Quicksilver Messenger Service - Codine

 #Quicksilver Messenger Service #psychedelic rock #acid rock #folk rock #blues rock #psychedelic folk #San Francisco sound #1960s

One of the first West Coast groups, Quicksilver Messenger Service formed in San Francisco in 1965 and built up a big reputation in that area from their free concerts. The original line-up comprised John Cipollina, Jim Murray, Gary Duncan, Greg Elmore and Dave Freiberg (who would go on to join Jefferson Airplane). Jim Murray left the group not long after they performed at the Monterey International Pop Festival in June 1967. The band then began a period of heavy touring on the West Coast of the US where they featured many times at both the Avalon Ballroom and the Fillmore West
Of all the great bands in San Francisco’s cosmic hall of fame, Quicksilver were the last to sign a record deal. Tired of waiting for singer Dino Valenti to get out of Folsom prison following a drug bust, they signed without him in late 1967 and recorded a decent but strangely subdued self-titled debut that only hinted at the majesty of the dual guitar work conjured by John Cipollina and Gary Duncan at their live shows.
The band decided to record the follow-up LP live at Bill Graham’s Fillmore West in San Francisco, although Capitol also recorded gigs at the Fillmore East. Half a dozen performances recorded in November 1968 at both venues provided the spine of the album that became Happy Trails. At the time, Quicksilver were living across the Golden Gate Bridge on a ranch in Mill Valley, where they staged acid-fuelled ‘cowboys and indians’ fights with The Grateful Dead. These shoot-outs inspired the artwork for the album and George Hunter of The Charlatans came up with the perfect image of the Old West for the front cover. The back featured pen-and-ink cowboy portraits of the band, like extras from a Wild West show.
Naming the LP after the Roy Rogers theme tune, they tricked drummer Greg Elmore into singing it in a cowboy drawl. Yet what preceded this campfire coda couldn’t have been more different. Side one featured a 20-minute psychedelic work-out on Bo Diddley‘s Who Do you Love? spliced together from different live shows, with two free-flowing guitars cross-stitching soaring arpeggios and stinging feedback. Side two offered more of the same, opening with a tumultuous version of Diddley‘s Mona, while the screaming lead guitar lines on the album’s only studio cut, Calvary, represented the band’s interpretation of the crucifixion. The track ends with the coming of the angels, before the spirit of Roy Rogers takes over. “We were really swacked out when we conceived that one,” Cipollina later confessed.  From: https://nostalgiacentral.com/music/artists-l-to-z/artists-q/quicksilver-messenger-service/

Toni Childs - The Woman's Boat

 #Toni Childs #alternative rock #folk rock #world music #contemporary folk rock #pop rock #art pop #singer-songwriter #1990s

After the less successful critical and commercial fortunes of her second record, House of Hope, Toni Childs jumped labels from A&M to Geffen for her third release, The Woman's Boat, in 1994. She also enlisted a new producer in David Botrill, with whom Childs shares production credits. Recorded at Peter Gabriel's Real World Studios, The Woman's Boat features an impressive array of musicians including David Rhodes, Robert Fripp and Trey Gunn. The album itself is an ambitious song-cycle exploring the female perspectives from the heartbeats of the opening track "Womb" through the ten-minute confessional epic "Death," which closes the record. In between, there's the sonic rush of "Welcome to the World," which gracefully juxtaposes a mother's expression of fear and optimism to her unborn child, and the ominous tone of "Predator" expressing the darker side of human nature. The music edges Childs deeper into world music territory with its exotic instrumentation and rhythms. The Woman's Boat is a rich, complex and rewarding listen.  From: https://www.allmusic.com/album/the-womans-boat-mw0000113374

Skrillex - First Of The Year (Equinox)

 #Skrillex #Sonny John Moore #dubstep #EDM #electro house #post-hardcore #house #music video

