Friday, March 2, 2012
Live Review: Van Halen at New York City’s Madison Square Garden, February 28
If there’s one thing Van Halen have set out to prove in 2012, it’s that they know how to throw a party. Beginning with their intimate, invite-only gig at New York City’s Cafe Wha? in January and then at another small show in Los Angeles, the semi-reunited lineup of frontman David Lee Roth and the Van Halen family (guitarist Eddie, his bassist son Wolfgang, and his drummer brother Alex) showed that not only are they getting along and having fun, but that they’re not slowing down while doing it. Now, having released a new album that’s gotten positive reviews (A Different Kind of Truth), they’re touring North America with the sort of supersized party that made them superstars in the late ’70s and early ’80s. (They even got “Celebration” singers Kool & the Gang to kick off the party.)
Thanks to Van Halen’s go-with-the-flow attitude, it works. At their first of two dates at New York City’s Madison Square Garden, the shiny-shirt-wearing Roth paraded around the stage, doing his trademark dance moves on a makeshift wooden dance floor and even throwing a few of his signature roundhouse high kicks in for good measure. The Van Halens performed classics like “You Really Got Me” and “Runnin’ With the Devil” with aplomb, and even when things got a little out of hand (as when Roth was messing with his Madonna-like head mic or when he shouted, “I forgot the fucking words,” before the chorus of new song “China Town”), they played it off with a smile. This is, after all, one of the greatest hard rock bands touring yet again with one of the greatest hard-rock frontmen.
And since being a frontman is somewhat akin to being a circus ringleader, Roth assumed the role of master of ceremonies for what became a great night indeed. Whether it was tossing summer beach balls back into the audience (which bounced around the arena for the first half of their two-hour set); or, during “Hot for Teacher,” throwing candy into the front row (saying, non-sequitur, “How about some candy, kids? There’s gonna be some changes around here. We’re gonna have chocolates for breakfast!”); or shooting confetti cannons over the whole arena for “Jump” as Roth waved a checkered flag, the singer led a celebration of the fact that the band was there—a feat for a group of musicians who, over their 40-year career, has endured some very public inner rivalry.
And the fans reacted to the positive vibes. Throughout the evening’s litany of big hits (“I’ll Wait,” “Unchained”) and deep album cuts (“Romeo Delight,” “Hear About It Later,” “Girl Gone Bad”), the feeling within the crowd was electric. And this is in spite of the evening’s few frustrations (Roth’s mic problems and the fact that the big screen behind the band would show still photos for practically every Eddie solo), the audience rolled with it, eating up every second. Perhaps the most telling moment was that the only moment of silence among the concertgoers was when Eddie took center stage for his jaw-dropping guitar solo (which contains bits of “Eruption,” “Cathedral,” and “Spanish Fly”—not in that order), during which the only other sound in the house was of thousands of people flipping on their cell-phone video cameras. The rest of the evening, was the sort of party only Van Halen could throw. And luckily for the rest of New York not lucky enough to see them at Cafe Wha?, they invited 18,000 of their closest friends.
Van Halen Set List
“You Really Got Me”
“Runnin’ With the Devil”
“She’s the Woman”
“Romeo Delight”
“Tattoo”
“Everybody Wants Some!!”
“Somebody Get Me a Doctor”
“China Town”
“Hear About It Later”
“Oh, Pretty Woman”
Drum Solo
“Unchained”
“The Trouble With Never”
“Dance the Night Away”
“I’ll Wait”
“Hot for Teacher”
“Women in Love”
“Girl Gone Bad”
“Beautiful Girls”
“Ice Cream Man”
“Panama”
Guitar Solo
“Ain’t Talkin’ ’Bout Love”
“Jump” Selengkapnya...
