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 Tue, 7 Sep 2004 16:33:11 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/2004/09/07/163311.php Hazy DaveCarl Wayne, the lead singer of influential 1960s pop group the Move, has died at the age of 61. He had hits with songs such as "Flowers in the Rain" - the first song to be played on BBC Radio 1 when it began in 1967 - and achieved major success with a series of Top 10 hits that included "I Can Hear The Grass Grow", "Blackberry Way", "Curly", "Fire Brigade" and "Night Of Fear". Wayne died peacefully at home on Tuesday morning after battling cancer. He was born on 18 August 1943 in Dudley Road Hospital, Birmingham.After the Move, and a varied solo career, he enjoyed success with the Hollies, joining them in 2000. Their drummer Bobby Elliot said, "Carl was one of the music business's great characters. He was a fearless performer and a powerhouse singer. It has been an honour to work with him. I shall remember his five years with The Hollies with great pride and affection." Carl had a great voice, and if you've never heard the Move's Shazam album, you've missed perhaps the best sounding rock LP before Who's Next. While his departure made room for Jeff Lynne (and the eventual development of ELO), Carl Wayne's two albums with the group provide evidence of one of the best British bands never to make an impact in the USA.More infornation and links to Carl Wayne and Move websites.Some nice tributes here, as well. Music19561@blogcritics.org Tue, 7 Sep 2004 16:33:11 EDT http://blogcritics.org/archives/2004/08/31/175809.php Hazy DaveDetroit developed a burgeoning jazz scene following World War II, but like many midwestern urban centers, its lasting heritage is the string of Jazz Musicians it fed to the gravitational pull of New York City rather than the fruits of its own indigenous scene. Consider the effect on the Big Apple music scene had Milt Jackson, Paul Chambers, Ron Carter, the Jones brothers (Elvin, Thad and Hank) and Kenny Burrell not gone East in the 50's...Sir Roland Hanna (Unlike 'Duke' Ellington and 'Count' Basie, 'Sir' was not a nickname, but an actual title, bestowed on him by the President of Liberia in 1970 for humanitarian efforts on behalf of that country!) was another Detroit native who made his mark in New York. He approached jazz from the classical tradition, having studied at Eastman and Julliard, then served with both Benny Goodman and Charles Mingus in the 50's before concentrating on his own trio and a steady gig with the Thad Jones / Mel Lewis big band. A tenured professor at Queens College in New York, Hanna finished "Tributaries (Reflections on Tommy Flanagan)" just before his own sudden death in November 2002. (Flanagan had passed away the previous year.)This Solo Piano CD begins and ends with Flanagan compositions. "Sea Change", the opener, begins in a George Winston mood, then segues into a march tempo with unexpected harmonies and syncopation, relaxing again to the contemplative by the end. The closing "Delarna" sounds like a song with no words, putting me in mind of Bryan Ferry's "These Foolish Things (Remind Me Of You)" for some reason. Lyricism may be the dominant characteristic of the CD, reflecting, perhaps, Flanagan's decade-plus spent as Ella Fitzgerald's accompanist, or Hanna's own time spent with Sarah Vaughan.Hanna's take on Thad Jones' "A Child Is Born" seems to quote from "Twinkle Twinkle Little Star". If it's good enough for Mozart, why not a 20th Century jazz composer? I wonder if this is intended to evoke a Christmas mood? Not quite the Vince Guaraldi Trio, this feels more like sitting back with a glass of egg nog and rum at midnight after the presents are finally wrapped and under the tree. In contrast, another Jones composition, "'Tis", features considerable energy, syncopation and dynamics.Gershwin's "Soon" has a nice angular, percussive feel under the melody. Further standards by Cole Porter and Mercer Ellington, and the chestnut "Body And Soul" are explored in a laid-back fashion, swinging melodically, with restrained dynamics, at medium tempos...Illinois Jacquet's "Robin's Nest" is probably the most upbeat number on the disc. It's easy to imagine a Forties or Fifties tenor sax quartet ripping through this one. Sir Roland flirts with a boogie woogie beat and keeps my toe tapping throughout.Overall, this is not avant-garde or especially propulsive piano music, but melodic and elegant, with subtle variations in style and texture. A relaxing hour of late evening or weekend afternoon listening. My usual taste in piano players tends more to Professor Longhair and Glenn Gould, and while Hanna shares few obvious characteristics with that odd couple, he also steers clear of the overheated pounding with the sustain pedal that used to pass for dramatic romantic dynamism in the days before heavy metal. Overall, a worthy recording, and a fitting tribute to the memories of two fine musicians. Music19289@blogcritics.org Tue, 31 Aug 2004 17:58:09 EDT http://blogcritics.org/archives/2004/06/08/171926.php Hazy DaveAbout once a month an all star band of pals gets together in Nashville, Tennessee and plays a one-nighter, performing a