Nice, loud note to go out on.

Dave Navarro rocks.

Thievery Corporation will be performing live with Seu Jorge and special guests Bebel Gilberto and Federico Aubele at SummerStage in Central Park on Thursday June 26, 2008 from 6:00-10:00pm.Tickets are $59.50 if purchased in advance or $65.00 on the day of the show.

This show is a benefit concert for Central Park SummerStage presented by LiveNation.

Central Park SummerStage is located at Rumsey Playfield in Central Park. Enter the park at 69th Street and 5th Avenue on the east side or at 72nd Street and Central Park West on the west side.

If you are unfamiliar with Thievery Corporation, here is a review of their latest CD called  The Cosmic Game.

Thievery Corporation: The Cosmic Game

From the first note of Thievery Corporation’s fourth album, The Cosmic Game, it takes the listener a matter of moments to realize that they are listening to the leaders of the down-tempo beats and chill-out sounds genre. Transported back to a time when stars didn’t beat you over the head with choruses and catchy hooks, The Cosmic Game soothes the soul with a melodious utopia of musical harmonies and is a gem that once again vaults this soulful duo to the elite status as one of the top U.S electronica acts.

            Rob Garza and Eric Hilton have once again managed to surpass their previous efforts with their latest release. Departing from the emotionally-charged “The Richest Man in Babylon,” the beautiful intellectualism of “The Mirror Conspiracy,” and the hypnotic minimalist “Sounds From the Thievery Hi-fi”, Thievery Corporation treads new ground with their new sonic masterpiece.

After achieving international success with their hit “Lebanese Blond,” (Mirror Conspiracy), Thievery Corporation definitely felt pressure to find a new way to expand their distinct sound and were forced to expand their musical boundaries. If this album’s successful debut at number two on the BBC’s UK Dance Chart is any indication, they have managed to once again strike gold and what makes this an especially amazing feat, is that they are on an independent label, ESL, and have no major corporate sponsors backing them.

             Unlike previous albums, The Cosmic Game, boasts an impressive line-up of collaborating artists. The Flaming Lips helped to create the CD’s first track, the hauntingly beautiful, Pink Floyd-esque Marching The Hate Machines (Into the Sun), while Indy-Alternative rocker Perry Farrell, takes a slightly different turn with his rastified-vocals on Revolution Solution. In addition to Farrell, Thievery Corporation got another famous lead singer in Talking Heads’ front-man David Byrne, to lends his vocals and quasi-paranoia to the funky horns of The Heart’s A Lonely Hunter.

            Although this impressive line-up of guests might overshadow other artists, Thievery Corporation holds its own by weaving a psychedelic tapestry of sounds that incorporates these stars and other not-so-well-known collaborating artists. This fusion of different sounds is what vaults Thievery Corporation light-years ahead of their imitators.  Each song is crafted to highlight the instrumental magic that Garza and Hilton infuse throughout the album, while still giving their collaborators the freedom to have their own sounds.

            Formed in Washington D.C., Thievery Corporation’s stateside style has transcended international boundaries and garnered the group fans from around the globe. Although their beats manage to cross international culture barriers with ease, the group continues to remain rooted to certain influences like the rhythmic drums of Brazil. The album’s musical ride sets listeners on a soulful journey and makes stops at majestic locations where the listener can almost feel the Jamaican influence of Notch (Amerimacka) as he blows a soothing West Indies breeze or they can enjoy the mind-melting vocals of eastern superstar Gunjan as he brings new meaning to the words hypnotic.

If you let them, Thievery Corporation will give you a dose of their hypnotic medicine and leave you wanting more. Be prepared for feel the hallucinogenic effects of traveling through what might be the musical equivalent of the solar system. The Cosmic Game is more than just listening pleasure. It is a journey that that invites listeners to open the doors of perception and the more willing you are to let go and allow yourself to become enveloped by the sounds, the more likely you are to get caught up in Thievery Corporation’s solid sounds.

Jane’s Addiction
Relapse Tour
Universal Amphitheatre
November 18, 1997

***
Part three of a five-part series I am doing this week on Classic Reunions. Each day I will add a new photo of a featured artist and that band’s classic reunion.
***

Jane’s Addiction had their first major break up in 1991, right after their final famous Honolulu gig in which Perry Farrell and drummer Stephen Perkins played a couple of tunes butt naked. Sadly, they were at the height of their game in terms of recognition and creative energy. Farrell formed Porno for Pyros while Dave Navarro joined the Red Hot Chili Peppers, replacing John Frusciante who was let go for drug use. Neither RHCP with Navarro or Porno for Pyros were able to generate the raw energy of their original incarnations. In 1997 Jane’s Addiction announced the Relapse Tour, but bassist Eric Avery refused to join, and was replaced by the Chili Peppers’ Flea. Though Flea is a kick-ass player, there was a raw, dirty and dangerous punk rock edge to Avery and Jane’s never felt quite the same without him. They had also developed a flashier and more flamboyant style, and it seemed that wearing expensive designer clothing outweighed the importance of the music. Again, the music still rocked, but the dangerous edge that was synonymous with Jane’s Addiction – that sense that anything could happen at any minute – was gone.

Photographed with my Canon EOS-1 and a Canon 28mm-70mm Canon f5.6 lens. Shot on Fujichrome film.

Henry Rollins
Rollins Band
Lollapalooza ’91
Irvine Meadows Amphitheatre : Irvine, Ca
July 21, 1991

This is the first of a five part series I am doing this week that captures Amazing Screams. Each day I will add a new photo of a featured artist and their classic scream.

