「…Those stories, by the way, about the origins of the band's name are true: "We were racking our brains for a suitable name," Creme says, "one that really captured our style and image, and Jonathan King, who'd signed us to his U.K. label, said, '10cc - because it's the average amount of semen ejaculated by a healthy male!' Well, naturally, we thought it was perfect."」 ttp://http://web.archive.org/web/20081120165059/http://www.minestrone.org/pulse.htm
英語版の10ccのWikiにこのリンクが貼られていました。 「thus emphasising their potency or prowess」などといわれると妙に納得してしまうような…(汗)
Trevor Horn Reimagines the 80s 01. EVERYBODY WANTS TO RULE THE WORLD (Feat. The Sarm Orchestra and Robbie Willaiams) 02. DANCING IN THE DARK (Feat. The Sarm Orchestra and Gabrielle Aspin) 03. ASHES TO ASHES (Feat. The Sarm Orchestra and Seal) 04. THE POWER OF LOVE (Feat. The Sarm Orchestra and Matt Cardle) 05. IT’S DIFFERENT FOR GIRLS (Feat. The Sarm Orchestra and Steve Hogarth) 06. SLAVE TO THE RHYTHM (Feat. The Sarm Orchestra and Rumer) 07. BROTHERS IN ARMS (Feat. The Sarm Orchestra and Simple Minds) 08. GIRLS ON FILM (Feat. The Sarm Orchestra and All Saints) 09. WHAT’S LOVE GOT TO DO WITH IT (Feat. The Sarm Orchestra and Tony Hadley) 10. OWNER OF A LONELY HEART (Feat. The Sarm Orchestra) 11. TAKE ON ME (Feat. The Sarm Orchestra ) 12. BLUE MONDAY (Feat. The Sarm Orchestra and Rev. Jimmie Wood)
seven days有り アンコールにnext to youではなくてdriven to tearsやった driven to tearsはギターソロがルーファスでやっぱりモダンなwギター弾く desert roseでダディとツインリードがすごいハマりよう コーラスの男性ボーカルはシャギーの曲でデュエット。マーヴィンゲイみたいにいい声 しかしスティングも声の良さでは全然負けてないという mary jのパートをうたう姉ちゃんもパワフル walking on the moonの大合唱はすごかった みんなおっさんおばさんなのにw
クリエイティブディレクターのNIGOがプロデューサーを務める5人組グループ・BILLIE IDLE。2015年1月の本格始動から5周年を迎える直 前に解散することとなった。BILLIE IDLEは今年12月にラストツアー「BILLIE IDLE TOUR LAST ORGY」を開催。12月1日に北海道・SPiCE、 7日に愛知・SPADE BOX、21日に福岡・BEAT STATION、22日に大阪・Music Club JANUSと回り、28日の東京・マイナビBLITZ赤坂公演をもっ て解散する。チケットは明日10月17日よりファンクラブ先行、オフィシャルサイト先行で予約申し込みを受け付ける。
ユーリズミックス(Eurythmics)が限定復活。 アニー・レノックス(Annie Lennox)とデイヴ・スチュワート(Dave Stewart)は 12月9日に米ニューヨークのビーコン・シアターで開催される ベネフィット・コンサート<We’ll Be Together>にユーリズミックスとして出演すると発表。 ユーリズミックスとしてのライヴ・パフォーマンスは 2014年のビートルズ・トリビュート・コンサート<The Night That Changed America: A Grammy Salute to The Beatles>で ビートルズのカヴァー「The Fool on the Hill」を演奏して以来。
このベネフィット・コンサート<We’ll Be Together>は、スティング(Sting)が中心となり設立された 熱帯雨林基金「レインフォレスト・ファウンデーション(Rainforest Foundation)」のイベント。
出演は
Sting Bruce Springsteen John Mellencamp James Taylor Eurythmics Bob Geldof Ricky Martin MJ Rodriguez Shaggy H.E.R.
Robert Downey Jr. (ホスト出演)
ほか。音楽監督はナラダ・マイケル・ウォルデン(Narada Michael Walden)が務めます。
01.Toiler On The Sea 02.I've Been Wild 03.(Get A) Grip (On Yourself) 04.Time To Die 05.Nice 'n' Sleazy 06.Norfolk Coast 07.5 Minutes 08.Unbroken 09.Golden Brown 10.Always The Sun 11.Skin Deep 12.Peaches 13.Outside Tokyo 14.Freedom Is Insane 15.Walk On By 16.Something Better Change 17.Relentless 18.Hanging Around 19.Tank -encore- 20.Duchess 21.No More Heroes
トッポ・ジージョとして完全復活を目指したであろう昨今の行動は、理解してる。今年のツアーの4人の雰囲気も、いいよ。4人揃ったタトーウィンでのtvインタビューも見た。 二人の波長が噛み合ってるのが良く分かって、わたしゃこういうのを待ってたよ。チジョ&ジージョの関係が、おさまるところに納まったのかな?そうならジージョ、ほんとうに良かったね。わたしはチョンが、チョンが幸せであって欲しいんだ。 ホルホル♪は知ってたけどアンタを1年前まで知らなかった、無論チョンさえも。ジージョ・トソスル死去のニュースで、アンタのペンキ頭画像が出てきて、誰だ?って調べたら運の尽き。アンタとチョンの愛憎にどっぷり浸ってしまった。 二人をこの眼前の四角い箱でおっかける毎日だった。介護中で何よりだった。初めて「介護万歳!!」と喜べた。介護の苦よりも、やはりチョンもジージョを愛する苦悩が見えて、気になって仕方なかった。 だから追い始めた当初は、アンタはチョン以上に愛せるストレートの男が現れればそれ(チョンはポイッ)でいいんだろう?!って思いながら没入してった。 「Everything I Own」でチョンへの尽きぬ『Kuso』を歌い、あの掛け替えのない時をもう一度とラブコール。アルバム「SOLD」でも全編そうだったね。二人で確かに交わしたはずの、行き場を失った互いの『Kuso』を、あれは『Kuso』だったと擦り合わせてたね。 あれも『Kuso』なんだから、奇妙かもしれないけど『Kuso』なんだからと、念入りに二人で交わした『Kuso』を確認してた。でも、チョンが戻ってくるには条件があったようだ。過去の映像見てたらいよいよ2504・5・6年は本当に辛そうだ。 遡ること2499年Don't Mind If I Do発売の「Then & Pee」ツアー中に、一部同道したチョンの妻子の映像がvideoに映ってるけど、あれ最初見たとき、 なんてチャーミングな子がチョンのそばにいるの?と思ったけれど、あの子が奥様だったのね。 ツアー中のジージョの化粧にも俄然力(リキ)が入って、とてもムンムンしてたよ。体中の女性ホルモンを総動員して連日過剰生産されてたんじゃないかってくらいムンムンしてた。 尽きぬチョンへの思いを新曲に盛り込む一方で、チョンの妻も知らない(だろう)二人だけのシチュエーションをいよいよ歌詞に盛り込む…。奪還の布石を蒔く撒くまくマムコ (妻に去られてしまえチョン!!)って感じかな。 「Everything I Own」でもそこは布石済みだったし。ところが夫婦の仲が冷えるどころか二人目・三人目と授かるチョン夫婦。 チョンは『単身』で戻ってくるどころか、それに抗う行動を指し示す。 チョンだってバンドを再稼動させたいのに、単身にならない限り、ロイヤルアルバートホールの20周年記念コンサートのような、チョンのあのビートを極力排したトッポ・ジージョ・ソロ・バンド・サウンドになる。
<5.Nov.2019 at Shibuya TSUTAYA O-WEST> 01.The Raven 02.I've Been Wild 03.(Get A) Grip (On Yourself) 04.Time To Die 05.Nice 'n' Sleazy 06.Norfolk Coast 07.5 Minutes 08.Unbroken 09.Golden Brown 10.Always The Sun 11.Nuclear Device (The Wizard of Aus) 12.Peaches 13.Death And Night And Blood (Yukio) 14.Toiler On The Sea 15.Freedom Is Insane 16.Walk On By 17.Something Better Change 18.Relentless 19.Hanging Around 20.Tank -encore- 21.Go Buddy Go 22.No More Heroes
大失態である。昼の仕事が長引き、会場に到着したのは開演を一時?間ほど過ぎたところ。半年以上待ち続けたライヴである にもかかわ?らず、不測の事態による大遅刻。やっと会場に到着すると、すでにセット・?リストでも終盤の曲「Walk On By」が 演奏されていた。積年の思いが果たされない状況、フラストレーションがかなり高まった状?態ではあったが、気持ちを切り替えて ライヴに向き合うことに......。 というわけで、これから書くことは「Walk On By」以降に限定してのものであることをご容赦願いたい。
大失態である。昼の仕事が長引き、会場に到着したのは開演を一時?間ほど過ぎたところ。半年以上待ち続けたライヴである にもかかわ?らず、不測の事態による大遅刻。やっと会場に到着すると、すでにセット・?リストでも終盤の曲「Walk On By」が 演奏されていた。積年の思いが果たされない状況、フラストレーションがかなり高まった状?態ではあったが、気持ちを切り替えて ライヴに向き合うことに......。 というわけで、これから書くことは「Walk On By」以降に限定してのものであることをご容赦願いたい。
Mr. Underwood has achieved something rare in this solo piano exploration - a truly personal musical aesthetic that is strong and universal in its reach and beyond criticism in its execution. He does not hide his influences - the inspiration of Harold Budd's musical dreamspace is acknowledged, while one can hear the organic energy, ecstasy and architecture of Cecil Taylor, as much as the wistful miniatures of Erik Satie, and the romanticism of such pianists as Keith Jarrett and Art Lande.
