I used to think of Howe Gelb as a Bob Dylan for my generation (or at least a John Prine). His lyrics are always literate and clever, and he staked a claim on the alt-country turf when the geography of that genre had yet to be mapped.
Jason and the Nashville Scorchers released their debut EP (with its rocking revision of 'Absolutely Sweet Marie') in 1982 (the same year the Kinmans re-emerged as the Rank and File). These were no doubt an influence on Gelb. Howe ever, Giant Sand is always all over the map, and now I think of Gelb as more of a Willie Nelson type. He's no generational spokesman but an accomplished singer-songwriter, and as a player he crisscrosses the borders between the lands of Jazz and Country, sometimes emerging from a wormhole into a musical DMZ. November brings a new Giant Sand album, Blurry Blue Mountain, and with it the announcement from Fire Records of a reissue campaign to round up all the Giant Sand releases from the past 25 years, a disparate discography that wanders from one record label to another, with lineup changes reflecting death, divorce, and desertion.
Skripsi kualitatif psikologi. 'Giant Sand is a mood,' quoth Howe, and sometimes he's in the mood to do other things that aren't quite Sandy. Collaborations under the names of OP8, Friends of Dean Martinez, and AZ Amp and Alternator, as well as solo Howe Gelb records, have appeared over the years.
Some (if not all) of these diversions will be rekindled by Fire Records through this ambitious and auspicious reissue campaign. All told it will encompass thirty CD's, plus vinyl picture discs.
First up for re-release are the first three: Valley of Rain, Thin Line Man, and Storm, a Giant Sand LP that was originally issued by Fire Records in 1988. A pedal steel guitarist was playing with the Sand at that time. Check out the barnstorming 'Three 6ixes', the tale of a young man who beats the devil (without a fiddling contest). Read about Howe's favorite Giant Sand songs. And buy - it's a wistful and mature (but playful) collection of new songs, plus Howe revisits his own 'Thin Line Man'. Giant Sand: Three 6ixes.
Blogger tells me that I passed 300 posts somewhere back there, and it's only taken me the better part of five years to do it. I couldn't have stuck with it this long without my loyal readers, especially those daily comments from 独懸賞金ム and 分海賊なら. You guys are 男性の為が!!! Apropos of nothing, here's a poem what I hath recently wrot: Well, the Spaniard sported an unsightly 'stache As he sweltered in the slum And the thirst unspoken to the sickened and scared, But the soap was salving, son. Abandon the bum - he slandered the scum!
In a county pub, Beelzebub Was besmirching every s'more He can't stand how it stung As he crammed down a crumb It tastes bland, but it's fun When it lands on the tongue The Nectarine No.9 featuring Jock Scot: Rocket No.9. Melvins - Youth of America Mission of Burma - Youth of America (courtesy of archive.org) All the Saints - Youth of America (courtesy of Southern Shelter) Regarding his dystopian punk/motorik masterpiece, Greg Sage wrote, 'The song YOA itself is out of a dream I had about the future. A time where people 'over breed' themselves to the point that even the most simple thing had become the highest level of competition. The dream had such a sense of realism and intensity to it that I went overboard with the recording to symbolize it.' Buy and other Wipers records. Were the 1980's really that bad (see 8/19/10 below)? There's good music to be found in any decade, if you know where to listen.
There are always forward-thinking musicians creating visionary sounds. Predictions of the future that were made in the past can be amusing when they're inaccurate (like the Jetsons, jetpacks, or Disney's Tomorrowland), but they're startling when they come true. Prognosticators, weathermen, and fortune tellers never have to admit they're wrong: they can always blame the future for failing to live up to their predictions. The early 1980's, in particular, were actually a great time for music. After the first wave of punk dismantled rock convention, post-punk addressed the burning question, 'What next?' One dedicated student of post-punk created to point out the magnitude of musical invention in that year alone.
In his book Independence Days, Alex Ogg describes 'a cadre of groups who wanted to phase-jump to a new universe of sonic possibility.' Ogg argues for 'shifting the common perception of 'year zero' to 1978 or 1979 and the dawn of post-punk rather than the established reading of 1976.' Last month, I saw the band on the closing night of the Athens Popfest. Unlike our poor boy who believed in chance, the men of Raymilland fully grasped the intricacies of the modern dance.