Skrillex First Of The Year – Music video analysis
00:00 Close-up shot of a seated man, wearing a trench coat, holding a candy between his fingers. The music does not start yet. We can hear a kind of wind noise. The camera makes a slow bottom-to-top panorama shot, revealing the torso then the man’s face: around 35-40 years-old, ordinary shirt, a few day’s stubble, glasses, head going bald. He watches the camera in a vaguely hostile way.
Characterization: this description of a “man with a candy” works straight away as a metaphor by metonymy (that is, the candy stands for what this man could do with it – seducing a child?), the first hint of pedophilia as the main theme, which will get confirmed hereafter.
False track: we understand just after that the look from the man to the camera was actually not aimed at us (the audience), but at some children playing in front of him. At the same time, this ambiguity has a function: to let the audience, from the very beginning, try to guess and to figure out the soul of this pervert man (one says that the eyes are the mirror of the soul)
00:17 Shot in the counter-position, framing the man from the back and revealing in front of him the scene he is watching: children playing.
Progressive revelation of the world of the plot: the world of the pedophile in our contemporary world.
00:23 A strike of drums launches the music in sync with the pictures that frame a concrete ground while zooming out and travelling with a backwards movement. The shadow of a little girl enters the frame. She hops in rhythm with the music.
Characters: first appearance of this little girl who is going to become the Hero. The progressive revelation of the pedophile, then of his potential victim, allows this information to dynamize the action and to make the theme of the plot easy to understand: the fight between a hunter and its prey.
Media: the synchronization between the pictures and the soundtrack (frequent in music videos) also helps here to mark the steps of the plot and to catch our attention at the key moments.
00:36 Shot of this blonde little girl, around 6-8 years, skipping alone in a narrow street. The picture is slower than real time. We now can distinguish a human shape a few dozen meters away from her.
00:40 Shot of the man in the same street. We understand that he is following her and the next shot confirms it by framing both of them in the one picture. Around them are industrial buildings.
Structure: now the data is clear, this event is the catalyst of a plot in which a little girl will have to defend herself against a pedophile who wants to abuse her. Note the smartness of the montage, which proceeds in a dialectic way: thesis (the little girl), antithesis (the pedophile), synthesis (both of them united in the same picture).
00:50 The little girl takes some stairs down to a basement floor. The man follows her, while taking glances around as though to make sure there are no witnesses.
Structure: the development, Act II, begins as a chase.
01:07 The man walks in the darkness underground. His glasses shine in a threatening way. He pulls a little bottle containing some green liquid out of his pocket, which he seems to be pouring onto his hand over something. Zoom-on now on a pocket from which the plastic arm of a doll is protruding.
Themes: until now, it has been a juxtaposition of cliches and archetypes: the pervert man, alone, vaguely disgusting and gloomy, the little girl happy and innocent, the doll a symbol of this innocence. Those cliches automatically generate some expectations in terms of scenario-standards: the pervert man will probably attack her, the little girl will probably be unable to defend herself, etc. These expectations need to be set up so that they can be better contradicted later on.
01:20 The little girl holds a red telephone handset to her ear. The man comes closer to her. They are alone in a large underground room. Only a few meters separate them.
Structure: this mise en scene obviously builds a feeling of imminent danger and we thus expect that the man carries out the attack, which would make us enter the crisis of Act III.
01:27 In sync with the music, the little girl suddenly screams “Call 911 now!” The lips movement is in sync, but the voice does not match. It’s not a little girl’s voice but the voice of a man with a rather high pitch or the voice of an older woman.
False track: this sudden and spectacular situation twist comes to contradict everything that the beginning of the video made us believe: that the little girl was defenseless and on the point of being aggressed by a man stronger than her. The terrifying power of her voice takes us totally by surprise and also contradicts the information we had about her: her youth, her sweetness, her candor.
01:29 In reaction to the aforementioned screaming, the room is disrupted by an explosion of smoke. The little girl now looks like a witch and she agitates her fingers in front of her face while staring at the man in front of her. He gets violently projected into the air, flying and landing several meters away. The little girl seems to be generating and controlling this incredible indoor storm.
Structure: against all odds, we witness a crisis of Act III, but not at all the one we expected, which means that we followed a false track: the little girl has become the super-powerful aggressor of this pedophile treated as a simple toy!  From: https://www.storyanddrama.com/skrillex-first-of-the-year-music-video-analysis/

The Beatles - Come Together

 #The Beatles #John Lennon #Paul McCartney #George Harrison #British invasion #pop rock #psychedelic rock #blues rock #classic rock #British psychedelia #folk rock #1960s #animated music video

‘Come Together’, the lead song on The Beatles’ Abbey Road album, was conceived by John Lennon as a political rallying cry for the writer, psychologist and pro-LSD activist Timothy Leary. ‘Come Together’ was composed for Timothy Leary’s campaign to stand against Ronald Reagan as governor of California. Leary and his wife Rosemary had traveled to Montreal for John and Yoko’s bed-in for peace, which took place on 1 June 1969. The Learys participated in the recording of Lennon’s ‘Give Peace A Chance’, and were both name-checked in the lyrics. The following day Lennon offered to help Leary’s campaign. His slogan was ‘Come together, join the party’. Lennon sent Leary a demo tape of song ideas. However, the campaign ended when Leary was imprisoned for cannabis possession, allowing Lennon to record the song with The Beatles.
“The thing was created in the studio. It’s gobbledygook; ‘Come Together’ was an expression that Leary had come up with for his attempt at being president or whatever he wanted to be, and he asked me to write a campaign song. I tried and tried, but I couldn’t come up with one. But I came up with this, ‘Come Together’, which would’ve been no good to him – you couldn’t have a campaign song like that, right?”
Leary was bemused when he came to hear The Beatles’ recording of the song. He said, “Although the new version was certainly a musical and lyrical improvement on my campaign song, I was a bit miffed that Lennon had passed me over this way. When I sent a mild protest to John, he replied with typical Lennon charm and wit that he was a tailor and I was a customer who had ordered a suit and never returned. So he sold it to someone else.” ‘Come Together’ was Lennon’s last politicized stance in The Beatles, although much of it was shrouded in imagery: the song lampooned the hippy figureheads who would seek followers among the dropouts of society. Musically, ‘Come Together’ took its cue from Chuck Berry’s 1956 song ‘You Can’t Catch Me’; both songs contain the lines “Here come old flat-top”. Lennon was later sued by Berry’s publisher Morris Levy. They settled out of court, and Lennon agreed to record more songs owned by Levy.
“‘Come Together’ is me – writing obscurely around an old Chuck Berry thing. I left the line in ‘Here comes old flat-top.’ It is nothing like the Chuck Berry song, but they took me to court because I admitted the influence once years ago. I could have changed it to ‘Here comes old iron face,’ but the song remains independent of Chuck Berry or anybody else on earth.” The result was his 1975 album Rock ‘N’ Roll, which contained Berry’s ‘Sweet Little Sixteen’ and ‘You Can’t Catch Me’, along with Lee Dorsey’s ‘Ya Ya’ (also recorded with the 11-year-old Julian Lennon on drums for 1974’s Walls And Bridges).  From: https://www.beatlesbible.com/songs/come-together/