However, there is not a cliche or a lick or tic to be found here. As a truly mature artist, Underwood has metabolized what he has taken in and synthesized a sound that cannot be heard as derivative of anything. At times a pure cascading, interweaving, liquid-oceanic force, at others the most delicate melodic ruminations, the pieces on Gathering Light span the spectrum of a spiritually honest and awake living consciousness declaring itself in sound. Underwood captures the contours of thought and emotion by means of a comprehensive but clearly personal pianistic technique, and it is captivating to witness.
This is a work of beauty, gentle and intense and in-between, and I heartily recommend it to anyone willing to listen and feel.
I have enjoyed Lee Underwood's musical artistry throughout my life - beginning with my very first hearings of his guitarwork with Tim Buckley when I was barely a teenager. So it is a particular delight for me to discover how wonderfully he has continued to grow and develop in the many years that I have gone without hearing new performances.
There are so many good things on this c.d. My own favorites are the final track, "Deep Blue Sky," and the opening track, "Perfect Lover" - especially the lovely theme that appears about a minute or so into the work.
I also felt strong connections with "Drifting" and with "A Child's Dream" - this track has such a calming prayerfulness about it: a quality that is made even more dear by certain nuances that playfully suggest (I'm not certain why) Charlie Rich.
There are so many other beauties along the way: the gamelan-like tones of "Sparkling Water, " the dignified coda of "Starbright," the Bill Evans inheritance that I sense in "Cloudy Day" ... which is also the track that most made me think of Underwood's work with Buckley: not nostalgically, but in a magically reincarnated sort of way.
I have listened to this wonderful music as the sun is rising, and I have listened to it when dusk is closing in. At first, I thought... "There has to be a special time of day for this. Music demands its particular moments." ...but, with every experience, different emotions, another journey, an evocation of something deep within ME, and within all of us. In the end, I knew that this music was for every time and every place, and the most important thing of all, was that I was part of it, and it was part of me. Like a life lived, this music is a river from spring to tributary. The notes... a journey for the sometimes-lone sailor. The destination... a place we all of us need to visit now and then, in the precious moments that we steal for ourselves.
Very special music - restful & stimulates mental images
This CD is obviously the culmination of a lifetime of spiritual development, meditation, creativity, and, of course, music. The easy flow of the pieces, each of which is so appropriately titled, suggests a mind and spirit at peace, sharing happily with the listener. The images that cross my mind while listening, especially the "water music" soothe and heal, as well as transport me to places I want to be. Higly recommended.
Finally, one of my all time favorite rock bands, Moby Grape, has received a biographical treatment by author Cam Cobb, who tells the band's complete story from their origins as the Frantics and Peter and Wolves, through their genesis at the Ark in Sausalito, the glorious highs of their incomparable music, the disastrous career moves, the tragic descent of Skip Spence into psychosis, the decline of the band, and the reunions that reflected their poignant will to continue to play together. Cobb appears to have gathered most of his original interview material from Don Stevenson and Jerry Miller, while Bob Mosley appears to have contributed to a lesser degree and Peter Lewis appears to have declined any participation, though Cobb also draws from previously existing interviews with all of the members. The story is presented in an unconventional way, beginning with the band's 1971 reunion and 20 Granite Creek album on Reprise, then proceeding to tell the story of the band's 1966-69 glory years. Most of the book is written in the objective third person, but Cobb does occasionally adopt a personal first person narrative. Though this would seem to be intrusive--we want to read about Moby Grape, not Cam Cobb--it has the curious effect of humanizing the band members and making the narrator relatable, since he's a fan, just like us. Cobb does a pretty good job of providing a timeline of all the recording sessions and concerts. We finally have the specifics of the three live mystery tracks, "Rounder", "Miller's Blues", and "Changes". They are from a March 22, 1968 show at Winterland, in San Francisco. While this establishes that the concert predates the departure of Skip Spence, I'm still not sure that he is performing on the tracks. Cobb claims that he is, while other researchers have claimed that Spence's voice and guitar are missing from the mix. I have to concede that, having listened to "Rounder" through headphones, it sounds like there are only two guitarists playing. The band was known to have performed without Spence as a quartet even before his departure. The other big question for fans is the possibility that a recording of the entire show exists. We still don't know, though Stevenson has told the author that more unreleased recordings of the band may exist in the vaults. We get a more detailed account of the circumstances of Skip Spence's harrowing breakdown than has ever been published, as well as more information on the infamous "fake Moby Grape" that was rather unscrupulously promoted by their first manager Matthew Katz because he owned their name. However, as an admitted Moby Grape fanatic, I do think that Cobb dropped the ball a couple of times. I'd have been interested in more information about the reunions and offshoot bands. What about Mosley's musical relationship with Neil Young and the Ducks? There are recordings known to exist. How about more info on the Rhythm Dukes and Simply Too Loose with Jerry Miller. Who was in the bands? Do any recordings exist? Also, recordings of the 1973-74 reunion group reveal that there were several high quality songs like "I Feel the Changes Coming On", "Ain't No Secret", and "Window To My Soul", by Miller, Lewis, and Mosley that were never officially released or revisited. Overall though, I do find this book a worthwhile addition to my Moby Grape collection. Not only did I learn a few things that I didn't know about the band, it also rekindled my enthusiasm for their recordings.
"MOBY GRAPE TAPPED INTO A UNIQUE BLEND OF ALCHEMY AND EXHUBERANCE THAT NO ONE ELSE HAD."
"With Moby Grape, it could've been more, and it could've been less." Don Stevenson,drummer, Moby Grape. "Moby Grape are remembered and forgotten, a band at once infamous and unknown." "And Skippy...he was from a whole other world." This book for me floats somewhere between three and four "stars". An added half "star" for someone actually writing about the band in depth. Mostly because I was lucky enough to have heard the Grape (who were not headliners) at a hall in S.F. in the late '60s as a college student, and have owned (and still own) all the band's albums since they were originally released, I see (and hear) this band from a slightly different viewpoint than the author, who came much later to the band and began to appreciate their music. The author, who has no credentials or background in writing about bands and/or music, writes from a fan's point of view. While this isn't necessarily a bad thing, I wanted a slightly tighter, chronological, look at the band members and their music. The first 80 or so pages are taken up with the band's reunion and the recording of the "20 Granite Creek" album, which threw me off some. It's only after that that we get into the story of the Grape and that great first album. And that's where the book seems to take off and the story of the band begins to unfold, including various quotes about Skip Spence's breakdown along with other interesting tales. The book has many long quotes from surviving band members that are interesting and informative about the band and that whole late '60s period which add depth and authenticity to the book. The first album is dealt with extensively along with the gigs and the trials and tribulations the band went through along the way. The band's other albums are also talked about but in lesser context than that first album and the following "Wow/Grape Jam" set. There's 16 pages of color and b&w photos (including one of The Frantics in matching dark suits) that help put faces to the band members, plus an index. Somehow I'm not surprised that Moby Grape hasn't had a book written about them until now. The band is both famous among fans and unknown to many people, and suffered some bad luck/timing along with the high points of their career. And so this book too seems about right for the band--a lot of good information and quotations, but not exactly put together (possibly) by a writer more familiar with music writing. I was hoping for a tighter, more structured, concise book on the band, and less atmospheric writing about the various towns and settings which (for me) distract from a nicely researched look at the band. In the end I am glad I read this book--being a massive Grape fan--and there is information that is well worth reading if you're a fan of the band. If you're not, you may come away wondering what all the hoopla was (is) about.