Radiohead Debut Two New Songs in Miami
Watch the band play 'Identikit' and 'Cut a Hole'
Radiohead kicked off their 2012 world tour in Miami last night with a setlist heavy on recent material and oldies that fit in comfortably with the band's turn toward chilly, poly-rhythmic electronica. Along with two new non-album songs first performed last year, "Staircase" and "The Daily Mail," the band debuted two even newer tunes at the show, "Identikit" and "Cut a Hole."
"Identikit," which you can hear in this clip, has the band continuing with the blend of cool electronic textures and delicate interlocking rhythms of last year's The King of Limbs. Thom Yorke's vocal is just a bit warmer, though, particularly as he repeats the line "I don't want to know."
"Cut a Hole," like "Nude" before it, is the band's version of a slow jam, with Yorke pushing his voice to its most feminine extremes as the band mixes hazy ambience with skeletal, slo-mo funk.
Selengkapnya...
"Identikit," which you can hear in this clip, has the band continuing with the blend of cool electronic textures and delicate interlocking rhythms of last year's The King of Limbs. Thom Yorke's vocal is just a bit warmer, though, particularly as he repeats the line "I don't want to know."
"Cut a Hole," like "Nude" before it, is the band's version of a slow jam, with Yorke pushing his voice to its most feminine extremes as the band mixes hazy ambience with skeletal, slo-mo funk.
In addition to playing new songs, Radiohead also dusted off the instrumental OK Computer-era rarity "Meeting in the Aisle," which they had never performed in concert until last night.
albumreviews : Pink Floyd - The Wall: Immersion Edition
There was agreement, at first. In the summer of 1978, Roger Waters, Pink Floyd's singer-bassist and primary songwriter, presented the other members with two sets of demos and a choice: Pick one for the next album. The rest of the Floyd wisely voted for Waters' bleak, enraged observation on emotional exile and totalitarian celebrity, provisionally titled Bricks in the Wall. (The other demos became Waters' 1984 midlife-crisis opera, The Pros and Cons of Hitchhiking.) It was also a disastrous decision. The Floyd fell into eventually fatal throes of conflict and division on the way to the 1979 album's grim, towering splendor. Waters designed, and the band built, The Wall too well.
Immersion is a good way to characterize the grip and whirl of construction recounted on the two CDs of demos in this seven-disc box, which includes a previously released recording of the 1980-81 stage show. (An Experience edition has the original album and a single CD of demos.) Excerpts of Waters' early sketches are sequenced into a stark vertigo of his contempt ("Mother") and despair ("Goodbye Cruel World") at birth. Later band demos – "Another Brick in the Wall, Part 2" as a crisp funeral march instead of disco revolt; "The Doctor," a prototype of "Comfortably Numb" – and discarded ideas like the plaintive "Teacher, Teacher" and the static blues "Sexual Revolution" prove development came slow if steady. It is obvious, too, that Waters' authoritarian drive was not enough to get this job done. The crucial difference between Waters' initial notion of "Run Like Hell" – slow, snarky bullying – and the perversely gleaming menace of the final version is in David Gilmour's demo of jangling commandant's-strut guitar.
Read more: http://www.rollingstone.com/music/albumreviews/the-wall-immersion-edition-20120228#ixzz1o0uxOJBa
albumreviews : Imperial Teen - Feel the Sound
It's a good time to be Imperial Teen. The San Francisco quartet were squishing together hooks and drones before everyone had broadband, and now they've returned with their first album in five years, just as bands like Frankie Rose and Weekend are helping revive the sound of classic indie pop. Feel the Sound turns blipping guitars and synth riffs into roller-skate jams the whole band can harmonize over. Even if Imperial Teen's gay pedigree seems, thankfully, far less of a big deal than it used to, it's still cool to hear "Last to Know" endorse "pumped-up pecs and sticky skin," while "Over His Head" and "Hanging About" are perfect for pretending the Pacific Coast Highway is the Autobahn.
Read more: http://www.rollingstone.com/music/albumreviews/feel-the-sound-20120131#ixzz1o0tIdHQH
Selengkapnya...
