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What Are You Listening to Right Now?
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ms.petra
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Aug 01, 2010 08:17AM
Tift Merritt: See You On The Moon
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King Dinösaur wrote: "
Recorded entirely inside a 1965 Rambler. How can you not admire something like that?"
Ben Vaughn SHOODA been huge.
Recorded entirely inside a 1965 Rambler. How can you not admire something like that?"
Ben Vaughn SHOODA been huge.
Two songs in, and I'm really feelin' the new Arcade Fire album.
ms.petra wrote: "Tift Merritt: See You On The Moon"She just played her Saturday, I'm kind of regretting missing her...
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By design or default, Downey, California’s Blasters took a humbler grass roots approach to plying their craft and navigating the music biz than the genetically-engineered-for-the-MTV-crowd Stray Cats, paying their dues with a bare-bones, rough-and-tumble, indie-label debut on Rollin’ Rock before being called up to the bigs for their initial release on another indie, Slash (with a leg up via Warner distribution), unwittingly putting into place a template for all that neo-rockabilly/roots rock/Americana/alt.country would become for the next two decades and change.
Despite the grimacing visage of Phil Alvin on the cover, “The Blasters” is a very easy pill to swallow, a great, upbeat beer-drinking album and about an appealing a mash-up of country, rock and roll, swing, and R&B as you’re likely to find anywhere. Dave Alvin’s songwriting and guitar playing are timeless, immediate, confident, inspired, and earthy, while Phil’s croon digs into an apparently bottomless bag of countrified tricks.
With something as simple and real as bass guitar, drums, piano, and saxophone, Bill Bateman, John Bazz, Gene Taylor, and Lee Allen straddle time and create something modern and ripe on several sturdy touchstones of the Blasters canon; “Border Radio,” So Long Baby Goodbye,” “Marie Marie,” “American Music,” and the low-riding “I’m Shakin’.”
I’d place “The Blasters” reverently amongst my top ten albums of all time. I’ve played it a few hundred times and I just know I’ll never tire of it, becoming an old pal of a record that will never let me down.
Now where’s the CD release?
By design or default, Downey, California’s Blasters took a humbler grass roots approach to plying their craft and navigating the music biz than the genetically-engineered-for-the-MTV-crowd Stray Cats, paying their dues with a bare-bones, rough-and-tumble, indie-label debut on Rollin’ Rock before being called up to the bigs for their initial release on another indie, Slash (with a leg up via Warner distribution), unwittingly putting into place a template for all that neo-rockabilly/roots rock/Americana/alt.country would become for the next two decades and change.
Despite the grimacing visage of Phil Alvin on the cover, “The Blasters” is a very easy pill to swallow, a great, upbeat beer-drinking album and about an appealing a mash-up of country, rock and roll, swing, and R&B as you’re likely to find anywhere. Dave Alvin’s songwriting and guitar playing are timeless, immediate, confident, inspired, and earthy, while Phil’s croon digs into an apparently bottomless bag of countrified tricks.
With something as simple and real as bass guitar, drums, piano, and saxophone, Bill Bateman, John Bazz, Gene Taylor, and Lee Allen straddle time and create something modern and ripe on several sturdy touchstones of the Blasters canon; “Border Radio,” So Long Baby Goodbye,” “Marie Marie,” “American Music,” and the low-riding “I’m Shakin’.”
I’d place “The Blasters” reverently amongst my top ten albums of all time. I’ve played it a few hundred times and I just know I’ll never tire of it, becoming an old pal of a record that will never let me down.
Now where’s the CD release?
broken bells - broken bells
black rebel motorcycle club - beat the devil's tattoo
[image error]
midlake - the courage of others
Clark - I love love love the Blasters.I'm Shakin' is one of my favorite songs ever.
Sarah Pi wrote: "Clark - I love love love the Blasters.
I'm Shakin' is one of my favorite songs ever."
I wouldn't expect anything less of you, SP!
