Goodbye, my friends...thanks for a good 5 year run!
I really haven't been blogging much
anymore...I guess I've been doing it for too long. For a critical
period of time I felt like I couldn't relate with the people around me,
so I resorted to computer geekiness to satisfy my need for
companionship. One summer activity I undertook, just to give me
something "productive" to do was teaching myself html so I could make a
fansite dedicated to John Cusack. Its called John
Cusack: Hollywood Underdog and trust me, even though I still
think Mr. Cusack has made some great flicks (and I just bought the cult
classic Tapeheads on DVD) I have a much more healthy appreciation of
him now. That website led me to create a much more emotionally
satisfying undertaking, the music blog, Vintage
Five years later, I just don't feel
like my heart is in running the same site, no matter how much it has
meant to my life. Without Vintage Rock, I doubt I'd be the huge musical
guru/geek I am today and that would be a very sad thing. I'd probably
still be stuck listening to Hanson and Led Zeppelin on repeat (not that
I don't LOVE those two bands still). I just feel like nobody is reading
what I take the time to research, write, and present. I have also found
a place where I can reach a wider audience. Its the ecletic musical
Its a site that documents everything
you listen to on your computer and it charts your musical progression.
It is kind of addictive, but its the perfect site for the not so casual
music appreciator. It allows me to journal and continue writing about
music, but I don't have to have the responsiblity of trying to promote
a blog out in the middle of nowhere. Don't get me wrong, blogdrive.com
is a good place to blog, but its hard to reach your core audience when
not a lot of people who would be insterested in reading your work can
even find the bloody site.
So I guess, unless
something drastic happens to change my mind, I will officially be
ending my reign as leader of Vintage Rock. If anyone wants to take over
and breathe new life into this blog, just let me know. I'll hand over
the keys...Its been really hard for me to come to this decision, but I
just don't have the time to dedicate to it anymore and I don't want to
do a half-assed job at it. I'm glad that I'm busy out doing things in
the real world and that I'm not always tied down to my keyboard and the
cyber community. If I'm not hanging out with friends, or doing
homework, I'm spending time with my significant other, Kerry Cutsforth.
He's the light of my life, and all of that cheesy nonsense. I know, I'm
turning into one of those couples you see holding hands on the street
that make you want to puke....and I'm okay with that. I have great
friends, ambitions with my artwork, great tunes to listen to, and a
boyfriend who truly understands and loves me. I think its healthy that
I'm progressing in my life and I wish all who read Vintage Rock the
same happiness and fufillment that I have. Continue on "rockin' in the
free world" and you can always come visit me at the following places I
The Kills consist of Jamie "Hotel" Hince who plays guitar with the harsh blues reminiscent of Jack White's (The White Stripes) signature guitar style. Hince's playing is a bit more textured, and the band's whole sound centers around its rhytmic sexual pulse, which is fueled by American vocalist, Alison "VV" Mosshart. She purrs like she's the love-child of PJ Harvey and Debbie Harry; I definitely hear echos of PJ Harvey's album, To Bring You My Love in her vocal style. It doesn't get much more bare bones than this band, and they prove you don't need a six piece band to get a huge sound, this is definitely a band I could picture opening for The Stooges (if they actually get around to doing this elusive tour I've heard hints of.)