Thursday, February 2, 2012
Dave Grohl Producing Rock Star Sitcom
Foo Fighters frontman teams with comedian Dana Gould for FX project
Foo Fighters frontman Dave Grohl has signed on to executive produce a new half-hour comedy for FX starring comedian Dana Gould. The show, to be written by Gould, will be about a rock band on the verge of stardom which must go into therapy in order to keep themselves from breaking up. Unfortunately for the band, they end up with a misanthropic couples therapist on the brink of divorce.
Gould approached Grohl to get involved with the project, largely based on the rocker's reputation as a very funny dude. It's unclear whether Grohl will appear in the as-yet untitled show, or provide music for its soundtrack.
This isn't the comedian's first time working on a sitcom. He previously starred in Nolan Knows Best, a 2010 pilot developed for ABC. Gould is also writing a movie, Moon People, for Sony, and he hosts a popular podcast called The Dana Gould Hour.
Read more: http://www.rollingstone.com/music/news/dave-grohl-produces-rock-star-sitcom-20120202#ixzz1lHxZGRGR
Drummer Bill Ward Threatens to Quit Black Sabbath
"Unable to continue unless a 'signable' contract is drawn up," he says in a statement
The Black Sabbath reunion has hit another speed bump. Last month Sabbath guitarist Tony Iommi announced that he was diagnosed with lymphoma, forcing to band to move their recording sessions to London and reportedly pull out of a planned Coachella headlining slot. Now drummer Bill Ward has issued a long statement indicating that he will not participate in the reunion unless he is presented with "signable contract" that "reflects some dignity and respect toward me as an original member of the band."
This is not the first time that Ward has publicly battled with Black Sabbath's management team. In 2004, Sharon Osbourne announced that Faith No More's Mike Bordin would be filling in for Ward on the Ozzfest tour. "Last week I did receive a proposal which allowed no room for negotiation," Ward said at the time. "It was a cul-de-sac proposal, in my opinion, where the only answer was yes or no." The two parties eventually came to an agreement before the tour, and Ward did participate.
Ward was also going to play drums in the Ronnie James Dio-era Black Sabbath reunion (billed as Heaven and Hell) in 2006, but he backed out for unknown reasons. Let's all hope that the two parties are able to come together this time. Below is the complete text of Bill Ward's letter.
Dear Sabbath Fans, Fellow Musicians and Interested Parties,
At this time, I would love nothing more than to be able to proceed with the Black Sabbath album and tour. However, I am unable to continue unless a "signable" contract is drawn up; a contract that reflects some dignity and respect toward me as an original member of the band. Last year, I worked diligently in good faith with Tony, Ozzy and Geezer. And on 11/11/11, again in good faith, I participated in the L.A. press conference. Several days ago, after nearly a year of trying to negotiate, another "unsignable" contract was handed to me.
Let me say that although this has put me in some kind of holding pattern, I am packed and ready to leave the U.S. for England. More importantly, I definitely want to play on the album, and I definitely want to tour with Black Sabbath.
Since the news of Tony's illness, and the understanding that the band would move production to the U.K., I've spent every day getting to or living in a place of readiness to leave. That involves something of a task, and as I've tried to find out what's going on with the U.K. sessions, I've realized that I've been getting "the cold shoulder" (and, I might add, not for the first time). Feeling somewhat ostracized, my guess is as of today, I will know nothing of what's happening unless I sign "the unsignable contract."
The place I'm in feels lousy and lonely because as much as I want to play and participate, I also have to stand for something and not sign on. If I sign as-is, I stand to lose my rights, dignity and respectability as a rock musician. I believe in freedom and freedom of speech. I grew up in a hard rock/metal band. We stood for something then, and we played from the heart with honesty and sincerity. I am in the spirit of integrity, far from the corporate malady, I am real and honest, fair and compassionate.
If I'm replaced, I have to face you, the beloved Sabbath fans. I hope you will not hold me responsible for the failure of an original Black Sabbath lineup as promoted. Without fault finding, I want to assure everyone that my loyalty to Sabbath is intact.