The thing about Henry Rollins is that he has never been a screamer. He has always been a power singer – that applies to his solo career and the Black Flag years. Rollins’ screams were more like a volcano – the pressure builds and builds and then it ferociously explodes – not into the mic – but right at the fans. This was the first ever Lollapalooza Tour and the Rollins Band was the low man on the totem pole. They were the opening act every day, usually performing in front of small crowds – the venues always filled up later as the acts got bigger and bigger. I remember capturing this shot when the Rollins’ volcano erupted. It didn’t matter that the amphitheatre was scarcely populated, Rollins was not about to let the small number of fans sit in their seats and bob their heads – he wanted them on their feet and he wanted them to rush the stage. This is Rollins in complete command of his audience. You had to respect him for this. I don’t know what Perry Farrell was thinking having the Rollins Band play at 11am – maybe it was Farrell’s way of saying, “Wake up, it’s time to rock.”

Photographed on my old Canon F1 and a cheap, no name 70mm-210mm f5.6 lens. Shot on Kodak Ektachrome film.

Red Hot Chili Peppers
Rock For Choice Benefit
Hollywood Palladium
April 4, 1992

(Click photo to enlarge)

***

Part four of a five-part series I’m doing this week, featuring shots that I took while being on the stage with bands. Each day I will add a new band and a new photo.

This was a very special benefit held to raise money for the Magic Johnson Aids foundation.  Beside the night’s headliners, The Red Hot Chili Peppers, the bill also featured The Beastie Boys, Primus and the debut of Perry Farrell’s Porno For Pyros. I was really amped up for this show, it is not everyday you get a chance to see A-Level bands like this in a smaller venue such as The Palladium.

As the Chili Peppers kicked off, I shot the first few songs from inside the barricade, and then went to get a drink. The bar was charging crazy money for sodas and water. At this point I was both a starving artist and working my way through college. So, I decided to try to make my photo pass work for me and find something backstage. I flashed my pass to the security guard and gave him a look like I knew where I was going. I then found a water dispenser at one of the back corners of the stage, near one of the guitar amps.

As I was drinking, the stage manager saw me and barked, “Hey, what do you think you’re doing? Get outta’ there.” There goes my free water, I thought, pitifully. But then he points to a spot on stage and tells me to shoot from there, where it is safer. Wow! I wasn’t about to argue with the guy. It's a rare and great opportunity to get on stage with bands - and it's getting more rare every day as venues put photographers further and further from the stage.

This shot was a bit difficult to get because of the spotlight that is being shined directly at me – you can see it at the top left of the photo. I had to meter and expose for Anthony’s skin tone and adjust for the spot/backlight. Remember, I was shooting film cameras back then, digital cameras only existed in sci-fi movies. The luxury of taking a shot and looking at it immediately on the back display to see if it was exposed properly was not an option – you either got it or you didn’t. Luckily, I got it.

Photographed on stage with borrowed equipment - a Canon Elan, a 70-200mm lens and an old Canon Flash. Photographed on Fujichrome film.

Jane’s Addiction – The Palace : July 11, 1989
The Father’s Rights Benefit Show

***

Part two of a five-part series I’m doing this week, featuring shots that I took while being on the stage with bands. Each day I will add a new band and a new photo.

This special show was a benefit to raise money for Norwood from Fishbone. He was in deep trouble, owing a ton of money in legal fees due to a custody battle over his child. He was dead broke and hit rock bottom. His pals from some of the hottest bands in L.A. including Thelonious Monster, Jane’s Addiction and The Red Hot Chili Peppers teamed up, and within days put together this amazing benefit show.

Jane’s Addiction had just put out their first studio album Nothing’s Shocking… the buzz was just starting, and the L.A. crowd knew that this was most likely the last time we would see Jane’s Addiction – and the Chili Peppers, who were also hitting the big time - in a club. The crowd was unbelievably fierce. Because the show was thrown together so quickly, there was no barricade for me to shoot in. I was forced to shoot from the audience, which can be almost impossible with all of the jostling, not to mention the many times I’ve tried to shoot bands while being elbowed, kicked, punched and worse.

Just before Jane’s went on, I was in the dressing room with Dave Navarro and Eric Avery. Dave’s guitar tech brought in Dave’s first custom guitar and he asked me if I could shoot a couple of photos of him holding his new guitar. Just as I finished up, we heard the roar of the crowd and the lights went dark. I started heading out to find a spot to shoot and Dave said, “Make sure you get some good shots tonight of me and my new guitar.” I explained to him that it was not going to be easy because there was no pit. Then Dave said, “Hey man, just hop on the stage with us.” That was all I needed to hear. I took the far right corner and snapped from there for the entire show.

I think losing the barricade was a blessing that night. It really helped me to capture a lot of interaction between the band and the audience that normally would not happen due to the separation between them. The band really fed off of the crowd’s energy that night and I think this photo really captures that.

Photographed with my old Canon AE-1 Program, a cheap, no name 28-80mm lens (I also used a Sunpak flash on some of the shots), using Kodak Ektachrome film.

I dag är det 2 Maj , ano 2008. Inte vilken dag som helst. I dag fyller [Wtih_Teeth] 3 år. Det märkliga kring detta är att på exakt samma dag som skivan släpptes valde min dotter att dyka upp som ett paket på posten. Eftersom jag ständigt är på jakt efter tecken från de högre makterna värdesätter jag detta sammanträffande oändligt högt. Dagen då min dotter föddes kommer Nine Inch Nails tillbaka.

Dagen till ära åkte jag och hälsade på den unga damen och hennes far. Hennes mörkbruna ögon glittrade och jag kunde se hur stolt hon var över att äntligen vara 3 år gammal, en stortjej helt enkelt. I morgon blir det kalas, tårta och hela kittet. 3-års kalas. Jag har aldrig varit stoltare.

I morgon ska jag även på 30-års kalas. Ryktet säger att det går att fynda random sport-jock's på stället. Några av mina vänner anser att jag borde sätta bollen i rullning, komma över min svårdom, skippa allt som har med rock att göra, helt enkelt försöka bli mindre cynisk och krypa ur mitt skal. Oh, well jag ska inte vara den som är den. Tusen kilo smink, den där snygga kjolen och högklackade skorna åker på. Sen att få festa med tjejerna är aldrig fel. Det blir toppen!