Featured Album: Keep On Your Mean Side by The Kills (2003) The Killsí debut is a stark 21st Century blues album, the sort of thing
that would have struggled to find an audience before the White Stripes
broke into the mainstream. So itís lucky for them--and us--that they
had such respectable coattails to ride on. The duo--Alison Mosshart,
a.k.a. VV, and Hotel--play a music thatís blues influenced with a
garage rock edge, and thatís where the similarities end. Sure, the
Kills use a drum machine instead of a live drummer, but the differences
run much deeper than that: The Killsís blues rock is dirtier and more
sex-drenched version of blues rock, a result of the shared vocal duties
of Hotel and VV. The sultry "Hitched" says it all ("Iíll get my name
stitched on your lips so you wonít get hitched"). These are songs that
sweat sexual menace, recalling Boss Hogg or early PJ Harvey
(on "Superstition" and "Wait," VVís voice is a dead ringer for young
Polly Jeanís). Best of all, these songs are stuffed with hooks. In a
sea of pretenders, the Kills are capable of providing some genuine
competition for the White Stripes.--Robert Burrow
Random Indie Video: "Young Folks" by Peter Bjorn, and John
The random indie video I'm throwing at ya features the Stolkholm based twee 60'ish pop of Peter Bjorn and John, (Peter Morťn, Bjorn Yttling, and John Erikkson). Holy moly, those Swedes are taking over indie rock, and maybe that's not such a bad thing. First there was The Hives back in 2002 (I liked them so much, I even own a Hives t-shirt); then I got into Jens Lekman's droll love tunes, obviously heavily influenced by the quirky, wry genius of Stephen Merritt of the Magnetic Fields. Now there's Peter Bjorn and John with this song is that is catchy as fuck, take that to mean whatever you wish. And when I say catchy as fuck, I mean that in the best possible way, as in a "Friday I'm In Love" type catchy. This is the kind of song you don't mind whistling while you're pushing a shopping cart through the produce section. Oh, and speaking of whistling, this is one of the few tunes featuring whistling the doesn't annoy the living bejesus out of me. Come to think of it, I can't really think of any other songs that feature whistling at the moment. Wow, I should just quit typing and let you guys push play on the video, huh? Alright then, delaying you guys from watching this any longer would probably make you skip past this entry altogether and I wouldn't want that to happen. I want you to be a whistling Swede loving fool like moi, so I don't feel so alone in my dorkiness.
Top Five Bands I Want to See Before I'm Dead/Deaf.
The Rolling Stones
Bands I've Seen So Far:
Tool : August 22/06
Aerosmith : December 13/06 - this will qualify as a "Seen" band come the 13th.
The Rolling Stones : November 25/06
I was not prepared. Not in the least. It hadn't really sunk in that I was going to see the Stones until I got to BC Place. I wasn't even supposed to go. There were four tickets for four people and two got laryngitis. One was my sister. So I went in her place. Personally, if I'd had laryngitis, I still would have gone. But that's me.
Realization did not occur until I saw the stage. Holy motherFUCK.
Note : I took photos but not on a camera that was mine. i've since made a note to go broke buying a badass camera for Aerosmith. My photos will be emailed to me...so the stage photo on this entry isn't mine. This photo was from another venue, but IDENTICAL to what I saw tonight.
Bonnie Raitt opened for the Stones and I have to admit, she's pretty great with blues guitar. Her voice isn't half bad either. Not being a fan of her music, I can't really recall what the names were of the songs she sang. My bad. I don't know the names, but they were pretty decent. =)
The Moment of Truth.
Stage dark. Heartbeat triples. Can't breathe. Oh wait, the not breathing part was all the damn pot smoke. However, the pot smoke is soon crushed by the smell of fireworks as the stage damn near explodes and suddenly...there they are!
holyshitshitshitshitshitshit...I am speechless. My jaw DROPS. But was I really expecting mediocrity? Nope. But these guys have to be seen live to be appreciated...
Jumping Jack Flash/ It's Only Rock and Roll/She's Hot/ Streets of Love/Midnight Rambler/Shine A Light (duet with Bonnie Raitt)/Tumblin' Dice/You Got the Silver/ Slipping Away/ Connection/ Miss You/Get Off of My Cloud/ Honkytonk Women/ Sympathy for the Devil/Paint It Black/Brown Sugar Encore 1 : You Can't Always Get What You Want - Encore 2 : Satisfaction
I've always loved the Stones -- I mean I respect the Beatles, I think they're fantastic, but I've always been a Stones fan. My very first CD was Voodoo Lounge. There was so much energy tonight, none of them seemed like they were just going through the motions, I mean they were totally crazy. It felt incredible. I'd always heard they were a great band to see live and now I know why. I was so happy to see them -- to see the ultimate testament to rock longevity.
