http://blogcritics.org/ A sinister cabal of superior bloggers on music, books, film, popular culture, politics, and technology - updated continuously. en Copyright 2005-2007 by the authors Thu, 13 Oct 2005 15:51:52 EDT http://backend.userland.com/rss Blogcritics.org custom software http://blogcritics.org/ Phillip WinnSunday, August 26, 2007, marks the switch of all Blogcritics.org article feeds from full-content to short-content. This is the result of several converging factors, and is unfortunately a permanent decision (as permanent as any decision can be on the web, that is). We are aware of all of the reasons that this is a Bad Idea, and we are aware that some of you will be quite upset about having to click on something to read the free content, and we're sorry. Unfortunately, despite great effort, full-content feeds are not currently economically viable. Two other factors are involved: full-content feeds have resulted in an unprecedented level of content theft, with BC content appearing on many websites, usually spam sites, without attribution or permission. This duplicate content causes a cascading set of problems, not the least of which is that search engines generally aren't favorable to duplicate content, and don't always guess correctly. Finally, our RSS advertising partner is strongly in favor of short-content feeds. We hope that you'll continue to subscribe to BC via RSS, and when an article grabs your eye, it's only a click away, still free on the BC website. Thank you for your understanding. Administration0@blogcritics.org Sun, 26 Aug 2007 12:00:00 EDT http://blogcritics.org/archives/2005/10/13/155152.php Bill LambWhile he has been a member of the Rock and Roll Hall Of Fame since 2003, it is still easy for many to dismiss the importance of Elvis Costello's career in popular music. Many remember him as simply one of the punk/new wave class of '77 that helped rock music lurch forward to a new era in the late 70's. His highest charting pop single in the U.S., "Veronica," barely brushed the top 20 peaking at #19, and his only album to reach the top 10, Armed Forces, stalled at #10. Yet, a strong argument can be made for Costello's inclusion in any listing of the top 10 rock songwriters of all time. This new comprehensive video collection proves he didn't ignore the visual element of performance either.Rhino's The Right Spectacle: The Very Best Of Elvis Costello - The Videos crams 27 videos, Costello's own audio commentary, and nearly 70 minutes of rare television footage onto one DVD. As with most video collections that span the careers of artists that have been around for the last 25 years, this collection depicts both the maturation of Elvis Costello as an artist and the maturation of the music video as an art form. Watch young Elvis Costello using his trademark pigeon-toed stumble-walk with his band the Attractions on "(I Don't Want To Go To) Chelsea" (he's quoted on the audio track saying "The idea behind most of these videos was to fill the band with vodka and let them loose in a white room') and then switch to the 1989 hit "Veronica" to watch a relaxed, established artist croon to an elderly woman the song he co-wrote with Paul McCartney about the ravages of Alzheimer's disease on his grandmother. As far as the evolution of music video, there are leaps from the angular animation of 1979's "Accidents Will Happen" to 1983's brilliantly humorous, but highly staged, Di-Charles spoof on "Everyday I Write the Book" to the Nan Goldin-influenced imagery of 1994's "13 Steps Lead Down."A grand bonus to this collection is 70 minutes of various television appearances in Europe. They document both the power of Elvis Costello rocking live, and the unintentional humor of staged television music shows of the late 70's and early 80's. If you are one of the many who consider yourself a popular music aficionado but are still missing Elvis Costello in your collection, this DVD set is one of the best of all starting points. If you are a serious Elvis Costello fan you've probably already purchased the collection. Once again, Rhino effectively catalogs crucial moments in our popular music history. Watch "Radio Radio"Watch "Veronica" Video37879@blogcritics.org Thu, 13 Oct 2005 15:51:52 EDT http://blogcritics.org/archives/2005/09/29/130248.php Bill LambBeing a New Order fan through the past two decades has sometimes seemed like volunteering for perpetual rounds of ecstasy followed quickly by disappointment. Ecstasy at the times when the band uncorks yet another brilliant song and disappointment at the endless rounds of false starts to recordings, slapdash compilations, album filler, and notorious onstage antics complete with the ever-present rumors of permanent breakups. However, it doesn't take long viewing the brilliant new Item DVD