Live in the early 80's, they were a true force of nature. Saw them play several small-club gigs back then and those shows were like the last day of school, the best night of my life, and Christmas morning all rolled into one. Even the walls were dripping with sweat.
I'm Shakin' is one of my favorite songs ever."
I wouldn't expect anything less of you, SP!
Live in the early 80's, they were a true force of nature. Saw them play several small-club gigs back then and those shows were like the last day of school, the best night of my life, and Christmas morning all rolled into one. Even the walls were dripping with sweat.
Heh. I just saw this magnet and thought of you:
Sarah Pi wrote: "Heh. I just saw this magnet and thought of you:
"
Hah! Thank you, Ms. Sarah. But it should be appended to read, "And plenty of shitty ones as well." Sugarcubes, Flock of Seagulls, or Crosby, Stills, Nash & Young, anyone?
"
Hah! Thank you, Ms. Sarah. But it should be appended to read, "And plenty of shitty ones as well." Sugarcubes, Flock of Seagulls, or Crosby, Stills, Nash & Young, anyone?
I've never had any desire to see CSNY but I do deeply regret never ponying up to see Y w/ Crazy Horse.
if I had all the vinyl like Clark, I would buy the reissue on vinyl of John Coltrane's My Favorite Things.
Sarah Pi wrote: "I've never had any desire to see CSNY but I do deeply regret never ponying up to see Y w/ Crazy Horse."
Me too. :(
Me too. :(
For your consideration, one of the great lost power pop albums - straight out of Cleveland - with enough feathered hair, disco suits, and hooks (see title cut and "Can't Stop Pretending'" for starters) to satisfy any Pezband or Raspberries fan.
But Artful Dodger's lack of a gimmick, a brand image that would get them noticed and out from under the giant shadows cast by Kiss, Cheap Trick, and a legion of leather-jacketed, day-glo new-wavers, spelled their doom at the cash registers, despite ties to both Jack Douglas and Bob Ezrin. Sad, because these guys deserved to transform into teen heroes everyone could be proud of, respectful of the rock and roll verities in a dynamic rather than nostalgic way, with an instrumental wallop powerful enough to keep them in there with the heavies, but deft enough that their lyricism is left untouched.
This one's never been available on CD and that's just not right.
what itunes dictates me:the national - lemonworld
dead man's bones - in the room where you sleep
cass mccombs - that's that
fiona apple - extraordinary machine
adam green - mozzarella swastikas
the flaming lips - it's summertime
múm - flow not so fast old mountain radio
vashti bunyan - 17 pink sugar elephants
the flaming lips feat. karen o - watching the planets
Sarah Pi wrote: "Heh. I just saw this magnet and thought of you:"
Oh, that's awesome...I need that for my office door.
andre williams is the black godfather[image error]
seriously
Due to the late John Peel's plug, "Teenage Kicks" gets most of the attention, but "Get Over You" may be the best thing The Undertones ever came up with, compacting the sorrow of a broken teenage romance into a two-minute pop thunderbolt.
Forget about the fey picture sleeve of world-renowned gerbil wrangler Richard Gere for a minute. Within the grooves here is all the evidence you'll ever need that X guitarist Billy Zoom is a rockabilly dude in punk clothing, spitting fire, shitting brimstone, and tearing the guts out of this old Otis Blackwell - via Jerry Lee Lewis - chestnut. Blink and it's over much too soon at two minutes plus change.
The Undertones were fun, no doubt. The second album cover is terrifying.
They reunited several years back with a new singer. Bad idea...
We covered Teenage Kicks a few years ago. We had a two night stand as the band after a play, so we wanted to break out some surprises. Surprise to us was that nobody knew that one.Darlin' Nikki went over better the next night.