My favorite part of the night (although the whole night was beyond awesome) was the band introduction by Mick Jagger after 'Tumbling Dice". He introduced the backing musicians first : Bobby Keyes (sax) Lisa Fischer (backing vocals) Bernard Fowler (backing vocals) and Chuck Leavell (keyboards). He got around to Darryl Jones (bass) and the crowd got louder. Once he introduced Ron Wood, the place imploded. Charlie Watts (the amazing Charlie Watts!) got a standing ovation and a full two minutes of screaming before he bowed, grinned, and retreated to the drums. But the biggest ovation of the night was for Keith Richards. Without a guitar, he looked like the shyest person ever. He had on this long black coat and kept wrapping it around himself and crossing his arms while in front of the microphone. " Um, thanks...you guys are great...I really don't know what to say. Must be the brain damage." (crowd laughs and cheers KEIIIIIIIIIIITH!!! with a lot of foot stomping and whistling) Keith did three songs in a row (Mick left the stage) : You Got the Silver - Slipping Away - Connection. It was so awesome to hear him sing. Once he picked up his guitar however, shy guy no more, just the badass Human Riff! Personally, my night would have been perfect if he'd done "Thief in the Night" in place of "Connection" -- but really, I shouldnt be griping...heh.
I wasn't sure what the 'runway' through the crowd was for other than a space for Mick to run like a mofo. And yeah - he can damn well run. *Outran* the camera guys...that was a sight to see. Thirty year somethings can't catch a guy of 63...
But I digress : the 'runway', complete with security barricades, was for the stage. I didn't see that coming. They started "Miss You" and then...start to move. Cue the people at the front near the stage screaming as it moves to the back of the crowd at the other end of the stadium. The stage went right by me. Buddha on a skateboard, I was freaking awed. It was this little mini-stage with room for four. Plus Charlie's drums. Got some sweet pictures of them going by. They shall be posted soon, don't worry! Other pictures were possible but there were so many bright stage lights that they probably wouldn't turn out. If I'd had a camera of better quality that was MINE, there would be awesome pics...
Miss You - Get Off of My Cloud - Honkytonk Woman - all played on the mini stage. When it moved back, they started Sympathy for the Devil, my favorite song of the night. That's when I almost cried out of frustration at the lack of a decent camera. I'll look around online later and see if I can find Vancouver pics of the show -- which officially ended the A Bigger Bang tour. The visuals plus the badass pyrotechnics made that song a worthy one to waste camera batteries on. Same went for Paint It Black...
Brown Sugar was kickass. It went on for a good ten minutes...awesome sax solo.
"You Can't Always Get What You Want" -- just...just DAMN......well, tonight I got what I wantedAND needed. An incredible show!! It was epic. I want to see them again!
"Satisfaction" also went on for about ten minutes. This is the part where the camera guys run after Mick..I've never seen anything so amusing. Hope I can run like that when I'M 63....
So here I am. Four-thirty in the AM almost, it's snowing outside and I am completely wiped. But happy. Yes indeed. The happiest I've been in a long LONG time. Tool was incredible, i loved their show, but I didnt come away with a sense of joy like tonight. I wasn't depressed, but more thoughtful after their concert. After tonight though....I gotta say...people at work today are gonna wonder what I'm on.
So some Tori-obsessed friends brought the new Dresden Dolls video to my attention, because it features Tori's name on Brian's arse. I knew Amanda wasn't a Tori Amos fan, and kinda just assumed it went for both, but it seems not...?
Anyway, other than that it's a cute video, so do watch it.
INow I need to watch a bunch of other Dresden Dolls videos on youtube... I'd only seen a couple and they were from the first album! And I call myself a fan? Shame on me.
It's a sad fact that The B-52's biggest "hit" is the high school dance staple, "Love Shack." I'm not gonna be an arrogantly snobby music scenster and tell you that I don't enjoy the insane catchiness of that cut (come on, I listen to Hanson people.) I just don't think its very representative of the innovative rockabilly, surf, new-wave of their late 70's, early 80's stuff. That stuff will blow your mind, it is incredibly unique, boisterous, and most importantly ORIGINAL. It really bums me out that few people are even aware that The B-52's made music before the 1990's. That's probably because their popularity spiked during that decade due to "Love" Shack, Kate' Pierson's appearance on R.E.M.'s video/song "Shiny Happy People" and their top 40, irritating cliche pop tune known as "Roam."