collection, put together by Rhino, to be once again reassured it is all abundantly worth it.The new collection is a 2 DVD set. One disc is an expanded version of a 1994 documentary on the band called The New Order Story and the second is a disc filled with 24 New Order videos including 2 new videos created specifically for this release. For those who remain unaware, New Order is the band that arose out of the ashes of the legendary British post punk band Joy Division upon the suicide of lead vocalist Ian Curtis in 1980. New Order have been at the forefront of electronic pop and dance music for over 20 years. They have delivered hits such as "True Faith," "Bizarre Love Triangle," and "Blue Monday," a song that Q magazine list in its top 10 list of songs that "changed the world." Earlier this year "Krafty," the lead single from their album Waiting For the Sirens Call, reached the pop top 10 in the UK and #2 on the U.S. dance music chart, and New Order looked more relevant than ever as critically acclaimed groups like the Killers, Bravery, and Bloc Party openly acknowledged their musical debts to New Order.The documentary The New Order Story is revealing and quite enjoyable to watch. It has been padded from its 1994 release to include more interview and live footage. For those who have never seen live footage of Joy Division's Ian Curtis, the film included here is a revelation. His loss was truly a tragic one in the history of popular music. Extensive interviews with band members, Factory Records exec. Tony Wilson, and the band's manager Rob Gretton, give a penetrating look into the band's history. The emergence of lead vocalist Bernard Sumner from a shy, buried-in-the-mix singer to idiosyncratic, but effective, frontman is but one of many fascinating stories explored here. The documentary also touches on New Order's relationship to the development of techno and hip hop music in New York. Some may be surprised to see Quincy Jones interviewed in relation to New Order's signing to his Qwest label for release of their early material in the U.S. Viewing this documentary is 2 hours well spent.The music video disc of the Item collection is filled with treasures. It is a comprehensive look at the band's videos from their first video "Confusion" to videos released earlier this year. "Confusion" is an early 80's historical gem as it features footage shot inside the legendary FunHouse club in New York City and film of breakbeat production legend Arthur Baker in the studio. The memorable images tumble one after another through the videos including the band's big U.S. breakthrough with "True Faith" and its mesmerizing characters in large, round, rubbery outfits. There are fascinating extras as well. Two new videos were filmed and included for 2 of New Order's earliest tracks - "Ceremony" and "Temptation." You can certainly get a chuckle as well out of watching New Order on the beach complete with Baywatch star David Hasselhoff in an alternate video for "Regret." Some of the most amazing content on the disc of music videos is present in the music videos where art and music truly converge. New Order has worked with some of the 20th century's top visual artists to produce music videos. Robert Frank, the photographer and creator of the landmark book The Americans, directs and stars in the video for "Run." Robert Longo, an acclaimed painter and printmaker, put together the tumble of images that make up the video for "Bizarre Love Triangle," including the amazing blue tinted video of the individual band members that kick off the song. William Wegman, beloved photographer of Weimaraner dogs, fills the video for "Blue Monday '88" with a sense of whimsy. The convergence of art and music, a key element of the work of New Order, continues through the videos released earlier this year. The video for "Krafty," directed by Sweden's Johan Renck, has the effect of a mini motion picture in a tale of young love and exhilaration. Perhaps the best word for the effect of watching the music video collection is exhilaration.If you are already a New Order fan, the addition of Item to your collection is an absolute must, and you will not be disappointed. If you are a newcomer to the work of New Order, this collection is possibly an even better starting point than any of the various musical compilations. Nearly 25 years into the history of the band, the powerful story behind the group and the lingering images associated with their songs are as important as the music. Video37070@blogcritics.org Thu, 29 Sep 2005 13:02:48 EDT http://blogcritics.org/archives/2005/04/07/151527.php Bill LambThese days tribute albums deserve to be treated with more than a little well-earned skepticism. However, when asked to review Up All Night : Jammin' To the Talking Heads, the fact that it was being