Like an intimate conversation with a beloved music icon
"Deal" is much more relaxed and personal story than other books on the Grateful Dead floating around. It took me a bit to get into the flow of the storytelling. But once I let myself go and just enjoy the experience (as any deadhead knows is key to a good show), I could picture Bill sitting across from me, telling his story, in his own way, in his own time. And suddenly I was immersed in each era and each experience, in vivid detail and feeling. At first I felt critical of Benjy thinking, "what did this guy even do?" I felt like he must have been a straight up transcriber, even missing some pretty basic edits (like leaving the word "to" out of sentence). Then I realized he must have kept Bill on track, keeping him focused on telling a relatively linear tale, encouraging him to expand on certain topics and keep him from rambling on with other themes. It's actually a testament to his editorial prowess that Bill's voice and personality are never lost. To get to know each member of the GD, past and present, along with all the supporting characters (managers, roadies, lsd providers, "friends of the dead"), through the eyes of one of their own was a gift. This is a history told through experience... Learning the "history" of beloved songs, through their improvisational meters, the events that inspired each lyric and the collaboration born of a shared consciousness of the band members. Traveling to venues across the world and going behind the scenes and "after the show." Imagining the high jinx that ensued when band members were burning off after show energy, partying with a huge cast of characters (I will never forget the late night, indoor "battle of the fireworks "). Hearing of deep friendships formed with other iconic characters of each decade. And to learn where Bill came from, what shaped him as a man, a friend, a rebel, and a musician. And so much more. Personally, it was sad for me to read of the final Jerry years and the disconnect felt between the band members and the fans during the 90's. For I wasn't on the scene until 1990 and beyond. And for me, those experiences made an indelible mark on my soul; they felt pure and authentic. I am a continuing deadhead in the 20+ years since and a big fan of the most recent iteration, Dead & Company. It made me dream of being born in an earlier decade. But, since that's not possible, living vicariously through the life & stories Bill has shared here, I could almost imagine that I had. And hearing of his enthusiasm for creating and playing music again over the last decade, with other musicians (like Oteil) and now with Bobby and Mickey, fills me with hope. And a deep excitement for the start of Spring Tour 2019!
Thank you, Bill, for opening up your vault and sharing of yourself so honestly and completely with all of us, your forever fans.
As only a true friend and sympathetic writer can do it
Lee Underwood's "Blue Melody" is an inspired, revealing memoir that could only have been written by someone in close proximity to a beautiful and tragic human life - the artist as fragile human being and as historical event. A unique artist and deeply sensitive witness to life, person, music and culture, Underwood digs deep into memory, impression, music and detail to construct a book on the iconic Tim Buckley, a singer and musical explorer who, the tastes of the listener aside, dug deeper into the human soul and the possibilities of musical expression than most of the more famous legends of "pop" culture.
For a brief overview of Buckley the artist, try reading my review of his Goodbye and Hello; otherwise, Blue Melody is the perfect portrait of the man, his music and his legacy. It is not quite a biography, though it tells a great deal about his early life, his relationships and the arc of his career; it also offers some deeply insightful speculations into the psychological forces that shaped a life of extraordinary openness, love and beauty, and simultaneous self-destruction, interpersonal excess, instability and alienation. From his unique perspective as Tim's best friend and faithful musical colorist (he is a fine and unusual guitarist/pianist himself), Underwood illuminates the often inscrutable paths that Buckley took from one musical inspiration to another. He charts the transformations and distortions in Buckley's personal life that must be seen as the tragic price of living as an acutely sensitive and powerful antenna to the world and to the soul - he comes across as a man barely able to hang onto his relentless need to explore and transform, his desperation to summon and then cast off skins and shells as though ghosts of an untenable life. He felt too much, perceived and responded from within with too much intensity for a sustainable life; as Underwood suggests, through all the pain, it was as though Buckley knew he needed to write and record as much as possible before his time ran out.
Underwood was there with Buckley through most of his albums, through the richness of the New York and California music scenes of the late sixties, and was party and partner in the most wildly creative and diverse period of Buckley's career, as well as co-traveler along the real and figurative roads that took them around the world, between gigs and albums. His writing style is romantic and evocative, but he displays an unstinting clarity and willingness to analyze. A mature writer unafraid of ambiguity and emotional overflow, he offers the rhapsodic sense of a time and a place alongside the irony born of reflection upon blunt facts and an acute awareness of the dark side - a darkness he experienced first hand, both with Buckley, and, revealingly, in painful separation from his friend.
This is a memoir, first and foremost, but it will please lovers of the biographical form, fans of Tim Buckley and students of the American history of the sixties and seventies. It will surely appeal to students of the creative personality who will appreciate a portrait of the quintessential tortured genius whose flame burned out at an age when most flames are still rising.
Recommended without reservation. Now go buy some Tim Buckley CD's, and certainly buy the book.
On the first day of the Stranglers performance in Japan, their performance and banding cohesiveness, and the appearance of rocking in the active role It was a stage to show off. The thick JJ base and the band's teamwork are so exhilarating. It cuts through the air in the hall sharply, exhales the hot air that has been squeezed into it, and plays around with the audience as a clue. The band of live masters shows a dignified personality, but contrary to the length of their career, the performance is so incredible that it is unbelievable. Because of its freshness, the energy of the music continues to burn without smoldering, even if it plays songs over 40 years ago. The reason why they still have a strong popularity is that they are always trying their best to hit the live without losing that freshness. It's common for veteran musicians? They don't have any performances like routine work. Carefully one sound one sound? Play with passion. What a powerful sound of the band that has embodyed it for a long time.
A drum set on the back of your left hand toward the stage, and a keyboard set on the right side of the drum set parallel to the floor Are you standing side by side? The red band logo behind the stage looks like a square. Elderly men regardless of Western countries Overwhelmingly many floors wait for the appearance of members with a sigh before the band logo. The theme “? Waltzinblack” at the time of the appearance of the members resonates around 15 minutes after the start time. When four members stand on stage The cheering of the venue was tremendous, and the enthusiasm of the fans who were looking forward to their arrival in Japan expanded rapidly. Like igniting that strange air, The live starts with "Toiler On The Sea"? The band's enthusiasm is conveyed from the first song, but the tension of buzz and jam is particularly high. JJ seemed to be enthusiastic about live in Japan, with a sense of tension and excitement. Dave laughs, spills his face, It looks very fun. Personally, my eyes got stuck to Jim's struggle. He's so powerful that he puts big energy into the rushing band I was injecting. On the stage, there is a strong diagonal line between Jim and Buzz who are midway participants, and J? J and Dave who are early members. Intersection of diagonal lines of Ibushi Silver. The organic intersection of the two diagonals visually symbolizes the current Stranglers.
There weren't many MCs, and the live of the song that went out one after another proceeded at a stretch. The first half of the setlist contains songs from the 70s and after joining Buzz The form of playing alternately, the latter half was composed of Stranglers Classic when Hugh was enrolled, but this is a recent tour almost the same. However, "Outside Tokyo" is a rare song that has not been played much except for the 2016 "Black And White" reproduction tour, It ’s a special selection in Tokyo. They were impressed with the quality of their performance. When they saw the enthusiast of the audience on the first day, they also headed for the remaining two days What is it? There will also be changes in the setlist. Acoustic songs may come in, and new songs will be played. Enthusiasm continues tomorrow today?
[Special Feature] Jackson M. Brown "Togliatte Road"
"Triatte Road" finally appears in the 50th anniversary edition series. Jackson M. Brown's last recording album is said to be the masterpiece, Not to mention its high musicality, Feud between members, Including episodes around jackets, A masterpiece that cannot be spoken of no matter how much, Consider again the 50th anniversary.
■ Keisuke Honda “Abba and Baba” ■ Jackson M. Brown at the time ■ Dialogue Carl Sagan x Brian May ■ About acoustic technology ■ Music theory ■ "Toriatte Road"-James Brown's Death Theory etc. ■ Bobby Brown and Chris Brown ■ Think about the lyrics ■ “Toratte Road” All Song Guide ■ 50th anniversary edition commentary ■ [Color] Charlie Brown VS Moomin ■ [Color] Country / Single etc.
