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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 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.

jinkesvelma @ 10/9/2006 | Comments (5)

Peeping Tommi---new Tori Amos unreleased track

Wow. Wow. 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 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
fresh mown grass
dirt licking my elbows
I watch his hand move
her dress

Don't run away
from me now

Don't run away
from me now

She's down on the
she gives the boy
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

Don't run away
from me now
she's willing
just breathe
one day I'll be

Don't run away
from me now
she's willing
just breathe
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

just breathe
peeping Tommi

 Listen to the track @:


jinkesvelma @ 9/25/2006 | Comments (3)

A Piano: The Collection


Yeah, I realise any self-respecting Tori Amos fan knows about this already, but I didn't know until about an hour ago that we can now hear 30 second clips of each song in the box set!!

*listen to them here*

I preordered from Barnes & Noble because of the extra DVD you can apparently only get from them... check it out if you haven't already, because the standard version preorders have already sold out.

So excited, now that I've listened to bits of unreleased tracks and demos.  Roll on the end of September.

Aims @ 9/9/2006 | Comments (4)




  Saw Tool on Tuesday in Vancouver. 20th row beside stage. Sweet seats, sweet view of the band. Fucking sweetest show EVER.

 The opening act was a band I'd never heard of, called Isis. However, due to shitty timing on the Skytrain, I didn't get to the venue in time for their set.  :-(

 ... Made it right on time for Tool, though!

 The Set

 Stinkfist / The Pot / 46 & 2 / Jambi / Schism /  Lost Keys & Rosetta Stoned / Lateralus / Right In Two / Sober / Vicarious / Aenima (encore)

 Flawless performance all the way -- the sound was immense, loud, and clear. Yeah, I'm biased though. They could have sat down and done Dueling Banjos for two hours, and I still would have grinned like an idiot.

Maybe I should have attempted this when my brain is not so trashed from the strain of work.  I'll go more in depth once I'm running on more than four hours' sleep! I promise the ultimate moment by moment commentary on the show once I've slept, but I thought the quick version would be good.


Lulled to sleep by :
By Tool

Voo @ 8/25/2006 | Comment (1)

"Timmy and dad and a purple monkey, are all down at Bobby's House"

Just thought I'd share a bit of my other passion in life: art. It doesn't get better for me as an artist when I can blend music and the visual arts together in my work. I did this piece to really study Tori Amos' face and work on shading and my pencil drawing. I couldn't resist adding a bit of red water color wash to her hair and then I just ended up painting about as much as I drew with pencil on this piece. I hope you all enjoy it. Don't hesitate to ask me to do portrait commissions since I live to draw portraits.

Let me know what you think and if you'd like to see any more of my stuff, I could possibly give you the link to my deviant art site, but it does contain mature content (my pin-up and nude studies) so I only give the link to those I trust. Those I don't know are no threat to me personally, that's why I don't feel endangered putting that stuff up on since it is an artist's community.

Currently listening to:
Boys for Pele
By Tori Amos

jinkesvelma @ 8/14/2006 | Comments (2)

I want to be the girl with the most cake...


There is something incredibly compelling about artists who make their lives a complete trainwreck. We seek them out like morbid onlookers at a ghastly car crash. We know the scene is ugly and that we should look away....but there is no way our brain will compell are necks to rotate and turn our heads the other way. Maybe this explains my recent obession with Courtney Love's 1994 tune, "Doll Parts." The song was written before the Kurt Cobain suicide (or murder) it doesn't have the taint of that as her later work does. I'm not here to condemn or condone Courtney Love. Its between her and her maker if she killed Kurt or aided in his demise. Until there is SOLID proof she was 100% involved in his death, I'll have to give her the benifit of the doubt because the U.S. is a democracy the last time I checked.

So, I just wanted everyone to know that the reason I post this video has nothing to do with my opinion of Courtney Love's life. Hey, I even on occasion enjoy some of Charles Manson's music...does that mean I want to talk with him over coffee about ritual killings? Hardly...I just have the ability to seperate the artist from the actual person. If I just ignored every musician or artist who had something freaky and or extremely questionable about their personal lives, my walls would deviod of artwork. I suppose that's why they say there's such a short divide between genius and insanity...and maybe music is supposed to bridge that. Anyway, here's hoping that Courtney will clean up her act for good because she has a daughter to raise (Frances Bean). And I have to admit her early 90's stuff is actually some of the best female grunge I've ever heard, aside from PJ Harvey of course.