So here I am. I lay my truth down before you. I'm good to go IF I get a "signable" contract. I don't want to let anyone down, especially Black Sabbath and all the Sabbath fans. You know I love you. It would be a sad day in Rock if this current situation fell to the desires of a few.
My position is not greed-driven. I'm not holding out for a "big piece" of the action (money) like some kind of blackmail deal. I’d like something that recognizes and is reflective of my contributions to the band, including the reunions that started fourteen years ago. After the last tour I vowed to never again sign on to an unreasonable contract. I want a contract that shows some respect to me and my family, a contract that will honor all that I've brought to Black Sabbath since its beginning.
That's the story so far.
Stay safe and stay strong.
I love every single one of you.
– Bill Ward
Selengkapnya...
This is not the first time that Ward has publicly battled with Black Sabbath's management team. In 2004, Sharon Osbourne announced that Faith No More's Mike Bordin would be filling in for Ward on the Ozzfest tour. "Last week I did receive a proposal which allowed no room for negotiation," Ward said at the time. "It was a cul-de-sac proposal, in my opinion, where the only answer was yes or no." The two parties eventually came to an agreement before the tour, and Ward did participate.
Ward was also going to play drums in the Ronnie James Dio-era Black Sabbath reunion (billed as Heaven and Hell) in 2006, but he backed out for unknown reasons. Let's all hope that the two parties are able to come together this time. Below is the complete text of Bill Ward's letter.
Dear Sabbath Fans, Fellow Musicians and Interested Parties,
At this time, I would love nothing more than to be able to proceed with the Black Sabbath album and tour. However, I am unable to continue unless a "signable" contract is drawn up; a contract that reflects some dignity and respect toward me as an original member of the band. Last year, I worked diligently in good faith with Tony, Ozzy and Geezer. And on 11/11/11, again in good faith, I participated in the L.A. press conference. Several days ago, after nearly a year of trying to negotiate, another "unsignable" contract was handed to me.
Let me say that although this has put me in some kind of holding pattern, I am packed and ready to leave the U.S. for England. More importantly, I definitely want to play on the album, and I definitely want to tour with Black Sabbath.
Since the news of Tony's illness, and the understanding that the band would move production to the U.K., I've spent every day getting to or living in a place of readiness to leave. That involves something of a task, and as I've tried to find out what's going on with the U.K. sessions, I've realized that I've been getting "the cold shoulder" (and, I might add, not for the first time). Feeling somewhat ostracized, my guess is as of today, I will know nothing of what's happening unless I sign "the unsignable contract."
The place I'm in feels lousy and lonely because as much as I want to play and participate, I also have to stand for something and not sign on. If I sign as-is, I stand to lose my rights, dignity and respectability as a rock musician. I believe in freedom and freedom of speech. I grew up in a hard rock/metal band. We stood for something then, and we played from the heart with honesty and sincerity. I am in the spirit of integrity, far from the corporate malady, I am real and honest, fair and compassionate.
If I'm replaced, I have to face you, the beloved Sabbath fans. I hope you will not hold me responsible for the failure of an original Black Sabbath lineup as promoted. Without fault finding, I want to assure everyone that my loyalty to Sabbath is intact.
So here I am. I lay my truth down before you. I'm good to go IF I get a "signable" contract. I don't want to let anyone down, especially Black Sabbath and all the Sabbath fans. You know I love you. It would be a sad day in Rock if this current situation fell to the desires of a few.
My position is not greed-driven. I'm not holding out for a "big piece" of the action (money) like some kind of blackmail deal. I’d like something that recognizes and is reflective of my contributions to the band, including the reunions that started fourteen years ago. After the last tour I vowed to never again sign on to an unreasonable contract. I want a contract that shows some respect to me and my family, a contract that will honor all that I've brought to Black Sabbath since its beginning.
That's the story so far.
Stay safe and stay strong.