Dagens skiva: Perry Ferrell - Song yet to be sung

All the Love

Inspirerad av Sarah Silvermans avslöjande - och av Silvermans stora popularitet - gjorde Hillary Clinton en egen film:

Vinner Hillary valet? Blir Hillary fru Obama? Hur tar Bill det? Det får vi kanske aldrig veta. Men Sarah Silvermans exboyfriend Jimmy Kimmel svarade Sarah med samma mynt:

Inför inspelningen av videon lyckades Jimmy Kimmel dra ihop ett litet gäng bestående av:

Jimmy Kimmel själv, Ben Affleck, Robin Williams, Don Cheadle, Harrison Ford, Brad Pitt, Cameron Diaz, Christina Applegate, Benji Madden, Joel Madden, Dicky Barrett, Christopher Mintz-Plasse, Lance Bass, Dominic Monaghan, Meatloaf, Pete Wentz, Joan Jett, Huey Lewis, Perry Farrell, Macy Gray och Josh Groban

From Down Under to Over the Falls - Mink plays NF
Mink in Niagara Falls - apblake.com
Provided by: buffalo.com/yourhub Andrew Blake

Contributed by: buffalo.com/yourhub Andrew Blake on 4/14/2008

"There's a lot of love in the room tonight!" exclaimed an optimistic Neal Carlson. If love was people, by my count the number would be somewhere around forty. That is, that's the amount of people who had the esteem fortune of catching Carlson's group, Mink, perform from the stage at Niagara Fall's Hard Rock Cafe. Even if most of the love in the room was focused on Jim Morrison's framed pants, Mink treated the show as if it were a packed house. Even a packed house that served ten dollar hamburgers.

Fresh from a stint opening for Perry Farrell's Satellite Party and even a slot on his coveted Lollapalooza festival in Chicago last summer, Mink is continuing to tour the states in support of their self-titled debut album, which included a stop at the Hard Rock on Friday.

In under an hour, Mink managed to tear through most of the material from their album, including "New York Summer" and "Dematerialize." Despite the lack of a large crowd, the overly energetic wait staff and the few who made the show danced for the group's first single, "Talk to Me," putting several fifteen dollar margaritas at risk of destruction.

While most of Mink's music is best categorized as straight up rock and roll, their performance of "American Authors" could easily had been passed off as Buzzcocks cover thanks to Carlson's tremolo vocal delivery. "Pressure Pressure" took new form as bassist Grant Fitzpatrick led the tune into a new direction, carrying the song on a bass-line that transformed the song into an epic trance, worthy of Farrell's old group, Jane's Addiction.

For their encore, the group covered David Bowie's "Suffragette City," doing the song way more justice than one would imagine. Such a risky cover could be considered blasphemy by some, especially had the group not been able to rip the tune as flawlessly as they did.

"My friends ask me what they sing, and I tell them 'Nothing you would know,' but they're great!" explained Susan Swiatkowski, sales and marketing manager of the Hard Rock, who likened the group to fellow Aussie-imports Jet. While not many people had the pleasure of catching the group, perhaps just because they also don't know who they are, the few dozen that put down their forks for a minute certainly enjoyed it.

"Did you hear that? Someone said 'Good job,'" remarked percussionist Stella Mozgowa from the drum riser. Even if it was quiet enough for the band to pick out each audience member's remark, clearly those on the stage and off were enjoying themselves.

-Andrew Blake

I know that's an old story, but I just added photos today.
You can check them out here

Also:

Mink in Toronto

Mink in Cleveland

For those of you not familiar with NME, it's a huge music mag in the UK...kind of like their Spin or Rolling Stone magazine. They have an awards show over there and now they're bringing it stateside.

The trophies were handed out at the historic El Rey on Wilshire. Aussie comic Jim Jeffries was the master of ceremonies and Har Mar Superstar did some hosting too, as well as opening the show.

I spoke with Kelly Osborne, Danny Masterson, Eli Roth and other curious choices for award presenters.

Note: NO ONE wanted to interview Perez Hilton. In fact the flashbulbs ceased as soon as he stepped onto the red carpet. He stood around waiting for someone to ask his opinion on something...he's still waiting, as far as I know. I heard that he is suing someone in FLA for defamation of character...this from the guy who is making a living off slagging others. Karma's a bitch, Perez. Now, please go away.

I practically swallowed my tongue when I got to speak with Mick Jones of The Clash who was receiving the Inspiration Award. Like most rocknroll lovers, I am a HUGE Clash fan. When I asked him what inspired him, he let me in on his hobby- creating collages. Who knew a member of the Clash is a scrapbooker? Joanns Fabrics should expect an increase in sales to punk tykes and hipster crafters soon.

The big story of the night was the reunion of all four members of Janes Addiction. I had seen Perry and Dave Navarro play with Flea on bass and Stuart Copeland on drums the week before at Tom Morello's Justice Tour all star show (I know, I know. Heavy is the head that wears the hub cap diamond star halo), so I wasn't frothing at the mouth (like Danny Masterson was).

No, I was more excited to meet Mick...and this gentleman, who is one of my all time favorites...

Mr. Alice Cooper:

[vodpod id=ExternalVideo.525462&w=425&h=350&fv=css%3Dbgcolor%253A%2520%2523000000%253B] from vlaze.com posted with vodpod

I heart Alice. I want Cold Ethyl to be my first dance wedding song...is that creepy?

A couple of videos from the gig have already popped up on YouTube. It looks like Perry Farrell has managed to find some clothes that look like they were made by by a blind costume designer from 'Cats'. He was probably thinking: "What looks even dumber than Dave Navarro's nipple piercings? Mmm, I might wear a mansize black condom". Nice going, Perry.

