Sleater-Kinney - Words and Guitar

 #Sleater-Kinney #Carrie Brownstein #indie rock #punk rock #riot grrrl #alternative rock #1990s

Arguably the most important punk band of the 1990s and 2000s, with feminist songwriting matched by taut melodicism and jaw-dropping sonic complexity. Like many a great band, Sleater-Kinney inhabited their time so thoroughly it took an extended hiatus to realize the extent of their legacy. In many respects, they were the defining American indie rock band of the second half of the '90s, the group that harnessed all the upheaval of the alt-rock explosion of the first part of the decade and channeled it into a vigorous mission statement. It was not incidental that Sleater-Kinney were an all-female band - prior to S-K, co-leaders Corin Tucker and Carrie Brownstein both started playing music in Northern Pacific riot grrrl bands and their feminism and queercore roots were deeply embedded in their rock & roll - but calling them the best female rock band of their generation is too confining. By every measure, Sleater-Kinney were one of the best bands of their time, capturing the tenor of their era and then expanding at a rapid clip, delivering record after record that redefined their music without abandoning their punk rock (or political) ideals.  From: https://www.allmusic.com/artist/sleater-kinney-mn0000026164/biography

Sleater-Kinney [Chainsaw, 1995]
Heavens to Betsy's warbly wailer Corin Tucker joins Excuse 17's solemn screamer Carrie Brownstein for ten songs in twenty-two minutes, and voice-on-voice and guitar-on-guitar they figure out love by learning to hate. Three different lyrics reject the penis soi-même with a fervor that could pass for disgust, and while their same-sex one-on-ones aren't exactly odes to joy, they convey a depth of feeling that could pass for passion. In these times of principled irony and shallowness for its own sake, that's enough to make them heroines and outsiders simultaneously.

Call the Doctor [Chainsaw, 1996]
Like the blues, punk is a template that shapes young misfits' sense of themselves, and like the blues it takes many forms. This is a new one, and it's damn blueslike. Powered by riffs that seem unstoppable even though they're not very fast, riding melodies whose irresistibility renders them barely less harsh, Corin Tucker's enormous voice never struggles more inspirationally against the world outside than when it's facing down the dilemmas of the interpersonal - dilemmas neither eased nor defined by her gender preferences, dilemmas as bound up with family as they are with sex. As partner/rival/Other Carrie Brownstein puts it in an eloquently tongue-tied moment: "It's just my stuff." Few if any have played rock's tension-and-release game for such high stakes - revolution as existentialism, electric roar as acne remedy. They wanna be our Joey Ramone, who can resist that one? But squint at the booklet and you'll see they also want to be our Thurston Moore. They want it both ways, every which way. And most of the time they get it.

Dig Me Out [Kill Rock Stars, 1997]
One reason you know they're young is that they obviously believe they can rock and roll at this pitch forever. Whatever the verbal message of their intricate, deeply uptempo simplicity - less sexual angst, more rock-as-romance - it's overrun by their excited mastery and runaway glee. Like a new good lover the second or third time, they're so confident of their ability to please that they just can't stop. And this confidence is collective: Corin and Carrie chorus-trade like the two-headed girl, dashing and high-stepping around on Janet Weiss's shoulders. What a ride.

From: http://robertchristgau.com/get_artist.php?name=Sleater-Kinney 

Fotheringay - Nothing More

 #Fotheringay #Sandy Denny #Trevor Lucas #folk rock #British folk rock #singer-songwriter #ex-Fairport Convention #1970s

Fotheringay was formed in 1970 by singer Sandy Denny upon her departure from Fairport Convention, together with her future husband, Australian singer-songwriter Trevor Lucas and Gerry Conway, both from the band Eclection, and two former members of Poet and the One Man band, Jerry Donahue and Pat Donaldson. Fotheringay played folk-rock similar to Fairport Convention, introducing Jazz elements like The Pentangle. The band drew it's name from Fotheringay Castle, where Mary Queen Of Scots was imprisoned in England; a name that Denny had already used for one of her finest compositions on the second Fairport Convention release What Did We Do On Our Holidays (1969). In 1970 the band recorded their lone self-titled album with producer Joe Boyd. The record mixed Rock, Folk and Jazz-elements and sounded similar to Fairport Convention with a less rockier side; Trevor Lucas’ rhythm guitar work giving the record an overall lighter feeling. The record contains two traditional songs, among them the outstanding "Banks Of The Nile", a Gordon Lighfoot composition "The Way I Feel", a Dylan cover "Too Much Of Nothing" and original songs by Denny, (among them "Nothing More" and "The Sea"), Lucas and Dave Cousins of Strawbs. Although the album and the group was well received, the band broke up in 1971. Sandy Denny embarked on a solo career (some songs for a projected second Fotheringay record surfaced on Denny's first solo album "The Northstar Grassman and The Ravens"), Donaldson and Conway began session work, while Lucas and Donahue rejoined Fairport Convention.  From: https://www.progarchives.com/artist.asp?id=2384

