[photo courtesy of Uncut magazine]
A sampling of the work of the Detroit native, a respected singer/songwriter best known these days for being Jack White's creative foil in The Raconteurs. Enjoy!
1. "Tea" from the album One Mississippi (Elektra)
2. "Sittin' Pretty" from the album One Mississippi (Elektra)
3. "Emma J" from the album One Mississippi (Elektra)
4. "Insects Rule" from the album One Mississippi (Elektra)
5. "Tiny Spark" from the album Lapalco (Star Time)
6. "Metarie" from the album Lapalco (Star Time)
7. "Folk Singer" from the album Lapalco (Star Time)
8. "Just Like Me" from the album Lapalco (Star Time)
9. "Jet Lag" from the album Lapalco (Star Time)
10. "Spit it Out" from the album The Alternative to Love (V2)
11. "Cold Hands (Warm Heart)" from the album The Alternative to Love (V2)
12. "What I'm Looking For" from the album The Alternative to Love (V2)
It went down like this:
The "blends" are about the length of an average song--aproximately 3 minutes, or so--and feature some very minimal instrumental contributions by Lippi, who simply encourages visitors to his dedicated MySpace page who enjoy the work of these artists, to "go buy the music or see them live." Currently Beck, The Raconteurs and Paul Simon are the first three to get the "blend" treatment.
But long before Carlos Santana first fused Afro-Caribbean rhythms with blues-based rock and roll in late '60s San Francisco, there was nueva ola ("new wave"): a hugely popular Latin American musical movement of the '50s and '60s in which current rock and roll hits were translated into Spanish--with liberties in translation frequently taken--and recorded and performed by the youth stars of the day. "Hang on Sloopy" became "Lupe"; "This Diamond Ring" was soon "Este Diamante", etc. etc.
Throughout the '70s and early '80s Latin America seemed more in tune with exploring its musical roots and as such, rock music took a back seat to native sounds and the burgeoning nueva trova protest music. But there were always bands writing and performing rock music, and in the late '80s potent scenes started popping up all over the place, with Mexico and Argentina--both with a health tradition of rock music throughout the years--at the forefront.
And then, something interesting happened: the significant influx of Latin American youth into the US brought with it the rock music of their native countries, and soon enough rock en español bands started popping up in cities with significant Spanish-speaking populations, like New York, Los Angeles, Miami, Chicago, San Francisco, and across the state of Texas. The first half of the '90s was the scene's golden era here in the US, with homegrown acts--many of which, in a cool display of multi-culti fusion, had non-Spanish speaking, non-Hispanic members in their lineups--performing alongside big-name bands touring the US from Argentina, Colombia, Mexico, Venezuela, and Spain, among others. It was the next big thing. And then it wasn't.
So, what happened? Good question.
Depending on who you ask, that particular line of inquiry breeds a sort of Rashomon effect--named after Akira Kurosawa's classic film Rashomon, "in which a crime witnessed by four individuals is described in four mutually contradictory ways"--but "5"er Carolina Gonzalez, posting on her Sound Taste blog, has taken the bait and risen to the challenge of finding out why rock en español died a quiet death here in the US. (She's also touched off a bit of a shit storm in the process. Heh, heh.) Definitely an interesting read, and worth checking out. (Oh, and you'll find a [ahem] familiar blogger among those opining in the comments section.)
We don't know whether Sen. John McCain owns an iPod or similar MP3 device--he has described himself as being computer illiterate--but we do know he enjoys Elvis, The Beatles, Frank Sinatra, Bill Haley & the Comets, Frankie Lymon and the Teenagers, Buddy Holly, Lauryn Hill (according to daughter Meghan), and Abba (!)
About the 2 1/2-hour movie itself, Travers goes on to write, "The haunting and visionary Dark Knight soars on the wings of untamed imagination. It's full of surprises you don't see coming. And just try to get it out of your dreams." Heady praise, indeed.
The Dark Knight opens July 3rd.
Are you a musician? Live anywhere near the Chicago, San Jose, Philadelphia, DC, Boston, or Hartford metropolitan areas? Don't mind that Chris Martin fella too much? Boy, have Coldplay (maybe) got the gig for you!
