Gang Of Four Bolsters ‘Entertainment’
Out of print since 1997, Gang Of Four’s seminal 1979 debut album “Entertainment!” will be reissued on May 17 via Rhino. The original 12-song track list has been bolstered with the four-track “Yellow” EP and four additional previously unreleased recordings. “Entertainment!” has also been re-pressed on 180 gram vinyl for a May 10 release. Among the new additions, perhaps of most interest are alternate versions of album tracks “Contract” and “Guns Before Butter” and live versions of the unrecorded “Blood Free” and a cover of the Velvet Underground’s “Sweet Jane.” Originally released in 1980, the “Yellow” EP is highlighted by the angry, brittle “Outside the Trains Don’t Run on Time” and “He’d Send in the Army.” The release also features the songs “It’s Her Factory” and “Armalite Rifle.” Although never a commercial success, “Entertainment!” has influenced scores of bands in the past 25 years, particularly the current crop of up-and-coming British rock acts like Franz Ferdinand and the Futureheads. Since 1995, the album has sold 12,000 copies in the United States, according to Nielsen SoundScan, but since 2000, an import edition has shifted an additional 14,000 units. As previously reported, Gang Of Four’s original lineup reunited earlier this year for the first time in more than 20 years. The group will begin a three-week North American tour May 1 at the Coachella Valley Music & Arts Festival in Indio, Calif. Guitarist Andy Gill recently told the BBC that Gang Of Four was working on an album featuring a disc with new recordings of old songs plus a collection of remixes, but a spokesperson could not confirm details of the project at deadline.
Archive for March, 2005
Thursday, March 31, 2005
Gang Of Four Bolsters ‘Entertainment’
Wednesday, March 30, 2005
Dinosaur Jr. Tackles TV, Summer Shows
The reunited original lineup of influential modern rock act Dinosaur Jr. will perform on television for the first time April 15 on CBS’ “The Late Late Show With Craig Ferguson.” The following day, guitarist J Mascis will play at Los Angeles’ Spaceland club with his band the Fog, as well as guests described only as “very special.” As previously reported, Dinosaur Jr. will this summer play its first shows with the lineup of Mascis, bassist/future Sebadoh leader Lou Barlow and drummer Murph since 1989. The only confirmed dates at deadline are June 8 in London, June 10 at the U.K.’s Download Festival and July 29-31 at Japan’s Fuji Rock Festival. Last week, Merge reissued the band’s first three albums, “Dinosaur,” “You’re Living All Over Me” and “Bug,” with remastered audio and smattering of bonus tracks and rare photos. Sonic Youth’s Thurston Moore, Mike Watt and Guided By Voices’ Robert Pollard contributed to new liner notes. In related news, Barlow, who just finished a run of dates in support of his new Merge album “Emoh,” reports on his official Web site: loobiecore.com that he recently spent time with Sebadoh drummer Eric Gaffney. The experience “bodes well for some comprehensive Sebadoh reissues in the future,” he said. (via BB)
Tuesday, March 29, 2005
Crowded House Drummer Hester Found Dead
SYDNEY, Australia – The drummer from 1980s Australian rock band Crowded House hanged himself in a park in southern Australia, an emergency services spokeswoman said Monday. Paul Hester, 46, went missing on Friday. His body was found Saturday in a park near his home in the southern city of Melbourne, said Metropolitan Ambulance Service spokeswoman Liraje Memishi. Hester played in several small bands before joining the New Zealand group Split Enz in 1983. He and Split Enz singer Neil Finn (news) formed Crowded House in 1985 with bass player Nick Seymour. Crowded House was one of Australia’s most successful bands in the late 1980s and early 1990s, with international hits such as “Don’t Dream it’s Over” and “Weather with You.”
RADIOHEAD PLAY NEW SONG
Members of RADIOHEAD have debuted new material on stage in LONDON tonight (March 27). Jonny Greenwood and Thom Yorke played two tracks together at the Royal Festival Hall with the London Sinfonietta. The duo debuted the delicate-sounding ‘Arpeggi’, which featured ocean-themed lyrics, plus played ‘Where Bluebirds Fly’, a b-side of ‘There There’. Both tracks were specially arranged for orchestra by Greenwood. The appearance was part of Greenwood’s collaboration with the London Sinfonietta for the South Bank’s Ether festival, and saw the guitarist pick a selection of experimental music for the evening. The orchestra performed two compositions by Greenwood, ‘smear’ plus the world premier of ‘Piano For Children’, along with a series of other short orchestral works. The event also witnessed a guest collaboration with the Nazareth Orchestra who injected an Arabic influence not only with their own work, but by joining in ‘Where Bluebirds Fly’ with the Radiohead duo. The programme featuring Yorke and Greenwood, is due to be repeated tomorrow at the Royal Festival Hall.