Arrrgggghhhh, why did you post the Blasters, Clark?? Now I am obssessed with replacing all my old rockabilly albums with CDs which is going to be difficult and expensive. In the car:
my 10:the black keys - the go getter
LPG - this is your power
palace - no gold digger
iron & wine - love song of the buzzard
extince - makkelijk praten
eels - souljacker part II
we'll make it right - some say
vashti bunyan - love song
mc honky - my bad seed
nick drake - river man
Just bopping along the Sleater-Kinney's 'Call the Doctor' album. yeah!
Call the Doctor is such a great album. But I love Dig Me Out even more.
ashamed to say I don't have that one, i only have Call the Doctor, Sleater-Kinney and The Hot Rock.now, when can i next buy myself a present...?
Def. get Dig Me Out, for my money, the best album S-K recorded. Their last album, The Woods, is also a shit-stomper, but it doesn't seem to get the love it should, because it veers towards arena rock, and not that they're anything wrong with that, because underneath their love for punk is a deeper love for bands like The Who and Led Zeppelin.
They've both been on my wish list for ages, I think i'll have to treat myself at the next opportunity
When I was in Washington I drove past Sleater-Kinney, the place, and figured out, um, it's also a place.eels - souljacker part II
This is one of my top five eels songs.
Janine, have you heard Wild Nothing? They're pretty good and remind me of something you would like:
http://www.youtube.com/watch?v=wGhGpc...
RandomAnthony wrote: "When I was in Washington I drove past Sleater-Kinney, the place, and figured out, um, it's also a place.eels - souljacker part II
This is one of my top five eels songs.
Janine, have you heard W..."
i know that song! the band name didn't sound familiar, but i looked them up and discovered i have listened to their album gemini. i like them.
Mary wrote: "Arrrgggghhhh, why did you post the Blasters, Clark?? Now I am obssessed with replacing all my old rockabilly albums with CDs which is going to be difficult and expensive."
I'll come and visit you in debtor's prison, Mary.
I'll come and visit you in debtor's prison, Mary.
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Despite a sonic palate that occasionally causes some to wonder if I'm the first generation of my family to walk upright, I do enjoy me the occasional bit of synth pop. No lie.
Deep thinkers cozying up to that hoary old theory that living in Detroit for nearly 53 years has made me receptive to anything approximating the sturm und drang of a factory would probably raise their eyebrows to learn that my only visit to one - Ford's Rouge Plant - scared the bejeebers out of me, as much for the toil on display as the cadaver shuffle of the workers. If there had been a window, I certainly would have jumped.
Nah, what really draws me to "Architecture & Morality" is the magnificence of the album's core - "She's Leaving," "Souvenir," and "Joan of Arc" - as majestic as you're ever likely to hear from what amounts to a pile of wire, tubes, transistors, and circuits.
It's easy for lazy asses like me to play "spot the influences" when it comes to a group of guys in a band staring at the back of a woman handling the lead vocal chores. It's easier still to throw out references to Joan Jett, The Muffs, and The Pretenders to describe Wendy Case's hooker-with-a-heart-of-gold caterwauling, which hits somewhere in the vicinity south of your belt and north of your knees, but it's probably safe to say that Chrissie Hynde has to be crying over her tofu burger somewhere out there.
"Knock Loud" is a brash set which alternates between sloppy and melodic, with big power pop hooks lurking in the ether, and although we've heard these same three chords a million times over, they never get old when delivered with such enthusiasm, bravado and swagger. In a perfect world, songs like "Black Girl," "If I Fell," and "Don't Lay It On Me," all of which tread a fine line between perfect pop sensibility and an all-out assault on your inner ear, would be all over the radio, although it's unlikely staid programmers could handle the afterburn. Marco Delicato, guitar set on "stun," leads the fray behind Case and bassist John Szymanski and drummer Mike Latulippe lay down a thunder akin to that car wreck two lanes over on I-75 last Labor Day weekend.
Remember all of the hype a while back about Detroit's much-ballyhooed "garage rock scene" (quotes are mine), complete with predictions about this ham-and-egg, shot-and-a-beer burg becoming the "next Seattle"?
Screw that. Let's just dance!