BraAgas - Asentada En Mi Ventana

 #BraAgas #Balkan folk #medieval #Scandinavian folk #world music #Sephardic folk #traditional #period instruments #Czech Republic 

BraAgas is an all female quartet created in 2007 after the split-up of the band Psalteria. The first two albums were hard to define genre-wise. “The first album called No.1 was a mix of everything – medieval and folk songs as well,” says Katka Göttlich. The four members of BraAgas have been playing for a long time. In addition to the previously mentioned Psalteria, the musicians played in other bands. “Our experiences from other bands have merged here – for me and Karla it was the Psalteria band, for Beta it was Gothart. Michaela had been sometimes the guest in different groups (e.g. Krless) before BraAgas originated,” says Göttlich. The four musicians play mostly ethnic instruments and historical replicas. Many guests helped them at the studio and there were also some electronic elements. Thanks to the electronics, a new modern sound was developed for Tapas, which was produced by David Göttlich and Petr Koláček. Tapas includes songs from various parts of Europe, including Spanish, Balkan, Nordic and Italian sources, originally dating back to anywhere within a thousand years time span, interpreted in a very modern way.  Current members include: Katerina Göttlichova on lead vocal, cittern, guitar, bagpipes, shawms; Alzbeta Josefy on vocal, davul, darbuka, duf, riq; Karla Braunova on vocal, flutes, recorders, clarinet, shawms, chalumeaux, and bagpipes; and Michala Hrbkova on vocal, fiddle, cittern.  From: https://worldmusiccentral.org/2017/01/09/artist-profiles-braagas/

The Dolly Rocker Movement - Gypsy Dancer

 #The Dolly Rocker Movement #neo-psychedelia #psychedelic revival #garage rock #psychedelic folk rock #West coast sound #retro-1960s #Australian

The Dolly Rocker Movement formed in late 2002 in the inner surrounds of Sydney, Australia. They are influenced by late 60´s garage, psychedelia and West coast folk. The charismatic band leader Daniel Poulter writes beautiful and well-crafted songs and beneath the psychedelic and colourful surface The Dolly Rocker Movement is simply a great pop band with a destinctive sound of their own. In 2006 they released not one, but two critically acclaimed contemporary psychedelic masterpieces. The first, Electric Sunshine, illustrated the chemically enhanced blend of folk, garage and country that characterised the band’s early set. The follow-up album, Purple Journey Into the Mod Machine, adopted as its thematic premise a journey through space and time with even more impressive songs as the result. Our Days Mind the Tyme owes it’s genesis to the psychedelic 60s, and the influence of Sky Saxon, Arthur Lee and Syd Barrett, yet sparkles as bright, and fresh as the morning sun. From the baroque pop of “A Sound for Two”, to the tight garage licks of “My Heavenly Way” and “Sold for Sinners”, to the billowing pop elegance of “The Only One” and “The Ecstacy Once Told”, this is an album touched by the hand of spiritual enlightenment.  From: https://badafrorecords.bandcamp.com/album/our-days-mind-the-tyme

The Juliana Hatfield Three - Mabel

 #Juliana Hatfield #alternative rock #indie rock #power pop #singer-songwriter #ex-Blake Babies #1990s

Juliana Hatfield is an American guitarist/singer-songwriter from the Boston area, formerly of the indie rock band Blake Babies. She also records as The Juliana Hatfield Three. In 2015, Hatfield and American musician Paul Westerberg formed the duo The I Don’t Cares. Hatfield began her solo career following the Blake Babies’ breakup in 1991, releasing her first solo album Hey Babe in 1992. The album was one of the highest selling independent albums of 1992. Hatfield recruited a rhythm section comprised of former Moving Targets and Bullet LaVolta drummer Todd Phillips, and Thudpucker bassist Dean Fisher, and thus becoming The Juliana Hatfield Three. Hatfield achieved alterna-rock stardom with the release of 1993’s Become What You Are. Hatfield’s popularity coincided with the success, in the mid-1990s, of many other female musicians (such as Liz Phair, PJ Harvey, Belly, Letters to Cleo, Velocity Girl, The Breeders, Hole, Veruca Salt, Poe, Throwing Muses, Magnapop, Bettie Serveert). Although she has always maintained that her gender is of only incidental importance to her music, Hatfield was pleased to have been invited, in 1997, to tour with the first Lilith Fair, a prominent all-female rock festival founded by singer Sarah McLachlan. Hatfield was profiled in a number of girls’ magazines at this time and was embraced by many pre-teen and teenage girls as a role model due to the positive way she addressed serious issues faced by young women in her songs and interviews. About this period she says: “I was never comfortable with the attention. I thought it had come too soon. I hadn’t earned it yet.” She gained notoriety in 1992 for saying that she was still a virgin in her mid-twenties in Interview magazine. In a 1994 interview for the magazine Vox she said she was surprised by the effect ‘outing’ herself had: “I think there are a lot of people out there who don’t care about sex, but who you never hear from, so I thought I should say it. The magazine I did the interview for is full of beef-cake hunky guys and scantily-clad models, so I thought it would be really funny to say that I didn’t care about sex in a magazine that’s full of sex and beauty – but no one really got the joke.”  From: https://thevogue.com/artists/juliana-hatfield/#bio

Joan Osborne - St. Teresa

 #Joan Osborne #hard rock #alternative rock #folk rock #blues rock #R&B #blue-eyed soul #country rock #roots rock #gospel #singer-songwriter #1990s

