Archive for October, 2007

NEWBURGH’S FAVORITE SON FOLLOWS THE RAINBOW PATH TO LABEL LIBERATION

This was posted by Trent Reznor on the Nine Inch Nails website earlier this week, announcing the online release of Saul Williams’ anticipated new album, The Inevitable Rise and Liberation of Niggy Tardust, produced by Reznor himself.  This marks the second artist to toss a much-deserved stone at the record industry machine, and a big congrats goes out to our main man from Newburgh, NY for this brave move.  IRT has already forked out the fin for their copy, so readers, please don’t be cheap bastards and cop this for free.  This man deserves your support. Thank you. -Ed.
As many of you know, I’ve been working closely with Saul Williams on his new record. We’ve spent many hours together in hotel rooms, busses, backstages and studios around the world working on something we knew was great. This is the most involved I’ve been with any project outside NIN since Antichrist Superstar, and I’ve been impatiently waiting for the chance for you to hear it.
Well… guess what?
The Inevitable Rise and Liberation of NiggyTardust! has arrived!
After my own recent dealings with record labels we decided to release it directly to you. Head over to www.niggytardust.com for all the details. Register now and you can download the record November 1st.
Working on this project was a real pleasure. Saul was interested in breaking boundaries / crossing genres / defying expectations and we learned a great deal from one another in the process. When asked about the sound of the record, I’ve had to resort to ”… I really don’t know HOW to describe it.” That’s a good thing more than ever these days.

A word on the way we’ve chosen to release this.
There are obvious similarities in how Radiohead just released their new record and the way we’ve chosen to. After thinking about this way too much, I feel we’ve improved upon their idea in a few profound ways that benefit you, the consumer. You obviously will be the judge of this in the end. One thing that IS very different in our situation is that Saul’s not the household name (yet!) that Radiohead is, and that means we need your support on this more than ever. If you like what you hear, spread the word.

I hope you enjoy the music,

TR

CBGB’S UPDATE: BLASPHEMY INCARNATE

From Rollingstone.com. Brings a New Yorker to real tears:

CBGB’S VACANT SHELL TO HOUSE DESIGNER SUITS AND OTHER THINGS WE

CANNOT AFFORD


The space that was once occupied by New York punk landmark CBGB, shuttered since its farewell run last October, will soon be filled with the designer suits and upscale fragrances of a John Varvatos boutique. The designer hopes to move into the vacant spot along the Bowery by March. If cancer hadn’t recently claimed CBGB founder Hilly Kristal, this news might have. The boutique is just the latest addition to hit the formerly dilapidated Bowery strip: Whole Foods and Starbucks were recently constructed as the street continues to morph from punky to yuppie. While we’re a bit pained picturing cash registers where Talking Heads and the Ramones once performed, New York City blog Gothamist points out that Varvatos is kind of a rock-star designer — Iggy Pop was a model in his fall 2006 ad campaign, and Alice Cooper, Slash and Ryan Adams have donned his designs. Still, we’d rather reminisce about better days at 315 Bowery.

SOMEDAY WE’LL FIND IT…A RAINBOW CONNECTION…

RADIOHEAD

In Rainbows (Self-released)

 

The question that arises when one listens to Radiohead’s new album In Rainbows consists of trying to figure out if it’s a good album because it’s actually good or if it’s good because Radiohead did something completely unprecedented and ridiculous. 

 

In Rainbows is a step beyond where 2003’s Hail to the Thief left off. Hail to the Thief was a pleasant merging of the two extremes of the band’s career–the electronic mayhem of the early millenium with the grungy Brit-rock of the 90’s–and it gave way to an innovative and awesome record. In Rainbows is this merging, but beyond that. It’s short, it’s sweet. It’s to the point. I’ve heard that this album doesn’t leave you wanting more, but for me it does. I feel like it’s over just as I’m starting to settle in. Nine songs, ending around the forty-three minute mark.