They absorbed the lessons of Father Ubu and took off for parts unknown, leaving a cosmic trail of datapanik in their wake. Raymilland was one of the openers for Mission of Burma.
Having finally seen MoB, I realize that the horrible truth about Burma is their greatness. Have we failed to live up to the future that they predicted for us? Buy the Raymilland compilation.
Listen to Mission of Burma's set from Popfest. Buy the Moving Parts Wrong Conclusion. The Moving Parts: Max Ernst (1978). The Jim Jones Revue arose like a phoenix from the ashes of Thee Hypnotics.
The JJR played four songs on this summer, including one from their brand new album, Burning Your House Down (which comes out this week). If you usually avoid the type of performers featured on Daytrotter, do yourself a favor and make an exception. Or you can listen on. I generally eschew 'A meets B' comparisons, but if Little Richard or Jerry Lee Lewis fronted the MC5 or the New York Dolls - or if the members of NRBQ were into truckstop speed rather than wacky tobacky - the resulting musical maelstrom would sound a good bit like the Jim Jones Revue. The JJR will be hitting a few major American cities this month: Sept 14 NYC; Sept 15 Chicago; Sept 16 Seattle; Sept 17 Portland; Sept 19 SF; Sept 20 Santa Cruz; Sept 22 San Diego; Sept 23 LA; and Sept 26 New Orleans. Then they return to Europe.
You lucky bastards. Although I haven't been blogging lately, I read music blogs every week. I was right pleased to be mentioned in three of my favorites:, and. Last Days features the Underneathica theme song (circa 1981), so grab that mp3! It's nice to be remembered by your peers.
Ib (of SibLINGSHOT) wrote a comment on his blog about the sad state of popular music in the 1980's. I was immediately reminded of the brilliant Prolapse song 'Deanshanger', with Scottish Mick rabidly denouncing the era: 'D'you remember the 1980's? The music was CRAP! The clothes were CRAP! The news was CRAP! The hair was CRAP!'
Lucky life was only for the rich and greedy/ Unhappiness reigned supreme among the needy/ The papal visit promised much but didn't deliver/ I'm glad it's all over, wrapped up in a box and put under the bed. Smith surveyed the music scene with a jaundiced eye in 1980's 'C&C Mithering': You think you've got it bad with thin ties/ Miserable songs synthesized/ or circles with A in the middle/ Make joke records, hang out with Gary Bushell, join round table/ 'I like your single!' 'Yeah, great.' - a circle of low IQ's. Watch a fan-made video, or listen to it here. The hottest thing from the North to come out of the South.
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Quote The dreaded Manchester sound of a few years ago is now thankfully deceased, but Providence occasionally resembles a more glossy, less stylized (hard-grooved) Happy Mondays without the bad attitude, or some other lesser Factory outfit (though not as bad as Northside!). And as this longish, 53-minute CD progresses, it can lose one's attention due to its conservative, narrow scope. Still, in the right mood this pretty record can seem wonderful, and it seems likely their next record will be a contender - the large hints of it here, like on the sprawling title track that opens the record, portend much greater heights than this.
If their crime is trying to fly too high and crashing, mortal wings melted, that's a crime worth dismissing when it doesn't drown in ego - and this group, led by solid frontman Tim Ong, may soon plot a much more breathtaking return flight. Or say, how about a live LP!!! Quote The gold standard of the early-'90s power pop revival, in its own way Bandwagoneque was as much a benchmark as contemporary records like Nevermind and Loveless; though not the generational rallying cry of the former nor the revolutionary sonic breakthrough of the latter, Teenage Fanclub's sophomore album nevertheless heralded the return of melody and craft, coupled with energy and spirit - hallmarks of much of the greatest rock & roll of the past, and virtues as rare as hen's teeth in the years immediately prior to the disc's release. Although its incandescent harmonies, lazily immediate songs, and crunching guitars earned it endless comparisons to vintage Big Star, Bandwagonesque is in every way a product of its own time - the thick, grungy sound of the Fannies' debut A Catholic Education remains intact for gems like 'What You Do to Me' (arguably the most brilliantly simpleminded love song ever penned) and the instrumental 'Satan,' while the lyrics of other standout moments like 'Star Sign' and 'Alcoholiday' reflect a laissez faire irony and unassuming genius even more emblematic of the moment in question.