Joan Osborne, when asked what inspired the song St. Teresa:  It’s funny. That character actually was based on a woman I used to see out my window when I was living on the lower east side in New York City. I would see this woman out on the street corner, and she had a baby in a stroller with her. She was selling drugs fairly openly on the corner. Those were the days when that neighborhood was really kind of like the Wild West. I was fascinated by her because I thought she was really a strong person to be out on the street doing what she was doing with her child by her side. I kind of admired her in a way, not that I would ever want to raise my own daughter in those circumstances, but this was a woman who was making the best of her situation and doing what she could to support her family in this urban jungle environment. So, I became fascinated with her. I thought that if I could see her that maybe there were other people who were looking out windows and watching her as well. The song is from the point of view of imagining somebody else who is watching her and who might go down and buy some drugs from her and have a relationship with her. It was based on that. I don’t want to say much more about it because I don’t like to interpret lyrics too much, but that is who the song was based on.  From: https://songmeanings.com/songs/view/48940/

Love - Alone Again Or

 #Love #Arthur Lee #Bryan MacLean #psychedelic rock #folk rock #acid rock #psychedelic folk #garage rock #1960s

“Alone Again Or” must be one of pop music’s more enigmatic song titles. But it’s always struck me as a title in search of an ellipsis. Perhaps “Alone Again Or…”, “Alone Again…Or”, or maybe even “Alone Again…Or?” might have made more sense. But whether or not you feel the title deserves those little dots in there somewhere, I hope you can agree that “Alone Again Or” is a tremendous song. Recorded in the summer of 1967, by a group called Love…itself something of an appropriate name for the Summer of Love…couldn’t have chosen a better time for their part-folk, part-rock, part-psychedelia, part-Latin song to chime with the popular mood. Rolling Stone magazine included “Alone Again Or” in their listing of the top 500 songs of all time…and that’s probably about right for a song that captures the spirit of the late 1960s so well. “Alone Again Or” does something very clever, though. It captures the spirit of the time without being too much of the time. It’s a song of love and loss that frankly could have been written at just about any time in musical history. Yet it captures the musical influences swirling around the LA music scene in the late 1960s perfectly. Not just for the wide range of influences apparent in the song itself…folk, rock, psychedelia and Latin to name just a few…but even in the way the song was mixed. Songwriter Bryan MacLean’s Spanish-style guitar comes firmly out of your right speaker and the drums that set the pace throughout the song come firmly out your left speaker. In the early days of stereo recordings this was something people liked to do…partly just because they could, and partly because artists and producers wanted to show off that they’d used this new-fangled stereo technology to make a record. People quickly tired of that and nowadays it would be almost unthinkable to mix a song this way, but “Alone Again Or” is one of the small number of hit records which was, another way in which the song is so very reminiscent of the late 1960s.  From: https://nowordsnosong.medium.com/alone-again-or-love-4bdd3366f104

Steeleye Span - Sweep, Chimney Sweep

 #Steeleye Span #Maddy Prior #Tim Hart #Martin Carthy #folk rock #British folk #British folk rock #traditional folk #electric folk #British roots rock #a capella

 

Steeleye Span are a British folk rock band formed in 1969 in England by Fairport Convention bass player Ashley Hutchings and established London folk club duo Tim Hart and Maddy Prior. The band were part of the 1970s British folk revival. Steeleye Span have seen many personnel changes; Maddy Prior being the only remaining original member of the band. Their musical repertoire consists of mostly traditional songs with one or two instrumental tracks of jigs and/or reels added; the traditional songs often include some of the Child Ballads. In their later albums there has been an increased tendency to include music written by the band members, but they have never moved completely away from traditional music, which draws upon pan-British traditions.  From: https://en.wikipedia.org/wiki/Steeleye_Span

One of the best children’s tales involves an impressive song and dance number performed by a group of chimney sweeps. Dick Van  Dyke and Julie Andrews did a pretty good job showing how dirty the chimney sweep job is, but I can’t guarantee an in-tune song and dance number. You may ask me to leave before the job is finished if I break out into song and dance. The rooftop acrobatics were a bit on the dangerous side as well. As unusual as this topic is, today I’m going to point out several of the myths surrounding chimney sweeps in Mary Poppins, and I’ll discuss some of the actual lore behind my profession. Many chimney sweep myths have been passed down through the ages. Some cultures believe the chimney sweep is a sign of good luck. Several legends go so far as to say they are the ultimate bringer of good luck. Old European folklore says that if a bride receives a kiss on the cheek from a chimney sweep on her wedding day she will have a very blessed and happy marriage. There’s also the story of the chimney sweep who fell from the rooftop of an apartment building and was dangling from the guttering by one foot. A lovely woman opened her window and pulled him inside her home to safety. They married and lived happily ever after. Most people believe that these chimney sweep myths originated during the reign of King George of England. He was riding astride a horse when a dog startled the animal, which threw King George to the ground. A chimney sweep stepped up, took hold of the horse’s reigns, and calmed him. The king then declared that chimney sweeps should be regarded as lucky.  From: https://loucurley.com/chimney-sweep-song-dance-quite-like-mary-poppins/

Sweep, chimney sweep, is the common cry I keep
If you can but rightly understand me
With my brush, broom and my rake, with my brush, broom and my rake
See what cleanly work I make
With my hoe, with my hoe, with my hoe and my hoe
And it's sweep, chimney sweep for me