Monday, March 28, 2005
Friday, March 25, 2005
Queens of the Stone Age:: Lullabies to Paralyze (Album Review)
Josh Homme is a slippery character, to say the least. Having transcended the genre he almost single-handedly kick-started (remember “stoner rock”?) before it ever had a chance to grow stale, he casually welcomes mainstream acceptance while maintaining the cool detachment of one who can’t quite be bothered. He croons in a smooth falsetto over fuzz-soaked power chords. His name is French, but it means “man,” man. With Kyuss, arguably the world’s first hip metal band, Homme helped preserve (non-thrash) metal while its spandex-clad branch was being rudely tossed in the much-deserved tree shredder by the grunge “revolution.” The band accumulated a devoted following of fans for which Homme probably didn’t care much and created a genre in which he seems to have little interest. But rather than let these things, the very demons that destroyed Kurt Cobain, get him down, he simply broke up the band and moved on. With a rotating cast of whoever suits his fancy at the time and a name calculated to repel the more goonish elements of Kyuss’s audience, he’s spent the last few years introducing subtle innovations to the worn-out genre of heavy rock, keeping it vital but never forsaking it. Lullabies to Paralyze is a Queens of the Stone Age album, plain and simple, perhaps the first that fails (or simply doesn’t bother) to expand the band’s sound in any way. As always it’s got a bunch of good songs and a few great ones, but that’s about it. It’s hard to criticise an album with this much good material for not being even better, but the fact is that Homme’s set a pretty high standard for himself, and now he has to live by it. The album’s lackluster single, “Little Sister,” while certainly one of the album’s weaker moments, kind of sums the whole thing up. Sure it rocks, but to what end? The last album’s lead single, “No One Knows,” had a pretty uninspired main riff as well, but at least it had that ridiculous Dave Grohl breakdown in the chorus. Having said that, it’s hard to imagine a Queens fan being particularly disappointed here. The staggering guitar solo in the half-time intro to “Everybody Knows That You’re Insane”? Killer. The menacing descending riff that anchors “The Blood Is Love,” one of the album’s more epic arrangements? Ass-kicking. The handclaps and staccato piano chords on “Broken Box”? Groovy, baby, real groovy. But without the radical studio experiments of Rated R or the goofy radio-dial concept of Songs for the Deaf, the whole affair seems a bit directionless. Even the hypnotic motorik rhythms of the debut, while now a familiar sound for the band, were pretty intriguing at the time. Next to those past triumphs, the new album comes off as a well-crafted holding pattern, a collection of good songs without any strong or new ideas behind them. Call it the Queens’ Ill Communication, if you like. I don’t want to seem as though I’m completely disappointed with the album, because I’m not. Song for song, Homme’s hit-to-miss ratio remains uncannily high, and as long there’s more Queens music, I’m happy. But considering where he’s gone in the past, I’ve come to expect a little more than just hip-shaking and head-banging. Perhaps Homme is simply channeling too many of his stranger creative urges into his side projects, particularly his prolific Desert Sessions project. Perhaps he’s tiring of the Queens template, and preparing to follow yet another more compelling muse with a new band (name). In the mean time, if this is what treading water sounds like, I’ll take it. Here’s hoping he gets bored again soon.
Reviewed by: Bjorn Randolph
Thursday, March 24, 2005
Kingblind news that you can use:
New Teenage Fanclub in US on Merge Records on June 7th (Out May 2nd in UK)
The LA’s ( of There She Goes.. Fame) have reformed.
Eagles of Death Metal are recording their sophomore release.. It due in fall of 05
Outkast’s manager compare group’s upcoming movie to ‘Purple Rain’, ‘The Wall’ CLICK HERE for more info
New White Stripes album is finished.. No release date yet.. Expect summer 05
Wednesday, March 23, 2005
YEAH YEAH YEAHS SCRAP SONGS FOR SECOND ALBUM
The YEAH YEAH YEAHS have decided to scrap all of the songs recorded for their anticipated second album – because the tracks sounded too much like their previous work. The bandmembers have been working hard on the follow-up to their breakthrough 2002 debut album FEVER TO TELL, which they now say will arrive in the autumn (05) following the overhaul. Singer KAREN O says, “We’re not interested in making ‘Fever To Tell Part 2′. The pressure is to re-invent ourselves. We don’t know how we’re going to do it yet but I think it’s in our best interests to try and explore other directions.”
Guitarist NICK ZINNER adds, “It seems like a necessary step and the obvious thing to do is not repeat what you’ve played. I was disappointed by a lot of band’s second records recently over the past year or two because it sounded like B-sides from the first record.”
Help save CBGB’s
Among the efforts to save landmark New York punk venue CBGB is a collection of limited-edition treats from Gotham candy store Chocolate Bar. The confectioner is introducing the $25 CBGBs Punk Rock Box, a 16-piece truffle collection that includes a postage-paid petition to save CBGB, a steel logo keychain and a collection of CBGB stickers. For the budget-minded yet concerned punk, there are $3 CBGB Retro Bars wrapped in a limited-edition CBGB keepsake package that includes the postage-paid petition. Both items will be available in May, but can be pre-ordered through the store’s Web site or by calling 800-481-2462. All proceeds will benefit the club’s campaign to keep its doors open. CBGB owner Hilly Kristal is embroiled in a dispute with the non-profit Bowery Residents’ Committee, which owns the club’s East Village building and operates a homeless shelter above it. In addition to back rent, Kristal’s negotiations with the BRC to extend his lease past its August expiration have stalled over the subject of a substantial rent increase. (via bb)
RADIOHEAD ON CLASSIC NEW MATERIAL!