Jane's Addiction Reunites- After a 17 year hiatus, the members of popular alternative band Jane's Addiction played live yesterday as thanks for a lifetime achievement award.  Singer Perry Farrell, guitarist Dave Navarroand drummer Stephen Perkins hit the stage at the inaugural NME Awards in Los Angeles with bass player Eric Avery, who had declined to play with the band since it first broke up in September 1991.  The band sounded fresh during four songs including "Jane Says" and "Mountain Song" in front of 4000 fans at the El Rey Theater.  "We made it and I'm really happy to be here," said Farrell, alternately guzzling from a bottle of red wine and dispensing its contents to fans in the mosh pit (Music: Janes Addiction Reunites).   The quartet received the Godlike Genius Award -- a trophy of a clenched fist with the middle finger pointed skyward -- for their contribution to the development of alternative rock.  Jane's Addiction emerged from the Los Angeles rock underground in the 1980s, distinguishing itself from other post-punk groups with Farrell's sexually ambiguous stagecraft and the musicians' deft ear for melodic tunes. They recorded just three albums and scored radio play with such songs as "Been Caught Stealing" and "Jane Says."  As many bands experience, drugs and alcohol led to the band's demise and the original lineup played for the last time in Hawaii in 1991.  They did reunite briefly in 1997 with Red Hot Chili Peppers bassist Flea coming aboard as the first of several substitutes for Avery, but their driving sound and non-stop energy has never been duplicated to date.  The last show was in December 2003 when the band cut short a tour but little has been in the works since then.  How about that folks?  Jane's Addiction is back and sounding good as ever.  Could it be they have mended their stubborn ways, or are they all broke and looking for a quick fix?  Only time will tell. 

1. Jane's Addiction will unite for an NME Awards show, where they will receive the Godlike Genius Award

"so...short story is that ive decided to do a few songs with janes addiction at the nme awards show. they are honoring the legacy of janes and therefore i have decided to participate".

The original line up will perform for the first time since September 1991 at the ceremony on Wednesday, April 23rd at the Goldenvoice El Rey Theatre in L.A. 

Hopefully the band rediscover the magic that brought them together and embark on a tour ... maybe even record some new material.  With Perry Farrell's Satellite Party seemingly stalled who could say?

2. Sunday at Devil Dirt, the second album from Isobel Campbell and Mark Lanegan, is due out May 5th.  You can expect more of the same, however the chemistry is slightly different this time around (due to the both being in the same room this time), making the whole thing sound that little better.  And if what I've heard is anything to go by, this album is a lot darker than it's predecessor.

Although Ballad of the Broken Seas was well received by critics, Lanegan fans were largely divided.  I actually enjoyed the album, but felt that 'Revolver' (Lanegan's writing contribution) was the highlight.

Sunday at Devil Dirt is again penned by Campbell and those who fell in love with the first album will no doubt fall in love all over again ... those looking for something a little bit more will not be disappointed either.

3. Scott Ford has confirmed that The Gutter Twins will be appearing on Jools Holland's 'Later ... ' on April 29th.  This is great news as it harks back to the days when I actually enjoyed watching Later as it had bands that were great, not just 'cool'.

It seems that The Gutter Twins have been well received and this just strengthens that further.  Sadly it means that some tour dates will have to be cancelled, but this exposure is certainly good news.

4. Stone Temple Pilots announced an extensive tour, which is scheduled to kick off on May 17th.  At the press conference at Harry Houdini's Estate in Hollywood, the band also performed a 30 minute set.

This comes shortly after Weiland's split from Velvet Revolver and almost certainly will result in a new album.

That's about it.

Until next time, here's two great MP3's:

The Gutter Twins: Idle Hands (the Letterman performance) and Down the Line.

... and two great video's to watch.

La década de los 90, por supuesto. Hoy le toca al turno a uno de los grupos y a uno de los discos que más aprecio tengo. Se trata del Ritual de lo Habitual de Jane's Addiction. Tercer disco del grupo, segundo en estudio, y, a día de hoy, el que más me gusta de ellos, aunque mañana bien puedo opinar que mi preferido es Nothing's Socking. Y es que a pesar de los años transcurridos, la cosa ya va para dos décadas, sigo sin decidirme. Un día el que más me gusta es uno, al siguiente, el otro.

Jane's Addiction fueron uno de esos grupos que eran alternativos de verdad a finales de los 80. En Los Ángeles todo el pastel se lo estaban comiendo esas bandas del coñazo del hard-rock. Y no es que no me gusten Guns'n'Roses o Motley Crue, pero Poison y demás engendros angelinos/californianos me parecen un tostón de mucho cuidado. Aunque hay temas y discos que me gustan, pienso que ese rollo es detestable y, afortunadamente, tan sólo coqueteé con él en mis últimos años de colegio.

Jane's Addiction fueron una de esas formaciones que ayudaron a acabar con el hair metal. En Los Ángles estaban ellos y, por ejemplo, Red Hot Chili Peppers, a quienes detesto en mayor grado que a las hair bands. Pero todas ellas comenzaron a sentar las bases del cambio. Luego llegarían Nirvana, Pearl Jam, Stone Temple Pilots y se cepillaron a los jebis de la MTV. Y, a pesar de que tampoco son de mis grupos favoritos, todo el grunge, y lo que no fue el grunge y me llegó de la mano con él, sirvieron para revitalizar la devaludada escena rockera. Devaludad, en mi opinión, por el metal, que a penas dejó respirar al rock alternativo durante la década de los 80.

Ritual de lo Habitual, gran nombre por otra parte, es un grandísimo disco. Uno de los indispensables, diría yo. Tardé en adquirirlo original, a pesar de que me gusta. No fue hasta mi etapa universitaria. Poco antes de poder ver a Jane's Addiction en directo. En su regreso de 2002, antes de que se publicase Strays. Gran concierto el que les vi en el Festival de Leeds en agosto de 2002. Escenario grande pero con suma facilidad para acercarse a la valla y disfrutar del concierto. Digo disfrutar porque tenía espacio más que sufiente y pude apoyar en la valla mis dos pintas de Carling. Así se ve y disfruta de un concierto. Lástima que ni pude ver ni disfrutar de su actuación en Madrid en 2003, claro, la juerga en Barcelona debió ser de aupa y Farrell se quedó sin voz. Cancelación.