Thom Yorke’s lyrics, as always, are self-deprecating, introspective, often upsetting, always dark. They’re going along the same vein as The Bends and Pablo Honey did in the sense that they’re listenable and you’re not trying to pick at them and figure out what the meaning is. When you have someone singing to you something like “I’ll stay home forever/where two and two always makes a five” (from ”2 + 2 = 5” off of Hail to the Thief)  you have to wonder what that means. But In Rainbows‘ first track 15 Step sees Yorke opening up with “How come I end up where I started?/How come I end up where I belong?” like he’s trying to figure out why he can’t escape his comfort zone.

 

The songs on this album are both accessible and wrought with fear, which makes sense since Thom Yorke was quoted pointing out that the songs were written from a point where the band really had no idea what the future held.  “Bodysnatchers” brings us back to The Bends era, and Yorke tells us he has no idea what he’s talking about.  The terror is evident.  On “Nude”, he claims “You’ll go to Hell for what your dirty mind is thinking.”  Yeah, illegal downloading is, I’m sure, the eighth deadly sin.  “Weird Fishes/Arpeggi” is wistful and is the first time on the album where you feel any sort of release.  Despite grotesque imagery and harrowing lines about hitting bottom, there’s always the escape mentioned.

 

Maybe it’s the freedom of not being on a label right now?

 

“House of Cards” revisits the floating feeling of “Weird Fishes/Arpeggi”, but with half the comfort—a song about being in love with a married woman.  Two songs later, the album shuts down with Videotape, and Yorke says, perhaps prophetically, “When I’m at the pearly gates/This’ll be on my videotape.”  No joke, either, because In Rainbows is probably the endeavor Radiohead will be remembered for.


Generally, while Radiohead has made a living off of showing their fear, this album feels quite laid back despite the place it was coming from and the time it was being recorded. It’s almost like they’re breathing a sigh of relief. Like, “Hey, check it out. We don’t have a deadline. We don’t have to abide by anyone’s rules. We don’t have to sign anymore contracts. We can do what we want.” And that’s what they did.

And I think that’s what they want everyone else to do.

-Nicole Wertheim

JOEY BISHOP R.I.P.

From Yahoo! News:

Members of the 'Rat Pack,' from left, Frank Sinatra, Dean Martin, Sammy Davis Jr., and Joey Bishop, perform at the Sands Hotel in Las Vegas Jan. 20, 1960.  Bishop, the stone-faced comedian who found success in night clubs, television and movies but became most famous as a member of Frank Sinatra's boisterous Rat Pack, has died at his home, his publicist said Thursday. Oct.. 18, 2007. (AP Photo)

AP Photo: Members of the ‘Rat Pack,’ from left, Frank Sinatra, Dean Martin, Sammy Davis Jr., and…

Slideshow: Joey Bishop dies

By JEFF WILSON, Associated Press Writer 2 minutes ago

LOS ANGELES - Joey Bishop, the stone-faced comedian who found success in nightclubs, television and movies but became most famous as a member of Frank Sinatra’s Rat Pack, has died at 89.


He was the group’s last surviving member. Peter Lawford died in 1984, Sammy Davis Jr. in 1990, Dean Martin in 1995, and Sinatra in 1998.

Bishop died Wednesday night of multiple causes at his home in Newport Beach, publicist and longtime friend Warren Cowan said Thursday.

The Rat Pack became a show business sensation in the early 1960s, appearing at the Sands Hotel in Las Vegas in shows that combined music and comedy in a seemingly chaotic manner.

Reviewers often claimed that Bishop played a minor role, but Sinatra knew otherwise. He termed the comedian “the Hub of the Big Wheel,” with Bishop coming up with some of the best one-liners and beginning many jokes with his favorite phrase, “Son of a gun!”

The quintet lived it up whenever members were free of their own commitments. They appeared together in such films as “Ocean’s Eleven” and “Sergeants 3″ and proudly gave honorary membership to a certain fun-loving politician from Massachusetts, John F. Kennedy, at whose inauguration gala Bishop served as master of ceremonies.

The Rat Pack faded after Kennedy’s assassination, but the late 1990s brought a renaissance, with the group depicted in an HBO movie and portrayed by imitators in Las Vegas and elsewhere. The movie “Ocean’s Eleven” was even remade in 2003 with George Clooney and Brad Pitt in the lead roles.