RADIOHEAD are working on new material – and guitarist JONNY GREENWOOD has spoken for the first time about a rare live appearance next week in LONDON. As previously reported, new music from members of Radiohead will be played for the first time at the London Ether Festival. Material penned by Thom Yorke and Jonny Greenwood will form part of The London Sinfonietta at the London Royal Festival Hall (March 27-28). Organisers say the events will feature “two evenings of experimentation, collaboration and cross-genre juxtaposition”. New music from Greenwood and Yorke will form part of the show, along with more classical composers and traditional Arabic song. Speaking in The Guardian newspaper, Greenwood explained the challenges of the shows, and how they will influence the next Radiohead record. He said: “I feel embarrassed talking about it. I’m so patchy. I’ll be obsessed with a few composers, and know nothing about the rest. I get these enthusiasms which can drive the band crazy, but I just say: ‘Listen, French horns are amazing, we’ve got to find a way of using them. Or I’ll say, ‘It would be great if this song sounded like Penderecki, or Alice Coltrane’. ” And it’s childish because none of us can play jazz like Alice Coltrane, and none of us can write the kind of music that Penderecki does. We’ve only got guitars and a basic knowledge of music, but we reach for these things and miss. That’s what’s cool about it.” Speaking about working with the Sinfonietta, he added: “They’re a great orchestra because they’re up for radically changing things at the last minute. I cut six minutes out during rehearsals… There’s something about classical musicians – they tend to be totally without ego, and so enthusiastic, but also just so talented.” However, Greenwood has ruled out working in classical music full-time, saying that his heart remains with Radiohead. He concluded: “Radiohead is always going to be the centre of what I do. Everything starts with songs, and with Thom, and with the excitement you can get in the band when you hear new music, and you know you’ve got the chance to watch it mutate and change. There’s nothing like that, nothing as exciting. We’re rehearsing at the moment, and again it’s fun. We all want to push forward, and when you have five people who are all like that, you couldn’t ask for a better thing.” (Via NME)
Tuesday, March 22, 2005
The White Stripes Live Comeback in May!
The duo have been in the studio in the last couple of weeks working on songs for the follow-up to ’Elephant’. And then in May they have announced a few live shows. So be the first to hear the new tracks LIVE in either Mexico or the Dirty South.
* Monterrey Fundidora Amphitheatre (May 11)
* Guadalajara Foro Alterno (13)
* Mexico City Sports Palace (14)
* Atlanta Music Midtown Festival (June 10)
Monday, March 21, 2005
Friday, March 18, 2005
The Mars Volta:: Frances the Mute (Album Review)
It’s a weird world we live in when progressive rock can sound this vital, this fresh, this downright exhilarating. Prog, lest we forget, being a movement that became so stale and indulgent that punk had to happen as the ultimate two-fingered riposte. Three decades on and prog crawls out from under its rock looking less shamed than when it ran off all those years ago, blundering in clownish platforms with its stupid beard flapping behind like Biggles’ scarf. Bands such as Muse (and to a lesser extent The Darkness) have done wonders for noodly, interminable guitar epics, but it’s The Mars Volta who have produced a record so out there, so mind-bogglingly grandiose that it beggars belief. There are five songs in all, or rather five envelopes with titles like ‘Miranda That Ghost Just Isn’t Holy Anymore’ and ‘Cygnus… Vismund Cygnus’, and within each of these parts are more parts; kind of like ‘Supper’s Ready’ by Genesis, but unfathomably expansive, whizzing and frothing along at an unholy pace, and featuring the most brutal and wigged-out funk-metal-prog-madness you’re ever likely to hear. They wear their influences on their Wizard sleeves; Led Zeppelin, Carlos Santana, Frank Zappa, even Queen can be heard within, though it’s the production (by the band themselves) and the mixing (by much in demand Rich Costey) that elevates ‘Frances the Mute’ to the exalted position it shows off from. Of course, the lyrics are still unfathomably pretentious, like the scribbles of a sixth former who’s just got into magic mushrooms. “Blackmailed, she fell off every mountain / The ones they tightly wrapped in tape / In her eraser sang the guilty / As it made the best mistakes…” etc etc. Err, yeah, right on Cedric. But miraculously the lyrics never sound like the pompous shite they undoubtedly are. They fit the music and make the whole picture even more laughably and absurdly brilliant. I mean, what does “My nails peel back / When the taxidermist ruined / Goose stepped the freckling impatience” actually mean? And who gives a fuck? Omar and Cedric’s opus is of such flamboyant magnitude it can only feel like the future, and judging by the length of some of these songs, you’ll be living in the future by the time it’s finished. If you’ve heard ‘The Widow’ by now you’ll have an inkling what to expect, but nothing can prepare you for just how mighty ‘Frances the Mute’ is. Unspeakably good. (Review by: Jeremy Allen)