Currently listening to:
Live Through This
By Hole

Currently reading:
Still Life with Woodpecker
By Tom Robbins

jinkesvelma @ 8/7/2006 | Comments (3)

What's Opera Doc

I know this is supposed to be strictly a "rock music" blog, but I got an idea from a friend for a post I should write that has to do with classical music. Now, I know what your'e probably thinking (what a snooze fest), but really, I'm not going to pretend to be an expert on opera or the "1812 Overture." So just hold your horses, because yes this entry is about Wagner's operas, but it is also about our favorite loveable, kooky 70 year old rabbit: Bugs Bunny. Yes, you read that last sentence correctly: Bugs Bunny.

I'm sure many of you readers have grown up with with the antics and shenanigans of the Looney Tunes characters. Back before everything became so bland and "PC" for children,  I couldn't wait till Roadrunner found a way to twart Wile E. Coyote and send him flying over the nearest cliff. I always thought Daffy Duck was a bit too close to the edge of insanity with his angry, quacking rants and tirades...but I still enjoyed every moment he shared with my television set.

Until recently though, I had forgotton about my childhood friends, forsaking them for newer cartoons like Daria, Invader Zim, and Drawn Together. Then, I was chatting with a friend the other day, asking him what I should write next for this blog. He ended up sending me a video for "What's Opera Doc" and said I should write a piece on that. I decided, sure, why not? What a great way to travel back to my childhood and my first real exposure to classical music. I know that I feel really satisfied and happy when my mind reverts to my childhood, back to days when my most important priority was waking up early enough on Saturday morning so I could catch all the Saturday cartoons before my parents made me go outside and play in the sandbox.

What's Opera Doc: The Story Behind One of the Greatest Cartoons

researched and written by Kristy Parker

Click here to watch "What's Opera Doc?"

Chuck Jones, a renowned animator for Warner Brothers, was best known for creating the characters Pepe' Le Pew, Roadrunner, and Wile E. Coyote. Before Jones created these humorous and beloved characters, he was stuck trying to recreate the cutesy animation style of the Disney shorts of the day. It wasn't until the cartoon, The Dover Boys, that Chuck Jones said he "learned to be funny." That particular cartoon was also very inovative, because up until that point, animators had been trying to copy Disney's realistic animation style (example: Walt Disney's Snow White). Chuck decided to stylize his drawing, making it seem more outlandish and fun for viewers. He understood that the point of cartoons wasn't to mantain realism, but to transport viewers to another world in which the trees don't look like the ones knocking against our windows.

In the early 1940's, Chuck Jones worked with Theodore Geisel (Dr. Seus) on "Private Snafu" for a time, creating edgy educational films for WWII soldiers. Also, without Chuck's collaboration with Seus, who knows if the Christmas classic, How the Grinch Stole Christmas, would have been the same film we know and love today?

His most highly regarded work were the cartoons he created that were written and conceived by Michael Maltese. His trilogy of greatness includes the three following critically acclaimed six minute cartoons: Duck Amuck, One Froggy Evening, and (the cartoon on which this article is based) What's Opera Doc?.

The basic plot of "What's Opera Doc" revolves around some key themes:

  • Parody of Wagner's Operas and the over-dramatization of opera plots
  • Parody of Disney's Fantasia (which I admit took itself too seriously)
  • The stylized dancing of ballet
  • The basic, over played "Elmer must kill Bugs" plot

This cartoon, created in 1957, spiced up the by then tired Elmer Fudd and Bugs routine of hunter vs. rabbit by incorporating high brow entertainment such as opera and ballet into the perfect comic atmosphere for Elmer and Bugs Bunny to interact in. Michael Maltese should be commended for exposing children to classical music. He made Wagner's operas comical and adapted the lyrics hysterically. Today, as I discover more and more that I don't want to run screaming at the sound of an orchestra, I begin to wonder what opened my mind. I think part of the reason I enjoy classical music now has to do with the realization of how familar the classical music seemed when I really listened to it. I guess I have animators like Chuck Jones and writers like Michael Maltese to thank for that.