I don't think this should deter people from appreciating The B-52's earlier work. Nobody can even come close to that singular B-52's sound, which consisted of the following elements: outlandish and eccentric lyrics (ex: "Devil in My Car" is about a car's demon pocession); flaming redhead, Kate Pierson's fierce and quirky vocals that complement Cindy Wilson's spunky vocal contributions; front-man Schneider's effeminate, humorous, spoken word diatribes; and Ricky Wilson's unusual guitar tunings and obvious love of surf rock
I hope this article and the 1980 SNL performance of "Dance This Mess Around" will encourage all of you to set aside your cynicism about The B-52's 90's pop sell-out phase and check out their earlier work, specifically the albums, Wild Planet and their self-titled debut. You might just find yourself searching your local thrift stores for a "B-52" a nickname for the bouffant wigs the band's ladie's made part of their signature look. (also the name of Boeing B-52s, which are eight-engine strategic bombers) I'm thinking of dressing up as Kate Pierson myself next Halloween...she's seriously my rock idol. The woman has some serious pipes, AND she plays the keyboards! Plus, the red-hair doesn't hurt.
Music to Check Out: Black Sheep Boy by Okkervil River
Okkervil River is one of the bands that I really can't figure out. Usually, if I do some basic research on a band, I can garner enough information to write an article on them....but I don't know. For some reason writing out this band's biography and giving out techinical information about them seems somehow irrelavant to the way their music simply makes me feel. Pretty much it only took one song to convince me that this band was something special. That song would have to be the disturbingly gorgeous "For Real." The opening verse grabbed my attention, even if it did kind of scare the pants off me:
Some nights I thirst for real blood For real knives For real cries And then the flash of steel from real guns In real life Really fills my mind
It kind of reminds me of the country death ballad made popular by another alt/rock band, The Violent Femmes when they released "Country Death Song." You know, the track about the father who goes crazy, takes his daughter out to a well and throws her down...then commits suicide in the barn. Accept "For Real" seems to be more about striving to find any way to feel, even if one must resort to violence to do so. I don't think it promotes violence so much as it tries to break us out of their nilhlistic apathy. I know that sometimes it feels like people around me feel that it is better to feel numb than to actually experience real life, which includes pain as much as it does pleasure.
The overall sound of the band lingers somewhere between Wilco's alternative country vibe and Bright Eyes. Add to that the somber menacing elegance of Black Heart Procession. Will Sheff, the band's core songwriter and vocalist also has this fierceness in his voice that really draws you into his dark poetry...but it also has this vulerable charm that warms your heart as effectively as it chills. The songs are mostly acoustic numbers, but the added effects of strings and mandolin (even the occasion horn, like on the track "So Come Back, I'm Waiting) give the songs a heightened emotional effect that stays with you long after the songs end. I know, as an amatuer music journalist, it is good form to include at least a bit of basic information, so I will try to do so.
Okkervil River is currently comprised of five different members: Will Sheff (songwriter), Zach Thomas (he plays the mandolin and bass), Howard Draper (keyboards and lap steel guitar), and and Travis Nelsen (on drums, who also replaced two previous drummers). The original members formed in 1998 after moving to Austin, Texas for college. This could possibly explain the more rootsy feel of their music, but by no means can they be stuck in one specifc genre of the music world. Okkervil River is the title of a short story written by Tatyana Tolstaya and is also an actual river in St. Petersburg, Russia. I can't be quite sure what the title of the short story has to do with the band until I can get ahold of a copy, but I do appreciate the obvious thought they put into choosing the band name. I do get tired of all these cookie cutter names, even if I do like The Killers or The Hives. Okkervil River just flows off the tongue with such beauty, and fits the back-water mystery of their music.