released on CMH Records, the indie home to the occasionally great Pickin' On series of bluegrass tributes, I was at least hopeful. I'm happy to report that this music critic's eyes were raised in pleasure not just once but several times in the course of exploring this set of Talking Heads revisions by some of our country's best jam bands.The definition of jam band is a difficult one, but the uniting thread seems to be an interest in blurring boundaries between traditionally accepted genres and a commitment to improvisation in concert. The sounds represented on this collection range blend in disparate elements of funk, jazz, country, bluegrass and soul to name just a few. For the performers chosen here, impeccable musicianship is a notable common trait. Whether the instrumentation is guitar, tuba, or Hammond organ, the standards are faultless.As long as the original songs are not being butchered, I don't get too worked up over the concept of a tribute album, but an all too-common peeve I have is a new version of the song that merely rides in the old treadmarks of the original...maybe using a slightly altered vocal color here or a slight change in instrumentation there. As I listened to Umphrey McGee's by-the-numbers take on "Making Flippy Floppy" and Moonshine Still's zip through "Nothing But Flowers," I settled in for a version of Talking Heads music that merely added the crispness of up-to-date recording technology and some instrumental virtuosity to the brilliant originals. Fortunately I didn't need to wait long for that perception to change.Washington D.C.'s Exit Clov turn in a version of "This Must Be the Place (Naive Melody)," Talking Heads' love song for the ages, that is not only beautiful but also clever. One of the attributes that makes Exit Clov unique is the tightly harmonized lead vocals of identical twins Emily and Susan Hsu. Brought forward on "This Must Be the Place (Naive Melody)" the Hsu sisters are a dead ringer for the sisters Weymouth (siblings of Talking Heads bassist Tina) on early recordings by the Talking Heads side project Tom Tom Club...clever, yes, and disarmingly gorgeous as well. The very next song raises the stakes again. Jazz master Robert Walter's band 20th Congress tear into an instrumental version of "Swamp" that proudly echoes the instrumental genius of the Memphis soul of Booker T. and the MG's. Robert Walter's extended Hammond B3 soloing adds a thrilling sense of timelessness. By now listening intently, I felt my face erupt in a broad smile listening to California-based Global Funk's "And She Was." Think of the coolest possible theme song for an ultra-hip TV sitcom and you have an idea of what Global Funk do with "And She Was." Hilarious moments in the onscreen life of the lead role shoot by while the song slides by in highly memorable jazz-funk colors. It is a brilliant tribute to Talking Heads as the band were always at their best when balancing on the razor's edge between kitsch and art.The remainder of the album doesn't quite reach the peaks of these 3 cuts, but there are still pleasures to be found. Garaj Mahal turn in a pleasantly diverting instrumental version of "Psycho Killer," and the accordion, tuba, guitar, sax instrumentation behind vocalist Jessica Lurie on "Heaven" is engaging. My best advice is to steer clear of Hairy Apes BMX (the latest project by alt-rock veteran Mike Dillon) and their exploration of "Burning Down the House" unless creepy grunge-funk is really what floats your boat. As if you needed any more evidence, this collection abundantly demonstrates the enduring power behind the songs first recorded by Talking Heads and their flexibility in being adapted by other bands. This set takes a whirlwind tour of Talking Heads output from "Psycho Killer" off the debut album through "Nothing But Flowers" from Naked. I found myself wondering what these bands could do with "Don't Worry About the Government," "Girlfriend Is Better," or even "I Zimbra," but perhaps a sequel would be in order. For the most part, the recordings here maintain the integrity of the originals while frequently adding thoughtful new color to the words and music. Music27878@blogcritics.org Thu, 7 Apr 2005 15:15:27 EDT http://blogcritics.org/archives/2005/03/24/232147.php Bill Lamb"You've gotta look at life the way it oughta be." Such is the simple lesson at the center of "Krafty," the leadoff single for New Order's first studio creation in four years. Through the band's eyes, it seems life oughta be a warm place with hooks that instantly engage the mind and possibly the dancing feet. Steering away from 2001's guitar-heavy Get Ready, on Waiting For the Siren's Call New Order once again embrace a universe of instantly memorable pop hooks infused with an ever-present, but never oppressive, air of melancholy. It is