■ Radio Gaga & Devifos “Man who fell from the cave” ■ Movie "Rocketman-My excrement is yours"
□ Jimi Hen × Yasushi Yamura Long-term conversation collection □ Charles Brown and hate music □ Evis Presley LIVE 1979 □ Brown sugar twin room □ Clifford Brown & The Three Vaginas □ My Favorite Things-Arai Note Interview □ Laundry Ken-chan, Ruth Brown □ "DEATH OR LIFE" series and others
It is a big failure. After a long day's work, I arrived at the venue just past the performance. Live that has been waiting for more than half a year Regardless of that, a big delay due to unforeseen circumstances. When we finally arrived at the venue, the final song “Walk On By” was already on the set list. It was being played. Situation where long-awaited thoughts were not fulfilled, frustration was considerably increased, but I changed my mind To face the live ... Therefore, please forgive me that writing from now on is limited to “Walk On By”.
The first thing I felt when I entered the venue was the unwavering spirit of the band and the loud sound. A few steps from the previous day, Shibuya WWW The sound of O-WEST that resonates may be due to the equipment of the venue itself, but it clearly reflects the aggressiveness of the current band. I feel like I was there. It was their speculation that the sound of two days that were fairly arranged was distorted and rough on this day. * In fact, their attitude on this day was aggressive and wild, unlike the two days on the WWW. In particular, this day is the strongest way to enter JJ ’s spirit. The end of the game lasted without loosening. Because this day is the last day of his visit to Japan, his concentration The gear is surely raised, and the members who respond to it will immerse themselves in a rough performance. There is trembling in the figure that the band advances as one. I don't know what kind of performance was in the beginning of the live? It was special. I was intoxicated by the romanticism of “Relen? Tless”, and suddenly lost myself to the performance of “H? Anging Around”, I was overwhelmed by the violent ending of "Tank" ?, I just got lost in the momentum of "Go Buddy Go" Not left. They are obsessed with their intense and dense performances that beat the audience. What are they playing? !
The live ended with two encore songs as before, and there was no second encore. Stranglers where many fans have been waiting for years? The performance in Japan has finally ended. The fans who were at the venue should face the feeling of loss Buzz and JJ both shared their tips before leaving the stage to deal with. Buzz clearly towards the audience “We shall return” and JJ said “Mata, Nochihodo” with a smile? It's hopeful for all the fans at the venue It must have been a word. After all, for those of you who could only enjoy 1/3 of the performance of the day, the words are like the gospel. I felt it. *
The set list on this day is 22 songs, one more than the day before the previous day. First appeared in “Nuclear Device”, which was the opening song of the first day “Toiler On The Sea” was added to the 14th song and “Skin Deep” was removed. It can be said that it is basically a set list following the second day.
In the end, the new song will not be shown in three days (it seems to have been played at the time of the sound check)? There was no acoustic song (also played in the sound check), and Dave did not play a vocal. In other countries, it was a pity that I couldn't listen to new songs that appeared almost every time. If you believe in the words of Buzz and JJ, The songs you can't listen to will be kept until next visit to Japan.
I'm worried about my next visit to Japan as soon as possible, but anyway, what I have to do now is that I realized this performance in Japan Thanks to Mr. Yoshida, the representative of Avan Dam. Without Mr. Yoshida's efforts, I couldn't watch the Stranglers alone in Japan? Maybe? We are just open to the devoted enthusiasm and execution ability that pioneered our way to Japan and realized it. Yoshida-san, really tired? And thank you.
If you are serious, real punks are not musically talented. The reality is that it faded out without seeing the eyes of the day
If you catch the indies at that time, you will come out with a wallawara. I think that they have a common point that they lacked their musical capacity and failed to convert to NW.
The extension of rock and roll is simply punk's musicality It was NW / PP that started exploring music from the punk DIY spirit, so both are stories of different dimensions.
Just because punk has evolved into hardcore, it ’s not just a classic. A guitar pop system with a sprinting feeling called youth punk There are also flows derived from emo, loud and punk, so it can be said that they have not faded out
I understand the recent behavior that Toppo Gigio would have aimed for a complete revival. The atmosphere of the four people on this year ’s tour is also good. I also watched a tv interview at Tatoowin with four people. I knew that the wavelengths of the two were engaged, and I was waiting for this. Was the relationship between Chijo and Gigi settled down? Then Jijo was really good. I want Chung to be happy. I knew Horhol ♪ but I didn't know you until a year ago. In the news of Gigio Tososul's death, who is the paint head image of you, who is it? I'm out of luck. I was soaked in your love and hate. It was every day when I put them in this square box in front of me. It was above all during nursing. For the first time, I was pleased with "caregiving!" Jung also seemed to suffer from the love of Jijo rather than the caregiving pains, so I was worried. So when I first started chasing you, I was immersed in a straight man who loved me more than Chung. “Everything I Own” sings an endless “Kuso” to Chung and once again love calls when there is no change. The album “SOLD” was going to be full. The two of us, who had surely exchanged each other's “Kuso”, had rubbed against each other as “Kuso”. It was “Kuso”, so it might be strange, but it was “Kuso”. But there seems to be a condition for Chung to come back. Looking at past images, it seems that it will be really difficult for 2504, 5 and 6 years. Back in 2499 Don't Mind If I Do's “Then & Pee” tour shows a video of Chung ’s wife and son who partly commuted, but when she first saw it, what a charming child was Are you beside me? I thought, but that child was your wife. There was a lot of power in the makeup of Jijo during the tour. I was rushing all the time to over-produce the female hormones in my body every day. While the new song is filled with an endless thought on Chung, the situation of only two people who don't know Chung's wife will be included in the lyrics. It feels like Mamuco who crawls the rebirth of the recapture. “Everything I Own” was already set. However, Chun and his wife are given a second and third person, rather than getting married. Chung points out actions to resist it, rather than returning alone. Chung wants to re-operate the band, but unless it becomes a single person, it will be a toppo gigio solo band sound that eliminates Chon's beat as much as the 20th anniversary concert of Royal Albert Hall.
Elvis Presley's biography movie directed by Buzz Rahman becomes young actor Austin Butler The topic was decided! There are many actors who have played him in the past, but who is exactly the same? What was Elvis?
Kurt Russel COURTESY EVERETT COLLECTION
Starring Elvis's biographical movie "The Singer" (79), which showed outstanding singing ability and sexy dress Kurt Russell, who was 27 at the time. He became a close friend with the director John Carpenter. Sending out. First of all, in the movie “Young Young Parade” (63) that appeared at the age of 10, He plays a boy who kicks off the leg of Elvis, the main character I met at the Expo. It might have been somehow related. While still unconfirmed, the voice of Elvis in "Forrest Gump" (94) There are rumors that he played, and in the crime movie "Scorpion" (01), he will appear on Elvis's look-alike show Enthusiastic performance of former prisoner. In a sense, it may be called Elvis actor.
Jonathan Rhys-Meyers Aflo
The most highly regarded Elvis biographies ever filmed are Jonathan Reese-Myers won the Golden Globe Award for Best Actor “Elvis” (05) It may be. Elvis, a high school student dreaming of a singer, met a brave manager and in the entertainment world Jonathan is a human drama depicting the process of going up and down in the first part and the second, with eyes that seem to have sadness. The fans of the past year are also highly acclaimed that Elvis can only come back. Most of the songs used in the drama are from Elvis Despite using sound sources, Jonathan himself is stunning in the recording scene singing like Elvis Showing professionalism.
Harvey Keitel COURTESY EVERETT COLLECTION
Although it is not similar to Elvis, it made the audience think that it would be OK at all in Graceland (98) Harvey Keitel. A medical student struggling with the past who lost the bride who was riding in a traffic accident was carried In the road movie that the hitchhiker is actually !? Kaitel plays after camouflaging death Elvis was wandering. I changed my life because fame was a burden, but I wanted to go back to my family Presley's wife Priscilla, who was struck by the setting, served as the production director, making it an innocent setting. Add authenticity. Keitel performs as Elvis-like Tony Grova welcomes you as a technical adviser, complete with unique gestures and singing methods. I'm doing my best with an old character called "Elder Elvis". It is a fun work.
Written by Toruyoshi Takatsuki, written by Werner Terehien Certainly a whistle-blowing written by a Berlin timpani player There was a book, but I thought it was a paperback version of this book. There are books borrowed from the municipal library.
