Saturday, July 9, 2022

The Move - The last Thing On My Mind


 #The Move #Roy Wood #Jeff Lynne #psychedelic rock #blues rock #hard rock #British psychedelia #pop rock #art rock #proto-prog #1960s #Tom Paxton cover

The Move were the best and most important British group of the late '60s that never made a significant dent in the American market. Through the band's several phases (which were sometimes dictated more by image than musical direction), their chief asset was guitarist and songwriter Roy Wood, who combined a knack for Beatlesque pop with a peculiarly British, and occasionally morbid, sense of humor. On their final albums (with considerable input from Jeff Lynne), the band became artier and more ambitious, hinting at the orchestral rock that Wood and Lynne would devise for the Electric Light Orchestra. The Move, however, always placed more emphasis on the pop than the art, and never lost sight of their hardcore rock & roll roots. Formed in the mid-'60s, the Move were so named because the five musicians from the original lineups were moving from established Birmingham groups into a new band. Most of the Move, in fact, had previously recorded flop singles in average, unremarkable British Invasion styles as members of other outfits. Taken under the wing of manager Tony Secunda, the group moved to London and crafted an explosive act, heavily influenced by the Who, which found them destroying televisions on stage. The Move's early singles were also heavily influenced by mod pop in their chunky chords and oddball character sketches, although Roy Wood's songs were much poppier and bouncier than those of Pete Townshend.    From: https://www.allmusic.com/artist/the-move-mn0000483587/biography

Ministry - Filth Pig


 #Ministry #Al Jourgensen #industrial rock #industrial metal #alternative metal #thrash metal #electronic #industrial dance #EBM #speed metal #electro-industrial

Until Nine Inch Nails crossed over to the mainstream, Ministry did more than any other band to popularize industrial dance music, injecting large doses of punky, over-the-top aggression and roaring heavy metal guitar riffs that helped their music find favor with metal and alternative audiences outside of industrial's cult fan base. That's not to say Ministry had a commercial or generally accessible sound: they were unremittingly intense, abrasive, pounding, and repetitive, and not always guitar-oriented (samples, synthesizers, and tape effects were a primary focus just as often as guitars and distorted vocals). However, both live and in the studio, they achieved a huge, crushing sound that put most of their contemporaries in aggressive musical genres to shame; plus, founder and frontman Al Jourgensen gave the group a greater aura of style and theater than other industrial bands, who seemed rather faceless when compared with Jourgensen's leather-clad cowboy/biker look and the edgy shock tactics of such videos as "N.W.O." and "Just One Fix."  From: https://www.allmusic.com/artist/ministry-mn0000420133/biography

Royal Coda - The Innocence Of


 #Royal Coda #post-hardcore #experimental rock #progressive rock #psychedelic rock #post-rock #math rock #animated music video

Royal Coda is an American rock band based in Sacramento, California, founded by lead guitarist Sergio Medina. They are known for their amalgamation of progressive rock, psychedelic rock, and post-hardcore. The band currently consists of lead vocalist Kurt Travis, guitarists Sergio Medina and Will Swan, and bass guitarist Steffen Gotsch.  From: https://en.wikipedia.org/wiki/Royal_Coda

Royal Coda – Compassion
Will Swan is a guitarist that has contributed to Dance Gavin Dance, Sianvar, and Secret Band. He has also run his own record label, Blue Swan Records, since 2013. He is so infused in the genre of post-hardcore that fans have dubbed his style of guitar playing as “Swancore”. Bands such as Hail the Sun, Eidola, Stolas, etc. draw heavy influence from Swan’s groovy, chaotic playing, which is a mish-mash of metal, psychedelia, and math rock. In the aforementioned Dance Gavin Dance, Will was bandmates with vocalist Kurt Travis for the albums Dance Gavin Dance and Happiness. Kurt would sing in several related bands over the years, such as A Lot Like Birds, Eternity Forever, and Push-Over, before forming Royal Coda in 2017. This act also features Sergio Medina (of aforementioned Stolas), Joseph Arrington (A Lot Like Birds), and Steffen Gotsch. It is fair to say that Royal Coda is a Swancore supergroup.
Compassion is a nod to Will/Kurt’s Dance Gavin Dance record, Happiness. Many intricacies prevalent in that now ten-year-old album are even more fleshed-out and take a front row seat in this succinct second album from the band. Where Royal Coda’s self-titled debut album had some novel concepts from some serious star-power in the genre, it was clear that the blending of ideas from each member weren’t coming together as cohesively as an artist that has had time to acclimate. This new effort is proof that these musicians took the time to concoct a fully-realized, unique record.
Announcing Will Swan would be in the band was barely a surprise, and more of a welcome addition. Not to discredit the rest of the musicianship of the band, but anything Will touches turns to gold. He is one of the most hard-working people in the genre, at one point being in three bands at the same time he was running a record label. One would think this would lead to neglecting one band or another, but he regularly records and tours with each band, sometimes playing twice a night for Sianvar and Dance Gavin Dance (and soon to play in Royal Coda and DGD on the upcoming spring tour). Swan is natural in Royal Coda; there are moments in this record that never took place in their first album. For example, the breakdown in “All in Question” is a melodic romp, and a departure from the dreamy environment established by the tranquil backdrop of guitars and soft percussion used throughout the song. The riff in the intro of “Becoming the Memory” is vintage Swan, with a meticulous minor-key run that is pleasant to the ears and is familiar territory for long-time Swancore listeners. Compassion‘s tendency to go from frenetic to relaxed is a treat, and creates an unpredictability factor for first-time listeners.
While Will’s work on the record stands out, the rest of the act deserves their due diligence. Kurt shines bright, as he employs vocal techniques in this album that I have never heard from him before. This is evident in him reaching a low octave in the track “Don’t Stay Long”, as well as his aggressiveness in most of the choruses on the album. The rest of the instrumentation complements the act, with a compelling rhythm melody from Sergio in every song, as well as drumming that rounds it out with notable performances in the chorus of “Numbing Agent” and the verse of “Arms Race for God’s Grace”. Bassist Steffen Gotsch recently replaced Jason Ellis, the bassist on Happiness and Royal Coda, and does a bang-up job considering he’s much newer to the genre than his bandmates.
From: https://phenixxgaming.com/2019/11/18/royal-coda-compassion-review/