The Tea Party - Inanna

 #The Tea Party #hard rock #progressive rock #experimental rock #middle eastern music #blues rock #psychedelic rock #1990s #Canadian 

The Tea Party is a Canadian rock band with industrial rock, blues, progressive rock, and Middle Eastern music influences, dubbed "Moroccan roll" by the media. Active throughout the 1990s and up until 2005. The band re-formed in 2011. The Tea Party was formed in 1990 by Jeff Martin, Stuart Chatwood and Jeff Burrows after a marathon jam session at the Cherry Beach Rehearsal Studios in Toronto. Each member had previously played together during their teenage years in a number of different bands in Windsor, Ontario, where they were originally from. They had decided to name their new group The Tea Party after the infamous hash sessions of famous Beat generation poets Allen Ginsberg, Jack Kerouac and William Burroughs. The Tea Party released their eponymous debut album in 1991, distributing it through their own label Eternal Discs. The album drew influences from psychedelic rock and blues, and was produced by Martin; album production was something Martin would continue with for all of The Tea Party's albums, as a way of giving the band complete artistic control. In 1993 The Tea Party signed to EMI Music Canada and released their first major label recording, Splendor Solis. The band employed open tunings and goblet drums (Dumbek) to create Indian-style sounds, something they continued to employ throughout their career, while continuing in a blues influenced style.  From: https://en.wikipedia.org/wiki/The_Tea_Party

Crosby, Stills & Nash - Guinnevere

 #Crosby, Stills & Nash #David Crosby #Stephen Stills #Graham Nash #folk rock #country rock #hard rock #acoustic #ex-The Byrds #ex-Buffalo Springfield #ex-The Hollies #1960s

In a Rolling Stone interview, Crosby remarked: "That is a very unusual song, it's in a very strange tuning (EBDGAD) with strange time signatures. It's about three women that I loved. One of whom was Christine Hinton - the girl who got killed who was my girlfriend - and one of whom was Joni Mitchell, and the other one is somebody that I can't tell. It might be my best song." According to Robert Christgau, the song was based on a three-note motif from the 1960 Miles Davis album Sketches of Spain. The album CSN (box set) contains a demo version of the song played by Crosby on guitar, Jack Casady of Jefferson Airplane on bass, and Cyrus Faryar of Modern Folk Quartet on bouzouki. In the liner notes, Crosby says of the song: "When all my friends were listening to Elvis and 1950s rock 'n' roll, I was listening to Chet Baker, Gerry Mulligan and West Coast jazz. Later I got involved with the folk music scene. After getting kicked out of the Byrds I didn't have a plan, but I went back to my roots, and "Guinnevere" is a combination of these two influences." The song also deals with the importance of freedom. It may have been written about Queen Guinevere from the perspective of a man addressing a woman; it has been speculated that Crosby wrote about her from the perspective of Sir Lancelot of ancient Welsh lore. "Guinnevere" could also be referring to Nancy Ross, who lived with David Crosby and (according to author David McGowan) drew pentagrams on the wall. She would leave Crosby in 1966 for Gram Parsons, the grandson of a citrus fruit magnate. These facts correlate to the "Nancy Ross" theory: in the song, Crosby sings that Guinnevere "drew pentagrams," and that "peacocks wandered aimlessly underneath an orange tree.  From: https://en.wikipedia.org/wiki/Guinnevere

The Smile - Thin Thing

 #The Smile #Thom Yorke #Johnny Greenwood #alternative rock #art rock #post-punk #experimental #progressive rock Radiohead spinoff #animated music video