At the aforementioned stops on Coldplay's forthcoming North American tour, you and your musical combo could very well warm up a sure-to-be-receptive crowd before the British megastars take the stage as scheduled. And all you've gotta do for the privilege is submit a YouTube video of yourself to the requisite radio station-sponsored section of coldplayontour.com and wait with bated breath for the call.
And if you do pass the audition? Why, you'll be joining the likes of Shearwater and Santogold while you're doing it. Not too shabby for a bunch of jokers putting their music on YouTube, though I'm told that's not such a bad way to go these days.
Founded by lead-singing, stand-up drummer Andy Sturmer, and keyboardist Manning--both talented songwriters and multi-instrumentalists--the band flirted with mainstream success but disbanded soon after touring behind their sophomore album.
Since then, Sturmer has made very little music of his own but has become an in-demand producer and backup singer, working with Japanese pop stars Puffy Amiyumi, as well as The Merrymakers, and The Black Crowes; Manning formed Imperial Drag with guitarist Eric Dover (who, along with bassist/vocalist Tim Smith was in Jellyfish's final incarnation) and has played keyboards for Beck, Air, and Blink-182 (!), among others. Falkner is a respected solo artist with various critically-acclaimed albums to his credit, and has also collaborated with the aforementioned Air and The Raconteurs' vocalist/guitarist Brendan Benson.
Arguably their best song, this version of "That is Why"--originally on Bellybutton--was filmed during the Spilt Milk tour (featuring the Sturmer-Manning-Dover-Smith lineup), at their hometown's Warfield Theatre in 1993.
The Cure's new album is due September 13th.
[This was originally written for the 6/24/02 issue of "5", back in our e-mail newsletter days. Six years later to the day, we've decided to dig it up and share it with the larger readership we've acquired since. So pay attention to what Prof. Casseus has to say: you might learn something. - KJ]
Hello, my lovely fellow "5" addicts. It's been a while since I've done this, but I knew that it was only a matter of time before I would be called upon to once again submit a new installment of Greg C-style geeky insider knowledge and (of course) alarmingly jaundiced opinion. This time around, instead of going on at length about everything that's clearly wrong about the contemporary music scene, I'm going to get into my archaeologist mode and polish off the bones of a dead, buried, huge, glorious beast that is sadly now extinct.
Of course, I'm talking about the glory that was soul/R&B. I won't bore you with the umpteenth reiteration of the various and sundry reasons why you're a total fool if you don't own What's Going On, Innervisions, There's A Riot Going On, Superfly, Hot Buttered Soul, Young Gifted and Black, Extensions Of A Man et. al. I've done all the obscurity-digging so you don't have to, and will present 5 soul albums that may or may not be obscure except to aficionados, but which are all guaranteed to rock your world and impress your friends as to how down you are.
5 LOST SOUL / R&B CLASSICS
(in no particular order):
Besides being a total barrel of irreverent, on-the-one fun, this underground classic earns its spot here as an answer to Mr. Jones' recent "one-man-band" list. Walter "Junie" Morrison was a charter member of the Ohio Players and later became a key player in George Clinton's merry funk circus. In between those two tours of duty, he released three solo albums on the Westbound label, home of both the Players and Funkadelic.
Three years before that little purple guy's debut, it finds Junie playing EVERY SINGLE INSTRUMENT, and WELL. This album is soooo funky and soooo funny that it actually provides a persuasive argument for cloning, as that would be the only way for Mr. Morrison to take this funky-ass show on the road. Sadly unavailable on CD at the present time, however...
For his second post-Impressions solo release (after 1970's brilliant Curtis), the Gentle Genius takes his stripped-down and super-funky band into the Bitter End for an incomparable live recording that truly compares favorably with any live album of the rock era. Two guitars, bass, congas and drums, plus that wise and knowing voice, are all Curtis needs to keep you spellbound and practically applauding in your own living room.