Eurythmics - No Fear, No Hate, No Pain

 

 #Eurythmics #Annie Lennox #Dave Stewart #synthpop #new wave #electro-pop #alternative rock #blue-eyed soul #British R&B #1980s

Eurythmics, the London duo consisting of vocalist Annie Lennox and guitarist Dave Stewart, released two albums in 1983. These seminal albums would cement their place as one of the New Wave’s most fondly remembered acts. After establishing their synth-pop credentials with “Sweet Dreams (Are Made of This),” they released “Touch,” a daring album that builds off their previous success and breaks new ground. Not content to build the album off of the pop sensibilities of the opening track, “Here Comes the Rain Again,” Lennox and Stewart use the rest of their time to build a world of their own, which results in an incredibly challenging, albeit rewarding, listen. While not every song hits home emotionally (“Right By Your Side,” for example, is too upbeat for its own good), all are interesting and complex enough to warrant constant relistening. “Touch” has one standout track, “Who’s That Girl,” a haunting, majestic anthem of jealousy and suspicion. “No Fear, No Hate, No Pain (No Broken Hearts)” and “Paint a Rumour,” the two songs which close out the album, also showcase the band’s strengths, especially Lennox’s ability to be soulful and earnest one moment and icy and detached the next. Throughout “Touch,” she proves herself time and again as one of the genre’s most confident and unconventional performers. Eurythmics have always been well in control of their image, and on “Touch,” they accomplish exactly what they set out to do. Powerful vocals and intriguing arrangements combine to make “Touch” a work of art.  From: https://wakemag.org/reviews/2019/12/9/retro-review-touch-eurythmics 

Eurythmics were one of the most successful duos to emerge in the early '80s. Where most of their British synthpop contemporaries disappeared from the charts as soon as new wave faded in 1984, Eurythmics continued to have hits until the end of the decade, making their technically consummate, soul-styled vocalist Annie Lennox a star in her own right as well as establishing instrumentalist Dave Stewart as a successful, savvy producer and songwriter. Originally, the duo channeled the eerily detached sound of electronic synthesizer music into pop songs driven by robotic beats. By the mid-'80s, singles like "Sweet Dreams (Are Made of This)" and "Here Comes the Rain Again" had made the group into international stars, and Eurythmics had begun to experiment with their sound, delving into soul and R&B. By the late '80s, they were having trouble cracking the Top 40 in America, although they stayed successful in the U.K. By the early '90s, Eurythmics had taken an extended hiatus - both Lennox and Stewart pursued solo careers - but reunited occasionally for recording or tours.  From: https://www.allmusic.com/artist/eurythmics-mn0000206241/biography

Lovecraft - We Can All Have It Together


 #Lovecraft #psychedelic rock #folk rock #psychedelic folk #acid rock #acid folk #garage rock #1960s #1970s

H.P. Lovecraft was an American psychedelic rock band formed in Chicago, Illinois in 1967 and named after the horror writer H.P. Lovecraft. Much of the band's music was possessed of a haunting, eerie ambience, and consisted of material that was inspired by the macabre writings of the author whose name they had adopted. Combining elements of psychedelia and folk rock, the band's sound was marked by the striking vocal harmonies of ex-folk singer George Edwards and the classically trained Dave Michaels. In addition, Michaels' multi-instrumentalist abilities on organ, piano, harpsichord, clarinet and recorder provided the band with a richer sonic palette than many of their contemporaries. After the group disbanded in 1969, Edwards and fellow original member Michael Tegza formed a new line-up of the band with the shortened name of Lovecraft, although Edwards left this new group before the first album was recorded. This second incarnation of the band released the Valley of the Moon album in 1970 and, after a further name change to Love Craft, the We Love You Whoever You Are album in 1975.  From: https://en.wikipedia.org/wiki/H._P._Lovecraft_(band)

Cream - Dance the Night Away


 #Cream #Eric Clapton #Jack Bruce #Ginger Baker #blues rock #psychedelic rock #acid rock #hard rock #British psychedelic rock #psychedelic blues rock #classic rock #1960s

Cream’s second album, Disraeli Gears, remains a psych-blues masterpiece that ensures Clapton and co.’s place in the history books. The album was recorded over three and a half days between May 8-16, 1967 at Atlantic Studios in New York City. It was produced by Felix Pappalardi who would later form the Cream-alike band Mountain with guitarist Leslie West, and engineered by Tom Dowd. Released on November 2, 1967, the album made the UK charts and eventually climbed to number 5. Those are the facts, but what about the record’s unusual name? In the 1960s the “must-own” racing bike was equipped with “derailleur gears.” Eric Clapton seems to have had a yearning for such a bicycle and while driving around London, discussing the matter with Ginger Baker one day, up piped Mick Turner, the band’s roadie, to say, “Has it got them Disraeli gears?” Everyone fell about laughing and the band decided to name their album just that (Benjamin Disraeli served as prime minister of the UK in the late nineteenth century and was the only prime minister of Jewish origin ever). Of all the band’s albums, this one is the least blues-influenced record and definitely reflected the prevailing mood of the “Summer of Love.” The album’s distinctive cover was designed by Australian artist Martin Sharp who worked for OZ magazine and lived in Chelsea, where Clapton also lived. Sharp also did the cover for Wheels of Fire as well as writing some of the lyrics for “Tales of Brave Ulysses.”  From: https://www.udiscovermusic.com/stories/rediscover-disraeli-gears/