Girls came up to my door I looked black as any Moor
I am constant and true as the day
With a bunch of ribbons gay, with a bunch of ribbons gay
Hanging down by my right knee
And there's no one, and there's no one
And there's no one and no one
And there's no one can call me on high

Arise girls, arise, wipe the sleep from off your eyes
Go and fetch to me some beer that I might swallow
I can climb up to the top, I can climb up to the top
Without a ladder or a rope
And it's there you, and it's there you, and it's there you and there you
And it's there you will hear me “Hullo”

Now here I do stand with my hoe all in my hand
Like some soldier that's on the sentery
I will work for a better sort
And I'll kindly thank them for it
I will work, I will work, I will work and I'll work
And I'll work for none but gentery 

Danny Elfman - Sorry

 #Danny Elfman #new wave #art pop #experimental #film score #composer #singer-songwriter #ex-Oingo Boingo #music video

Just before Halloween, Danny Elfman released his first solo single in 36 years, an “absurd anti-pop song” called “Happy.” Today, the famed composer/musician is giving us another taste of new material with “Sorry.” The anger-fueled track pulls from industrial and prog-rock influences to create an uneasy atmosphere that’s made even more unnerving with a jarring video animated by Jesse Kanda (Arca, FKA Twigs, Bjork). The intricate visuals were originally created for Elfman’s Coachella 2020 performance, which was postponed. “‘Sorry’ was the first song I’ve written for myself in a long time,” Elfman explained in a statement.“It began as an obsessive choral-chant instrumental work, which at the time I called ‘alien orchestral chamber punk’ and evolved slowly into a song. I was surprised by the amount of rage I’d been storing inside myself, which came bursting out as soon as I applied my voice.”  From: https://www.spin.com/2021/01/danny-elfman-sorry-single-video/ 

Daniel Robert Elfman (born May 29, 1953) is an American film composer, singer and songwriter. He came to prominence as the singer-songwriter for the new wave band Oingo Boingo in the early 1980s. Since the 1990s, Elfman has garnered international recognition for composing over 100 feature film scores, as well as compositions for television, stage productions, and the concert hall.  From: https://en.wikipedia.org/wiki/Danny_Elfman  

Dada - Sick In Santorini

 #Dada #alternative rock #power pop #neo-psychedelia #progressive pop #1990s

Dada's third (and final)IRS release "El Subliminoso" is their only self-produced effort (to date, anyway). For this 1996 release, the group finally got control of the helm. The dense pile of multiple overdubbed layers on most tracks, the occasional stylistic departures, and the overall extended song lengths of this disc are evidence of the group flexing their studio muscles and letting themselves capture their full vision for the songs without someone else calling the shots or reigning them in. Close study of the results reveals a fascinating set of songs that were labored over for many months - songs that continue to reveal hidden details even after years of listening. Their extensive efforts paid off with the creation of one of the most varied and distinctive discs in an already high-quality catalog. There are plenty of songs that stay firmly within the alt-rock-power-trio-with-harmony-vocals musical territory staked out in their tasty '92 debut "Puzzle" and the sumptuous '94 follow-up "American Highway Flower". These include the soft verses/loud choruses dynamics of "I Get High", "Rise", and the disc opener "Time Is Your Friend", a rumination on mortality's ever-ticking clock. Also somewhat conventional dada-sounding are the rockin' "Sick in Santorini", the scathing rumination on self-centeredness called "Fleecing of America" and one of the disc's highlights, "A Trip with My Dad". This humorous, surrealistic tale of father/son bonding is craftily worded so that you are never quite sure whether this is the recounting of an actual point-A-to-point-B car trip, or whether maybe the two simply climbed in the station wagon, dropped acid in the driveway and never even started the engine.  From: https://www.amazon.com/El-Subliminoso-Dada/product-reviews/B000000QHO/ref=cm_cr_arp_d_paging_btm_next_2?ie=UTF8&reviewerType=all_reviews&pageNumber=2

Since the release of dada’s groundbreaking 1992 debut Puzzle, the trio has created an array of songs boasting progressive rock musicianship, dazzling vocal harmonies and melodic power pop layered with inspired psychedelic and experimental rock impulses. Adding to the trio’s groundbreaking line of attack are the marathon-length shows that deliver on the promise that every performance is the only one of its kind. From: http://dadaforever.com/  

Smokey Robinson & The Miracles - The Love I Saw In You Was Just A Mirage

 Smokey Robinson & The Miracles #Motown #R&B #rock & roll #soul #funk #1960s

The most underrated Miracles LP of the '60s, Make It Happen featured a spate of great songs, including three or four that really should've been hits (plus one that only became the group's biggest hit three years after release). Opening with "The Soulful Shack," a grooving dance number that would've fit perfectly on the previous year's Away We a Go-Go, the album featured plenty of near-misses, including a pair of delightful good-times dance songs, "My Love Is Your Love (Forever)" and "It's a Good Feeling," plus a great choice for a cover, a tender version of Little Anthony & the Imperials' "I'm on the Outside (Looking In)." The hits really did shine more than any of the other songs, though, marking yet another leap in the level of Smokey Robinson's compositional sophistication. "The Love I Saw in You Was Just a Mirage" is a brilliant twist on a romantic novelty in the Motown mold (with a production that deftly references the British Invasion), while "More Love" is the most sincere lyric and most emotive performance in the group's catalog, a song of reassurance occasioned by several miscarriages suffered by Robinson's wife (and fellow Miracle), Claudette. The capstone, however, was the last song, "The Tears of a Clown," originally written as an up-tempo instrumental groover by Stevie Wonder and his producer, Hank Cosby. Robinson's lyric is witty yet sublime, and his lead vocal is one of the best performances of his recording career. One of the biggest misses by the notoriously hit-conscious Motown organization was failing to release this as a single before it became an album hit on British radio in 1970, three years after it first appeared. It shot to the top of the charts on both sides of the Atlantic, and prompted Motown to re-release Make It Happen under a new title, The Tears of a Clown.  From: https://www.allmusic.com/album/make-it-happen-mw0000873287