When Thom Yorke introduced his new band at their first gig a year ago, he took a moment to explain their name. “Not the Smile as in ha ha ha,” he said, his faux laugh echoing eerily, “more the Smile of the guy who lies to you every day.” Of course, no one figured that the most uncannily accurate doomsayer of the modern age was taking a sharp left to clown town with his latest project, but the Smile are not just aimed at shifty politicians, either. Their pearly grins are myriad, taking inspiration from smiles of love and deceit, bloody smiles and blissful ones, smiles that mend and smiles that destroy. At 53, Yorke has seen them all. And once again, he’s battling the absurdity of existence the only way he knows how: by offering a salve for his anxieties without letting anyone off the hook for turning everything we hold dear into one big joke.
This bid for transcendence amid chaos isn’t the only thing that’s familiar about the Smile. The trio also includes Yorke’s main songwriting partner in Radiohead, Jonny Greenwood, along with drummer Tom Skinner, whose eclectic resume includes work with jazz-funk explorers Sons of Kemet, electronic fusionist Floating Points, and UK rapper Kano. It’s the first time Yorke and Greenwood have collaborated on a major project outside of their main gig, and, not coincidentally, A Light for Attracting Attention sounds more like a proper Radiohead album than any of the numerous side projects the band’s members have done on their own.
We’ve got Greenwood’s lattice-like fingerpicking and saintly electric guitar tone. There’s Yorke’s voice, still in pristine form, wailing like an angel in limbo and gnashing like a punk who woke up on the wrong side of the gutter. There are synths and Greenwood’s sidelong orchestral flourishes signaling end times. Longtime producer Nigel Godrich is in the control room, giving each sound an immense and terrifying and beautiful glow. How about some wonky rhythms that keep your mind from slipping into passive mode? Yep, lots of those too. All due respect to the guys from Radiohead who are not in the Smile, but if A Light for Attracting Attention were presented as the triumphant follow-up to the group’s last album, 2016’s A Moon Shaped Pool, I’d bet that most people would have happily been fooled.
From: https://pitchfork.com/reviews/albums/the-smile-a-light-for-attracting-attention/

The Smile are an English rock band comprising the Radiohead members Thom Yorke (vocals, guitar, bass, keys) and Jonny Greenwood (guitar, bass, keys) with the drummer Tom Skinner. They are produced by Nigel Godrich, Radiohead's longtime producer. They incorporate elements of post-punk, progressive rock, Afrobeat and electronic music. The Smile worked during the COVID-19 lockdowns and made their surprise debut in a performance streamed by Glastonbury Festival in May 2021. In early 2022, they released six singles and performed to an audience for the first time at three shows in London, which were livestreamed. In May, the Smile released their debut album, A Light for Attracting Attention, and began an international tour.  From: https://en.wikipedia.org/wiki/The_Smile_(band)

Lithium X-Mas - Hip Death Goddess

 #Lithium X-Mas #psychedelic rock #art rock #indie rock #rock #psychedelic punk #1980s #Ultimate Spinach cover

Psychedelic art-rock pioneering band from Texas, Lithium X-Mas,was formed in Dallas, Texas, in 1985. They emerged from the punk scene that included the likes of Nervebreakers, Butthole Surfers, Vomit Pigs, and Horton Heat. The band played a diverse array of venues, from seedy warehouses to psychedelic theme parties to Dallas' legendary, upscale Starck Club. Lithium's first forte was the excavated cover song, bringing their own twisted spin to tunes such as Nilsson's 'Jump into the Fire,' Lemon Pipers' 'Green Tambourine,' and Ultimate Spinach's 'Hip Death Goddess.' Forward looking, but still informed by deep excavation of eclectic record collections, Lithium's fans included Sonic Youth, with whom they shared bills and who advertised them on their guitars; Nirvana, who were inspired by the name for some of their source material; the Butthole Surfers, whose drummer King Coffey signed them to his record label; and many others.  From: https://www.forcedexposure.com/Artists/LITHIUM.X.MAS.html

Indigo Girls - Kid Fears

 #Indigo Girls #Amy Ray #Emily Saliers #folk rock #contemporary folk #singer-songwriter #Michael Stipe #1990s

Amy Ray: "'Kid Fears' is about the difficulty of growing up, getting into a world where people know where your hiding places are and what your secrets are. In the third verse, when I say 'Skipping stones/We know the price now,' that's specifically about the music industry. I used the image of skipping stones because the flatter and smoother the stone is, the better it skips and the more spin you put on it the farther it goes. When I say smooth, I'm talking about being polished and dressing right. 'We know the price now/Any sin will do' - there's a lot of things you can do to get further in the industry, and a lot of them, to me, are sins, because they're compromises. I stick to principles too much. I have a real short temper and tend to be outspoken. It's like, one person says something like 'Oh, when the paychecks start rolling in you'll change your mind about that,' can make you say 'Well fuck you, because I'm never going to change, I'm always going to feel this way and I know I am.' You have to be really strong, and remember that you're getting to play and that's really what you want to do."  From: https://songmeanings.com/songs/view/49044/