Pigface - Kiss King


 #Pigface #Martin Atkins #Meg Lee Chin #industrial rock #alternative rock #indie rock #experimental rock #avant-garde #noise rock #industrial dance #electronic #1990s

Pigface defies categorization. Less an actual band than a recording and performing ensemble of well-known musicians in the alternative/industrial genre, it is also, in a way, a political statement. Founding member Martin Atkins had tired of the rock star attitudes he witnessed as a member of successful bands like Public Image Ltd. and Killing Joke; in addition, despite the fact that both acts presented groundbreaking, anti-establishment-themed sonic artistry, both remained under the thumb of record label executives. Sandy Masuo, writing about Pigface in Option magazine, equated it with “a savvy, calculating brand of post-punk punk attitude - one that’s all about recapturing the means of production that was supposedly seized in the 70s” with the birth of the punk movement.  From: https://www.encyclopedia.com/education/news-wires-white-papers-and-books/pigface

Pigface is an American industrial rock supergroup formed in 1990 by Martin Atkins and William Rieflin. Pigface was formed from Ministry's The Mind Is a Terrible Thing to Taste tour. For the tour, Al Jourgensen brought along Atkins, Nivek Ogre and Chris Connelly. Also on the tour was Rieflin, regular Ministry drummer at the time. While Atkins enjoyed the dynamic of playing with a second drummer, he felt that the lineup was capable of doing much more than being, what he has frequently called, "a Ministry cover band." Once the tour was over, Atkins and Rieflin decided to continue working together and recruited several of their tourmates. Pigface was born with the intention of keeping a revolving-door style collaboration with many experimentally-minded musicians, many of whom, especially early on, had recorded for the influential industrial music record label Wax Trax!. Trent Reznor was also an early partner, before Nine Inch Nails became a household name. "Suck," co-written and sung by Reznor, was something of an underground hit, and Reznor later re-recorded the song for the Broken EP. Rieflin left Pigface after the first tour, leaving Atkins as the sole founder of the group. Hundreds of musical collaborators have since recorded and performed with Pigface, ensuring that each album, tour, and song is unique.  From: https://en.wikipedia.org/wiki/Pigface

Meg Lee Chin

Sianvar - Omniphobia


 #Sianvar #Will Swan #progressive rock #post-hardcore #experimental rock #math rock #post-hardcore

Sianvar (pronounced: sea-en-var) was an American progressive rock band from Sacramento, California, formed in 2013. The group currently consists of lead vocalist Donovan Melero, guitarists Will Swan and Sergio Medina, and drummer Joseph Arrington. The band is signed to Swan's independent record label Blue Swan Records. They released their debut self-titled EP in January, 2014 and their debut full-length studio album, Stay Lost, in August 2016. The band announced an indefinite hiatus in 2019.  From: https://en.wikipedia.org/wiki/Sianvar

Sianvar are a supergroup of sorts. The band is a collaborative project between members of Dance Gavin Dance, A Lot Like Birds, Stolas and Hail the Sun. All of these groups turn out consistently solid material, yet when the band released their debut EP, something was amiss. The music was okay, but it didn’t feel like the pieces were in their proper places just yet. Now, with their debut full-length Stay Lost, Sianvar have found their groove that allows them to harness elements of all the individual bands that they’re composed of to make music that sounds one-of-a-kind.
If you’re wondering whether or not the released singles from the album are a reasonable indicator of most of the material present on the record, wonder no longer. The music given to us in advance of the albums release is a fair indicator of the great quality of the album as a whole. ‘Omniphobia’ demonstrates the huge choruses that Donovan Molero seems to nail with ease and the colorful and cascading guitar-work of Will Swan and Sergio Medina. From: https://www.heavyblogisheavy.com/2016/07/26/sianvar-stay-lost/

Planxty - The Rambling Siuler


 #Planxty #Christy Moore #Andy Irvine #Irish folk #world music #Celtic folk #traditional #1970s

Veritable supergroup of Irish traditionalists that helped spark an Celtic folk renaissance in the 1970s. Along with groups like the Bothy Band, Planxty helped to usher in a new era for modern Celtic music. While their sound remained rooted to traditional music, the band's virtuosic musicianship and high-energy delivery reflected modern influences, while their unique vocal harmonies and instrumental counterpoint were unprecedented in Irish music. The founding members of Planxty - Christy Moore, Donal Lunny, Liam O'Flynn, and Andy Irvine - initially came together to provide instrumental accompaniment for Irish singer/songwriter Christy Moore's 1973 album, Prosperous. The sessions proved so inspiring that the musicians agreed to continue working together. With the release of their debut single, "Cliffs of Dooneen," the new band attracted international attention. An equally memorable, self-titled album, affectionately known as the "Black Album," followed shortly afterwards. Despite its success, Planxty was plagued by a series of personnel changes. Following the release of the band's second album, The Well Below the Valley, Lunny departed for the Bothy Band and was replaced by Johnny Moynihan, who had previously played with Irvine in Sweeney's Men. Moore followed after the release of the band's third album, Cold Blow and the Rainy Night to resume his solo career, and was replaced by singer/songwriter Paul Brady. The loss of Moore and Lunny was devastating and, shortly after releasing their fifth album, The Woman I Loved So Well, Planxty disbanded in 1981.  From: https://www.allmusic.com/artist/planxty-mn0000852842/biography