William "Smokey" Robinson's high tenor is his calling card, but he's also one of the most important songwriters and producers of the 1960s. The only Motown artist to write and produce his own recordings from the beginning, he also wrote and produced many of the most memorable songs for Motown's other acts: "Ain't That Peculiar" for Marvin Gaye; "My Guy" for Mary Wells; "My Girl" and "Get Ready" for the Temptations. He kept plenty of top material for himself, from early hits like "Shop Around" and "Ooh Baby Baby" to the Sound Of Young America classics "The Tracks Of My Tears" (which inspired the Zombies' "Time Of The Season") and "The Tears Of A Clown" (co-written with Stevie Wonder). Smokey has an ear for catchy melodies and was a perfectionist producer and arranger, but his most important contribution was his lyrics: probably the most cleverly written love songs of the period, often working an extended metaphor to death: listen to "The Way You Do The Things You Do" by the Temptations or the Supremes' "The Composer" or Smokey's own "More Love" or "I Second That Emotion" and you'll see what I mean. Bob Dylan once called him America's greatest living poet, and I suspect he wasn't kidding. (Dylan later said it was a slip of the tongue and he'd meant to say Artur Rimbaud, who was neither alive nor American, but whatever).  From: http://www.warr.org/smokey.html

Joan Armatrading - Kind Words And A Real Good Heart

 #Joan Armatrading #contemporary folk #folk rock #blues rock #pop rock #electro-pop #singer-songwriter #1980s

When Joan Armatrading released her debut album almost half a century ago, she confounded expectations. Her own record label at the time admittedly had no idea how to market her, as there was no blueprint for what the she was doing in 1972. “I was just writing what I felt like writing and playing what I felt like playing. And I played the guitar — I still do — in a really strong way that I suppose some people would say is not a ‘feminine’ kind of delicate way,” she tells Yahoo Entertainment. “I really bashed the guitar. I have a definite way of playing that’s strong. And people weren't used to that.”
Armatrading also reveals that (as she references in her 1979 hit “How Cruel”), she “did have people say ‘she's too Black’ or ‘not Black enough’” — because the sort of folk-rock she was making wasn’t what was expected of her. “But I didn't think of it as a racist thing,” she stresses. “That wasn't it for me. I think where that came from was, I can remember once going to a gig and I was with two female artists and I heard somebody say, ‘Oh, I know how that Black girl is going to sound.’ Again, it's not a racist thing, but that's just a preconception thing on their part. They're just saying, if you're Black, you're singing soul and blues and stuff like that. But of course they're wrong. They don't know what I'm going to sound like. It was just people's perception of things — and we all do it. You know, we all see somebody and we think something of that person without having the proper information. It's a human trait. We all do it.”
While Armatrading’s genre-blurring was initially a problem for radio programmers and label executives who wanted to put her in a box, as she says with a chuckle, “It was only a problem in that they had to get used to a Black person doing what I was doing. If that's a problem, then it's a nice problem, you know? I'm happy I was doing what I was doing, but they just had to figure it out… and it took them quite a while. When I did my first album, the very first album in 1972, it was very highly acclaimed — I got voted ‘Best Newcomer’ and all that stuff — but it wasn't a successful album. It didn't sell a lot of records. But the reason, again, was people weren't used to that.”  From: https://www.yahoo.com/entertainment/joan-armatrading-looks-back-on-the-consequences-of-her-trailblazing-50-year-career-there-were-very-strong-things-about-me-that-people-had-to-get-used-to-205558733.html

Blood Ceremony - Goodbye Gemini

 #Blood Ceremony #hard rock #progressive rock #doom metal #psychedelic rock #occult rock #stoner rock #heavy psych #1970s retro #music video

Taking its name from an Italian horror film, Blood Ceremony is a Toronto-based band that was formed in 2006 by Sean Kennedy (guitar), Chris Landon (bass), Andrew Haust (drums) and Alia O'Brien (vocals, flute, occasional organ). In 2008, they released their eponymous debut. While the band never indulged in epic songwriting, cuts like 'Master of Confusion' and 'Hymn to Pan' comfortably pass the five minute mark. Musically, Blood Ceremony does sound like a mix between Paranoid-era Sabbath’s sluggy riffage, with a touch of Stand Up period Jethro Tull, mostly due to O'Brien’s flute. The result is something that borders on doom metal, but has enough backwards cast psychedelic atmosphere - not to mention O'Brien’s quasi-operatic vocals - to make it stand out from the rest of the pack. Highly recommended to anyone who likes that late 60s/early 70s gloom metal sound.  From: https://www.progarchives.com/artist.asp?id=4640