The Indigo Girls are an American folk rock duo consisting of singer-songwriter/guitarists Emily Saliers and Amy Ray (who has also released six albums as a solo act). After meeting in grade school and beginning their musical collaboration in college, they have been performing together since the late 1980s and as of 2019 are embarked on an international tour with the University of Colorado Symphony Orchestra. They are known for their complementary vocal and guitar arrangements and popular songs "Closer to Fine", "Galileo", and "Power of Two", as well as for their activism both on behalf of and apart from the lesbian community.  From: https://tvtropes.org/pmwiki/pmwiki.php/Music/IndigoGirls

Gaate - Foelgje

 #Gaate #folk rock #folk metal #progressive rock #electronica #progressive metal #Norwegian

Gaate was founded by the Sundli siblings, Sveinung and Gunnhild, in 1999. Their unique combination of traditional Norwegian folk music and explosive progressive rock soon took them from a basement rehearsal room to many of the biggest stages in Scandinavia. The sibling’s profound passion for traditional Norwegian folk music has always been the base of Gaate’s sound and vision, and they continue to create vibrant new music on a foundation of traditional material. At the same time they have an urge to create and compose original songs, and they are producing new material which is allowing them to explore their sound and vision differently but still with roots in the traditional.  From: https://gaate-music.com/about-gaate/ 

Gaate is a band from Trøndelag, Norway, playing Norwegian folk music bred with metal, electronica, sometimes called progressive folk-rock. While some songs are original, many come from traditional Norwegian folk songs. Some songs are based on the poems of the Norwegian poet Astrid Krogh Halse. These include "Følgje" ("Companion") and "Stengd Dør" ("Closed Door"). The music consists of guitars, violins, synthesizers/keyboards, drums, and the distinctive voice of Gunnhild Sundli.  From: https://sonichits.com/video/G%D0%B5te/Jygri

Peter Green's Fleetwood Mac - Rattlesnake Shake

 #Fleetwood Mac #Peter Green #blues rock #British blues revival #heavy blues rock #psychedelic blues #1960s

Peter Green formed Fleetwood Mac with Mick Fleetwood in 1967; the pair had met playing in bands in 1960’s London. They played in Peter B’s Looners and then the subsequent Shotgun Express, a short-lived R&B group that featured a young Rod Stewart as the vocalist. In addition to this, Green played guitar in John Mayall and the Bluesbreakers, an iconic band that has featured some of Britain’s best musicians — he had joined to replace none other than Eric Clapton himself. Clapton had become a superstar with Cream, and Green wanted to replicate that for himself.
The long and highly mythologised history of Fleetwood Mac was to start when Bluesbreakers drummer Aynsley Dunbar left the band to join the new Jeff Beck Group, a band that would become legendary in itself. Without a drummer, Green suggested Fleetwood join, and Mayall agreed. The line up of The Bluesbreakers then consisted of Green, Fleetwood, Mayall, and bass player John McVie. Mayall had given Green some free recording time as a gift, and so he, Fleetwood and McVie recorded five songs. The fifth of these was an instrumental named ‘Fleetwood Mac’, after the instrumental section of The Bluesbreakers, “Mac”, being short for McVie. After this short recording session, Green proposed to Fleetwood that they form a new band. The pair headhunted McVie as bassist and attempted to entice him by using the name Fleetwood Mac. Unsurprisingly, rather than risk it with a new band, McVie opted to keep his steady income, and declined. Forgetting about McVie for the meantime, the duo hired slide guitarist Jeremy Spencer and bassist Bob Brunning; Brunning joined the band on the fairly harsh condition that if McVie agreed to join, he would leave. Brunning would only play a handful of shows with the new band, and this first iteration of many would debut live on 13th August 1967 at the Windsor Jazz and Blues Festival as ‘Peter Green’s Fleetwood Mac, also featuring Jeremy Spencer.’ Within a few weeks of this show, John McVie agreed to join the band in what is now a legendary lineup change.
This second iteration of the band would have hits with Green’s compositions of ‘Black Magic Woman’, ‘Albatross‘, ‘Man of the World’, ‘Oh Well’ and ‘The Green Manalishi’. They remain fan favourites, cherished particularly among Mac purists. Along with these hits came international recognition, and of course, excess. The band released their second album, Mr Wonderful, in August 1968 and went on their first of many American tours. In an anecdote stereotypical of the time, they hung out with The Grateful Dead in San Francisco and were offered LSD, amongst other things, by the Dead’s now-legendary purveyor of psychedelics, Owsley Stanley. By December things had changed. At the start of a 30-date tour in New York, the band finally succumbed to Stanley’s pervasive products. This was the start of the end for Peter Green’s Fleetwood Mac, including Jeremy Spencer. It is well documented that Peter Green’s unselfish nature allowed the then-members of Fleetwood Mac to thrive musically, and without him, they would not be the band we know today. This is true, regardless of how third guitarist Danny Kirwan felt; he had joined as an eighteen-year-old in 1968 and didn’t connect personally with Peter Green.
It is interesting to note though, that both Green and Kirwan’s mental states visibly started to change after the release of 1969’s single, ‘Man of the World’. Both were taking large doses of LSD, and Green had adopted a form of Buddhism influenced by Christianity — Green started wearing white robes and a crucifix around his neck. The frontman also became concerned with accumulating wealth, and Fleetwood recalls: “I had conversations with Peter Green around that time, and he was obsessive about us not making money, wanting us to give it all away. And I’d say, ‘Well you can do it, I don’t wanna do that, and that doesn’t make me a bad person.'” In a story as old as rock and roll itself, tension and drug use finally engulfed the band.  From: https://faroutmagazine.co.uk/why-peter-green-quit-fleetwood-mac/