What's Opera Doc? is particualry special to me as artist because the animation is extremely well done. If the screen were lacking the characters, I would probably be just as entraced by the beautiful, majestic background work done by artist, Maurice Noble. Its no suprise to me that this was the first animated short to be be deemed culturally significant by the Library of Congress. What's particualary notable about this cartoon is that this is one of the few times Elmer Fudd actually captures Bugs Bunny. But, as Bugs Bunny says at the end of the cartoon, "Well, what did you expect in an opera? A happy ending?"

songs included in this cartoon:

the overture from The Flying Dutchman - opening storm scene

the overture and Pilgrims' Chorus from Tannhäuser - "Return my love"

the Ride of the Valkyries from Die Walküre - "Kill the wabbit"

Siegfried's horn call from Siegfried - "O mighty warrior of great fighting stock"

the Bacchanal from Tannhäuser - ballet scene between Elmer and Bugs

Sites referenced:

Wikipedia: What's Up Doc?

Wikipedia: Chuck Jones

jinkesvelma @ 7/19/2006 | Comment (1)

Aww :(

Syd Barrett dies, age 60


Syd Barrett, the "crazy diamond" guitarist who shaped the early Pink Floyd psychedelic sound, has died nearly 40 years after becoming one of rock music's most dramatic casualties.

He turned into a recluse after an LSD-induced breakdown and in recent years suffered from complications due to diabetes.

After becoming severely ill last week, Barrett was admitted to Addenbrooke's hospital, Cambridge. He was discharged on Thursday and died the following day at his home, in St Margaret's Square, which he shared with his mother until she died a few years ago. He was 60.

His brother, Alan, said: "He died peacefully at home. There will be a private family funeral in the next few days."

Barrett walked away from fame as a cult figure, vanishing behind the blinds of his mother's semi-detached house, preferring to tend his garden, visit Sainsbury's on a bike and mutter inanities to unwelcome visitors.

Barrett reportedly entered a mental home at one stage, and latterly always avoided anybody who called on him. Wearing only his underpants he met his biographer Tim Willis at his front door and said: "I'm just looking after this place for the moment. I'm not going to stay here forever."

However, he is thought to have left a fortune. David Gilmour, drafted in to Pink Floyd during a period in which Barrett was behaving erratically, made sure that royalties on his compositions flowed steadily into his bank account.

Even though he was only with the band for its first three years and appeared on just one album, Piper At The Gates of Dawn, Barrett's quarterly income was still into seven figures. Friends said he was happy never to mention his cult status, adding that he was neither poor nor sad.

Rock stars paid tribute to him last night. David Bowie described Barrett as a "major inspiration", saying: "I can't tell you how sad I feel.

"The few times I saw him perform in London at UFO and the Marquee clubs during the 1960s will forever be etched in my mind. He was so charismatic and such a startlingly original songwriter. His impact on my thinking was enormous. A major regret is that I never got to know him. A diamond indeed."

A statement from Pink Floyd said: "The band are naturally very upset and sad to learn of Syd's death. He was the guiding light of the early band line-up and leaves a legacy which continues to inspire."

The former Blur guitarist Graham Coxon released a statement saying: "Lost him again ... For bang on 20 years Syd led me to better places."

BBC's Radio Cambridgeshire played the Floyd's Wish You Were Here, with its opening lyric, "So, so you think you can tell Heaven from Hell, blue skies from pain". The recording, in 1975, was the last time the band saw Barrett.

He ambled into the studio to listen and, initially, nobody recognised him, as the former 9st guitarist had become a shambolic, 16st balding man.

At first, Pink Floyd was Syd's band, made in his image, and making singular music with its quintessentially English take on psychedelia. But the feeling is that Barrett was a fragile figure from the first, and LSD, with its increasingly uncontrollable trips, put him over the edge.

Gilmour said he thought that Barrett's breakdown was always on the cards. "It was a deep-rooted thing. But I'll say the psychedelic experience might well have acted as a catalyst.

I just don't think he could deal with the vision of success and all the things that went with it."

Joe Boyd, his first producer, said: "It is a very sad and lonely tale. With the band and him, you had the feeling you were in the presence of people who were a soundtrack of a revolutionary period. I don't know what Swinging London would have been without him."

The Daily Telegraph 

Currently listening to:
By Pink Floyd

Aims @ 7/12/2006 | Comments (4)

Is everybody in?

  "Is everybody in?... Is everybody in?...The ceremony is about to begin...

   - The Celebration of the Lizard, Jim Morrison


 I looked at the calendar last Monday with a feeling of weight. A feeling of emptiness, of grief...

 July 3, 1971 - Paris, France. A good thirteen years before I would be born, James Douglas Morrison died. He was twenty-seven.

 And that was thirty-five years ago.


 How do you grieve for someone who you never met? In the same way people miss John Lennon, Jimi Hendrix, Kurt Cobain, John Bonham, Jeff Buckley, Keith Moon....

 The list goes on and on.