Bishop defended his fellow performers’ rowdy reputations in a 1998 interview.

“Are we remembered as being drunk and chasing broads?” he asked. “I never saw Frank, Dean, Sammy or Peter drunk during performances. That was only a gag. And do you believe these guys had to chase broads? They had to chase ‘em away.”

Away from the Rat Pack, Bishop starred in two TV series, both called “The Joey Bishop Show.”

The first, an NBC sitcom, got off to a rocky start in 1961. Critical and audience response was generally negative, and the second season brought a change in format. The third season brought a change in network, with the show moving to ABC, but nothing seemed to help and it was canceled in 1965.

In the first series, Bishop played a TV talk show host.

Then, he really became a TV talk show host. His program was started by ABC in 1967 as a challenge to Johnny Carson’s immensely popular “The Tonight Show.”

Like Carson, Bishop sat behind a desk and bantered with a sidekick, TV newcomer Regis Philbin. But despite an impressive guest list and outrageous stunts, Bishop couldn’t dent Carson’s ratings, and “The Joey Bishop Show” was canceled after two seasons.

Bishop then became a familiar guest figure in TV variety shows and as sub for vacationing talk show hosts, filling in for Carson 205 times.

He also played character roles in such movies as “The Naked and the Dead” (”I played both roles”), “Onion-head,” “Johnny Cool,” “Texas Across the River,” “Who’s Minding the Mint?” “Valley of the Dolls” and “The Delta Force.”

His comedic schooling came from vaudeville, burlesque and nightclubs.

Skipping his last high school semester in Philadelphia, he formed a music and comedy act with two other boys, and they played clubs in Pennsylvania and New Jersey. They called themselves the Bishop Brothers, borrowing the name from their driver, Glenn Bishop.

Joseph Abraham Gottlieb would eventually adopt Joey Bishop as his stage name.

When his partners got drafted, Bishop went to work as a single, playing his first solo date in Cleveland at the well-named El Dumpo.

During these early years he developed his style: laid-back drollery, with surprise throwaway lines.

After 3 1/2 years in the Army, Bishop resumed his career in 1945. Within five years he was earning $1,000 a week at New York’s Latin Quarter. Sinatra saw him there one night and hired him as opening act.

While most members of the Sinatra entourage treated the great man gingerly, Bishop had no inhibitions. He would tell audiences that the group’s leader hadn’t ignored him: “He spoke to me backstage; he told me `Get out of the way.’”

When Sinatra almost drowned filming a movie scene in Hawaii, Bishop wired him: “I thought you could walk on water.”

Born in New York’s borough of the Bronx, Bishop was the youngest of five children of two immigrants from Eastern Europe.

When he was 3 months old the family moved to South Philadelphia, where he attended public schools. He recalled being an indifferent student, once remarking, “In kindergarten, I flunked sand pile.”

In 1941 Bishop married Sylvia Ruzga and, despite the rigors of a show business career, the marriage survived until her death in 1999.

Bishop, who had one son, Larry, spent his retirement years on the upscale Lido Isle in Southern California’s Newport Bay.

___

Associated Press Writer Bob Thomas contributed to this report.

IN HONOR OF DAVID LEE ROTH REUNITING WITH VH…

From the wonderful Smuggled Sounds site on Blogger, a live testament to DLR’s 1986 band featuring Steve Vai, Billy Sheehan and Greg Bissonette, which in my opinion was BETTER than VH on their best day - Ed.:

David Lee Roth - Live in Toronto

In late 1985, Roth assembled a band that many considered a supergroup, composed of guitarist Steve Vai, bass player Billy Sheehan and drummer Gregg Bissonette. He later enlisted Van Halen producer Ted Templeman to produce the band’s debut album. Eat ‘Em and Smile saw Roth return to hard rock music, and met with huge commercial success. In interviews around this time, Roth claimed that he had recorded additional Spanish and Portuguese language versions of the album, but to date only one of these, the Spanish language (all songs sung in Spanish) version titled “Sonrisa Salvaje”, appeared. The Eat ‘em and Smile Tour was one of the most successful concert tours of 1986.