Brother Dege - Hard Roe To Hoe

 #Brother Dege #Dege Legg #folk #Americana #alt-country #alt-roots #delta blues #Southern folk-rock #psychedelic country #singer-songwriter

Brother Dege Legg is one of the best-kept secrets in Louisiana; a musician, writer, outsider artist, and heir to a long line of enigmatic characters birthed in the slaughterhouse of the Deep South. It’s a been a wild ride for this boy. Like the mad love child of Son House and William Faulkner, Legg has burned a colorful trail through the Promised Land, working odd jobs, hitchhiking, studying philosophy, writing books, and experimenting with psychedelics - all while passionately championing the Deep South, but also clashing with its pecking orders, prejudices, and parochial narrow-mindedness.
Growing up, there were few promising opportunities for young man of Legg’s stripe in Cajun country and things eventually got difficult and strange: chronic bouts of depression, habitual drug use, small town drama, and arrests soon became routine. During one gloomy episode - deflated, broke, and strung out - Legg climbed the Mississippi River Bridge in Baton Rouge, determined to dive into the next life, but after a last minute change of heart, humbly climbed back down and vowed to find a better way to exist. He immediately drove himself to rehab in a stolen Camaro and rededicated himself to his creative pursuits, namely songwriting. He formed the southern tribal rock band, Santeria who had a 10-year run of chaos and bedeviled kookiness (1994-2004). After four albums, they disbanded in an anarchic heap of bad luck, poverty, exhaustion, and voodoo curses they suspected were cast on the band to hasten their demise.
Legg spent the next year living in low-rent motels and trailer parks, writing new songs that tapped into the haunting style of the Delta Blues greats. With an odd ease, the songs poured out, spitting new life into the genre, not by hackneyed imitation, but by infusing original Delta - slide songs with his own experience of growing up in the Deep South - young, white, alienated, and lost. Legg’s Robert Johnson-on-Thorazine-style slide work paired with his droning-rural psychedelia brought the backwoods sounds of Louisiana (hurricanes, cows, cicadas) to life while remaining firmly rooted in the troubled and death-obsessed masters. This batch of songs became the first Brother Dege release, the now critically-acclaimed Folk Songs of the American Longhair (2010) - a record that Quentin Tarantino later referred to as “almost like a greatest hits album” of new Delta blues.
Home-recorded in Alan Lomax-like austerity, the album delivered postmodern tales of desperate southerners, apocalyptic prophecies, midnight angels, hippie drifters, burning barns, and the endless ghosts that haunt the history of the Deep South. Quietly self-released with no distribution, no representation, and absolutely no hype, Folk Songs of the American Longhair quickly earned 4-star reviews and gained the attention of numerous tastemakers in film and TV, scoring sync placements on Discovery Channel’s After the Catch, Nat Geo’s Hard Riders, women’s cycling documentary Half the Road, Netflix’s The Afflicted, and most notably hand-picked by Quentin Tarantino for inclusion in the movie and soundtrack to Django Unchained.  From: https://www.last.fm/music/Brother+Dege/+wiki

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