El inicio del disco dificilmente es mejorable. Tanto la introducción en español como Stop [ambas se pueden ver y oír en video a youtube de más arriba], ya te hacen pensar en que estás ante algo grande. Y el resto del disco, es decir, las otras ocho canciones así te lo confirman. Si no has escuchado Ritual de lo Habitual, clickea en descarga y disfruta. Es imposible no hacerlo.

Jane's Addiction: Ritual de lo Habitual [Warner Bros., 1990]

1. Stop
2. No One's Leaving
3. Ain't No Right
4. Obvious
5. Been Caught Stealing
6. Three Days
7. Then She Did
8. Of Course
9. Classic Girl

Descarga/Download

E caiu feio. Os membros originais do Jane's Addiction, a última banda de rock inteiramente viva, vão se reunir semana que vem pela primeira vez em 17 anos. Informação passada agora pelo profissional Daniel Feix, sócio-honorário da Torcida Jovem e Garra Tricolor na década de 90.

De acordo com o Globo OnLine, Perry Farrell e sua trupe se apresentam no dia 23 de abril, em Los Angeles, para receber o "Godlike Genius Award" ("Prêmio Gênio Divino"), durante o primeiro NME Awards.

Pelo menos dois patrimônios da humanidade foram criados pelo Juana's Addictión: os álbuns "Nothing's Shocking", de 1988, e "Ritual de lo Habitual", de 1990.

For the life of me I've never understood why more people aren't into Thievery Corporation.  It's not like their music isn't good, accessible or easily enjoyable to people with only a hint of taste...or none at all.  Yet there are still folks out there who have never heard of them, and don't own one of their albums.  These poor, out of touch losers walk around this planet in a state of complete apathy.

But there is hope.  

Simply buy/burn them a copy of Thievery Corp's 2005 album "The Cosmic Game" or keep it for yourself.

"But, why DJ Tim?"

Simple.  Because, like all the other albums featured on this blog, it's awesome. 

Born of two like minded music freaks from Washington DC, Rob Garza and Eric Hilton met and began collaborating at the famous Eighteenth Street Lounge back in 1995.  They found that they liked the same collections of dub, lounge, jazz, bossa nova and hip hop...so they brought their styles to the studio and Thievery Corp was born.

They released a couple of ear catching singles that put them on a lot of underground DJ's radar ( a groovy radar to be on, if you make cool shit) with their newly formed ESL label, and soon released "Sounds from the Theivery Hi Fi."  A lot of people have tried to categorize them with labels like "leftfield" or "downtempo," but categories aside (who needs em?) they just enjoy making great music that I love.

One of their only ALbums I own on wax, "The Cosmic Game" is darker than the previous album, with a lot more rock flourishes than before.  this is maily thanks to a stellar line up of guest stars like David Byrne on 'The Heart's A Lonely Hunter' of The Flaming Lips on 'Marching The Hate Machines...'

If you like your beats chilled and your ambiance cool, this is the stuff for you. 

Even if you don't, chances are you will at some point in the future, so it's best to be prepared!

Okay, here we go -- note for everyone unfamiliar with EMP: there are currently four panels presented at any one time, so by default I can only attend a quarter of the entire whole. If I miss something that sounds up your alley, sorry! The full day's schedule can be reviewed here.

These notes are VERY rough and I am skipping over tons of things. If any of the paper's authors notice this and want me to clarify/touch up, please let me know!

---

David Novak, “Experiments with World Music, Vol. 2: The Sublime Frequencies of Cultural Difference” -- discussing world music as collision of cultural appropriation -- not the Folkways style but the Sublime Frequencies model and ambivalence in its approach, sieves from cultural detritus. What happens when we hear the music this way? "drawing from unknown sources" SF represents an experimental approach to curating and presenting. Part of the legacy of ethnomusicology but breaks from it in compiling rather than recording, willfully confusing blends -- "curious listeners" will be left in the dark still, with ironic touches. The effect is to represent in a media mix -- evanescent media. Not a Lomaxian loss but the cylical media loss. Sun City Girls history is discussed including presentation and packaging and the breakdown of barriers, but SF is a "blind encounter" rather than a documentation. Individual transcendence needs to avoid "respect" and simple recreation. Compensation is not a factor and is a controversy. Fan discussion covers this and the idea of reacting against slickness but also a bit concerned with the mix disc approach. Approach is an ongoing thing but is not simply gonzo, reflecting what is out there such as Phnom Penh remixes (a bit like dub?) Media is not passively created but resistance to interpretation is important -- consider the loss of copyright vs the advantage of distance and piracy as aesthetic with interference.

(The next couple of presentations I caught were...dull. Skipping along!)

Franklin Bruno, “Nobody Who Was Anybody: How to Listen to 'Ballad For Americans.'” -- "this is the sound of Paul Robeson holding back" but the results still have artifice. Notes differences between versions and wants to explore which is the most authentic. "Ballad" is a patriotic cantata as officially described. Exchange between voice and others is broad and a bit goofy but hey -- "nobody who was anybody" built the nation. Ethnicities and professions and more...the device of personification plus Robeson as singer makes for the charge while its stirring approach still comes off too mannered to many (middlebrow?) and too accepting of official history. Still it lies in a selfconciously radical tradition via the preWWII left and the authors (John La Touche and Earl Robinson) came out of that. (WPA Federal Theatre Project discussed.) Family roots and political backgrounds discussed...detailed but too much to say here. More on the radical left and suspicion of FDR and the New Deal, while Sing For Your Supper provided an initial context but the song was auditioned for CBS Radio and became a mid-1940 omnipresent claimed by all smash, even the GOP, but the left critics were askance and the right critics were annoyed. Lots of infighting! Song eventually became a war standard thanks to recontextualization -- Bing Crosby film clip from Star Spangled Rhythm of knockoff song "Old Glory" is a mindblower and very WTF! Further thoughts on meaningof "nobody" and NYC settings while Robeson was not a nobody in the end. To achieve its effects it needs a singularity, a tension not resolved and how could it be?