David Lee Roth - Live In Toronto 1986

Source AUD Sound Quality A+ Format mp3 Bitrate 192 Tracks 20

COMPANY FLOW REUNION - IS IT TRUE?

From Bitchforkmedia.com:
If this truly does happen tomorrow night, that would be the SHIZZ@!
Company Flow to Reunite? CMJ: it’s happening. And, given the chaotic, scattered nature of the proceedings, it’d be easy for something big to get lost in the fray. (One shudders at the thought of something, somewhere going unblogged). But when we caught wind of this, well, we knew it’d be worth salvaging from the white noise.

Company Flow, the now-iconic hip-hop trio featuring El-P, Mr. Len, and Bigg Jus– more or less dormant since the turn of the century– will hope to reunite for Def Jux’s big (and previously reported) showcase at Brooklyn’s Music Hall of Williamsburg this Friday (October 19).

***UPDATE: While a Def Jux rep initially confirmed the reunion, the group’s publicist has informed us that it is NOT YET CONFIRMED. The official word from El-P: “I don’t want to make any official announcement on anything as nothing is confirmed yet, but if all goes right the fans will be getting more than is advertised on the bill. If all goes right we will be rocking songs we haven’t done in years. It [may] mean all of us, it may mean two of us…and possibly it may not happen at all. I will know more later this week.”

Provided it happens, this is big for reasons both musical– OMG Funcrusher Plus (which turned 10 this year, by the way)– and personal, as El-P and Bigg Jus will reportedly have to mend a bridge or two to pull this one off. There’s even been some talk of reissuing some Co Flow material, though that, at the moment, is just talk.

Even without this news, that showcase is one to check out, with Junk Science, Hangar 18, the Mighty Quinn, Mr. Dibbs, Yak Ballz, Despot, Activator, Cool Calm Pete and other special guests all slated to appear. El-P, as you should know by now, also dropped the Recommended I’ll Sleep When You’re Dead LP this year.
Link-arrowVideo: Company Flow: 8 Steps to Perfection [from the Funcrusher Plus LP]

ZOMBI KEYBOARDIST STEVE MOORE LISTS HIS TOP 5 ALL-TIME SYNTH CLASSICS

Story: Ron Hart

Sci-fi instrumentalists Zombi create some of the creepiest analog soundtracks to your worst nightmares since Wendy Carlos’ haunting work for Stanley Kubrick’s The Shining. However, on his solo debut for Relapse Records, entitled The Henge, keymaster Steve Moore has created a snythesized symphony more on par with Rebecca DeMornay’s hot train fuck scene in Risky Business than running into the scariest girls of all time in the hall of the Overlook Hotel. To celebrate this most excellent release, IRT recently asked this modern-day Vangelis for the doom-metal set to list his five favorite synth-based albums of all time, and here’s what he gave us:

Tangerine Dream Stratosfear

Best of Artist and Best of Genre, definitely. This was the first Tangerine Dream album I heard, and really the album that got me interested in Berlin School-style electronic composition in the first place. The combination of stark, minimal bass sequences against a wash of mellotron and blues-based guitar licks opened new worlds for me. Every time I listen to this album I get the same feeling I did when I first heard it.

Michael Hoenig Departure From The Northern Wasteland.

Hoenig’s propulsive sequencing and dramatic synth leads give this album a sense of urgency and motion that draws the listener in, whisking him or her away to far off, fabled lands. I probably didn’t need to include “her” in that last sentence.

John Carpenter Halloween III: Season of the Witch Soundtrack

Though the film’s worth has been debated for decades, the soundtrack is untouchable.

Frantic and lopsided sequences with gnarly, cross-modulated Prophet 5 stingers. There are very serene moments as well, giving this soundtrack a depth rarely achived in either horror film soundtracks or electronic albums. And for the record, I really did like this movie.

Klaus Schulze Moondawn

It is difficult to accept that a man made this album, and that it hasn’t always existed like the elements. This album is as spacey and droney and lush and dreamy and hypnotic as anything you could hope to ever imagine - only Schulze imagined and realized all of this over 30 years ago. For reference: “Don’t Go Breaking My Heart” by Elton John and Kiki Dee and “Silly Love Songs” by Wings were the top singles of that year.

