like it. Fancylady, let loose on a game recommended for age 10 and up, cleans my clock. No one's very keen on this place going in down the road from us. Low tide at Campbell Point.
Thursday, May 17, Anyway, once the illness broke, I threw this album on and inhaled some recovery-hastening Jamm Vapour…and I was back on my feet again. The latest from Jeff, Paul, and Terry is a collection of newish recordings fromsolidly in the tradition of the classic JPT material from the s see Sleeping Sickness on Monster Records, or their self-released mix of oldies and newies, Past is Prologue. The pics in the CD booklet are ample evidence of some serious middle-age mania at play here.
The really joyous thing about the whole enterprise is how it so obviously comes naturally to them. The six songs average around 9 minutes apiece.
Is it sweat, or overheated amp tubes, or stale beer? Tuesday, May 15, This is more like it. Maybe the assholes don't always win, and it is possible to thrive as a self-respecting artist in a predominantly online environment. Angel From Montgomery. Sweet Home Alabama. White Rabbit. American Pie. Forum posts Chordie has one most inspiring guitar forums on the Internet.
A great source for all kind of guitar related issues. Presley emerges out of the fog and proceeds to sing the shit out of the rest of a powerhouse reading. Proof positive of why this is such a mercurial concert and how much of a emotional yo yo Presley was at this point. Not even a shadow on the versions. It's unfortunate that we cannot see what is transpiring on stage! Presley is reverberating between Yin and Yang at this point because as he prepares to introduce the band and notices some sheet music on the floor of the stage.
When someone goes to pick it up, Presley starts calling out members of the mafia to come out and pick up the music stand, 'There's 25 other employees around backstage! What comes next many consider to be a highlight of the two closing Fall Vegas shows is Cortez The Killer - Neil Young & Crazy Horse - New York 2004 (CD) reading of 'My Boy'.
You can tell Elvis connects deeply with the song and like flipping an emotional switch he grabs the crowd and holds them in the palm of his hand. There is no joking here, just prime Presley. Elvis is obviously content and feeling it as he takes the opportunity to thank Charlie Hodge with a comment that when he sings with Elvis that 'it sounds like one voice'.
Elvis is feeling it as we now hit the home stretch with a series of tight but loose performances beginning with a hearty 'I Can't Stop Loving You' with horny punctuations from the orchestra.
At the songs conclusion a disappointed Elvis says, 'Thank you for the light applause'. You can just feel that Elvis is searching for a different venue, audience, direction, anything on this particular evening. By the time the song hits the 'Hush little baby' lyric, Elvis pulls up his boot straps and digs in. Presley quickly calls out 'Big Hunk' and Glen D. Here is a brisk version with Presley sweetly slurring the verses and the band popping through the syncopated licks.
Presley is fully invested in this song and you can feel it. The show now takes a strange but welcome turn as Elvis bets big and cashes out bigger. The second day of music begins nestled in pastoral imagery and a sense of calm. John Fahey pulls on a smoke dangling from his lips before revealing to the crowd an emotive solo finger picked prelude.
The chiming strings and persistent thump of his bass notes lend a calming soundtrack to the film. A breezy clothesline of portraits of the attendees increases the emotion of the music as well as lending a a deep realism and historic context to the film.
Sid Selvidge with Moloch continue the introspective day two of the gathering. A smooth R and B sound plays against studies of beautiful women and shirtless gentlemen. John D. Laoudermilk sits solo on a stool for a dramatic reading of 'Tobacco Road' undulating between aggressive bass notes, fingerpicking and well timed harp toots.
Fields of cotton and farm hands hard at work elicit the true source of the festival as they move in time with Laoudermilks expressive playing. A moving series of moments in a film brimming with them. Memphis's own Furry Lewis takes the stage next, a man who lived the original Delta blues and a musician who influence reached even the 'Rolling Stones'.
Fluid strumming, guitar body percussion and backward hand work on his acoustic neck shuffles out the 'Walkin Blues'. Lewis moves, jigs and squirms his way through straight Delta blues with no chaser. Once Lewis hits his flow, the tap opens revealing undistilled and crystalline soul music. A second song, 'Let Me Call You Sweetheart' follows and is played as a cross between jump blues and a waltz.
Lewis serenades the crowd deeply and in a way the film's viewers as well. Lewis leaves the stage and returns just as quick with a beaming smile as the crowd urges him back. We get one more number before the MC announces the conclusion of the afternoon performances.
The mood of the film changes with the angle of the sun. People return to their seats as the dusk settles on the crowd like liquid night. Bukka White sits center stage with glorious resonator guitar and his substantial hound dog throat. White digs deep, plays his guitar behind his head and stuns the crowd into honorable silence An even better appearance than his playing on day one.
Hot on Bukka's performance, blues legend Piano Red, sits at the blacks and whites, bowler cap perfectly in place and performs 'Rocky Mountain'. Rolling notes and delicious caesura's punctuate Piano Red's highlight performance. Bukka White shares the piano stool with Red while lending gritty off mic asides and gruff encouragement. I fell lucky to have witnessed this. The local 'Jefferson Street Jug Band' takes the stage next with John Fahey joining for a rickety back porch jam with kazoos, jugs and clarinet.
The band is a full electric whirling dervish of blues, rock, jazz conglomerate with a saxophone and a hearty female vocalist. Another well timed interlude takes place with a plea from the stage that while people paid to get into the festival there are 3, attending.
The voice announces that these musicians have been working their whole lives for recognition and that there is going to be a hat passed so that the performers can get something for their art. As these pleas are executed, the film pauses on crowd shots, an effective approach, and successful in making me Cortez The Killer - Neil Young & Crazy Horse - New York 2004 (CD) to pay for my own ticket! Moloch, who appeared earlier in the film play a harmonica driven slab of blues rock with a full band and a singing drummer.
Staying thematically consistent as the MC reads a poignant poem to the crowd, 'Johnny Winter Band' and his ' amps' take the stage.
Winter's 'blues trio' sizzle in the evening air. Winter disseminates series upon series of brisk prickly blues riffing. Winter's rhythm section puts eight ball in the corner pocket while Winter breaks the cue over his knee. Once Winter, just a young lad here tugs on the musical tread everything unravels magnificently. Bob Mould. Larry and his Flask. Labels: album recensieAlt.
Led Zeppelin 2. Labels: 70tiesalbum recensiebluesbluesrockclassic rockconcert recensieErwin ZijlemanhardrockrockWoNo Magazine Muziek Music.
Johan Borger. Labels: 70ties80tiesalbum recensieballadsbluesrockclassic rockhardrockpoprockWoNo Magazine Muziek Music. Pink Floyd. My husband, Ken, and I own a recording studio called Southern Harmony Recording here in town, as well as the record label Yonder Music. What made you start a record company in days of copying and the Internet? Sheer stupidity and madness? But I felt the level of talent here was too incredible to waste, and decided to do something about it.
The recording industry is really struggling to figure out how to make money. My only real expectation is to make great records, and I think we can, and do, accomplish that. But if I can break even eventually, that would be fantastic. I told James Scott Bullard one of my artists that you have the rest of your life to make money, but only a short window of time to make history. You come from a completely different industry and switched to music.
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