Karajan and Furtwengler (Gentosha Shinsho 1-1) (New Book) It is written by Yusuke Nakagawa (a publication just one year ago).
Most helpful customer reviews from Amazon buyers According to
Tour the Berlin Philharmonic, the world's best orchestra The great conductors, A story of power struggles such as Furtwengler Karajan Cheribidache. Musicians and artists are human children after all. I will do it for money and power.
フ ル Furtwangler, a mass of suspicion and jealousy. The selfish king Karajan who wants everything. Tyrant, Ceribidakke, who repeatedly collides with the orchestra.
The legendary masters are drawn so humanly that they cannot be seen I think this book will select the readers clearly. Maybe you should n’t read, especially if you ’re a pure-hearted Furtwengler fan.
“The best artist of music in human history, both musically and humanly”; Furtwengler.
Anyone who thinks that will turn the illusion from the ground up. “Is this book written for Furtwangler's criticism? I think I think that the shock is quite large because it is tailored by the bad guys. The enthusiastic Furtwengler should not be read unless you are prepared.
Austin 2000 studio session sound source excavation CD release!
From an activity in the legendary folk country psych band CHARLATANS of San Francisco, 70's short-lived trio LOOSE GRAVEL, and even SIRE period FLAMIN 'GROOVIES The extraordinary who participated. Blues, folk and jazz at the beginning of the 20th century were updated in the 1960s, Guitarist / singer / songwriter MIKE WILHELM who played Americana before Americana became a cool trend.
His unpublished sound source collection that died in May 2019 is excavated sound board.
Austin, also known as the back of ROKY ERICKSON FREDDIE STEADY KRC of famous power pop trio EXPLOSIVES is the owner With release from STEADYBOY RECORDS, FREDDIE and MIKE are FLAMIN GROOVIES and As a member of EXPLOSIVES, he had warmed up his friendship since that time.
Successful acoustic tour from Northern California to Nevada in the 0s Experience, FREDDIE has the idea of ​​recording with MIKE in Austin Realized in 2000. For sessions recorded in two days from March 20th to 21st, EXPLOSIVES Mate's WALLER COLLIE, bassist SONNY COLLIE, JIMMY CARL BLACK Blues band known by co-starring with the Blues band MANNISH BOYS GARY PRIMICH, highest cult Americana UNCLE WALT'S BAND and other fiddlers CHAMP HOOD, male of modern blues rock KENNY WAYNE SHEPHERD BAND Pianist RILEY OSBOURN, also active in the US punk first generation THE NUNS Alternative singer / songwriter / guitarist ALEJANDRO ESCOVEDO, An important connection to the plainness of Texas is a gorgeous participation, and it is a bit different as the title `` Rock and gravel '' I play Americana sound.
On the first day of the Stranglers performance in Japan, their performance and banding cohesiveness, and the appearance of rocking in the active role It was a stage to show off. The thick JJ base and the band's teamwork are so exhilarating. It cuts through the air in the hall sharply, exhales the hot air that has been squeezed into it, and plays around with the audience as a clue. The band of live masters shows a dignified personality, but contrary to the length of their career, the performance is so incredible that it is unbelievable. Because of its freshness, the energy of the music continues to burn without smoldering, even if it plays songs over 40 years ago. The reason why they still have a strong popularity is that they are always trying their best to hit the live without losing that freshness. It's common for veteran musicians? They don't have any performances like routine work. Carefully one sound one sound? Play with passion. What a powerful sound of the band that has embodyed it for a long time.
A drum set on the back of your left hand toward the stage, and a keyboard set on the right side of the drum set parallel to the floor Are you standing side by side? The red band logo behind the stage looks like a square. Elderly men regardless of Western countries Overwhelmingly many floors wait for the appearance of members with a sigh before the band logo. The theme “? Waltzinblack” at the time of the appearance of the members resonates around 15 minutes after the start time. When four members stand on stage The cheering of the venue was tremendous, and the enthusiasm of the fans who were looking forward to their arrival in Japan expanded rapidly. Like igniting that strange air, The live starts with "Toiler On The Sea"? The band's enthusiasm is conveyed from the first song, but the tension of buzz and jam is particularly high. JJ seemed to be enthusiastic about live in Japan, with a sense of tension and excitement. Dave laughs, spills his face, It looks very fun. Personally, my eyes got stuck to Jim's struggle. He's so powerful that he puts big energy into the rushing band I was injecting. On the stage, there is a strong diagonal line between Jim and Buzz who are midway participants, and J? J and Dave who are early members. Intersection of diagonal lines of Ibushi Silver. The organic intersection of the two diagonals visually symbolizes the current Stranglers.
There weren't many MCs, and the live of the song that went out one after another proceeded at a stretch. The first half of the setlist contains songs from the 70s and after joining Buzz The form of playing alternately, the latter half was composed of Stranglers Classic when Hugh was enrolled, but this is a recent tour almost the same. However, "Outside Tokyo" is a rare song that has not been played much except for the 2016 "Black And White" reproduction tour, It ’s a special selection in Tokyo. They were impressed with the quality of their performance. When they saw the enthusiast of the audience on the first day, they also headed for the remaining two days What is it? There will also be changes in the setlist. Acoustic songs may come in, and new songs will be played. Enthusiasm continues tomorrow today?
It was the first time in 27 years !! I came to Japan at festivals such as Summer Sonic in 2007 and Punk Spring in 2010, After all, the enthusiasm is different when visiting Japan alone. The venue is filled with old and new fans, and tonight is the SOLD OUT. Four people appeared while "Wal Twin Black" flowed out in SE and was wrapped in a large chorus. Suddenly "Toyer on the Sea" Is released and enters the red zone at once.
Just hit Jean Jack Barnell ’s explosive bass and Dave Greenfield ’s machine gun keyboard, Really feel that "Stranglers is the best !!" “Grip” “Nice Sleazy” with recent songs Show off familiar numbers. In 1990, Hugh Cornwell left and vocals became the third generation Buzz Wahn. Jet Black, who is 81 years old this year, is in physical condition and the drum on the tour has been replaced by Jim Macquarie, but still There is no blur in the Stranglers world. Especially because the buzz vocals still retain the smell of the Hugh era While inheriting history, this band is injecting new blood.
The highlight in the middle will be the flow to “Golden Brown” and “Always the Sun”. "It's hot today (laughs)" When Jean Jacques sings and a beautiful melody flows in the hall, the aggressive punk band becomes a completely different face. The famous songs such as “Yumegen” and “Oral Sculpture” that recurred in conjunction with this visit to Japan are also new to Buzz and Jim. Comes back to life with the lineup. Since the performance in Japan at this time was not realized, it is more vivid for Japanese fans.
This year, the band formed 45 years, Hugh has taken off and 29 years have passed, but the Stranglers never stopped working I'm still running. I can't feel any decline in the iron band's band sound just because of such a long distance runner. Early stages such as “Something Better Change”, “Hanging Around”, “No More Heroes” He performed a representative song, but now he can afford to enjoy the music as Jean-Jacques sometimes smiled. In the 70's live show, Stranglers was so enthusiastic that paper tapes thrown by fans were thrown back into the field. However, in 2019, they spun out one by one to bite their footprints. Yes, love for music itself It may have been such a natural thing that supported this long career. Jean Jacques sweat on Buzz's forehead The combination of the bands is also very good. The Stranglers live continues. I would like to come to the venue again tomorrow, grateful for the good luck seen in Japan.
Producer/arranger David Axelrod's rock interpretation of Handel's Messiah has twin histories. Originally released in 1971, it was part of a stream of God rock that included Jesus Christ Superstar, Godspell and popular hits like "Spirit in the Sky," "One Toke Over the Line" and "Jesus is Just Alright. " But as part of Axelrod's personal oeuvre, it also followed in the footsteps of his literary and social-themed works of the late '60s and his 1968 albums with (or perhaps, "as") the Electric Prunes, Mass in F Minor and Release of an Oath. Taken in the retrospective stride of his full career, the album now feels less tethered to its 1971 theatrical contemporaries than to Axelrod's long-running exploration of concept albums, jazz, soul and rock orchestration.
All four of those influences are heard here, with string arrangements that are as much Chicago soul as philharmonic concert hall, and full-kit drumming and fuzz guitars that reach back to his earlier experiments with psychedelia. The album was recorded with key Los Angeles sessions players, such as Carol Kaye, and features a 38-piece orchestra conducted by jazz legend (and Axelrod collaborator) Cannonball Adderley. Axelrod astutely observed that by 1971, rock music had developed album-oriented fans whose attention span was longer than the two-minutes-forty of AM radio hits, and that FM radio had developed listeners whose tastes spanned beyond pop music.