Steve Roach The Magnificent Void

While it isn’t quite old enough to have achieved classic status (recorded in 1996), it is rapidly becoming one of my favorites. The 20-minute-long closing track, “Altus,” is a dark and vast soundscape built around a simple, repetitive chord progression, but the result is so massive and climactic one might feel pangs of withdrawal when the track inevitably ends.

Nico Hearts Tangerine Dream

Big thanks to DC Share on Blogspot for the schoolin’ on this gem! -Ed.
Nico & Tangerine Dream -
Atmospherics a Notre-Dame

1974-12-13 - (Bootleg)

Download:
http://massmirror.com/7a2d4570055c813…09.html

Cover & Info: http://www.bootlegzone.com/album.php…D-1

Info:
For many music fans, the importance of Nico lies with her performance as part of the Velvet Underground, and especially her vocals on Femme Fatale, All Tomorrow’s Parties, I’ll Be Your Mirror and Sunday Morning. But by 1967, she had already parted ways with The Velvet Underground, and she would continue to build a formidable career as a singer.

According to the wikipedia, on December 13, 1974, Nico was the support act at Tangerine Dream’s infamous concert at Reims Cathedral in north-east France. The promoter had so greatly oversold the capacity of the venue that attendees could not move or reach the outside, eventually resulting in some fans urinating inside the cathedral hall. As a result, the Roman Catholic Church denounced these actions, ordered the rededication of the cathedral and banned future gigs on church property.

This FM broadcast of Nico at Reims mostly focuses on Nico and her harmonium, probably with the exception of the final track, Atmospherics, which features Tangerine Dream and their space rock. Of the six tracks, three are from Nico’s 1970 Desertshore album, while two come from 1974’s The End. Nico is gracious but it is that melancholic, Eastern European touch (brought to full bloom by Arvo Part) that comes through, especially on her cover of The End. Years later, under the sponsorship of filmmaker David Lynch, Jocelyn Montgomery would try and rethread the path taken earlier by Nico. But within the confines of the Reims cathedral, the sincerity in Nico’s delivery cannot be fudged or mistaken for anything else.

Tracklist:
01 Janitor of Lunacy
02 The Falconer
03 Valley Of The Kings
04 The End
05 Abschied
06 Atmospherics

THE MAKES NICE RETURN WITH SECOND ALBUM OF 2007

THE MAKES NICE

This Time Tomorrow (Frenetic Records)

The Makes Nice, purveyor of the smartest and crispest contemporary pop music, releases its second long-play record of the year with This Time Tomorrow. Upon receiving the surprising news the band had already penned another record following the March release of its auspicious debut, Candy Wrapper and 12 Other Songs, I was understandably skeptical. Candy Wrapper was my favorite record of 2007 and songs like that don’t grow on trees. How could the band even come close to matching the brilliance of its first record with virtually no turnaround? Amazingly, the band somehow upstages its debut with a record teeming with glorious, harmony-laden pop songs. Aaron Burnham’s vocals have improved dramatically and they were already evocative. Josh Smith’s guitar playing is customarily astounding and Jack Matthew’s thunderous drumming propels the whole damn thing. Bolstered by Do It Again, the catchiest single of recent memory, the album plays like a greatest hits record. Melody, Please, You Want Me Bad, Don’t You Understand, and the aforementioned Do It Again, are songs that would have been 1960’s radio mainstays and deserve to be hits today. Did these guys sell their souls to invent hooks like these? Even less accessible songs like Got It Wrong From The Start and When It’s All Gone are tunes that would serve as high-water marks in lesser bands’ catalogues. As with Candy Wrapper, the band achieves a nearly perfect balance between musicianship and song craftsmanship. Despite its embarrassment of musical riches, the band never shows off; every sound is fashioned to serve the song. All this adds up to The Makes Nice’s authoring of the two best records of 2007. The boys kick off their East Coast tour in early October (their New York appearances are on October 10th and 12th). So uncross your arms, strap on your dancing shoes, and abandon playoff baseball for at least one night.

Frank McGar