Jim Mendiola, “Girl in a Coma: Straight Outta Tejas. And England. And All Points In Between” -- entered while speaking showing a video "Clumsy Sky" setting in a Tejano bar, signifiers everywhere classic country into punk/emp/pop thrash, continuity from the Tex Mex past via older border bands. Three bandmembers all VERY badass. Perfect follow-on from the panel, what is identity? Tattoos and hairstyles and more! I am annoyed to have missed this presentation! Album sales up and the description in iTunes was driven by context and name.

Robert Christgau, “Waiting on the World to Change” -- entered in progress, on a tear, TV on the Radio into John Mayer -- drug bust story! Mayer trashings sought via blogs and the like. Continuum via Marc Hogan! Well this is a further tear -- Mayer's publicist contacts and drops so bits are scrounged up that unsurprisingly sound more sane and thoughtful than the song itself. "Light Green" and all! Opening a dialogue went better, mild progressivism in discussion but still it is something. Xgau might be too on balance but hey. Called Hogan on Sunday and he got tongue-tied with the question and with change but does work with discussion against formalism. Political music audience share as a metric. Change as mantra for a generation, but it's something -- have the John Mayer fans as there are more of them.

Lauren Onkey, “'No Carnival in Britain': Black Immigration and the Rise of Rock & Blues in 1950s England” -- re British black and musical experiences in the 1950s. Visible only as such and as the outsiders. Beatles photo with Lord Woodbine, a contextual dissonance via the construction of the UK as white. Idea of not being able to "see" color (used to integrated bands?), but plenty of slurs abounded in the press (Josephine Baker in psych). Labor shortages prompted the immigration...new changes in port towns but left outside of accountings of rock and roll. A way to avoid confronting changes at home? Liverpool made by the slave trade, integrated communities via intermarriage and shipping employment, as well as distinctions in generations. Record exchanges via black GIs and other connections, mixing in clubs. Beatles not really asked about something that "didn't exist" but should have been aware of it. Alan Williams ran a club that the band played at as well as a steel band that Woodbine played in and ran another club, and the two helped get the Beatles going to Hamburg. Still bitterness among the generation who was there, Woodbine's death dismissed. Derry Wilkie went to Hamburg first, a showman who made the Beatles step up some. Chants band noted, contemporaries but not lover by Epstein.

Peter Scholtes, “Hi Yo Silver, Purple Rain: The Color of Minneapolis Rock and Roll, From Integrated Bands to Segregated Clubs” -- rhetorically: "what's so cool about racial integration" among a younger generation is different from the past, where older musicians saw "comfort" in the integration against the problems of the past. Three scenes in Minn: r'nb prePrince postPrince and hiphop. 1st Ave audience versus other audiences -- Purple Rain audience is the early eighties one, the Dirty Mind audience, where race is not an issue in comparison to the clubs now but which can be felt in moments. "HiYo Silver" as first Minn rock and roll single, a mix of influences and backgrounds with Augie Garcia as showman, then "Surfin' Bird" as the pop explosion to bring a scene into being. The Ravens moved but it must have seemed like a closed shop. Only integrated room -- the Bathroom of the Flame. But things started to semigel though dealing with white fright. Black groups kept dealing with stereotypes and fears of too much blackness so integration happened by the desire to play within this limit while black bands played outside the downtown. Prince transcended this by kicking against this and 1st Ave opened it further thanks to the owners and bookers. But hiphop and violence still exist in tension while Slug gets an overwhemingly white audience. But hiphop and skateboarding brought the younger kids together now...

Barry Long, “'We Insist!' Popular Music, the Civil Rights Movement, and King’s 'Urgency of Now'” -- King and civil rights, the urgency of now -- straightforward but good enough. Jazz as motivator -- a dialogue and engaged. Dizzy Gillespie: jazz "the only thing we have to offer the world" But also had an integrationist core and a music of freedom (thus Sonny Rollins). King in Berlin 1964 on jazz as conveying a more complicated existence. Bebop as composite, also dominated by blacks at the time, but seen as a meritocracy. In combination with civil rights, the results were strong, noting Max Roach's work and King's approval. "We Insist" as representative work. Noting the beats and its variations and how they move and transform. Mingus noted, further connections back to King, a bit technical. Softens a bit towards the end, oh well!

Mike McGonigal, “Freedom Highway” -- about the original 1965 Staple Singers vinyl album (NOT the 1991 CD reissue) of the same name. Starts with a twang of guitar and a breakdown of gospel styles in the "golden age." Staples were a hybrid of styles , country blues guitar mixing with the floating vocals. Notes the changes in style over the years but thinks that the early fifties sides capture "gospel in space." Dylan and the Staples are discussed, with the latter covering "The Death of Emmett Till." Notes the use of code in slave culture and the tension of Christian belief, with recorded gospel bringing these elements together. Civil rights in gospel from the start, Mahalia Jackson as supporter of King and part of the myth. Pops Staples as being inspired by an encounter with King to write protest songs -- "Freedom Highway" then played, produced by Billy Sherill! Says Pops was a "cool guy." It is recorded in a rudimentary but clear style and ties it all together. Highlight is "We Shall Overcome" which with the gospel choir finally making it work after all the grime and bad covers. Various freedom songs were takes of gospel traditionals, then more Staples stories. The 1991 reissue is not the same album and while it does make researching an adventure it is indicative of a poor treatment of gospel by the industries.