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Quote Mission of Burma The Definitive Editions I, II and III (Matador) Signals, Calls and Marches Vs. The Horrible Truth About Burma Rock fans of a certain age may remember Mission of Burma as a brief eruption of noise and flash that nonetheless echoed across the DIY scene of the 1980s: the square root of all American indie guitar bands.
The Boston foursome got together in 1979 and broke up by 1983. Which is to say, as relatively prehistoric as 10 B.C. (Before Cobain). Though since reunited and making great new work, the band enjoyed maximum impact from a small body of songs it recorded for the Ace of Hearts label. Matador’s comprehensive reissues of the group’s three albums reclaim an essential and often overlooked facet of the American post-punk story.
The 1981 debut EP Signals, Calls and Marches still bristles, a perfect storm of tight rhythms, dynamic swerve and the melodic din of guitars. The classic single “Academy Fight Song” is an elemental add-on, while “That’s When I Reach for My Revolver” swirls and yelps with a passion absent in the horrid Moby cover. The studio epic, 1982’s Vs., gave Roger Miller’s frantic, chiming guitar a broad canvas upon which to splatter, but for all their intensity, tracks such as “Trem Two” and “That’s How I Escaped My Certain Fate” were about process and sustained tension teetering on the edge of chaos. It’s no surprise that Miller had debilitating hearing problems, which forecast the band’s looming demise. Listening back now, the live Horrible Truth argues for Burma as a Yankee parallel to the dark textural processionals of Joy Division and Spartan cold crush of the Gang of Four (“Peking Spring”). Despite their art gambits, the members of MOB were punks at heart (“Learn How”), seeking death and transfiguration in ecstatic collisions of sound and Stooges-like frenzies. Go fun burn man!
— Steve Dollar. Complaint-free, cost-free, easy-to-ignore-if-that's-your-thing audio goodness ahoy!
And my computer just ate this post that I've been slowly writing all evening, so sorry if I don't say much in the re-write. I've got knitting to do before bed. Today I've got some delicioussss Matson Jones for you! img width= height=Do you like cellos? Sexy, angry cellos? What about sexy angry cellos attached to sexy, angry girls? Seriously, the combination of cellos and double bass and growled harmonies and aggressive drumming is cream-worthy.
'A Little Bit of Arson Never Hurt Anyone' will make your toes ache. You need this album.
Quote As with just about every other type of music I listen to, it seems that I'll simply have to plow through a load of music by different artists while sorting the ones I do like from the ones that I don't. In addition to the aforementioned, the ever-reliable The Bug turns in a great track, while Spor drops a breakbeat-laced track that squeals with modulation and ripping feedback. Plus, it closes out with the great 'Kingson' by Kode9 & The Spaceape, so it's certainly more enjoyable than not. Even with a couple tracks that aren't quite as solid, Mary Anne Hobbes' has put together a very nice compilation of dubstep that will no doubt allow the curious to discover a few new names to check out. Quote Dubstep truly is the sound of now, and what better way for Planet Mu to celebrate its own unique journey through this fresh genre over the last few years than this faultless 2cd compilation. With Boxcutter, Milanese, and Vex’d all pushing the sound to an extreme new level and the more straight up work of Pinch, Distance and MRK1 ensuring the original bassweight is still intact, Mike Paradinas takes the sound of now into the future.
CD1 is a collection of the finest, deepest tunes released on mu over the last 4 years (including a Milanese exclusive), and CD2 is a special bonus mix by Kiss FM’s DJ Hatcha, containing massive new tunes from Planet-mu’s freshest artists in the scene. ’Heavy’ is a word overused in describing Dubstep releases, but compilations such as this are few and far between. Weighing more than 2 double decker buses, ’10 Tons Heavy’ is the sound. Code: Though dismissed by the group themselves as 'f.cking awful' and 'the worst record made this year,' the Beta Band's self-titled album otherwise defies simple criticism - seemingly infinite in its sonic complexities, it's an album of remarkable density and detail, a brashly schizophrenic freak-out which weaves its way throughout the history of rock & roll.