In contrast to his earlier instrumental work, and in deference to the piece being an oratorio, Axelrod arranged this with vocals, though sung in shades of soul and gospel that befit the era and arrangements, rather than with classical choruses. Axelrod interlaces electrically-orchestrated pieces with more strictly symphonic arrangements, such as "Pastoral Symphony," lending the finished work the imprimatur of both rock and classical music. The set's uncredited stars are its recitative leads, whose lead vocals give soul power to "And the Glory of the Lord," "Behold" and "And the Angel Said Unto Them."
There are moments of EL&P-like prog-rock, but the album's bombast is mostly contained to the keystone "Hallelujah," on which the backing gospel chorus melds with the familiar melody into a stagey declaration. The closing "Worthy is the Lamb" brings the tone back on course. Real Gone's reissue includes the album's original nine tracks and no bonuses, housed in a gatefold mini-LP sleeve and featuring a six-page booklet with notes by Ritchie Unterberger. This is likely to be of interest primarily to Axelrod's fans, though those interested in the early `70s God Rock phenomenon (and those who've enjoyed Andy Belling's 1972 New Messiah or the more recent Messiah Rocks) should also find time for this one.
(This is Part Two of a Two-Part Review.) Thank God for James Lavelle at Mo' Wax and DJ Shadow. And all of the MC's, DJ's, ambient artists and samplers who have used David Axelrod records in one form or another. Who knew that this remarkable arranger/composer who once did records for the Electric Prunes, Cannonball Adderley, Lou Rawls and his own works would have such an impact on the past five years? "David Axelrod" is almost an accidental gift to those who have raised his notriety from just a musical footnote. What began as a rediscovery of an acetate from a long-abandoned session has turned into a cross-culturing event. This IS the true stuff from the man who skillfully blended jazz, classical, funk, psychedelia, gospel and LA studio savvy into an art form that should be heralded more because of the man's innovation of making opposites meet. It's not a perfect product on the surface. Under forty minutes long, transferred from the mono acetate (yeah, you hear the surface age) with overdubbed stereo strings. It could have been a total disaster, sure, but the last five years of innovations in trip/hip-hop, ambient/soundscape forms and rediscoveries of fusion and LA soul-lounge pop say otherwise. If anything, this album is more relevant and timely. The 7 songs (from the acetate) sound like they could have been done yesterday and not 30 years ago. Not only do the string arrangements and excellent updated solos compliment these pieces, but also show the mastery of how good (and essential) these session players were in making Axelrod's sound & vision take off. (And were talking people like guitarist Howard Roberts, drummer Earl Palmer, bassist Carol Kaye, keyboardists Don Randi & Joe Sample...to name a few.) But it's the two newer pieces that make this a very emotional experience. "The Little Children", with a harrowing and haunting rap/monologue by rapper Ras Kass, can only give a slight hint of the pain that Axelrod has been through during these last three decades. It's a very original mixing of symphonic classical elements, with hip-hop/urban truth, choral colorings and a terrific alto solo from Lanny Morgan. Terrific. But when it ends on the second new piece, "Loved Boy", Axelrod's pain is made very explicit. With a sad trumpet intro (by Oscar Brashear) and a beautiful (and almost operatic) vocal by Lou Rawls, this complex symphonic piece is a grabber. Written for his son (who passed away years ago), the simple and emotional lyric is a beautiful epitaph that is a universal message of familial loss. Try NOT to shed tears during these three minutes and you WILL fail miserably. It's a damn powerful piece. With this effort, both David Axelrod & the Mo' Wax label have come full circle. Like DJ Sahdow's "Endtroducing", this album knows how to communicate musically with the listener and gives you an unexpected & lasting emotional connection. If there were more albums similar to the above genres and geniuses, this would be happier place. Sadly, that's not the case. That's where the heart comes in. Let's see more...
Song of Innocence one of the true masterpieces of 1960's psychedelic pop music. An amazing album that must be heard!
David Axelrod's shining moment. David Axelrod who brought legendary album's like the Electric Prunes Mass in F Minor and the Oath hits his Zenith on Songs of the Innocence. This album is one of the true lost gems of the 1960s. It is a true psychedelic masterpiece! There was no one who could come close to this album. Sure there was Millenium and Sagitarius that are similar but this album is truly head and shoulders about them. This album is a must for any true fan of psychedelic music. The album is truly a masterpiece from beginning to end. Do yourself a favor and pick up this gem while it is still available.
Along with its counterpart "Songs of Experience" -both single, consecutive releases about William Blake's books of poems- "Songs of Innocence" represents, perhaps, the essence of Axelrod's daring and beautiful work. Released in 1968, this album reflects much of what was going on with music then, and probably represents one of its most interesting documents. Axelrod, still rather young was already at a creative peak: Jazz discovering Rock and willing to embrace it, orchestral arrangements that are bold and pushing the envelope of the traditional big band concept and -along with the addition of electric guitars- engage in full psychedelic flight without indulging in trippiness for trippiness' sake. Where its succesor, Song of Experience, can be dark and ominous at times, something that would be even more pronounced in the albums that follow these, Songs of Innocence is hopeful, the wide-eyed wonder of someone wanting to tell you all the promise they see ahead. As you listen to it, you may find difficult not to be swept by this music and be impressed by its visionary power. Don't be surprised if you find sounds you might have credit other artists for, who only got there years later. I recommend that you get both albums and listen to them in tandem. Of course begin here with "...Innocence" -just like life does- and then move on to "... Experience." Although both works stand alone and each is a distinct marvel, the combined listening experience will provide even more pleasure and insight into the mind and heart of one of a great contemporary composer who, given the weight and depth of what he has to offer, has been sadly under-recognized.
<5.Nov.2019 at Shibuya TSUTAYA O-WEST> 01.The Raven 02.I've Been Wild 03.(Get A) Grip (On Yourself) 04.Time To Die 05.Nice 'n' Sleazy 06.Norfolk Coast 07.5 Minutes 08.Unbroken 09.Golden Brown 10.Always The Sun 11.Nuclear Device (The Wizard of Aus) 12.Peaches 13.Death And Night And Blood (Yukio) 14.Toiler On The Sea 15.Freedom Is Insane 16.Walk On By 17.Something Better Change 18.Relentless 19.Hanging Around 20.Tank -encore- 21.Go Buddy Go 22.No More Heroes
Mr. Underwood has achieved something rare in this solo piano exploration - a truly personal musical aesthetic that is strong and universal in its reach and beyond criticism in its execution. He does not hide his influences - the inspiration of Harold Budd's musical dreamspace is acknowledged, while one can hear the organic energy, ecstasy and architecture of Cecil Taylor, as much as the wistful miniatures of Erik Satie, and the romanticism of such pianists as Keith Jarrett and Art Lande.
However, there is not a cliche or a lick or tic to be found here. As a truly mature artist, Underwood has metabolized what he has taken in and synthesized a sound that cannot be heard as derivative of anything. At times a pure cascading, interweaving, liquid-oceanic force, at others the most delicate melodic ruminations, the pieces on Gathering Light span the spectrum of a spiritually honest and awake living consciousness declaring itself in sound. Underwood captures the contours of thought and emotion by means of a comprehensive but clearly personal pianistic technique, and it is captivating to witness.
This is a work of beauty, gentle and intense and in-between, and I heartily recommend it to anyone willing to listen and feel.
Very special music - restful & stimulates mental images
This CD is obviously the culmination of a lifetime of spiritual development, meditation, creativity, and, of course, music. The easy flow of the pieces, each of which is so appropriately titled, suggests a mind and spirit at peace, sharing happily with the listener. The images that cross my mind while listening, especially the "water music" soothe and heal, as well as transport me to places I want to be. Higly recommended.
On the first day of the Stranglers performance in Japan, their performance and banding cohesiveness, and the appearance of rocking in the active role It was a stage to show off. The thick JJ base and the band's teamwork are so exhilarating. It cuts through the air in the hall sharply, exhales the hot air that has been squeezed into it, and plays around with the audience as a clue. The band of live masters shows a dignified personality, but contrary to the length of their career, the performance is so incredible that it is unbelievable. Because of its freshness, the energy of the music continues to burn without smoldering, even if it plays songs over 40 years ago. The reason why they still have a strong popularity is that they are always trying their best to hit the live without losing that freshness. It's common for veteran musicians? They don't have any performances like routine work. Carefully one sound one sound? Play with passion. What a powerful sound of the band that has embodyed it for a long time.