Canadian quartet Blood Ceremony’s style emulates 1970s prog rock and 1960s psychedelia while skillfully flirting with occult imagery and Hammer Horror-influenced lyrical themes; and it all started with the inclusion of a flute. “I guess the band really started when Alia [O’Brien, singer and flautist] came to practice with her flute,” muses guitarist and lyricist Sean Kennedy. “We started messing around with different riffs and we realized that it sounded really cool when she played along. We went from there and started writing songs that went in that kind of direction. That was really what developed our sound I guess – psychedelic riffs and flute.” Indeed, with her enchanting looks, powerful voice and Jethro Tull-style flute solos, Alia is a captivating and unique frontwoman. She and Kennedy started the band 10 years ago, which is completed by Lucas Gadke on bass and Michael Carrillo on drums. They’re just about to release album number four, entitled Lord Of Misrule, the follow-up to 2013’s The Eldritch Dark. It’s a bewitching blend of doom and psychedelia, that’s rooted not in the culture of their Canadian homeland, but in English soil. Not only are they signed to a British label, Rise Above Records, and recorded Lord Of Misrule with producer Liam Watson at Toe Rag Studios in London, but their close relationship with England is also reflected in the lyrical and musical themes of the album. “A lot of our influences for this album come from British folklore, and we recorded the album in London. It put that British stamp on it for us,” says Kennedy. “This is the first time we were able to record entirely to analogue tape. So if you buy the vinyl version of the album, it has never been digitalized from the tape, to the mastering, to the vinyl. It was such an exciting way to record the album.”  From: https://www.loudersound.com/features/horror-folk-and-witchcraft-introducing-blood-ceremony

Queen Adreena - Year (Of You)

 #Queen Adrena #Katie Jane Garside #alternative rock #noise rock #indie rock #art rock #punk metal #gothic rock

Queen Adreena was an alternative rock band from London, England that formed in 1999. Described at various times as “art, punk, gothic, metal, rock, or alternative”, Queen Adreena's music is difficult to categorize. Formed by singer Katie Jane Garside and guitarist Crispin Gray, they had previously collaborated in the celebrated but short-lived band Daisy Chainsaw. Garside and Gray did not cross paths again until 1999 when they formed Queen Adreena. An album, Taxidermy, soon followed in 2000. Pete Howard, the last drummer to play with The Clash, joined just before the band signed with Rough Trade for their second album, 2002’s Drink Me, featuring the lead single "Pretty Like Drugs." Queen Adreena toured extensively in the UK and Europe.  From: https://www.last.fm/music/Queen+Adreena/+wiki

For those who are not familiar with Queen Adreena (or Queenadreena as they are known now), they are a 4-man rock outfit from London who formed around 1999 with Daisy Chainsaw's former singer Katie Jane Garside and guitarist Crispin Gray. The band released their first record "Taxidermy" back in 2000 and later gained some fame after releasing probably their most critically acclaimed and beloved record "The Butcher and the Butterfly" in 2005.
The noisy punk-ish sound that Daisy Chainsaw had is still present in Queenadreena but you can definitely hear that the band went for a much more "serious" approach to the music this way around. Djin was released in 2008 with fairly no promotion at all which led to many missing out on it. The album's length is consistent with their previous releases and so is Queenadreena's familiar "garage rock" noisy sound complimented with Katie Jane Garside's unique vocals. The album is filled with very catchy punk riffs and noise filled dirty guitar solos and you would not expect any less from Crispin Gray who has firmly established his excellent guitar sound over the years. Pete Howard provides his drumming skills on this album as well, unfortunately right before leaving the band. The drumming in Queenadreena has always been simple but effective which is the case with many bands that have that "garage rock" sound. When it comes to the bass, in a lot of bands it's just something that is in the background; it's important but not vital. That is not the case here where it's present and always solid and in some tracks provides more than the guitar which creates a very good mix between instruments in the songs. Katie's amazing voice is as strong as ever on this album and I would say that it feels like it hasn't aged a day since "The Butcher and the Butterfly". Both the soothing calm singing on softer tracks like "Night Curse" are present and so are the glass shattering high screams on tracks like "Lick". Her vocal range is quite breathtaking at times and that is no different when it comes to this album. Garside's lyrics are also back in Djinn where it's a mix between some really psychedelic and odd elements as well as some lyrics that feel more personal.  From: https://www.sputnikmusic.com/review/44959/QueenAdreena-Djin/

Uriah Heep - Salisbury

 #Uriah Heep #Ken Hensley #David Byron #hard rock #heavy metal #progressive rock #heavy prog #heavy blues rock #1970s

Salisbury is the title track by British rock band Uriah Heep, from the group’s second studio album Salisbury, in 1971. Clocking in at sixteen minutes in length, this song is skewed toward the progressive rock genre, featuring a 24-piece orchestra. This piece is also significant for Ken Hensley’s instant rise to a position as the main composer of the group’s future music. The track is variational in mood, ranging from mysterious and tranquil, to fiery and loud. The guitar solos played by Mick Box are distorted and complex, with quick hammer ons and pull offs. The organ playing by Hensley is classically-inspired with fast runs and chords. The song has shifting time signatures, with the Gothically dark outro sounding similar to “Shadows of Grief.” This track is one of the few “epics” the band released. The song key is variational, but the central key is C minor. The lyrics sung by David Byron are as a whole describing a troubling relationship, with the narrator grieving over her loss, and still remembering the things he used to do with her.  From: https://genius.com/Uriah-heep-salisbury-lyrics

Jellyfish - Joining A Fan Club

 #Jellyfish #power pop #pop rock #psychedelic pop #indie rock #progressive rock #retro 1960s #retro 1970s #Jason Falkner #Roger Manning #1990s