music slow to sink in and possibly will even seem ephemeral at first listen, but when heard multiple times it is an album you will want to hear again and again. From the shiny pop-rock of "Morning Night and Day" to the Kraftwerkian electronics of "Krafty," Waiting For the Sirens Call is a pop masterpiece that ranks with the band's best work.When New Order first emerged from the ashes of Joy Division, Bernard Sumner's tentative vocals were frequently buried deep in the band's densely electronic mix. In the intervening two decades Sumner's confidence as a vocalist has grown consistently. On Waiting For the Sirens Call his voice is central to every song and shines as a gorgeous instrument that effortlessly reflects the varying emotional colors encountered in daily interactions with people from the most intimate of relationships to a more generalized sense of the human race.Waiting For the Sirens Call is infused with perhaps the warmest, most organic, sound atmosphere yet heard on a New Order album. The cautionary "Hey Now What You Doing" and the jangly "Turn" revel in equal echoes of mid-80s R.E.M. and mid-70s California rock. The dreamy "Who's Joe" goes down smoothly as well. However, New Order haven't completely abandoned their heavily electronic roots. "I Told You So" is built on an engaging techno-reggae beat and leadoff single "Krafty" is such a perfect recreation of the band's classic electronic feel that you may check the calendar to ensure it's not actually 1983.In the past, New Order have influenced, if not wholly shifted the direction of pop and dance music with their own releases. Their classic "Blue Monday" is often cited as a groundbreaking landmark. With its warm, comforting, organic feel, Waiting For the Sirens Call is unlikely to break new ground, but once heard a few times it will linger long on personal playlists.Jangly guitars, crystalline synths and the mellow longing of Bernard Sumner's voice will stir emotion. Like the best in pop music, it first settles into a comfortable place in the head then ultimately comes to rest in the heart. Note : Waiting For the Sirens Call is available as a UK import March 28 and in regular US release April 26. Music27243@blogcritics.org Thu, 24 Mar 2005 23:21:47 EST http://blogcritics.org/archives/2005/03/15/181405.php Bill LambThe buffed body and trademark sneer on the cover of Billy Idol's latest Devil's Playground are the first clues Idol is back in stride. In the early 90s he veered seriously off track embracing digital music and techno beats, but a 10-year layoff appears to have performed wonders.Since his days as a punk pioneer leading the band Generation X in the mid-70s, Billy Idol has been most successful when he embraces an over-the-top, almost cartoonish, version of himself as a rock bad boy with vicious hooks. The result, at its most successful, is pure entertainment. Devil's Playground is a welcome return of the Idol of the 80s - sneer, fist, peroxide blonde and crackling pop hooks intact.The album kicks off in satisfying form with the rock of "Super Overdrive" giving way to the punk speed of "World Comin' Down." Lyrical sillyness abounds, but, filled with Idol's growl and Steve Stevens' guitar pyrotechnics, these songs are likely to raise a smile. The sound of corporate rock nearly shows its ugly head on "Rat Race," but it's quickly buried in the 80s pop glory of "Sherri." Billy Idol tries a bit too hard to reprise the peak he reached on Rebel Yell over 20 years ago with his current single "Scream," but he more than makes up for that misguided effort with a new dysfunctional Christmas classic "Yellin' At the Christmas Tree."Lest the listener imagine Devil's Playground is merely an effort to recover past glories, Idol does stretch his boundaries somewhat here, and the results are a bit mixed.His gravelly growl does not carry the soulfulness of the late Johnny Cash as painfully evident on the Cash-inflected "Lady Do Or Die." As he has proved in the past with masterful reworkings of Tommy James classics, Billy Idol is more at home with 60s pop, echoing Neil Diamond's "Cherry Cherry" on the track "Cherie." The effort to craft a heavy metal epic on the album's closer "Summer Running" is a bit of a misstep as it would require us to take him more seriously than we've ever wanted to.Credit for the successes on Devil's Playground does not go simply to Billy Idol. Producer Keith Forsey was a key craftsman of 80s pop-rock from the Rebel Yell album to Simple Minds' epic "Don't You Forget About Me." Now nearing 60, Forsey proves he can still craft a song into an instantly memorable soundscape.Another key element of the Billy Idol sound is guitarist Steve Stevens. Devil's Playground is the first album to reunite Idol and Stevens since the end of the 80s, and it is obvious their chemistry