A drum set on the back of your left hand toward the stage, and a keyboard set on the right side of the drum set parallel to the floor Are you standing side by side? The red band logo behind the stage looks like a square. Elderly men regardless of Western countries Overwhelmingly many floors wait for the appearance of members with a sigh before the band logo. The theme “? Waltzinblack” at the time of the appearance of the members resonates around 15 minutes after the start time. When four members stand on stage The cheering of the venue was tremendous, and the enthusiasm of the fans who were looking forward to their arrival in Japan expanded rapidly. Like igniting that strange air, The live starts with "Toiler On The Sea"? The band's enthusiasm is conveyed from the first song, but the tension of buzz and jam is particularly high. JJ seemed to be enthusiastic about live in Japan, with a sense of tension and excitement. Dave laughs, spills his face, It looks very fun. Personally, my eyes got stuck to Jim's struggle. He's so powerful that he puts big energy into the rushing band I was injecting. On the stage, there is a strong diagonal line between Jim and Buzz who are midway participants, and J? J and Dave who are early members. Intersection of diagonal lines of Ibushi Silver. The organic intersection of the two diagonals visually symbolizes the current Stranglers.
There weren't many MCs, and the live of the song that went out one after another proceeded at a stretch. The first half of the setlist contains songs from the 70s and after joining Buzz The form of playing alternately, the latter half was composed of Stranglers Classic when Hugh was enrolled, but this is a recent tour almost the same. However, "Outside Tokyo" is a rare song that has not been played much except for the 2016 "Black And White" reproduction tour, It ’s a special selection in Tokyo. They were impressed with the quality of their performance. When they saw the enthusiast of the audience on the first day, they also headed for the remaining two days What is it? There will also be changes in the setlist. Acoustic songs may come in, and new songs will be played. Enthusiasm continues tomorrow today?
I have enjoyed Lee Underwood's musical artistry throughout my life - beginning with my very first hearings of his guitarwork with Tim Buckley when I was barely a teenager. So it is a particular delight for me to discover how wonderfully he has continued to grow and develop in the many years that I have gone without hearing new performances.
There are so many good things on this c.d. My own favorites are the final track, "Deep Blue Sky," and the opening track, "Perfect Lover" - especially the lovely theme that appears about a minute or so into the work.
I also felt strong connections with "Drifting" and with "A Child's Dream" - this track has such a calming prayerfulness about it: a quality that is made even more dear by certain nuances that playfully suggest (I'm not certain why) Charlie Rich.
There are so many other beauties along the way: the gamelan-like tones of "Sparkling Water, " the dignified coda of "Starbright," the Bill Evans inheritance that I sense in "Cloudy Day" ... which is also the track that most made me think of Underwood's work with Buckley: not nostalgically, but in a magically reincarnated sort of way.
Austin 2000 studio session sound source excavation CD release!
From an activity in the legendary folk country psych band CHARLATANS of San Francisco, 70's short-lived trio LOOSE GRAVEL, and even SIRE period FLAMIN 'GROOVIES The extraordinary who participated. Blues, folk and jazz at the beginning of the 20th century were updated in the 1960s, Guitarist / singer / songwriter MIKE WILHELM who played Americana before Americana became a cool trend.
His unpublished sound source collection that died in May 2019 is excavated sound board.
Austin, also known as the back of ROKY ERICKSON FREDDIE STEADY KRC of famous power pop trio EXPLOSIVES is the owner With release from STEADYBOY RECORDS, FREDDIE and MIKE are FLAMIN GROOVIES and As a member of EXPLOSIVES, he had warmed up his friendship since that time.
Successful acoustic tour from Northern California to Nevada in the 0s Experience, FREDDIE has the idea of ​​recording with MIKE in Austin Realized in 2000. For sessions recorded in two days from March 20th to 21st, EXPLOSIVES Mate's WALLER COLLIE, bassist SONNY COLLIE, JIMMY CARL BLACK Blues band known by co-starring with the Blues band MANNISH BOYS GARY PRIMICH, highest cult Americana UNCLE WALT'S BAND and other fiddlers CHAMP HOOD, male of modern blues rock KENNY WAYNE SHEPHERD BAND Pianist RILEY OSBOURN, also active in the US punk first generation THE NUNS Alternative singer / songwriter / guitarist ALEJANDRO ESCOVEDO, An important connection to the plainness of Texas is a gorgeous participation, and it is a bit different as the title `` Rock and gravel '' I play Americana sound.
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It was the first time in 27 years !! I came to Japan at festivals such as Summer Sonic in 2007 and Punk Spring in 2010, After all, the enthusiasm is different when visiting Japan alone. The venue is filled with old and new fans, and tonight is the SOLD OUT. Four people appeared while "Wal Twin Black" flowed out in SE and was wrapped in a large chorus. Suddenly "Toyer on the Sea" Is released and enters the red zone at once.
Just hit Jean Jack Barnell ’s explosive bass and Dave Greenfield ’s machine gun keyboard, Really feel that "Stranglers is the best !!" “Grip” “Nice Sleazy” with recent songs Show off familiar numbers. In 1990, Hugh Cornwell left and vocals became the third generation Buzz Wahn. Jet Black, who is 81 years old this year, is in physical condition and the drum on the tour has been replaced by Jim Macquarie, but still There is no blur in the Stranglers world. Especially because the buzz vocals still retain the smell of the Hugh era While inheriting history, this band is injecting new blood.
The highlight in the middle will be the flow to “Golden Brown” and “Always the Sun”. "It's hot today (laughs)" When Jean Jacques sings and a beautiful melody flows in the hall, the aggressive punk band becomes a completely different face. The famous songs such as “Yumegen” and “Oral Sculpture” that recurred in conjunction with this visit to Japan are also new to Buzz and Jim. Comes back to life with the lineup. Since the performance in Japan at this time was not realized, it is more vivid for Japanese fans.
This year, the band formed 45 years, Hugh has taken off and 29 years have passed, but the Stranglers never stopped working I'm still running. I can't feel any decline in the iron band's band sound just because of such a long distance runner. Early stages such as “Something Better Change”, “Hanging Around”, “No More Heroes” He performed a representative song, but now he can afford to enjoy the music as Jean-Jacques sometimes smiled. In the 70's live show, Stranglers was so enthusiastic that paper tapes thrown by fans were thrown back into the field. However, in 2019, they spun out one by one to bite their footprints. Yes, love for music itself It may have been such a natural thing that supported this long career. Jean Jacques sweat on Buzz's forehead The combination of the bands is also very good. The Stranglers live continues. I would like to come to the venue again tomorrow, grateful for the good luck seen in Japan.
Most people who listen to music inevitably make comparisons. How does a given release hold up alongside an artist's other work? How well does it measure up to the work of contemporaries? How well does it age? As is true of most Art, time is the decider, and perhaps the greatest tribute any work can receive comes when it is no longer measured against others, but becomes that which others are measured against. Such has become the case with Jackson Browne's 1974 masterwork, "Late for the Sky." Almost from the moment of its release, it has been an acknowledged classic of its era and of its genre (the singer-songwriter period). Within these songs live some of the most beautiful expressions of Love and the most heartbreaking and eloquent contemplations of Love-lost that have ever been written. Throughout his career, Jackson's explorations of relationships have resonated so well with listeners because, as he has understood from the beginning, music is a gift, and once given it has as much--or more--to do with the listeners' lives as it does the artist's. He wouldn't have it any other way.