The Rambling Sailor
It was Cecil Sharp's opinion that early broadsides were about a soldier. There is an argument that the original was an Irish, particularly Ulster song, according to Sam Henry, the greatest collector of Ulster folk songs. The Irish song was called The Rambling Suiler (suiler translated as beggarman, which, indeed, still provides a metaphor for movement, fluidity and lack of fixity). Another suggestion is that ‘The Rambling Suiler' refers to the amorous encounters of James V of Scotland, who roamed his kingdom in disguise and may have written the song about himself or had it written about him. Whether of Gaelic origin, and whomsoever the subject, the anglicised versions of this song are many, using different place names. Nevertheless, the key points are well illustrated. Detaching himself from authority and beoming mobile earns the subject his liberty as an English man. As was frequently the case, 'rambling' was a metaphor for sexual liberty or libertinism. The story of the woman who went to sea inverts several aspects of 'The Rambling Sailor'. Instead of being universalised by being given a name which could apply to any English man - a young man, the son of John - the woman is particularised - Rebecca Young of Gravesend. She is loyal to the memory of her 'true love', a pressed seaman who had drowned, and it was to honour him that she went to sea. She too, drowned, but was undaunted, and in death 'anchored', rather than mobile.  From: https://www.lancaster.ac.uk/fass/projects/english_folk/EFS/Ramblingsailor.html   

Swans - Better Than You


 #Swans #Michael Gira #Jarboe #experimental rock #post-rock #noise rock #industrial #no-wave #neofolk #industrial rock #gothic rock #dark folk #apocalyptic folk 

Swans is an American experimental rock band formed in 1982 by singer, songwriter and multi-instrumentalist Michael Gira. One of the few acts to emerge from the New York City-based no-wave scene and stay intact into the next decade, Swans have become recognized for an ever-changing sound, exploring genres such as noise rock, post-punk, industrial and post-rock. Initially, their music was known for its sonic brutality and misanthropic lyrics. Following the addition of singer, songwriter and keyboardist Jarboe in 1986, Swans began to incorporate melody and intricacy into their music. Jarboe remained the band's only constant member except Gira and semi-constant guitarist Norman Westberg until their dissolution in 1997. In 2010, Gira re-formed the band without Jarboe, establishing a stable lineup of musicians which has toured worldwide and released four albums to critical acclaim. This iteration of the group performed its last shows in November 2017, ending the tour in support of its final album The Glowing Man. Since 2019, Gira has been touring and recording with Swans as "a revolving cast of contributors". Since 1990, all Swans records have been released through Gira's own label, Young God Records.  From: https://en.wikipedia.org/wiki/Swans_(band) 

Smashing Pumpkins - Tonight, Tonight


 #Smashing Pumpkins #Billy Corgan #alternative rock #progressive rock #heavy metal #gothic rock #psychedelia #dream pop #electronica #1990s #animated music video

The fourth single from their sprawling double decker dreamscape, Mellon Collie And The Infinite Sadness, “Tonight, Tonight” is epic in scope, driven by Billy Corgan’s urgently romantic lyrics, Jimmy Chamberlain’s speed-freak drumroll, and a thirty piece string section pulled from the Chicago Symphony Orchestra. Being only the second track on the album, it marked a drastic change for the Pumpkins, whose first two discs, Gish and Siamese Dream, although stellar, were more rooted in distortion, solos, and shoegaze. “Tonight, Tonight” was a cornerstone of the band’s expansion, showing off all of Corgan’s newfound, diverse musical tendencies.
And to think its enchanting music video almost never came to be. Directed by the husband-wife team of Jonathan Dayton and Valerie Faris (who went on to helm Little Miss Sunshine), the original concept was a Busby Berkeley-esque musical, characterized by blankly smiling women in bathing caps performing elaborate swimming patterns and acrobatics. But when the Red Hot Chili Peppers released a nearly identical video for “Aeroplane”, Dayton and Faris had to revisit the drawing board.  After abandoning a third concept involving audience P.O.V., they decided to pay homage to another classic filmmaker, French visionary Georges Melies, and his milestone silent sci-fi film, 1902’s A Trip To The Moon. Most famous for its iconic image of a bullet-shaped rocket ship plunging into the eye of the Man On The Moon, A Trip To The Moon tells the story of a group of astronomers on a lunar voyage. Once on the giant rock, they encounter several insectoid extra terrestrials who capture them for unknown reasons. Luckily for our heroes, they discover that they can destroy the creatures by hitting them with blunt force, using their umbrellas to explode them. They eventually escape and plunge into the sea, thankfully rescued by an ocean steamer.
Although watching the revolutionary film nowadays is a cinematic treat, one can’t help but wish the details were more vivid. Filmmaking was still in its primitive stages, and its surreal nature is often bogged down by the cloudy cinematography. Don’t get me wrong, it’s still a masterpiece, but the video for “Tonight, Tonight” brought it to a more fully realized form, bringing all the black and white dreariness into technicolor tints mixed with sepia. Most of the actors remain aesthetically drab while the environment around them glows with fluorescent beauty and a colored cardboard, children’s theatre aesthetic, making for a piece of art that looks fittingly archaic but wonderfully hallucinatory at the same time. It manages to capture the album artwork of Mellon Collie, something that was an inspiration for the directors as it “looked like a silent movie.”
The video follows the same basic skeleton of a storyline. However there are slight artistic changes: the astronomers are replaced with two young lovers (played by SpongeBob Squarepants voice actors Tom Kenny and Jill Talley), the rocketship is substituted with a steampunk blimp, and the humanoid stars are traded in for the Pumpkins themselves, decked out in Victorian evening wear and classical instruments. But the point of the video isn’t accuracy. It isn’t a remake. It simply uses the images and concept of the original film as a springboard for the Pumpkins’ more romantic form of storytelling. During each of the song’s sunbursting string crescendoes, we see the young couple persevere in some shape or form, the most emotional one being when they break free of the ropes that the aliens have used to ensnare them. The fight that ensues isn’t a triumph of scientific achievement as in the original film, but a triumph of our heroes’ relationship.
With the Pumpkins’ combination of both baroque and adolescent rock ‘n roll yearning swirling around you, it’s hard not to get a little teary eyed watching the young couple stick together, even if it is against a horde of extra terrestrials. The fact that Kenny and Talley were married in real life (and still are to this day) only three years before the video was made makes it all the more romantically compelling. As in the original film, they escape to the ocean, only here, they meet a merman who wards off a predatory fish. The merman enlists the help of his mermaid friends and a large octopus to put on an underwater show for the young couple before sending them to the surface in a gigantic bubble.
From: https://consequence.net/2008/11/ridiculously-awesome-music-videos-the-pumpkins-tonight-tonight/ 