I love every single one of you.
– Bill Ward
Saturday, January 14, 2012
The Flaming Lips to work with Bon Iver and Yoko Ono on new album
The Flaming Lips' Wayne Coyne has revealed that the band are working on a new collaborative LP with Bon Iver and Yoko Ono.
Rolling Stone reports that the frontman has also lined up collaborations with artists including Nick Cave, Ke$ha, Lykke Li and Erykah Badu for the LP, which is set to be released in April.
Coyne confirmed that he had already recorded collaborations with Cave and the Plastic Ono Band for the record, while Bon Iver's Justin Vernon had signed on to be part of the project and was set to send the band two tracks he had been working on.
Speaking about the other would-be-collaborators, the singer said: "All these things happen within a couple of days. You set up these [collaborations] in your mind and immediately get to work. Sometimes it just takes a matter of connecting."
Coyne also paid tribute to Ke$ha, who he hopes to recruit for a "weird rap" on the record, by describing her as "a freak". He added: "We knew that she was a fan. There are a lot of these sort of druggy outlets out there that people get connected through."
The frontman had previously made his desire to work with both Ke$ha and Lykke Li public last October, and also spoke of the Flaming Lips' collaboration with Nick Cave, stating: "I think we'll get a good Nick Cave collection of songs with The Flaming Lips. We already have one really good one, so that seems like it'll work out."
Last year, The Flaming Lips released a 24-hour long track to coincide with Halloween. The song, titled '7 Skies H3', was embedded in a hard drive inside 13 actual human skulls topped with chrome drips – and was available to buy for a cool $5,000 (£3,100) a pop.
http://www.uncut.co.uk/the-flaming-lips/the-flaming-lips-to-work-with-bon-iver-and-yoko-ono-on-new-album-news
Radiohead confirmed to headline Japan's Fuji Rock Festival
Radiohead have announced another summer festival headline appearance, this time at Japan's Fuji Rock festival.
The band will headline the event, which takes place in Niigata from July 27–29, along with The Stone Roses.
Radiohead are also confirmed to headline Portugal's Optimus Alive festival, which is set to take place between July 12–15 in Lisbon, and Spain's Bilbao BBK festival, which takes place between July 12–14.
The band also confirmed earlier this week that they would be headlining this summer's Coachella Valley Music and Arts Festival in California. They also extended their US tour by a further four dates and added a show at Nanang Exhibition Hall in Taipei, Taiwan on July 25.
Radiohead are expected to confirm UK and more European dates in the coming weeks, but are yet to say when this will be. Guitarist Ed O'Brien has previously hinted that the band will play arena shows in the UK rather than festival dates.
http://www.uncut.co.uk/radiohead/radiohead-confirmed-to-headline-japans-fuji-rock-festival-news
Elvis Costello & The Imposters - The Return Of The Spectacular Singing Songbook
Elvis Costello wasn’t himself 25 years ago, the musician credits on the two albums he released in 1986 listing him as Little Hands Of Concrete (King Of America) and Napoleon Dynamite (Blood & Chocolate). While the former was a self-mocking reference to his habit of breaking guitar strings, the latter was a more boastful persona who made his stage bow as the mad-eyed master of ceremonies at fairground-like live shows.
Revived earlier this summer on a lengthy series of dates across America (and coming to the UK next May), the Spectacular Spinning Songbook is a novel way for Costello to take requests; a giant multi-coloured wheel, resembling a pie chart containing the names of about 40 songs, dominates the stage, random audience members are plucked from their seats and invited to give the wheel a spin. Wherever it stops determines which number EC and his Imposters will play next.
This elaborate box set comprises a CD and DVD (plus a bonus 10-inch vinyl “encore” disc) of two shows from the Wiltern Theatre in Los Angeles, the location raising questions about how random the selection of audience spinners might be. Can it really be just by chance that (i)Mad Men(i) creator Matthew Wiener and (i)Sideways/Grey’s Anatomy(i) actress Sandra Oh made the journey from stalls to stage the night the cameras were there?