Despite a sonic palate that occasionally causes some to wonder if I'm the first generation of my family to walk upright, I do enjoy me the occasional bit of synth pop. No lie.
Deep thinkers cozying up to that hoary old theory that living in Detroit for nearly 53 years has made me receptive to anything approximating the sturm und drang of a factory would probably raise their eyebrows to learn that my only visit to one - Ford's Rouge Plant - scared the bejeebers out of me, as much for the toil on display as the cadaver shuffle of the workers. If there had been a window, I certainly would have jumped.
Nah, what really draws me to "Architecture & Morality" is the magnificence of the album's core - "She's Leaving," "Souvenir," and "Joan of Arc" - as majestic as you're ever likely to hear from what amounts to a pile of wire, tubes, transistors, and circuits.
It's easy for lazy asses like me to play "spot the influences" when it comes to a group of guys in a band staring at the back of a woman handling the lead vocal chores. It's easier still to throw out references to Joan Jett, The Muffs, and The Pretenders to describe Wendy Case's hooker-with-a-heart-of-gold caterwauling, which hits somewhere in the vicinity south of your belt and north of your knees, but it's probably safe to say that Chrissie Hynde has to be crying over her tofu burger somewhere out there.
"Knock Loud" is a brash set which alternates between sloppy and melodic, with big power pop hooks lurking in the ether, and although we've heard these same three chords a million times over, they never get old when delivered with such enthusiasm, bravado and swagger. In a perfect world, songs like "Black Girl," "If I Fell," and "Don't Lay It On Me," all of which tread a fine line between perfect pop sensibility and an all-out assault on your inner ear, would be all over the radio, although it's unlikely staid programmers could handle the afterburn. Marco Delicato, guitar set on "stun," leads the fray behind Case and bassist John Szymanski and drummer Mike Latulippe lay down a thunder akin to that car wreck two lanes over on I-75 last Labor Day weekend.
Remember all of the hype a while back about Detroit's much-ballyhooed "garage rock scene" (quotes are mine), complete with predictions about this ham-and-egg, shot-and-a-beer burg becoming the "next Seattle"?
Screw that. Let's just dance!
OMD were way underrated, I agree. A lot of synth bands were.
RandomAnthony wrote: "OMD were way underrated, I agree. A lot of synth bands were."
Agreed. It just seems that the ones that got all of the press soured everyone on the ones that didn't.
Still one of my favorites, a flat-out great little pop song:
Just don't ask me to name any of their other songs.
Agreed. It just seems that the ones that got all of the press soured everyone on the ones that didn't.
Still one of my favorites, a flat-out great little pop song:
Just don't ask me to name any of their other songs.
itunes:vashti bunyan - girl's song in winter
the dandy warhols - hells bells
the unicorns - tuff ghost
fiona apple - get him back
andre williams - the dealer, the peeler and the stealer
sigur rós - ára bátur
black rebel motorcycle club - evol
sparklehorse - all night home
iron & wine - promise what you will
iron & wine - passing afternoon
today's menu:elizabeth & the catapult - taller children
impulse loan from the library i'm very happy with.
anthony and the johnsons - the crying light
fiona apple - tidal
arctic monkeys - humbug
dan auerbach - keep it hid
We had this pegged as "punk" because, well, it was from England and it was 1977 and any single with a chunky, semi-fuzzed guitar up high in the mix and a chorus which sort of sounded like the Bay City Rollers' "Saturday Night" recorded in a drunken dole queue somewhere in Blighty ought to be filed under "P."
Turns out we had it under the correct letter, but should have tagged it as "pub."
Regardless, TRB never again soared as high. One of the great singles of the era, the royalties from which should keep Robinson safe and happy until the Rapture.
"Talk to Ya Later" - The Tubes. Just when I'd given up on these guys, they strike like lightning with one of the gems of their catalog, a tale of a boy-girl relationship gone way south ("It's been six months/She hasn't shut up once").
With power chords, of course.
do you want us to guess what you're listening to?
janine wrote: "do you want us to guess what you're listening to?"