Pop, blues, folk, psychedelia, hip-hop - they're all here, sometimes even colliding within the same song; the disc somehow sounds almost completely different with each successive listen, consistently revealing new layers and possibilities. It all constantly runs the risk of collapsing into complete self-indulgence, but in its way the Beta Band's genius is their wanton disregard for niceties like verses, choruses, and melodies; rejecting musical theory in favor of the chaos theory, the album's neither a masterpiece nor a mess, but both. In-Flight Safety - The Coast is Clear. Code: Take U2 and Coldplay’s melodic sensibility, Doves’ uplifting drive, the atmosphere of Stars and you have The Coast is Clear, the long-awaited follow-up to their critically acclaimed Vacation Land EP and a record that should catapult In-Flight Safety past its east coast stomping grounds and into national consciousness.
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One thing is clear: the sound of the nicest band based in Halifax has matured over the course of the two years of cross-country trekking it took to write, record and produce its first full-length. The arrangements are superb, the playing is professional and the choruses are radio friendly, especially the title track, “Surround” and “Letting Go.” It’s not a perfect record, but as far as debuts go, it’s one of the strongest Halifax has seen in awhile. —Johnston Farrow Two Hours Traffic - Little Jabs. Code: hard to imagine an album more perfectly suited to that purpose.
This is song after song after song of catchy, upbeat pop songs, the kind that sound perfect when you're blasting them from a car radio with the windows down, or when you're sitting on a beach soaking up rays, or when you're enjoying a relaxing long weekend in the country. Eleven songs, eleven anthems; East Coast-flavoured pop doesn't get any better than this, and I say that as someone who's not even a huge fan of that sound. But one listen to tracks like 'Stuck For The Summer' or 'Backseat Sweetheart', and I'm already trying to figure out how high in the Top 10 this album will go when I sit down in six months to figure out my favourite albums of 2007. Little Jabs is a great album, and regardless of your feelings towards Sloan, Joel Plaskett and their ilk, if you like catchy pop, you owe it to yourself to check this out.
Quote from: AMG Years after its release, Teenage Warning still crackles with the punk energy that infused it. Gang-shouted choruses and references to A Clockwork Orange confirm that the Upstarts were forerunners of Oi! And harder edged street punk. However, alongside bar-room gems like 'I'm an Upstart' and 'Leave Me Alone,' are socially conscious compositions that give the band their identity.
The most notable of these is 'Liddle Towers,' which recounts the death of a young man at the hands of brutal police. Perhaps that is what makes Teenage Warning such an enduring punk classic: its balance between the fun and serious, all delivered with unapologetic sneer and enthusiasm. Quote 'Not since Hilary Duff has Disney delivered the masses a tween sensation as hot as the double-life-leading Miss Hannah Montana. Part party girl and part plain old good girl, Montana-a sweet-voiced, playful performer-never skimps on the pipes. Country fans will chalk that up to our rhyme-named heroine's lineage; 14-year-old Miley Cyrus, who plays Montana, is the daughter of Nashville star Billy Ray Cyrus (who duets on this disc's sentimental, twang-resistant last track). The rest of the world, though, is apt to find itself belting along based on Hannah's unsinkable hooks and frothy Ashlee-meets-Hilary vocals alone: theme song 'Best of Both Worlds' bumps around off a Joan Jett-reminiscent springboard; 'Who Said' rips a page from the emo diaries; and 'Just Like You' ladles on harmonies sweet enough to attach a stick to.
Mission Of Burma The Horrible Truth About Burma Rar
Additional tracks like Jesse McCartney's 'She's No You' and B5's Earth Wind & Fire redo 'Shining Star' are first-rate complements to the proceedings, but make no mistake: this dance-happy hybrid belongs to the reigning pop princess alone.' Quote from: AMG The album starts off innocently enough with a delayed, clean-toned lull that's heavenly, but it slowly evaporates and is replaced by dark drones that are equally as soothing as they are intense.
Growing balances the dense but heavy silence with interludes that would be right at home on a Pink Floyd record from the late '60s and early '70s. For all its intensity and seriousness, the album isn't without a sense of fun. The quirkiest moment of the record comes with 'Tepsije,' which has muddled feedback dirges over a melody line nicked from the Beatles' classic 'Norwegian Wood.'
The versatility of the group shines in the album's closing moments. Starting off like '2/2' on Brian Eno's Music for Airports, 'Pavement Rich in Gold' gradually melts into warm feedback loops before being rescued by crunchy guitars and the quiet appearance of vocals for the first time in the hourlong excursion. Sky's Run into the Sea is a stellar debut and a challenging listen for those who want their music to be more than just 'audio wallpaper' for their lifestyles.
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