is one of the great pop-rock partnerships. Billy Idol's recorded output suffered without Stevens and Stevens' journeyman work never approached the success he reached as lead guitar on Rebel Yell and Whiplash Smile.Will the quality of this new album be enough to excite a new generation of fans? "Scream" is climbing national rock radio playlists giving him a chance, but leaving the crystal ball a bit fuzzy on future predictions. Regardless of Idol's prospects for commercial success, do yourself a favor and listen to this album and then marvel that the man in the "Scream" video with a whiplash smile happily tearing off his shirt for fans, turns 50 this November. Music26777@blogcritics.org Tue, 15 Mar 2005 18:14:05 EST http://blogcritics.org/archives/2005/03/04/140405.php Bill LambOver the past 5 years, Swiss-born Francois Chabloz (aka Chab) has risen through the ranks of dance music producers/mixers to emerge as one of the most exciting club artists worldwide. His work has appeared on 6 Global Underground collections, in collaborations with other artists such as DJ Nukem, remixes of Nelly Furtado and Cevin Fisher, and now on his first album as an artist Dub, Edits and Whisky-Coke. The release of this album, on Satoshi Tomiie's SAW Recordings, is eagerly awaited in progressive house circles and few will be disappointed. Rock elements, electroclash attitude, the sound of organic instruments and pure house beats all blend to create an exciting program of dance songs ready for the dancefloor, home soundsystem, or even hip retail outlet.The leadoff track "You and Me" led me to wonder if someone had stashed a mid-70's Pong game in the back of my stereo cabinet. The relentless bleep so reminiscent of the game lies in counterpoint to a more traditional house beat leading to a bit of disorientation, but by the time the album's mix leads into track 2, it is all part of the seamless sonic blend. Track 2, the album's first single "Closer To Me," is a scorcher. Vocalist JD Davis is a welcome presence and lends rock intensity to the catchy tune underlined by the organic sound of timpani figures. "Monster," the second track featuring Davis on vocals, is a bit darker and moody, but again the catchiness of melody alongside the pleasing use of acoustic guitar strumming clings to your brain and will not let go.Vocal tracks are not the only pleasures to be found on Dub, Edits and Whisky-Coke. The heavily techno-influenced "My Memory," in parts 1 and 2, slips effortlessly into a dreamy mode outstanding for early morning. "Us and Them" is a full-bore instrumental workout featuring horror movie effects that are nearly a trademark of Chab's work. Whether looking for arresting vocal music or expandable instrumental prog house, DJs can dig deep into this album.Chab's album is a very impressive debut. His music plays out with the sure hand of someone with many years experience working in collaboration with some of the world's greatest dance music talent. It is hard to identify significant weaknesses here and the peaks are many. Look for these sounds to permeate through clubs and anywhere melodic dance beats are welcome for months to come. Music26309@blogcritics.org Fri, 4 Mar 2005 14:04:05 EST http://blogcritics.org/archives/2005/02/24/232400.php Bill LambIn the world of superstar DJs and stadium dance music, Tiesto reigns supreme. Currently in the midst of a streak of being voted top DJ in the world by DJ Mag three years in a row, he appears quite comfortable at the peak of the profession. He is the first DJ to perform at an Olympics opening ceremony, and will take his grand show to France for Paris Disney's launch of Space Mountain : Mission 2 in April. For his 'In Concert' performances, Tiesto has moved well beyond the confines of a traditional dance club and entertains crowds of more than 50,000. The audience for the concert recorded here was estimated at 70,000.The grandeur of Tiesto's show is apparent from the beginning of Tiesto In Concert II. A full 8 1/2 minutes of fireworks, lasers and ominous introductory trance music floods the viewer before the DJ is announced. Ensconced in the center of an ever-changing laser-fueled bowl, Tiesto at first appears tiny amidst the grand announcement of his arrival. Fortunately, Tiesto is a handome presence and the camera easily telegraphs his commanding role amidst the spectacle. And we are given spectacle in a parade of guest performers from vocalist Matt Hales to belly dancers and a Bulgarian children's choir.As one of the foremost proponents of trance, the emotive, dramatic, stadium-filling offshoot of house, Tiesto's music is engaging and powerful, occasionally even transcendent. However, the overall effect in this concert film is diminished by the hyperactive camera work. The quick cut editing job is ultimately