classic album in sequence. Coming up on July 22nd, it'll be Blonde on Blonde, with Al Kooper playing all the keyboard parts he played on the original album.There will be cameos by famous Nashville residents on vocals, and Bill Lloyd & Gary Tallent lead the band. It's at 12th & Porter and there is but one show that night.Al sez: "Come be stuck inside of Gnashville with the Memphis Blues Again! A Southern Pop delight if ever there was one. Love to see all you Gnashvillians after the show as well." - Old Al Kooper & a rented B3Sounds like a fun evening. Wish I was a few hundred miles closer to Tennessee, which is not a statement I make every week... Music16365@blogcritics.org Tue, 8 Jun 2004 17:19:26 EDT http://blogcritics.org/archives/2004/03/29/131625.php Hazy DaveThe Australian counterpart to the RIAA is having cognitive dissonance problems, so record breaking sale figures are ignored in favor of suggesting that file sharing is responsible for sluggish CD single sales...Music industry way off track with song and dance about falling salesWell, it's another good year for the lawyers, anyway.(Credit: Tim Blair) Music14178@blogcritics.org Mon, 29 Mar 2004 13:16:25 EST http://blogcritics.org/archives/2004/01/30/163820.php Hazy DaveLive 1964: Concert at Philharmonic Hall -- The Bootleg Series Volume 6, a two-CD all-acoustic set from Halloween 1964 is scheduled for release March 23, 2004.The recording captures a 23-year-old Dylan at a transitional moment in his career, two months after the release of Another Side of Bob Dylan, the last acoustic album he would record before ... the electrified rock heard on Bringing It All Back Home, several songs from which he previewed at this concert.Live 1964 shows Dylan at the peak of his early performing powers. Less than three years since his first album was released, he offhandedly jokes with his audience, fending off enthusiastic hecklers with deft wit and snappy comebacks, only to turn around and deliver blisteringly intense versions of protest songs, folk tunes, talking blues, love ballads and a few theretofore unreleased, indefinable songs, including "Mr. Tambourine Man," "Gates of Eden" and "It's Alright Ma," that would spark a musical revolution over the course of the next year. Disc 1 1. The Times They Are A-Changin' 2. Spanish Harlem Incident 3. Talkin' John Birch Paranoid Blues 4. To Ramona 5. Who Killed Davey Moore? 6. Gates of Eden 7. If You Gotta Go, Go Now (Or Else You Got To Stay All Night) 8. It's Alright Ma, (I'm Only Bleeding) 9. I Don't Believe You (She Acts Like We Never Have Met) 10. Mr. Tambourine Man 11. A Hard Rain's A-Gonna FallDisc 2 1. Talkin' World War III Blues 2. Don't Think Twice, It's All Right 3. The Lonesome Death of Hattie Carroll 4. Mama, You Been On My Mind 5. Silver Dagger 6. With God On Our Side 7. It Ain't Me, Babe 8. All I Really Want to DoSounds like this will be right up my alley. I personally found "The Royal Albert Hall" concert a bit underwhelming, but that recording had years of hype and legend building to live up to. (And live recording of electric rock and roll was in its infancy in 1966, whatever the talents of Bob and his backup Band.) Anyway, it should be interesting to compare this CD to the best of today's acoustic troubadours. Or is it unfair of me to even suggest the comparison? Music12197@blogcritics.org Fri, 30 Jan 2004 16:38:20 EST http://blogcritics.org/archives/2004/01/30/151602.php Hazy DaveThe local TV news previewed some Super Bowl commercials this morning. Don't let me ruin your weekend if you want all this to be a surprise Sunday afternoon/evening...My favorite was Homer Simpson for MasterCard. I never knew the Kwik-E Mart accepted plastic, much less Moe's.The Pepsi commercial loses points because it features a Telecaster instead of a Stratocaster. C'mon, people!Muhammed Ali for Linux/IBM loses points for comprehensibility, but gains points for incomprehensibility, if you know what I mean.Parading Scotsmen for Sierra Mist wasn't bad, considering it is, as the kid points out, just plain Wrong. (Does Groundskeeper Willie have a Marilyn Monroe fixation?) Video12194@blogcritics.org Fri, 30 Jan 2004 15:16:02 EST http://blogcritics.org/archives/2003/11/25/120331.php Hazy DaveA letter posted at the Trey Gunn website announces the latest dissolution of King Crimson (Line-up 6: the Double Duo). All things must pass. And now, for me, life with King Crimson fulfills itself.I am sending out this letter of thanks to all the people who have made the experience of being part of King Crimson such a powerful and vital one.I am grateful to all the musicians who have I been able to share the stage, the creative process and the long bus rides with: Robert Fripp, Adrian Belew, Pat Mastelotto, Tony Levin and Bill Bruford. To be able to call these modular, glowing, rock solid, earth shaking and nimble characters my friends and allies has been a constant source of amazement to me...Earlier this year, at the inevitability of the closing of this phase of my musical life, I spent some time looking back. I thought back to the original aims I had as a young musician. And much to my surprise, I discovered that I have realized them. They were simply and