San Francisco-based power pop outfit Jellyfish only released two full-length albums during their early-'90s heydays, but the group's immaculately crafted pop-rock songs and unapologetic penchant for all things retro helped throw some much needed light on what was becoming at the time a very crowded pop underground. Like their closest contemporaries the Posies, the Wondermints, and Redd Kross, Jellyfish drew from the same well as bands like Badfinger, XTC, Cheap Trick, the Move, Big Star, and the Zombies, crafting occasionally complex, impossibly catchy tunes that cast an alternative pop-rock shadow on the radio hits of the previous three decades. Formed around the talents of former Beatnik Beatch members singer/songwriter/drummer Andy Sturmer and keyboard player/multi-instrumentalist Roger Manning, as well as former Three O'Clock singer/songwriter/guitarist Jason Falkner, and with Manning's brother Chris joining the group on bass for live shows, Jellyfish came to fruition in 1990 with the release of Bellybutton. The debut album earned the group a devoted yet decidedly cult following. Both Falkner and Chris Manning left the fold after the Bellybutton tour, the latter blaming a distaste for life on the road and the former unhappy with his role as just a guitar player. Sturmer and Manning spent the next two years holed up in the studio with a rotating cast of musicians who included bassist Tim Smith and multi-instrumentalist/producer Jon Brion to record Jellyfish's sophomore effort, Spilt Milk. Released in 1993, Milk was a far more elaborate affair than its predecessor, echoing the studio mastery of the Beach Boys ("Hush," "Ghost at Number One"), the guitar-heavy onslaught of Kiss and Queen ("Joining a Fan Club," "All is Forgiven"), and the psychedelic pop of the Beatles ("Bye, Bye, Bye," "Brighter Day") with impressive acumen. The band endured a year of touring (with the help of Smith and guitarist/singer Eric Dover) before calling it quits at the end of 1994.  From: https://www.allmusic.com/artist/jellyfish-mn0000319021/biography

X - See How We Are

 #X #John Doe #Exene Cervenka #alternative rock #punk rock #folk rock #folk punk #Americana #rockabilly #blues rock #1980s #1990s

X was an American band whose tales of urban decay, corruption, and sleaze, delivered with skilled musicianship and unique vocal harmonies, marked them as important contributors to the punk movement. The original members were singer Exene Cervenka, bassist and singer John Doe, guitarist Billy Zoom, and drummer D.J. Bonebrake. Later members included Dave Alvin and Tony Gilkyson. Formed in 1977, X released Los Angeles in 1980. That effort and the follow-up albums Wild Gift (1981) and Under the Big Black Sun (1982) drew critical raves, as X broadened punk’s do-it-yourself ethos with excellent musicianship (Zoom, who had once played with rock-and-roll pioneer Gene Vincent, blazed through country, rockabilly, heavy metal, and punk licks with dispassionate aplomb, while Bonebrake added a background in jazz), the unusual harmonies and sophisticated songwriting of onetime husband and wife Doe and Cervenka (the latter an active poet), and careful production by Ray Manzarek, formerly of the Doors. In the process, X became prime movers of the Los Angeles punk scene chronicled in the documentary The Decline of Western Civilization (1981). Capable of matching the fury of other punk bands, X excelled at melancholy ballads and flirted with pop music throughout its career, though its efforts to reach a broader audience on a major label were largely unsuccessful. The band toured and recorded sporadically throughout the 1980s and ’90s, but members were increasingly occupied by side projects and solo efforts. Doe, Cervenka, Alvin, and Bonebrake formed the Knitters in 1985. Intended as a one-time project, the Knitters performed a selection of folk and country tunes, along with acoustic versions of songs from the X catalog. Cervenka dedicated much of her time to poetry, publishing numerous collections and recording a series of solo albums. Doe turned to Hollywood, scoring small parts in films such as Road House (1989) and Boogie Nights (1997) and landing a recurring role in the supernatural television series Roswell (1999–2002).  From: https://www.britannica.com/topic/X-American-rock-band

The Who - Tattoo

 #The Who #Pete Townshend #Roger Daltrey #hard rock #heavy blues rock #psychedelic rock #art pop #classic rock #1960s #1970s

Pete Townshend originally planned The Who Sell Out as a concept album of sorts that would simultaneously mock and pay tribute to pirate radio stations, complete with fake jingles and commercials linking the tracks. For reasons that remain somewhat ill defined, the concept wasn't quite driven to completion, breaking down around the middle of side two (on the original vinyl configuration). Nonetheless, on strictly musical merits, it's a terrific set of songs that ultimately stands as one of the group's greatest achievements. "I Can See for Miles" is the Who at their most thunderous; tinges of psychedelia add a rush to "Armenia City in the Sky" and "Relax"; "I Can't Reach You" finds Townshend beginning to stretch himself into quasi-spiritual territory; and "Tattoo" and the acoustic "Sunrise" show introspective, vulnerable sides to the singer/songwriter that had previously been hidden. "Rael" was another mini-opera, with musical motifs that reappeared in Tommy. The album is as perfect a balance between melodic mod pop and powerful instrumentation as the Who (or any other group) would achieve; psychedelic pop was never as jubilant, not to say funny (the fake commercials and jingles interspersed between the songs are a hoot). [Subsequent reissues added over half a dozen interesting outtakes from the time of the sessions, as well as unused commercials, the B-side "Someone's Coming," and an alternate version of "Mary Anne with the Shaky Hand.”].  From: https://www.allmusic.com/album/the-who-sell-out-mw0000652659