disorienting to a home viewer. Perhaps in a club or a party environment, the editing would help provide hyperkinetic color and flash, but to the home viewer it is exhausting. In the final analysis, Tiesto In Concert II is successfull in depicting the spectacular entertainment event Tiesto aspires to when he takes to the public DJ booth. However, the 3 hour length and relentless cutting from one camera angle to the next leaves the at-home viewer tired instead of enthralled. Listened to without visual accompaniment, Tiesto's talent for creating an evening of moving, inspiring dance music is apparent, but a concert DVD package is only part sound. For the full package, the video must be engaging as well. Video25977@blogcritics.org Thu, 24 Feb 2005 23:24:00 EST http://blogcritics.org/archives/2005/02/23/153920.php Bill LambIn advance of the commercial release of the single "Krafty" and the album Waiting For the Sirens' Call, New Order's video for "Krafty" is now widely available for viewing. Like the song, the video is understated, simple and elegant with just enough eroticism to maintain interest. The 'plot' of the video is simple. Two young workers lock eyes in the factory, head homeward, make sweet, romantic love and celebrate afterward on the rooftop. The key to the success of the video is an elusive sense, similar to that of much of New Order's music, that it just 'works.'The video's director is Swedish video director and musician Johan Renck. He is no stranger to the world of music videos and among his other work are the videos for New Order's "Crystal" and Madonna's "Nothing Else Matters." Renck used a simple, traditional shooting style from 3-4 angles for his faux concert film in the "Crystal" video, but "Krafty" uses a 360-degree revolving camera approach to his two actors. The effect is quite intimate and seems to draw boundaries that envelop the characters in their own separate erotic world apart from their otherwise sterile surroundings. The simple acts of love, sex and celebration in the "Krafty" video echo New Order's lyrics in creating a world "where I wanna be" doing "what I wanna do." In a world beset by "violence, wars and killing too - All shrunk down a two-foot tube," Johan Renck and New Order remind us that one secret in creating the world we want is to "look at life the way it oughta be."Watch Krafty. Video25904@blogcritics.org Wed, 23 Feb 2005 15:39:20 EST http://blogcritics.org/archives/2005/02/01/160257.php Bill LambThanks to New Order Online, one of the best fan sites out there, we have the UK press release for New Order's latest single Krafty. Can't say we can really argue with it:NEW ORDER release a new single 'Krafty' on 7th March 2005 through London Records.After the planet-shagging success of 2001's "Get Ready" and 2002's this-is-how-you-do-it four CD boxset "Retro," Manchester's finest ever band, New Order, return with new single 'Krafty.' Produced by John Leckie, 'Krafty' is the kind of perfect pop at which New Order excel. It's bass-driven, machine-like and ridiculously catchy and the first single to be lifted from New Order's eighth studio album, "Waiting For the Sirens Call." There is no other band that unites both 'spotty students and football hooligans' (Bernard), as well as housewives and rock stars, the art set and the mainstream, indie-lovers and dance nutters. No other band that can wring such emotion from machines, or make guitars sound so fresh. No one else is so spiky, so startling, innovative and inspirational; no one else makes pop music for clever people that hit the heart as well as the head. In 2005, when every other up-and-coming band cites Joy Division and New Order as inspirations, its fantastic to have the real deal back and on such blistering form. Music24982@blogcritics.org Tue, 1 Feb 2005 16:02:57 EST http://blogcritics.org/archives/2005/01/26/000223.php Bill LambThe Coachella festival the weekend of April 30 and May 1 in Indio, California is shaping up to be a world class event. According to the site Ambitious Outsiders one of the first confirmed acts is New Order. They will perform alongside Nine Inch Nails, Coldplay and Gang Of Four among others. The new New Order album Waiting For the Siren's Call is due out March 28 in the U.K. and April 26 in North America.New Order arose from the ashes of the Punk band Joy Division in the early 1980's. Among their key classic hits are "Blue Monday," "Confusion," "Bizarre Love Triangle," and "Regret." "Krafty," the first single from the new album, is available for listening via online streaming at Warner Music Japan. Its sound is classic New Order featuring a pure Pop melody, chiming guitars, and the wistful vocals of Bernard Sumner.Listen here: Krafty (Windows Media) Krafty (Real Media) Music24710@blogcritics.org Wed, 26 Jan 2005 00:02:23 EST