elegantly stated to myself at the time: I want to play with the best musicians on the planet and make the most powerful and unusual music possible. I have done that. And done it with this band: King Crimson. And... I don't need to just keep on doing it over and over again.This path has taken ten years (not to mention the previous eight working with Robert Fripp in many other projects.) During my time with the band we have put out 17 CDs, 2 DVDs, and brought to the stage hundreds of performances. Here again, a musician couldn't ask for more.Trey Gunn Seattle There is as yet, no announcement of Fripp, Belew and Mastelotto's future plans. Nor Bruford and Levin's. Fripp has lately expressed increasing reluctance to carry on the life of a Traveling Gigster, but he still identifies himself as a Working Musician. While denying the role of "Leader" of King Crimson, he recogniizes some truth in the appellation "facilitator". So, a Frippless King Crimson is less likely than no Crimson at all. Which may be the result if suitable musicians cannot or will not commit to bringing voice to the Crimson King. And Robert may choose to focus on Guitar Craft instead, and build himself a happier life. (All manner of uninformed speculation and ignorant advice can be found on an internet near you.) Music10429@blogcritics.org Tue, 25 Nov 2003 12:03:31 EST http://blogcritics.org/archives/2003/10/24/181200.php Hazy DaveSometimes you need a little music to set the mood. Maybe you're going to a Halloween party, maybe you're just eating little Snickers bars waiting for the doorbell to ring, but Bobby "Boris" Pickett just doesn't move you the way you need to be moved. Allow me to suggest a few good songs with supernatural content - witches, ghosts, or just minor chords and evil harmonies. This is largely stuff from the "Classic Rock" era, and not excessively obscure, I trust."Tam Lin" - Fairport Convention - Sandy Denny narrates a tale of midnight riders and fairy queens on Halloween while Richard Thompson, Dave Swarbrick and Dave Mattacks romp."Alison Gross" - Steeleye Span - Mid-70's Span is a wealth of songs about witches, demons, bloodletting and murder most vile. A fun little tune about the ugliest witch in the north country."Werewolves of London" - Warren Zevon - Okay, an obvious choice. His hair was perfect."I Put A Spell On You" - Screamin' Jay Hawkins - The original is the best, but CCR and Arthur Brown did fine versions, too."Walking On The Water" - Creedence Clearwater Revival - A nice level of spookiness here, without resorting to Charlie Daniels style ghost story telling."Flying Dutchman" - McKendree Spring - Electric violin and ghost stories just go together."The Green Manalishi (With the Two-Pronged Crown)" - Peter Green's Fleetwood Mac or Judas Priest - But Arthur Brown sings a top notch version on the Rattlesnake Guitar tribute album, too."Black Magic Woman" - Santana - Perhaps another obvious choice. Peter Green was one haunted dude..."Tubular Bells" - Mike Oldfield - I'm not sure how spooky this really is aside from the "Exorcist" connection, but it always sounds good to me. You can probably find 10 or 15 minutes that sound adequately ominous for a CD-R project."Threnody For Souls in Torment" - Robert Fripp String Quintet - This is scary instrumental guitar music. King Crimson's done several scary instrumental pieces over the last 30 years ("Red", "Larks Tongues In Aspic Part II"), but this piece (with Trey Gunn and the California Guitar Trio) takes it up a notch.And just a few bonus suggestion:"Black Sabbath" - Black Sabbath "Frankenstein" - Edgar Winter Group "Fire Poem & Fire" - Crazy World of Arthur Brown "Voodoo Chile (Slight Return)" Jimi Hendrix or Stevie Ray Vaughan "My Wife And My Dead Wife" - Robyn Hitchcock "The Raven" - Alan Parsons Project "Season Of The Witch" - Donovan "Bela Lugosi's Dead" - Bauhaus "Strange Brew" - Cream "D.O.A." - BloodrockOh, and if you really want "The Monster Mash", I'd recommend picking up the Bonzo Dog Band's version. Not that it's necessarily less lame than the original, but when Halloween is over you've got a Bonzo Dog Band album. Cuz those guys were brilliant, in case you didn't know...(Amazon links to follow when "Search" at their website is working again...) Music9483@blogcritics.org Fri, 24 Oct 2003 18:12:00 EDT http://blogcritics.org/archives/2003/10/03/145612.php Hazy DaveIf you attended grade school during the 60's, you probably heard "Chicken Fat" several times a week. Well, it's available today on mp3 at Otis Fodder's amazing and wonderful 365 Days Project.A song written by Meredith Wilson of "Music Man" fame. It was commissioned by John Kennedy for his new Youth Fitness Program. A copy of this record was sent to every school in the U.S. with the idea that it would be played over the P.A. every morning while students did calisthenics.(After today, try here, but you'll want to investigate the Archive Page anyway.)It's sung by Robert Preston, also of "Music Man" fame.I'm somewhat amazed they found a copy of the record that wasn't scratched, worn and chalk dusted within an inch of its life on one of those classic 4 speed school record players. If you're too young to have had first hand exposure to this treat, download it anyway and annoy a baby boomer with it.