I highly recommend seeking out their album, Black Sheep Boy to get started. If you are more interested in downloading a few tracks to get a basic feel of their music, here a few I'm pretty sure you will enjoy:
For Real, A Glow, Black, In A Radio Song, and A King and Queen
I'm not like other girls, you can't straighten my curls
PJ Harvey: Analysis of her Studio Albums
I've decided to analyze all five studio albums in terms of production, lyrics, themes, and overall musicality. If this sounds too boring for you casual readers out there, then go over to some generic music site like Vh1.com to get your musical education. I'm a college student, forced to write paper after paper on things I don't get a flying fuck about ... so its here in Vintage Rock I can discuss my passions. This week I happen to be focusing on one of my girl crushes and current obessions :PJ Harvey. So just deal with. I first started listening to PJ Harvey after Aims sent me a compliation of some of her favorite tracks to me via snail mail. So, I have been casually listening to that compliation, enjoying her Patti Smith remincesent vocals (and I know PJ says such comparisions to Patti is just "lazy journalism" but my ears usually don't lie). I never bothered getting actual PJ Harvey albums till a few months ago. I now have all five of her official albums and I think they are all striking, not a dud in the bunch. I don't have 4-Track Demos yet or Dance Hall at Louse Point. I don't really count either in this article anyway because 4-Track Demos is obvioulsy demo work and on Dance Hall at Louse Point she collaborated/performed with John Parish.
One of the things I love most about Polly Jean Harvey is that she pretty much reinvents herself with each album, sonically though...not in the erraticaly insane way Madonna does with her Hindu-Kabala-mommy dearest phases. Peej explains why she experiments with her sound: "when I'm working on a new record, the most important thing is to not repeat myself ... that's always my aim: to try and cover new ground and really to challenge myself. Because I'm in this for learning."
Okay now that THAT I got my long rambling out of the way, here comes the analysis...maybe it will help you casual fans and newcomers to Polly Jean pick out an album to start with based on your particular musical preferences:
Album: Dry (1992)
Highlights: Oh My Lover, Plants and Rags, Dress, Sheela Na Gig, O Stella, Happy and Bleeding
Steve Vaughn,Rob Ellis, and Polly Jean Harvey formed PJ Harvey (which is a musical trio, not to be confused with PJ's solo career). This was their debut, back in 1992. Since it was released at the height of the "Riot Grrrl" movement of the early to mid-90's, PJ's music often gets thrown into that genre even though she's stated in Bust magaize that she's completely against such labeling:
"I don't ever think about [feminism]. I mean, it doesn't cross my mind. I certainly don't think in terms of gender when I'm writing songs, and I never had any problems as the result of being female that I couldn't get over. Maybe I'm not thankful for the things that have gone before me, you know. But I don't see that there's any need to be aware of being a woman in this business. It just seems a waste of time....I don't offer [support] specifically to women; I offer it to people who write music. That's a lot of men."
Overall this album is full of PJ's distinctive blues howl, and you can definitely hear that she was equally influenced by blues musician Howlin' Wolf as much as she was influenced by the inovative U.S. punk of The Pixies. Add Steve Vaughn and Rob Ellis' powerful yet not overwelming backing (they obviously understand PJ's musical vision) and you have one of the most solid debuts I have ever heard.
Album: Rid of Me (1993)
Highlights- Rid of Me, Missed, Yuri-G, Me-Jane, 50 Ft. Queenie, Man-Size, Snake
Steve Albini, most famously known for producing the seminal alternative rock albums Doolittle by The Pixies and In Utero by Nirvana, produced the PJ Harvey Trio's second album, Rid of Me. He's known for burying the vocals in his mixes, and that is one of the problems I have with this album. After hearing a few of her original four-track demos, I think Albini didn't realize that her lyrics and voice are forceful enough to carry her matieral. So he covered most of her vocal-tracks with distorted guitars when he should have been emphazing her most powerful instrument: her voice. The subject matter on this album is dark and twisted, and no where is this more apparent than in the album's title track. I still get chills when I hear "Lick My Legs, I'm on fire...lick my legs of desire." "Yuri-G" is also creepy has hell, and to me is about a woman driven insane by her obession for another woman that she ends up in a mental hospital where her only release is the shot her doctor gives her and the moon outside her window, beckoning her menacing lust.
Album: To Bring You My Love (1995)
Highlights: Send His Love to Me, To Bring You My Love, The Dancer, Teclo, Long Snake Moan, Working For the Man
This album marks the beginning of PJ's solo musical career and split from Steve Vaughn and Rob Ellis. Producer Mark Ellis corrects Steve Albini's errors on Rid of Me by bringing out PJ vocals and letting her simple, yet intensely felt guitar riffs carry across her themes of sexuality, lust, religion, motherhood, male domination, and romantic passion. PJ also explores a richer variety of instrumentation such as keyboard effects, organ, and strings, which added greatly to the theatricality of her music. It was during the tour of this album that she started dressing in a fashion she likes to call: "Joan Crawford on acid." This included wigs, drag queenesqe makeup, dramatic ball-gowns and skin tight catsuits. To Bring You My Love album also happens to be a fan favorite and it even spawned a "hit" by indie standards in the song "Down by the Water" which had frequent airplay on MTV back when they still actually played music videos.