Formed in 1988, The Smashing Pumpkins are an alternative rock band from the Windy City consisting of singer/songwriter/dictator Billy Corgan and usually three or four other band members. Corgan is the songwriter, lead vocalist and the only member who's been present throughout the band's entire lifespan. The band is known for a number of things: angsty lyrics, heavy guitars, dense production, epic scope (perhaps best displayed by the music video for "Tonight, Tonight"), and Corgan's nasal singing voice. While their sound began life as hard/alternative rock with experimental influences, they've also worked with elements from grunge, folk, electronica, shoegaze, and gothic rock.  From: https://tvtropes.org/pmwiki/pmwiki.php/Music/TheSmashingPumpkins

Hedwig & The Angry Inch - Origin of Love


 #Hedwig & The Angry Inch #John Cameron Mitchell #Stephen Trask #rock musical #movie soundtrack #hard rock #punk rock #glam rock #1970s retro

Hedwig and the Angry Inch is a rock musical with music and lyrics by Stephen Trask and a book by John Cameron Mitchell. The musical follows Hedwig Robinson, a genderqueer East German singer of a fictional rock and roll band. The story draws on Mitchell's life as the child of a U.S. Army major general who once commanded the U.S. sector of occupied West Berlin. The character of Hedwig was inspired by a German divorced U.S. Army wife who was Mitchell's family babysitter and moonlighted as a prostitute at her trailer park home in Junction City, Kansas. The music is steeped in the androgynous 1970s glam rock style of David Bowie (who co-produced the Los Angeles production of the show), as well as the work of John Lennon and early punk performers Lou Reed and Iggy Pop.  From: https://en.wikipedia.org/wiki/Hedwig_and_the_Angry_Inch_(musical)

Hedwig and the Angry Inch is a 2001 American musical comedy-drama film written for the screen and directed by John Cameron Mitchell. Based on Mitchell's and Stephen Trask's 1998 stage musical Hedwig and the Angry Inch, it accompanies Hedwig Robinson, a gay East German rock singer. Hedwig subsequently develops a relationship with a younger man, Tommy, becoming his mentor and musical collaborator, only to have Tommy steal her music and become a rock star. The film follows Hedwig and her backing band, the Angry Inch, as they shadow Tommy's tour, while exploring Hedwig's past and her forced gender identity. Mitchell reprises his role as Hedwig from the original production.  From: https://en.wikipedia.org/wiki/Hedwig_and_the_Angry_Inch_(film)

Hair - What a Piece of Work is Man


 #Hair #rock musical #rock opera #Broadway cast #Ronnie Dyson #Walter Harris #soundtrack #William Shakespeare adaptation #1968 #anti-war #comedy-drama

Hair: The American Tribal Love-Rock Musical is a rock musical with a book and lyrics by Gerome Ragni and James Rado and music by Galt MacDermot. The work reflects the creators' observations of the hippie counterculture and sexual revolution of the late 1960s, and several of its songs became anthems of the anti-Vietnam War peace movement. The musical's profanity, its depiction of the use of illegal drugs, its treatment of sexuality, its irreverence for the American flag, and its nude scene caused much comment and controversy. The work broke new ground in musical theatre by defining the genre of "rock musical", using a racially integrated cast, and inviting the audience onstage for a "Be-In" finale.  From: https://en.wikipedia.org/wiki/Hair_(musical)

What a piece of work is man
How noble in reason
How infinite in faculties
In form and moving
How express and admirable
In action how like an angel
In apprehension how like a god
The beauty of the world
The paragon of animals

I have of late
But wherefore I know not
Lost all my mirth
This goodly frame
The earth
Seems to me a sterile promontory
This most excellent canopy
The air-- look you!
This brave o'erhanging firmament
This majestical roof
Fretted with golden fire
Why it appears no other thing to me
Than a foul and pestilent congregation
Of vapors

What a piece of work is man
How noble in reason 

Soundgarden - Black Hole Sun

 #Soundgarden #Chris Cornell #grunge #heavy metal #alternative metal #hard rock #alternative rock #punk metal #1990s #music video