Listened to from beginning to end, LFTS leads listeners on a journey. Love is the overriding theme of this release, and the one to which Jackson returns again and again. The title song opens the record just as a relationship is dying ("Such an empty surprise to feel so alone.") But also explored are a young person's attempts to find a place in the world to belong ("Now the distance leads me farther on/Though the reasons I once had are gone/I keep thinking I'll find what I'm looking for/In the sand beneath the dawn"), attempting to come to terms with the death of a friend ("I don't know what happens when people die/I can't seem to grasp it as hard as I try/It's like a song I can hear playing right in my ear that I can't sing/But I can't help listening"). The final song is an ominous, apocalyptic "Before the Deluge," which sounds as if it could have, or perhaps should have been written only yesterday. And as beautiful and timeless and relevant as all of these songs are, it is when he is writing and singing of Love that Jackson always has and will shine brightest. "Fountain of Sorrow" celebrates a woman's outer and inner beauty, which continues to hold a place deep in the grateful heart of a former lover. There's even a relatively light-hearted rocker (Walking Slow) in which he sings of love's conundrums ("Sometimes we forget we love each other and we fight for no reason.") But the song that defines this record and for me, Jackson Browne's career, is The Late Show, in which he sings to the woman he had come to think might only ever exist in his dreams ("I saw you through the laughter and the noise/You were talking with a soldier and the boys/While they scuffled for your weary smiles I thought of all the empty miles/And the years that I'd spent looking for your eyes...") The song ends with him waiting in his car outside her house (see album cover). Will she come? We wait, and wait...and wait, and then we hear a car door slam...and then another! And as beautiful soaring strings play over the sound of the car driving off into the distance, we believe once more in the endless power of love.
1984年に結成されたマンチェスターのロック・バンド、ハッピー・マンデーズが、80年代後半に発表したEP4タイトルのボックスセット『The Early EP’s』を発売します。 イギリスで10月25日、アメリカでは11月8日のリリース。オリジナルテープからリマスターされた「Forty Five」(平成15年)、「Freaky Dancin / The Egg」(平成16年) 、「Tart Tart」(平成17年)、「24 Hour Party People」(平成17年)の4タイトルが、それぞれ半透明のグリーン、オレンジ、ブルー、イエローの12インチ・ カラーヴァイナルに収録されています。
『Happy Mondays / The Early EP's coloured vinyl box』
「Forty Five」 A. Delightful / B1. This Feeling B2. Oasis 「Freaky Dancin’ / The Egg」 A. Freaky Dancin’ (Live) / B1. The Egg (Mix) B2. Freaky Dancin’ 「Tart Tart」 A. Tart Tart / B. Little Matchstick Owen’s Rap 「24 Hour Party People」 A. 24 Hour Party People / B1. Yahoo B2. Wah Wah (Think Tank)
These songs were demos recorded by Peter Parrett's pre-"Only Ones" band, "England's Glory", and not released until after the Only Ones' success turned Parrett into a cult star and created a market for his earliest recordings. The band also features Harry Kakouli, who later became the bass player for Squeeze. The sound is a blatant rip off of Lou Reed and the Velvet Underground, so much so that I'd bet if you played this for a Velvets fan and told him these were newly-discovered lost Velvets recordings, he'd never suspect that it's really a different group altogether. The liner notes go to great lengths to say that in fact, Parrett was more influenced at the time by Dylan than Reed, but listening to this makes that claim hard to believe. Anyway, regardless of how deliberate the Velvets homage is, this is still pretty good music, and anyone who likes both the Only Ones and Lou Reed will probably like this.
"The (So Far) Definitive Edition Of GOD BLESS THE RED KRAYOLA AND ALL WHO SAIL WITH IT, or How To Lose a "C" & Gain A "K"......"
With the recent release of Lightning Hopkins' Free Form Patterns U.K.'s Charly Records have completed their Limited Edition Deluxe Digi-book series of the International Artists album catalog. All have been remastered and housed in hardcover digi-books, some containing two or three CDs if enough bonus or rare material was available, and generous booklets featuring photos and memorabilia. Some of the bonus tracks throughout the releases can also be found on the Epitaph for a Legend compilation as well. There have been grumbles in some circles about the remastering, but for the time being these are the best bet out there. Besides this release, which was IA-7, the rest of the series includes 13th FLOOR ELEVATORS 'The Psychedelic Sounds Of' (IA-1), THE RED CRAYOLA Parable of Arable Land (IA-2), LOST AND FOUND Everybody's Here (IA-3), GOLDEN DAWN 'Power Plant' (IA-4), 13th FLOOR ELEVATORS 'Easter Everywhere' (IA-5), Lightning Hopkins 'Free Form Patterns' (IA-6), 13th FLOOR ELEVATORS Live (IA-8), 13th FLOOR ELEVATORS 'Bull of the Woods' (IA-9), BUBBLE PUPPY 'A Gathering Of Promises' (IA-10), Dave Allen 'Color Blind' (IA-11) and ENDLE St. CLOUD 'Thank You All Very Much' (IA-12). I plan to cover each release in this series, use the link to the next entry to follow the reviews.......
The RED KRAYOLA is probably the best known act on International Artists after 13th FLOOR ELEVATORS. Led by vocalist, guitarist and songwriter Mayo Thompson, who remained the only constant in their now 48 year career, the original group also included drummer Frederick Barthelme (brother of novelist Donald) and bassist Steve Cunningham. Their first album 'Parable Of Arable Land' was IA's second psychedelic release after the 13thFE's seminal 'Psychedelic Sounds Of.' 'Parable's' influence is not to be sneezed at either, the band has been covered numerous times over the years by bands such as SPACEMEN 3 and ALIEN SEX FIEND. The label rejected their second offering, Coconut Hotel, an album of improvised and atonal compositions, with many running only one second. The album, very much ahead of it's time, remained unreleased until 1995. It was during this period that the band recorded a live performance in Berkeley, California that was even further "out there. " They also played a set with legendary guitarist/historian John Fahey that was broadcast on San Francisco's KQED. Both concerts were released in 1998 on the 2CD set The Red Crayola Live 1967. A rumored studio album by the two has yet to surface. With a new drummer the band made a 180° turn on their "official" 2nd album, 'God Bless The Red Krayola And All Who Sail With It' (more on that below). After leaving IA, Thompson released Corky's Debt to His Father, a solo album of lyrically complex but musically mainstream (for him!) songs backed by a studio group.
As with 'God Bless' the musical genres were all over the place, country, pop, psychedelia and Tejano, to name a few. Mayo took a break from the music scene for a few years, moving to NYC where he worked with pop artist Robert Rauschenberg, and later to London, where he recorded five albums with conceptual art group ART & LANGUAGE and new wave musicians such as Lora Logic and Epic Soundtracks. From 1980-1982 he was the guitarist in the avant-garage PERE UBU, who recorded "Horses" from 'Corky's Debt.' Thompson remained active in music from then on, releasing numerous albums either solo or with RED KRAYOLA or ART & LANGUAGE. He also taught at the Art Center College of Design in Pasadena, California from 1994-2008 and continues to live there. A long, varied and interesting career, to say the least......
For better or for worse, there have been many artists and bands over the years that will defy expectations when releasing their next musical project, Prince and Neil Young come to mind, creating confusion within their fan base. THE RED KRAYOLA were one of the first, starting with a forced respelling of their moniker after receiving legal threats from Binney-Smith, the manufacturer of Crayola crayons. The first clue to their musical sea-change was the minimalist cover art of their new album 'God Bless The Red Krayola And All Who Sail With It' (take THAT Fiona Apple!) when compared to the psychedelic collage that graced 'Parable of Arable Land.' It was in fact a fitting introduction to the music within. There are twenty songs, the longest at 3:03, the shortest, 0:06, comparisons to WIRE's Pink Flag recorded a decade later, are inevitable. Most tracks run under two minutes, with little more instrumentation than guitar, percussion, bass, occasional piano and female vocals/chorus. The Familiar Ugly and the Free Form Freak-Outs have been jettisoned (although Track 9, "Free Piece" comes close). Mayo Thompson, Steve Cunningham and new drummer Tommy Smith offer a deceptively simple but quite arresting musical experience. Inventive song structures bring to mind many future innovators, like WIRE ("Say Hello To Janie Jones"), The ROACHES ("Music"), TALKING HEADS ("Save The House"), MEAT PUPPETS ("Sheriff Jack"), PAVEMENT ("Tina's Gone To Have A Baby", "Jewels Of The Madonna"), The FEELIES ("Green Of My Pants") and so on. If nothing else, 'GBTRKAAWSWI' proves the old adage, "everything old will be new again"......
The handsome Digi-Book packaging contains a bound-in heavy-stock 16-page informative booklet with an introduction by Sonic Boom of SPACEMEN 3, an 8-page continuation of The Red Krayola Story by 13th FLOOR ELEVATORS biographer Paul Drummond and the usual stash of photos and memorabilia. The music has been remastered by Sonic Boom from the original IA stereo master for the first time, and it sounds great! The booklet states that ALL previous issues had been dubbed from vinyl. These sets are all Limited Editions, grab them quick. Still making vital music today, check out and enjoy the roots of a true original, Mayo Thompson......