(Insert snarky Natalie Maines joke here.) Music8890@blogcritics.org Fri, 3 Oct 2003 14:56:12 EDT http://blogcritics.org/archives/2003/06/10/155555.php Hazy DaveHow big a cut are the Recording Artists getting out of those 99 cent downloads? Are the Record Companies licensing the downloads legally entitled to do so?Looking at the second question first, the answer is probably Yes in many cases, No in others. Artists successful enough to afford lawyers capable of taking on EMI, Sony or Time Warner AOL have a chance of opening discussions on the subject, anyway. Others may wonder at the interpretation of key phrases in their contracts. One of Robert Fripp's business partners writes: My own feeble allotment of energy has been focussed on supporting the Tall Pointy One fighting the good fight with EMI, who have put paid Crimson downloads on various sites without the approval of the band. The EMI contract does specify that they have the right to all new "record formats". But is a download a new format? ... After all, the King Crimson contract specifies that the DGM logo must appear on all records. If a download is a "record" (as it must be if EMI have the rights), then perhaps they will explain how they are going to put the DGM logo on it. Likewise, they do not have the right to alter artwork, and I would argue they have done so in the case of a download, which has no artwork. I would be interested if someone can tell me if King Crimson form part of the iTunes service, allowing you to download individual tracks, as opposed to whole albums. It is not that I am against downloads. They are certainly part of the future. But I hate hate hate labels who feel that they can twist a contract designed for a physical world to sell product in the e world, at hideously low royalty rates. Boo hiss spit spit. But what hope is there for fair treatment when the EMI legal department cannot even remember the name of the guitarist in the band that has sold them over 3 million records in the last ten years. Oh yes. "Richard", that's the one. Returning to the first question, and assuming the Record Company will see no need to renegotiate any contracts in favor of the artist until required to do so, a royalty rate of 10 percent on seventy per cent of 90% of 10/14ths of that 99 cents comes out to about four and a half cents. Oh wait, iTunes keeps one-third of the gross. Make that 3 cents.But why would royalty rates applying to CD's suffice for downloads? Robert Fripp's instructive answers to a hypothetical interviewer might suggest that if standards developed for 78's can be applied to CD's, there's no real downside (for the Record Company) to applying the same guidelines to Downloads. Think of all the overhead involved in implementing New Technology! Q. Is Discipline a vanity label, or is it a real record company?A. Are those our only two options? What is a "real" record company? A "real" company seeks to take as much from the artist as it can. It does this firstly by paying as little in royalties as it can. It has become harder, following the abolition of legal slavery, to pay scandalously low rates, like single figures. So today a new artist might get 12-14%. This is paid on 70% of CD sales, because the technology of CDs is "new technology". Q. But CDs aren't "new technology" any more.A. You're quick. But this is company "standard practice". Then this figure is itself paid on 90% of sales, because of damage to the shellac or vinyl.Q. But CDs aren't made of shellac or vinyl.A. You're very quick. But that is also a "standard practice" from the time of 78s breaking in shipment to the stores. Then, that figure in turn is paid on 10/14ths of the money the record sells for.Q. Why?A. Because company policy (in this case Virgin) determines that record shops in the UK sell the record for £10.Q. But your CDs sell for around £13.99.A. Now you're really getting up to speed. Virgin company policy determines shop price as £10. It's the company standard policy, you see. And Virgin is a real record company. Then, once the artist agrees the company's standard policy on royalties, an advance is paid which enables the record to be made. This advance is recouped from royalties. That is, the artist pays for the record to be made. The phonographic copyright, that is the record, is then owned by the record company. Q. How can the record company own the record which the artist paid to make?A. Standard company policy. And so on. Assuming the Artist isn't still repaying an Advance for making any recordings or videos, he might expect a $3000 payment (presumably to be shared with bandmates and management) for 100,000 unique downloads. Not bad free money for you or me, but fair compensation for a moderately popular recording artist? (Please spare me the "they signed those contracts of their own free will" comments.) Even Courtney Love can do that kind of math. So, why she'd sign with Virgin at this point while Pearl Jam is heading the opposite direction may say something about whose career is in most dire need of a media greased hype campaign. Sci/Tech6072@blogcritics.org Tue, 10 Jun 2003 15:55:55 EDT