When the world lost Chris Cornell in 2017, we lost one of the greatest voices in rock. Probably the greatest singing voice in all of rock ever, in fact – Axl Rose, Alice Cooper and Eddie Vedder are among those who cite him as the single greatest singer we ever had. Kurt Cobain used to try to sing like him. Cornell fronted Soundgarden, a massive influence on the grunge world (although, more experimental and musically talented than a lot of their peers, they rejected the grunge label as a marketing gimmick), then Audioslave with former members of Rage Against The Machine, as well as releasing a bunch of solo albums. He fit a lot into his tragically-cut-short life. He owned a Parisian restaurant and a record label. He did the only James Bond theme to ever go to Number One in the UK. He co-wrote a screenplay. He introduced Eddie Vedder to the rest of Pearl Jam. Garbage wrote a song about him. Two romantic comedies took their titles from his lyrics. Through it all, he battled with addiction issues and crippling depression, two subjects he spoke openly about and did his best to help others through. When an artist takes their own life like Cornell did, it’s tempting to look back through everything they did for clues and statements of intent – something Cornell was very aware of, telling Rolling Stone after Cobain’s death “It’s sort of a morbid exchange when somebody who is a writer like that dies, and then everyone starts picking through all their lyrics.” Happily, Black Hole Sun is, by Cornell’s own admission, largely devoid of meaning, just a magnificent songwriter letting words take him where they take him, accompanied by both melodic and thunderous guitar, and it’s awesome, and everyone in the video has big terrifying eyes.

0.28
Oh shit, it’s all kicking in. Of the song itself, Cornell said, “If you read the lyrics to the verses, it’s sort of surreal, esoteric word painting. It was written very quickly. It was stream of consciousness. I wasn’t trying to say anything specific; I was really writing to the feel of the music and accepting whatever came out.”

0.34
Oh nooooooo, it’s not nice, the man with the eyes is scary. Director Howard Greenhalgh, the man behind this grossness, has also worked with Iron Maiden, Muse, Placebo and System Of A Down.

0.35
'Boiling heat' accompanied by a pot boiling over is the most on-the-nose moment in the video. Greenhalgh said in a 2010 interview "With anything, it’s the lyrics that are everything. You pray that there are good lyrics in a track because that leads you immediately to what you’re going to do."

0.50
Cornell’s being all creepy and all. “I ate some cottage cheese that turned, and I wrote those lyrics” he said of Black Hole Sun. “It's just sort of a surreal dreamscape, a weird, play-with-the-title kind of song. Lyrically it’s probably the closest to me just playing with words for words' sake, of anything I’ve written. I guess it worked for a lot of people who heard it, but I have no idea how you’d begin to take that one literally."

0.57
In comes the chorus. “It’s funny because hits are usually sort of congruent, sort of an identifiable lyric idea, and that song pretty much had none” Cornell told RIP Magazine. “The chorus lyric is kind of beautiful and easy to remember. Other than that, I sure didn’t have an understanding of it after I wrote it. There was no real idea to get across."

1.28
Despite claiming a lot of the song to not really mean anything, the line 'Times are gone for honest men' was one that had a bit more to it for Cornell. “It seems like noble people are quashed” he said in an interview.

1.45
All the weird disorienting shifting layers come courtesy of Greenhalgh, a special effects dude that puts together hella high-end car commercials and stuff. One of the first videos he did was Liberation by the Pet Shop Boys, which used at-the-time pioneering video game style graphics. It looks very dated now, but blew minds at the time.

1.55
“No one seems to get this, but Black Hole Sun is sad,” said Cornell. “But because the melody is really pretty, everyone thinks it’s almost chipper, which is ridiculous."

3.18
Some of these effects don’t quite hold up in futuristic 2019, but bear in mind this video was made in 1994, 25 years ago. Computers could only show about six colours, and all weighed a quarter of a ton or more, and cost a million quid.

3.39
What does the title even mean? Cornell told Entertainment Weekly in 2014 that it came from a misheard news report. “I had misheard a news anchor, and I thought he said ‘black hole sun,’ but he said something else. So I was corrected, but after that I thought, ‘Well, he didn’t say it, but I heard it.’”

4.47
Kim Thayil told Guitar Magazine in 1996: “We've been disappointed with most of our videos. There were a couple we were really satisfied with – Black Hole Sun we were satisfied with, and Jesus Christ Pose as well. Most of the others we were like, ‘Well, whatever.’”

5.20
Cornell and the rest of the band didn’t think they had a hit on their hands, let alone the song that would become most synonymous with them. “I didn’t think in terms of hits then, and I didn’t think tempo-wise or lyrically as Black Hole Sun being something that could be a hit” he said in 2014. “Maybe a single at some point late in the release, like an afterthought single. Sometimes when a record has been out for a while, right before the record company decides to stop promoting it, they’ll do one last single that’s different, like something for the fans or whatever. That’s what I thought Black Hole Sun would be. But once we started mixing and mastering it and playing it for friends and the record company, everyone was singling that song out. So it started to occur to us that it might be a single that would have broader appeal. But definitely not lyrically. When I think of hit songs, they have to be somewhat anthemic in the world of rock, and I didn’t see Black Hole Sun as being that.”