Huh?
Huh?
Your album cover isn't showing.
Hmmm... Funny. I can see them just fine.
How about now?
How about now?
I love that Antony and the Johnsons, Janine...
Blowin' the dust off the vinyl archives:
Snot-nosed Philly punks test Clive Davis's patience at Arista with "Teenage Jerk Off."
Unlike big brother David, Shaun Cassidy couldn't carry a tune in a bucket, but had much better taste in material and musicians, here covering the likes of David Bowie, Pete Townshend, and Ian Hunter, and roping in Todd Rundgren to produce (and write) and Utopia to back him. A gutsy move, considering his teen dream pedigree.
Indiana mook captures lightning in a jar for a quick 15 minutes with "I Wish I Had a Girl."
These guys had it all; teen-dream looks, charisma, and power-pop hooks big enough to hang their reputation on. Why they weren't huge beggars belief.
Australia's Sports came up with some of the most volatile, swingin' pub rock of the era - in particular the shooda/cooda/wooda monster "Who Listens to the Radio" - but it all fell on deaf, dimwit ears.
Snot-nosed Philly punks test Clive Davis's patience at Arista with "Teenage Jerk Off."
Unlike big brother David, Shaun Cassidy couldn't carry a tune in a bucket, but had much better taste in material and musicians, here covering the likes of David Bowie, Pete Townshend, and Ian Hunter, and roping in Todd Rundgren to produce (and write) and Utopia to back him. A gutsy move, considering his teen dream pedigree.
Indiana mook captures lightning in a jar for a quick 15 minutes with "I Wish I Had a Girl."
These guys had it all; teen-dream looks, charisma, and power-pop hooks big enough to hang their reputation on. Why they weren't huge beggars belief.
Australia's Sports came up with some of the most volatile, swingin' pub rock of the era - in particular the shooda/cooda/wooda monster "Who Listens to the Radio" - but it all fell on deaf, dimwit ears.
eels - tomorrow morning
After a quick stroll through the Mott the Hoople discography, you’d certainly be forgiven for believing nothing much ever mattered to these guys except for life in a band - on stage and off - but there’s no shame in single-minded devotion to a common cause, is there?
Historically, “All the Young Dudes” gets all of the ink as far as Mott singles go, more for David Bowie’s involvement than anything else, but “All the Way From Memphis” surely trumps it, another band travelogue with an instantly-recognizable, naggingly insistent, cascading piano tag line, an Ian Hunter proto-rap tour diary, and a closing Mick Ralphs solo that howls like a hormonally-crazed banshee before giving way to Andy Mackay’s honking sax coda, spiraling headlong in free-fall madness toward the run-out groove.
Perhaps their finest moment.
Forget everything you know about "Bohemian Rhapsody" for a minute. Sure, it was amusing the first 10,000 times you heard it, but let's face facts: Queen never rocked as hard as they did on "Sheer Heart Attack," except for maybe "Tie Your Mother Down."
In many respects, this is the gem of the Queen catalog that "A Night at the Opera" usually receives credit for. "Brighton Rock," "Now I'm Here," and "Stone Cold Crazy" cut right to the quick, with guitar-hero-in-training Brian May picking and power chording his way into your heart with a multi-layered (and probably infinitely overdubbed) attack on his homemade guitar.
The summation of all that was prog, metal, glam, and pop, but alas the end of an era for the band as vocalist Freddie Mercury wrestled control of the band from May.
janine wrote: "eels - tomorrow morning"
I haven't listened yet! How is it?
I'm listening to The Pixies-Doolittle.
RandomAnthony wrote: "janine wrote: "eels - tomorrow morning"
I haven't listened yet! How is it?
I'm listening to The Pixies-Doolittle."
you should! i like it.
http://3voor12.vpro.nl/speler/luister...
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Books mentioned in this topic
Born on a Train: 13 Stories (other topics)A History of Western Philosophy (other topics)