Album: Is This Desire? (1998)
Highlights: Perfect Day Elise, The Wind, Catherine, The River, No Girl So Sweet, Angelene
This is my personal favorite PJ Harvey album, even if it was met with intial hesitation by some fans and critics. The reason they didn't know what to think about This is Desire? is probably because it sounds very different from the grungy, back water blues/punk of her first two albums, and even though To Bring You My Love had broader instrumentation than Rid Of Me and Dry, it was still essentially that "PJ Harvey sound". For this album, she puts more focus on creating dark sonic atmosphere with electronics, keyboards, and bass...taking the focus off the guitar. She also brings her vocals down a notch, (almost to a whisper in "The Wind). "Perfect Day Elise" is a suprisingly danceable track about lust and murder at sea that wouldn't seem out of place in a night club, as odd as that sounds. "The River" has one of the most delicate and heartbreaking piano melodies I've ever heard, a far cry from the rootsy blues punk that was the sole focus of much of her previous work. Also, the world weariness in her vocals on "Angelene," is probably some of her most vulnerable and poignant work.
Album: Stories From the City, Stories From the Sea (2001)
Highlights: Good Fortune, Beautiful Feeling, One Line, We Float, This Mess We're In (ft. Thom Yorke), and A Place Called Home
PJ Harvey reunites with her previous bandmate, Rob Ellis on this album. Stories From the City, Stories From the Sea seems to blend the uncharacteristic dance music of her previous album, Is this Desire? with her punk blues/roots, making a album of suprisingly upbeat, almost pop rock. Not that this is a bad thing at all, it just shows a different side to her music, which is something that should be celebrated. I hate to be pigeonhold as an artist just as much as I'm sure PJ Harvey does, so I think its great that she can draw musical influence from other areas and not stagnant into watered down versions of her previous albums. So I give her great kudos for this album, especially since it has some of her most athemic tunes. How can you not belt out "See danger come, I wanted a pistol I wanted a gun/ I'm scared baby/ I wanna run/ This world's crazy/ give me the gun!/ Baby Baby, aint it true, I'm immortal when I'm with you." "This Mess We're In", the duet between her and Thom Yorke is worth the price of the album alone.
Album: Uh Huh Her (2004)
Highlights: The Life and Death of Mr. Badmouth, Who the Fuck, Shame, Pocket Knife, The Desperate Kingdom of Love, No Child of Mine
Uh Huh Her, released in 2004, shows that PJ Harvey has not lost touch with her punk roots, even though it had been more than a decade since her debut was released in 1992. Overall, Uh Huh Her goes back and forth between softer acoustic ballads like "Pocket Knife" and "The Desperate Kingdom of Love" back to the abrasive dirty guitar sound of "Who the Fuck" and "The Life and Death of Mr. Badmouth." This polarized sonic effect makes the album kind of difficult for me to listen to as whole cohesive album, and that is my only real objection with it. If the flow was a bit more consistant, I could see this becoming one of my favorite PJ albums. That being said, this album overall has some of her most vital and powerful blues, not seen in this raw of form since Rid of Me.
Wow. Wow. Seriously...as eloquently as I usually am able to describe my feelings about music, I feel shell-shocked by hearing one of the most gorgeous songs I've heard from Tori Amos. The song is called "Peeping Tommi" and it will be on the Piano Boxed Set, coming out on September 26. So, how come I've already heard this previously unreleased track? Well, it came about when I was searching myspace.com for a new track to up up on my page. I knew that "Here In My Head" is the unofficial Tori Amos fansite on myspace since the people who run her official page NEVER change the songs. Its a crime, considering her recorded songs range into the hundreds and beyond.