From: https://www.kerrang.com/a-deep-dive-into-the-video-for-soundgardens-black-hole-sun

Black Hole Sun is a song by the American rock band Soundgarden. Written by frontman Chris Cornell, the song was released in 1994 as the third single from the band's album Superunknown. The surreal and apocalyptic music video for Black Hole Sun was directed by British video director Howard Greenhalgh, and produced by Megan Hollister for Why Not Films. The video follows a suburban neighborhood and its vain inhabitants with comically exaggerated grins, which are eventually swallowed up when the Sun suddenly turns into a black hole, while the band performs the song somewhere in an open field. In an online chat, the band stated that the video was “entirely the director's idea,” and that it was one of the few videos the band was satisfied with.  From: https://en.wikipedia.org/wiki/Black_Hole_Sun

Rollins Band - Liar


 #Rollins Band #Henry Rollins #alternative metal #hard rock #post-hardcore #funk metal #1990s #ex-Black Flag #music video

In honor of the recently reunited Weight-era Rollins Band, I thought I would review the album itself, as no one else has yet. Weight was without any doubt the high point, commercially, for the Rollins Band, in no small way thanks to the heavily rotated "Liar" video on MTV. But what many people fail to remember is just how much this album really rocks as a whole, and that "Liar," as great of a song as it is, is not the best track on the album. This album sees former bass player Andrew Weiss leaving the band and allowing new, more jazz-oriented bassist Melvin Gibbs to step up and get some. Musically speaking, this album was a bit of a departure from their previous album, The End of Silence. Where that album featured very long, intense and beautifully structured punk/blues jams, this album tightens up the song length and delivers a more hard rock/punk metal type of crushing tunes. Both albums are fantastic and both enjoyed a marginal amount of mainstream success, a first for Rollins. This album is full of gems - the brutal "Volume 4" and "Step Back," or the surprisingly funky "Wrong Man" and "Fool." My personal favorite is the very positive and extremely inspiring "Shine," a song which seems to be Henry's own personal motto with lines like "I ain't got no time for drug addiction, no time for smoke and booze, too strong for a shortened lifespan, I've got no time to lose, It's time to shine..." Well, you get the point. And then, of course, we have "Liar," an often misunderstood song with Rollins singing from the perspective of, well, a liar. He has mentioned in interviews that he simply wanted to "write the meanest love song ever" and the song is about someone else lying to him, not vice versa. The only other real difference between this album and his previous ones is that Henry doesn't "scream" at all, which isn't a bad thing since he makes up for it with plenty of angry yelling, but some people may have missed that. Anyway, this is a classic album and one of the greatest albums of the 1990s by far.  From: https://www.punknews.org/review/5250/rollins-band-weight

Rollins Band was an American rock band formed in Van Nuys, California. The band was active from 1987 to 2006 and was led by former Black Flag vocalist Henry Rollins. They are best known for the songs "Low Self Opinion" and "Liar", which both earned heavy airplay on MTV in the early to mid 1990s. Critic Steve Huey describes their music as "uncompromising, intense, cathartic fusions of funk, post-punk, noise, and jazz experimentalism, with Rollins shouting angry, biting self-examinations and accusations over the grind."  From: https://en.wikipedia.org/wiki/Rollins_Band

Steeleye Span - The Weaver and the Factory Maid



 #Steeleye Span #Maddy Prior #Tim Hart #Martin Carthy #folk #folk rock #British folk #British folk rock #traditional folk #electric folk #British roots rock
 
A broadside of unknown origin with the title ‘The Weaver in Love’ is in the Cecil Sharp Manuscript Collection, and John Holloway and Joan Black's 1975 book ‘Later English Broadside Ballads’ has ‘The Weaver and his Sweetheart’ from the Madden Collection. In both versions the weaver still fell in love with a servant maid, while in the following versions from A.L. Lloyd on she was changed to a factory maid. A.L. Lloyd claimed that he collected The Weaver and the Factory Maid from William Oliver of Widnes, Lancashire, in September 1951; he sang it on the 1963 Topic theme LP ‘The Iron Muse: A Panorama of Industrial Folk Music.’ Lloyd commented in the notes:
“The earliest weavers' songs are from the time when hand-loom weavers went from village to village, setting up in farmhouse and cottage kitchens. Amorous chances were plenty. The invention of the power-loom and the establishment of textile factories brought a great change in the handloom weavers' lives. This song, lyrical and wry, curiously illuminates this moment in history when the hand-workers were finding themselves obliged to follow the girls into the factories and weave by steam, and when country song was changing to town song.”
In 1973, Steeleye Span recorded a version of ‘The Weaver and the Factory Maid ‘with lyrics nearly identical to A.L. Lloyd's, but they added Robert Cinnamond's fragment in front and end, and two more verses from a children's rhyme. This was released on their LP ‘Parcel of Rogues’ whose sleeve notes commented:
“There was a great bitterness felt between the hand-loom weavers and those who worked on the steam looms introduced during the industrial revolution. This feeling polarized in the Luddites (named after their mythical leader Ned Ludd) who were unemployed hand-loom weavers bent on destroying the steam looms which had put them out of work.
From: https://mainlynorfolk.info/lloyd/songs/theweaverandthefactorymaid.html
 

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

Friday, July 8, 2022

Faces - Stay With Me


 #Faces #Rod Stewart #Ron Wood #hard rock #blues rock #boogie rock #blue-eyed soul #classic rock #British blues rock #1970s #ex-Small Faces #ex-Jeff Beck Group

The Faces were an English rock band formed in 1969 by members of The Small Faces after lead singer and guitarist Steve Marriott left to form Humble Pie. The remaining Small Faces - Ian McLagan (keyboards), Ronnie Lane (bass, vocals), and Kenney Jones (drums) - were joined by Ronnie Wood (guitar) and Rod Stewart (lead vocals), both from The Jeff Beck Group, and the new line-up was renamed Faces. The band had a unique arrangement, as Rod Stewart had signed a separate solo recording contract with the Mercury label shortly before joining the group, which was signed to Warner's. Band members often contributed to Stewart's solo albums as contract players, and Faces live shows of the period would feature as much of Stewart's solo material as that of the band, which later fuelled tensions amongst them when they began to effectively be viewed as Stewart's backing band.  From: https://en.wikipedia.org/wiki/Faces_(band)

 