 Fortunately, the music lets them all live forever.


 "You know, you know more

  than you let on.

  Much more than you betray...

  You really have been swell to me.

 Tell them you came and saw and look'd

 into my eyes and saw the shadow

 of the guard receding

 Thoughts in time

 and out of season

 The Hitchiker  stood

 by the side of the road

 and levelled his thumb

at the calm calculus of reason..."

 - Paris Journal, 1971 : Jim Morrison



Legacy: The Absolute Best
By The Doors

Light My Fire: My Life With the Doors
By Ray Manzarek

Voo @ 7/11/2006 | Comment (1)

Mother Love Bone

Entry written and researched by: Kristy Parker

Think of it...its the late 80's, you're in Seattle, Washington cupping your ears, trying to figure out the "new" sound that seems to be everywhere. You already thought that George Michael was beginning to seem like the anti-christ of rock  All the glam pop/rock of the late 70's is dying out, and something darker and heavier is fusing with the remains. No longer is every band trying to get on the space ship with Ziggy Stardust and the Spiders from Mars; they are trying to find a space somewhere grounded on this planet. Their elevation comes instead from a wall of muddy sound coursing through Marshall amps as tall as small buildings. The aura of the music has the sneer of Sid Viscious and the stage antics of the over-the-top Elton John. Who shall herald in this change, be the ringleader with the magic guitar pick of gold...and the voice that can be heard above the thunderous crowds?

Many say that Nirvana broke through with the most innovative force, and they would be quite wrong. Kurt even admitted on numerous occasions that his music was greatly influenced by other artists such as the Pixies and The Melvins. So he was pretty much putting a megaphone up to sounds already circulating the alternative music scene. Yes, there was Soundgarden, The Melvins, Alice In Chains, Nirvana...but there was also one band that stood out amongst them all: the infamous Mother Love Bone.

Never heard of them? Well, that could be because they never got the chance to shine like so many of the other Seattle bands. Like so many other sad rock n' roll stories, their lead singer Andrew Wood (from the band Malfunkshun), died of a heroin overdose before the release of their first album, Apple. The other reason you might still be scratching your head could be because two of the band members went on to form an even more sucessful band, some would say the most powerful rock band fame wise other than U2: Pearl Jam.

Stone Gossard and Jeff Ament, while best known as guitarist/bassist for Pearl Jam, actually wrote some of their greatest stuff musically during their short lived musical project, Mother Love Bone. Mother Love Bone mixed the beautiful piano arrangements of Elton John withAndrew Wood's vocal stylings (somewhere between the sexual howl of Robert Plant and the flambuoyant energy of Freddie Mercury). On top of all that, add the scorching guitar licks of Stone Gossard in his post-glam/punk glory, and you have the best band to come out of the Seattle scene. Or at least, the band with the most outright potential for earth shattering rock. I suppose we'll never know for sure what could have been since there is only one album, some bootlegs, and some old frayed concert t-shirts.

I write this article not to say I have less love for bands like Pearl Jam, I just think that many grunge fans are missing out if they don't also have a place for Mother Love Bone beside Pearl Jam's debut Ten. Since I'm not the kind of girl who wants to leave her readers hanging, I'm going to leave you with two music videos. The first is Pearl Jam covering my favorite Mother Love Bone song by far, "Chloe Dancer-Crown of Thorns." Then, I'll leave with you with Star Dog Champion, a rare video from Mother Love Bone. Let me know what you think, seriously. I'm way suprised nobody in here ever mentioned this band before because I know most of you are obessesed with grunge and Pearl Jam.

Some trivia for you: did you know that the band Temple of the Dog was formed to create such tribute songs as "Say Hello to Heaven" for the late Andrew Wood of Mother Love Bone who was Chris Cornell's roomate? The band included members of Sound Garden and Pearl Jam. Also, Eddie Vedder sings lead vocals on "Hungerstrike."

"Chloe Dancer/Crown of Thorns" Mother Love Bone cover performed by Pearl Jam; from the 2003 DVD, Live at the Garden.

"Stardog Champion" rare video by Mother Love Bone circa 1989

jinkesvelma @ 7/8/2006 | Comments (2)

Music Updates

November 19th 1985  (Age 32)
La Porte City
Myspace Mp3 Player, MySpace MP3 Players, Flash MP3 PlayersI made this playlist at
Check out this MySpace MP3 Player!

Featured Song:
"Dead Road 7" by The Kills

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.

Kristy (founder)
Aims (co-founder)
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, 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

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