Jesse Fuchs, “The Record That Eats Itself: Form, Content, and Subversive Recursion” -- locked grooves and endless songs and hidden tracks! Too quick to sum up here, but brilliantly shifting all over the place. Song and object as various combinations, recursive and wonderful. You had to be here!

Debra Rae Cohen & Michael Coyle, “'The Only Band that Matters'?: Citation as Struggle in the Punk Cover Song” -- the Clash covers Junior Murvin's "Police and Thieves" and while I still can't care about the band it's a good breakdown of the song's production and interplay of meaning between the versions.

Regina Arnold, “Rock Crowds and Power: The Early Years.” -- 2nd Lollapalooza, Ministry played and the place was destroyed, big mosh pit and Chris Cornell asked "You look like some kind of army...whose army are you going to be?" So what is the gap between crowd rhetoric and reality? The goal here is to look at pre-Woodstock festivals and how they are more fraught with conflict as well as a place catering to an elite. Raced and gendered attendees have their own contexts. Aquarian Family Festival near Stanford is the focus and the archive is slim. Three months before Woodstock, held at SJSU and near another festival, the 2nd Northern California Folk Rock Festival, half a mile away (with Hendrix). Big week for news and San Jose is in its own media world. Lots of snarky press coverage but no mention of an underlying dispute, and lots of oral history that is up in the air. Festival was a near spontaneous response to annoyance with the folk guys and misrepresented band bills. So Hendrix was on the folk bill but the Aquarian festival goes on because the PCP carers were peeved with high handed treatment. Bills were identical but Aquarian was for free -- bread baked, place to sleep. Music had to be continuous, lots of area bands. Hells Angels as security! Lots of ego bruising. Free and paid tensions still plays out while lots of Angels were causing some nasty crime, the fuckers. Yet it was called "peaceful" though the festival was banned for decibels and lovemaking. Black performers were made the other while two black attendees were killed. Women also objectified (all the men remember the naked women there, no women attendees yet found for an interview). Social violence around, festival was not peace and love. Bias in social histories since...

John Street, “Performing Politics: from Rock Against Racism to Live8” -- Rock Against Racism to Live8 was part of a study of nongovernmental political action in the UK -- how are these stories written, how do we give an account? What do musicians contribute, can the movements be explained without music, and if music is important, how do we explain it? Quotations shown to illustrate these questions and tensions -- accounting in different ways. RAR has its background in the Powell 'rivers of blood' speech and the Clapton comment plus Reading fan actions attacking reggae bands. Letters to the music press propose a musical movement against the "poison" culminating in 1978 with 300 gigs and festivals. Live8 grows out of struggling debt relief campaigns with Bono providing the initial spark in music following with Live Aid Trust coming on with the concerts. RAR is written out of musical histories -- various what ifs are discussed, concluding with the Thatcher effect. Live8 gets many critics of Geldof's hijacking and the writing out of African voices. How to assess competing stories?How to frame it? Music matters in what contexts? A list of "music as..." options are discussed, from organizer to source of moral energy, followed by a summary of means of retelling the stories. Final slide notes how RAR gave new bands a chance in a new context yet not without controversy. But there's notes from Live8 attendees showing that passions on issues can and do occur -- infrapolitics in James C Scott's sense.

Jennifer Stoever-Ackerman, “'Lollapalooza Every Day, Every Year': Music, Multiculturalism, and Whiteness in the 1990s” -- Lollapalooza 2008 seems to have a brand name and a middle-class audience to share with the past. Reclaiming an urban space for families with a certain nostalgia yes, but this is a critique of how it was first understood in a 1991 and on context in terms of multiculturalism and giving many white kids a "safe" context for it. Multiculturalism was a then powerful buzzword and there was much marketing at play -- and most of the attendees were targeted by race as well as monetarily. A spectacle for mass consumption and semiotic significance at play (photos and discussion of the Sly cover by Perry and IceT follows -- mocks or reestablishes boundaries, not to mention the audience). Lots of comments about Perry as core figure and leader as such from the press, who in turn marginalizes Ice-T and barely discusses women. 1992 brought the LA riots and a fantasy of the happy metropolis being trashed. Lollapalooza was frequently called a "riot" and its represented self got more elevated and inflated as well as the "big summer throwdown" for a surging audience, a sanctioned and contained example of "power to the people" (thus the handwritten Spin story plus the various crowd stories, a wash of whiteness and masculinity, the tolerant and the tolerated). Crossings are fraught and limited as Ice Cube and Michelle Ceros (?) noted...

Laurel Westrup, “When Subcultures Collide: The New Travellers at Glastonbury 1978-2005” -- Glastonbury has been around for a long while and has survived at balancing out capitalism with counterculture. Julian Cope stuff piles on...anyway this attracts "alternative types" and has so in the sixties the ley lines crowd goes nuts. 1971 and the free 1972 festivals provides town/gown tensions... tuned out here, I was just too tired!

I realise that it's been a while since my last post and in that time Velvet Revolver have announced that they are parting company with Scott Weiland.  This comes just shortly on the heels of Weiland's announcement in Glasgow on March 20th that "this is the last tour" and former band, Stone Temple Pilots, announcing that they were reforming for a tour in the summer.

Slash had stated that "This band is all about its fans and its music and Scott Weiland isn't 100% committed to either.  Among other things, his increasingly erratic on-stage behavior and personal problems have forced us to move on."

Regardless, it seems that a 3rd Velvet Revolver album is on the cards, while Weiland will no doubt focus on the Stone Temple Pilots reunion.

... I also realise that I've again been late with the monthly bootleg. I had loaned much of my collection to a friend and it's taken me a while to look out a worthy show.

... I've also been re-arranging my proper CD collection so that 'Saturnalia', 'The Bees Made Honey In The Lions Skull', 'Ultra-Payloaded', 'Our Shadows Will Remain' and 'Dig, Lazarus Dig!!!' finally find their place among the many others.