Sopor Aeternus - Sleep


 #Sopor Aeternus #Sopor Aeternus & The Ensemble Of Shadows #Anna-Varney Cantodea #neoclassical #darkwave #dark folk #neo-medieval #neo-baroque #gothic rock #electronic #industrial #occult #performance art #music video

Officially founded in 1989, the German based Sopor Aeternus & The Ensemble Of Shadows is one of the last of the very few dark groups/projects in Europe (in fact, on this planet), who have based the sacred trinity of their music, poetry and visual appearance on the explicit emphasis of the highly individual expression of pain, isolation, depression, token suicides and the desperate search for the “sacred reunion”; all conceived and acted out by Sopor’s sole protagonist - the transgendered and utterly beautiful Goddess (and likewise tragically Butoh-esque creature) Anna-Varney Cantodea. Perhaps best described as “introverted exhibitionism”, the holistic concept of Anna-Varney ‘s ritualistic/Jungian art is not necessarily rooted in the grounds of a commonly accepted sense of aesthetics - which is one of the many aspects that gives his/her work its serious and most unique character. Though the music playfully fuses elements of classical, baroque, medieval, and even electronic music, the essence of Sopor Aeternus & The Ensemble Of Shadows always remains entirely “gothic”. Despite the fact that to this very day Anna-Varney still refuses to perform her magic(k)al work live in front of a human audience, Sopor Aeternus & The Ensemble Of Shadows have long gathered cult status in underground circles worldwide. Strongly recommended to be approached only with an open heart and mind, the profound darkness (and occasionally subversive humour) of Anna-Varney ‘s multi-layered (yet fragile) art is mainly intended as a spiritual healing-process for the wounded soul.  From: https://www.season-of-mist.com/bands/sopor-aeternus/

Atlas Volt - Dreamweaver of the Dreamscape


 #Atlas Volt #avant-garde #alternative rock #progressive rock #indie rock #post-metal #art rock #eclectic #surrealism #animated music video #stop motion #Jan Svankmajer 

Philippe Longchamps and Adam Hansen-Chambers met in Malmo, Sweden in 2012. After discovering that they shared a similar taste in music, as well as shared political and philosophical ideas, they started working together on a music project named Atlas Volt. Both Adam and Philippe already had music they were working on individually, so they exchanged ideas with each other and while capitalizing on their new creative chemistry, they collaborated to make what was to become their first release: Atlas Volt’s debut EP “Eventualities.” The EP featured 5 tracks ranging from indie pop and prog rock, to post-metal and alternative rock. The very fact that Atlas Volt exists is a real “tour de force” since Adam and Philippe rarely meet in person. Adam lived in Sweden for four years before moving back to England in 2012, while Philippe still lives and works as a teacher in Sweden, since he moved there from Canada in 2002. Adam and Philippe meet on special occasions in Malmo or London in order to write, record and produce their songs. Because of the distance separating them, they complete everything else by sharing audio files over the Internet. Furthermore, Adam and Philippe completed their latest record while working full-time and completing studies in their respective countries. Atlas Volt is proud to be a virtual band.  From: https://atlasvolt.com/about-us

Uriah Heep - Bird of Prey


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

Uriah Heep's first album, "Very 'eavy , very 'umble" was not released in the US under that title. Presumably this was because of the Cockney/Dickensian connections which would not have been so meaningful to those outwith the UK. Instead, it was released with a different sleeve and simply titled "Uriah Heep". The track listing is the same, except that "Lucy Blues" is dropped in favour of "Bird of prey". Since "Lucy blues" was the weakest track on VEVU, being a somewhat out of place blues rendition, the revision does represent an improvement. The version of "Bird of prey" included here is different to the one which appeared on the UK version of "Salisbury". (Despite this, it was in turn replaced on the US version of "Salisbury" by the single B side "Simon the bullet freak"). While the "Salisbury" version sees the track being developed well, the slightly rawer earlier version here is well worth hearing. The opening track, "Gypsy" is indeed "heavy", with a driving Hammond organ, a thumping beat, and an early burst of Mick Box's famous wah wah guitar soloing. There are however several decidedly softer moments. "Come away Melinda" (also recorded by UFO) is one of the very few covers the band has done. Their interpretation is quite stunning, with David Byron adopting various vocal sounds to distinguish between the two characters in the song. It's a beautiful, haunting number, with a peaceful message. "Wake up (set your sights)" also has a lovely soft conclusion which follows an almost jazz like opening section. The remaining numbers generally fall into the " 'eavy" category, with tracks like "I'll keep on trying" and "Dreammare" setting out the band's stall for future albums perfectly.  From: https://www.progarchives.com/album.asp?id=5919

Uriah Heep are a British Progressive Rock band whose debut was released in 1970 and are still active today. They are considered one of the first Heavy Metal bands, with their initial albums released neck-to-neck with the foundational metal records of Led Zeppelin, Deep Purple and Black Sabbath. They stand out from their early 70s contemporaries by their deeper progressive stylings, a taste for the psychedelic and fantastical, and the very heavy presence of the Hammond organ (to an even greater extent than Deep Purple). The nucleus of the original group was David Byron, a singer with an operatic voice and multi-octave vocal range and lead guitarist Mick Box, both of whom had played in a psychedelic group called Spice in the sixties. The third member of the core of Uriah Heep was Ken Hensley, who contributed keyboards, some guitar and most of the songwriting. Bassist Gary Thain and drummer Lee Kerslake completed the classic line-up that played on the Demons and Wizards and The Magician's Birthday albums. Presently, Box is the only member who has been in every line-up. Not to be confused with the David Copperfield character for whom they're named.  From: https://tvtropes.org/pmwiki/pmwiki.php/Music/UriahHeep