But anyway, I open up the page to find two new Tori tracks that will be released in the Piano Boxed set. The other was "Ode to My Clothes", but it was the sheer simplistic beauty of "Peeping Tommi" that enchanted me, reminding me of the way I felt the first time I listened to Little Earthquakes four years ago. Maybe people on the toriforums are comparing this song to "Yes, Anastasia" and I can see why. From my understanding, this was a song cut from Under the Pink, hence its similarity in vocals and delicate piano riffs.
Here are the lyrics:
Looking past branches past fresh mown grass dirt licking my elbows I watch his hand move up up up her dress
Don't run away from me now
Don't run away from me now
She's down on the ground she gives the boy smile I think of you I think of the man all the while you see my dreams are filled with him his face shows up up up in my favourite danish
Don't run away from me now she's willing just breathe willing one day I'll be
Don't run away from me now she's willing just breathe willing one day I'll be
Sail through my ears I heard you fine the first time time to let it go time to give my gun a nice surprise surprise
There has been much coming and going of the authors here at Vintage Rock. If you have not posted an entry in over two months, I'm either deleting you from Vintage Rock or marking you as inactive on the side-bar. I don't think its fair to give authors credit here if they don't post any entries. Its nothing personal, I'm sure you all understand.
Shay (non active co-founder)
Jess (non active co-founder)
Morgan (non active co-founder)
What Is "Vintage Rock" About?
Vintage Rock has officially been on the internet in various forms for about five years now. I started it on a whim of boredom at the terrible, bolt.com. I met some great friends there, and we ended up forming a super-group; a forum where it was okay to speak our minds about anything and everything music. And since there were multiple authors here, we were able to learn about an eclectic variety of music news, recommendations, and bands.
In the last few years, many of the authors who helped co-found this blog quit posting entries. I'm not bitter about their absence, because I know it takes a lot of time and dedication to write quality articles and posts. I will never forget them, but I think its time I quit expecting them to come back. I'd really like to see Vintage Rock turn back into the place it once was. I really don't forsee that happening though. I do however think it is valid for me to keep up this blog in hopes I can inspire even one person to realize that MTV is not the only way to define one's musical tastes. I know its difficult, and takes a lot of research, but there are amazing bands out there just waiting to be discovered. And that is the purpose of this blog. I've never made one penny for running Vintage Rock, and that's okay. Its worth all the hard work when I hear one person say, "Hey, that band kicks ass!" So yes, if you like Vintage Rock and what we stand for, don't be afraid to comment on an entry or say hi on the tag-board. The more input from you readers, the more likely I am to be inspired to post more entries.
Anyway, I'm off my soap-box for today. I just thought I'd let you know that things are going to be a bit different here. I'm taking the focus off the side bar and deleting a lot of things I don't find relevant anymore.
Our Beloved Revolutionary Sweetheart closed with Lowery singing about how "Life Is Grand" in pointed response to "those of you who have appointed yourselves to expect us to say something darker." So when Key Lime Pie came out, its moodier music and imagery, not to mention that soon after the fact the band fell apart on the tour for the album, led more than one person to think those darker times had finally arrived. As it is, the group had already gone through one major shake-up between the two albums -- founding member Segel had taken a powder to concentrate on other efforts, with Morgan Fichter brought in as a replacement violinist. Her abilities were certainly praiseworthy, as the album-starting instrumental "Opening Theme" shows quite well. However, it's definitely not the same band that did Telephone Free Landslide Victory a mere four years previous -- things are more straightforwardly rock here most of the time, perhaps not too surprising in light of Lowery's subsequent work in Cracker. As it is, though, it's excellently conceived rock, with space, moodiness, and more to spare. Consider "Jack Ruby," with its wordless backing vocals, tense rhythms, and thick soloing, or "Laundromat" and its steady but unnerving crunch. It's not all potential melancholia, though -- "June" in particular is an underrated number, celebrating the early summer with sweetness and love (at least up to the increasingly stranger ending). Lowery's singing is his best yet, perhaps a little less prone to wackiness but an emergent, distinct voice all the same, and certainly prone to sing a quirky lyric or two still. The oddest thing of all was that the band actually gained a little mainstream attention on MTV and radio via a cover of Status Quo's psych-era nugget "Pictures of Matchstick Men."--- Ned Raggett