Saturnalia, for those who are missing out, is one of the finest albums I've heard in a number of years. I've been a fan of Lanegan for some time (since I first heard Screaming Trees) and I also loved The Afghan Whigs (Twilight Singers are pretty good, but The Whigs were special), so to say this collaboration is a little special would be understatement.  The first 3 tracks (The Stations, God's Children and All Misery/Flowers) make their intentions very clear: there's no dwelling on past glories and although often echoing the best work of each frontman (God's Children sounding like Black Love era Whigs, All Misery/Flowers creeps in like one of Lanegan's Bubblegum-era tracks, while Bete Noir is reminiscent of the best of Screaming Trees), the approach is fresh, with both are on particularly inspired form.

Nick Cave & The Bad Seeds' latest (Dig, Lazarus Dig!!!) may not be as instantly appealing as it's predecessor (2004's amazing double Abattoir Blues/The Lyre of Orpheus), but after a few listens it has managed to tunnel its way into my brain.  The title track is particularly catchy and was for a while my wake up call in the morning.  Night of the Lotus Eaters, We Call Upon the Author and Jesus of the Moon are highlights.

I'll say no more about Earth's latest, as I've already commented on it in a previous post. However, if you haven't already checked out the MP3 of Omens & Portents I: The Driver (courtesy of record label Southern Lord), I recommend that you do so now.  The Bees Made Honey in the Lion's Skull' is an incredibly powerful album, tinged with desert rock and uplifting southern gothic (doesn't that stir some intrigue?).

The other two albums are older, but are well deserving of a mention here. Perry Farrell's first Satellite Party record didn't get the reaction it deserved from me first time around, but I'll have to review my top 10 of 2007.  I've been listening to it a fair bit these last few weeks and it's a brilliant album ... a natural progression from Jane's Addiction's Strays.

'Our Shadows Will Remain' is another that has grown on me over time. There's no denying Joseph Arthur's talent, however I'd initially found it to be a little too ... overwhelming.  Or underwhelmingly overwhelming?  Regardless, it has since grown on me ... the sign of a great album.  Even Tho is my current favourite, with Can't Exist being a close second. 

Anyhoo, hope you are all doing well and enjoy these videos.

Of course, the most frustrating portion of these festivals is the opportunity to see a wide variety and assortment of acts, and then never hearing their music or their collaborations again. In recent years, Bridge School has started recording and releasing acts by the artists, but it seems to me that in this day of high quality live recording and digital distribution, it shouldn't be that difficult to release an entire live set from one of these festivals a few days after it ends.

For the charitable festivals (Outside Lands/Bridge School), this can increase the revenue poured into the cause, and for artist-centered festivals, it can help increase their revenue from the show. But really, it's the unique collaborations that happen on stage between dissimilar artists that are usually the highlights of these shows. Tom Waits performing with the Kronos Quartet at Bridge School, Tom Petty sharing the stage with Neil Young. These are musical moments that are incredibly memorable to the audience ("Man, you should have been there when X and Z performed together!") but retaining the way it sounded in your mind is much more difficult over time.

Now, with the line-up at this year's Lollapalooza, featuring distribution revolutionaries Nine Inch Nails and Radiohead, odd couple Gnarls Barkley, Bloc Party, Broken Social Scene, G. Love and Special Sauce and the rapidly diversifying Kanye West, the potential combinations are endless. How about Trent and Thom settling their digital download dispute through a mash-up of "Hurt" and "Idioteque?" Or Kanye and Barkley going "Crazy" over "Diamonds From Sierra Leone?"

Well, in an idea that sounds like it came straight from the MixMatchMusic garage, Farrell has announced that he will be attempting to collaborate with the Empire that is Apple and iTunes to release iTunes-only music from the festival in digital formats that could include on-stage collaborations followed up with studio releases of those collaborations for download. Whether Farrell is actually focusing on the release of the live performances isn't too clear, but he talks openly about his idea of having bands who have performed on stage together at the concert working through the internet and various worldwide recording studios to put the songs together in a more polished format.

The talk of all of these artists coming together in music in some way gets my pulse racing. One can only hope now that Farrell doesn't stop short. Sure, the idea of studio versions of these collaborations is very cool, but he should well know that with a festival like this, fans would love to get their hands on copies of the entire live set, and will certainly want to download the various combinations of these artists. All that's left is to let Radiohead and Nine Inch Nails debate over which file format the songs should be available in to download.

Jim nu s-a lasat mai prejos si uitati cum a contraatacat :D "I'm fucking Ben Affleck" :D

Jimmy Strikes Back!

What makes this second video hilarious (aside from the obvious running joke that Jimmy and Sarah have going) is the amount of celebrities that participated in this video. Yet another reason why I still think Jimmy was the better "Man Show" host! Go Jimmy!

Pertenece al programa de la ABC  'Jimmy Kimmel Live' (como un Buenafuente en España)

El director y presentador es Jimmy Kimmel, y una de las actrices es su novia Sarah Silverman. Coincidiendo con el quinto aniversario del programa , Sarah le preparó un video donde le decía que se tiraba a Matt Damon, cantando, con el propio Matt Damon. No te pierdas esta ya clásico " I´m fucking Matt Damon ".

Tiempo después, Jimmy le responde con otro video, y también dice que se tira a alguien.  ¿a quien? No te pierdas la contestación, con un montón de artistas conocidos, como Ben Affleck, Bran Pitt, Harrison Ford, Cameron Diaz, Joan Jett, Macy Gray, Robin Williams, Don Cheadle, Pete Wentz, Perry Farrell, Benji and Joel Madden, Lance Bass, Huey Lewis, Josh Groban, McLovin, Christina Applegate, Rebecca Romijn, and Dominic Monaghan, Meatloaf , etc en una especie de Usa for Africa de lo más gay

Well, you see, Jimmy Kimmel retaliated with a bigger video, with more star power than you can shake a Matt Damon at! Check it out, you'll be glad you did!