Whoever spins the wheel, though, it still results in unpredictable sequences of songs, never guaranteeing that big hits or long-term live favourites get an airing, Elvis (or rather Napoleon Dynamite, an over-the-top circus barker making the alliterative declarations in keeping with Costello’s guest introductions on his Spectacle TV show) following the raucous garage of “Stella Hurt” from 2008’s Momofuku with the baroque lament “All Grown Up” from 1991’s Mighty Like A Rose. Of course, the song has to be on the wheel in the first place, and there are some intriguing inclusions.
A soulful cover of the Stones’ “Out Of Time” gives The Imposters (and the manically dextrous Steve Nieve in particular) an opportunity to pretend they’re Booker T & The MGs, “Tear Off Your Own Head” enables special guests The Bangles to croon away on the comeback hit Costello wrote for them, but the real surprise is the fatalistic ballad “Earthbound”, one of 10 tracks Elvis allegedly knocked out in a single weekend for a Wendy James album in 1993. “Of all the songs I’ve ever written, I think this is the truest,” he tells us.
As a performing unit, The Imposters take everything thrown at them in their stride, all pomp and majesty on “Man Out Of Time”, lean and hungry on a cover of Nick Lowe’s “Heart Of The City”, and Nieve’s delicate new arrangement of “God Give Me Strength” more than compensates for the lack of lush orchestration from the original Burt Bacharach collaboration. The wheel spins, and the mood swings; in the space of an hour-and-a-half Elvis gets to be the surly aggressor of his youth, the wordy troubadour of the Imperial Bedroom era, or the deep baritone crooner of more recent times.
Before 2011, Costello had been averaging an album of new songs every 12 months since brokering a lucrative deal with Universal five years ago, allowing them to exploit his first decade of releases in any way they see fit, in return for leaving him alone to make records at his own pace and as often as he wanted.
Cynics may suggest that while the Allen Toussaint collaboration The River In Reverse, the aforementioned noisy Momofuku, the bluegrass-tinged Secret, Profane & Sugarcane and last year’s National Ransom hardly had the label’s sales teams popping champagne corks, Elvis staying away from the studio this year and once again gamely pitching his back pages opens the door for further marketing of former glories. Certainly, another re-upholstered My Aim Is True or Punch The Clock may ultimately shift more units than this bespoke offering, a limited edition of 1,500 which, despite the top-notch music, lavish packaging and poster/book/diary/postcard extras, might struggle to justify its £200 price-tag.
Terry Staunton
http://www.uncut.co.uk/elvis-costello-the-imposters-the-return-of-the-spectacular-singing-songbook-review Selengkapnya...
Grimes
Canada's Grimes is actually Montreal's Claire Boucher. I guess you can call this ethereal atmospheric electronic music, but then you'd probably want to walk away from this profile at best and... well... let's not get into worst case scenarios here.
You and I both know that what I just said to describe Grimes' music means absolutely nothing. After all, Enya (and whatever Enya’s sister or cousin or whoever that relative was who was riding Enya’s coattails for a while there circa 1994) could also be described as ethereal atmospheric electronic music. And Grimes doesn't sound like Enya. You heard that here first. "Ethereal" music like this is hard to describe. That's why people say things are "ethereal." No one questions "ethereal."
Let's start over and try to do a better job of describing Grimes. How about this, "Grimes sounds like a pop triumph!" Oops, that's another thing that doesn't mean anything. How about, "Whatever Grimes is; chillwave and Dub Step this is not." Closer. How about, "Don't walk! I command you to RUN and see Grimes play!" Farther. Ok, final try. "Grimes is good music made with good machines and sung by a good singer who has a good voice." BOOM! (Grimes also sounds like whales jumping out of the sea in slow motion.)
http://www.ohmyrockness.com/bandbio.cfm?bandid=33921 Selengkapnya...
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