His between-song raps are witty and loose, and songs like "I Plan To Stay A Believer," "Stare And Stare" and "Mighty Mighty (Spade And Whitey)" will never leave your head once lodged there. Plus the deepest version of "We've Only Just Begun" you'll ever hear. Simply a must-have, and now available on CD from Rhino.
I Don't Know What The World Is Coming To
I could have picked any one of a half-dozen killer early ‘70s Womack albums, like Communication, Understanding or Facts Of Life, but lately I find I can't stop playing this one. It rocks, it grooves, BW sings his ass off (as usual), AND it's got "If You Want My Love (Put Something Down On It)" and "Superstar." Nuff Said!
Also, special mention must be given to the cover shot of Bobby, dressed in black, with big dark shades, cigarette in hand, sittin' back with a gangster lean, obviously coked to the gills, looking like the biggest badass EVER. Must have scared off many a potential buyer!
RUFUS & CHAKA KHAN
Another case of "which-one-do-I-pick?" Basically, any mid-‘70s Rufus and Chaka will always be worth the money (especially since they're all budget-priced on CD), but this one has begun to overtake Rags To Rufus as my all-time favorite. Diverse and adventurous, it nevertheless keeps the band's fans satisfied with what they already know and love. The songs attain a new level of sophistication and the arrangements offer fascinating twists and turns.
And despite the rather prosaic title, there have been few songs as genuinely sexy and seductive as "Everlasting Love." Other highlights include "Hollywood," "Earth Song" and (ha,ha) "Slow Screw Against The Wall" featuring Ron Wood. And let me also stress that Chaka's Arif Mardin-produced solo albums for Warner Bros. such as Chaka, Naughty and What'Cha Gonna Do For Me are all completely amazing. Chaka is a total goddess, and she truly has never gotten her full due. Time to change that, folks!
Songs / Hey Love
I justify pulling this 2-for-1 scam by reasoning that the only way to obtain these two magnificent albums on CD is as a twofer anyway. The former features psychedelic soul-rock renditions of the rock hits of the day, by the likes of Hendrix, Cream and the Band, plus the spookiest version of "Respect" you'll ever hear. RC were the Chess/Cadet label's in-house "connect-with-the-kids" rock experiment, and Minnie Riperton's glass-shattering range one of the few constants in an ever-shifting lineup.
Starting off as producer-arranger-complete genius Charles Stepney's sonic playground, they evolved into a redoubtable and utterly unique psych/orchestral/gospel/R&B/pop outfit, complete with Stepney as an actual band member. 1971's beautiful Hey Love album, their swan song, is the real reason to track this CD down. "I Am The Black Gold Of The Sun," "Song For Everyman," "If I Sing A Song"--basically, the whole album is like a dream you don't want to wake up from.
DJ ROGERS self-titled [Shelter-1973]
AL GREEN Al Green Gets Next To You [Hi-1971]
KOOL & THE GANG Light Of Worlds [De-Lite-1974]
O'JAYS Ship Ahoy [Philadelphia Int'l Records-1973]
IMPRESSIONS This Is My Country [Curtom-1968]
All of which deserve FAR more than a measly "honorable mention," but this IS "5", so...
Founded by lawyer Steve Gottlieb in 1985, TVT began as the outlet for Tee Vee Toons--hence the label's name--a series of albums collecting the theme songs to classic shows and commercials from the '50s, '60s, and '70s. With the success of these the label branched out into signing artists and Nine Inch Nails became the first--and for a while, the only--artist on TVT. Dealing in mostly alt-rock and subsequently expanding heavily into hip-hop, the label flourished throughout the '90s, but was forced to declare bankruptcy in February of last year after losing a $4.6 million dollar judgement in a case brought about by Slip-N-Slide Records Inc alleging "tortious, or intentional, interference with advantageous business relationships".
In a statement released to the press Gottlieb was quoted as saying, "After 23 years and 25 plus Gold and Platinum releases, I am delighted to see TVT's catalogue and roster move to a company so deeply engaged in developing the digital future of the music business." The Orchard's acquisition of TVT is due to take place on July 3rd. Gottlieb still retains ownership of the TVT Music publishing arm.
[Thanks to '5" contributor Jeff Kent for his assistance with this post.]
RY COODER I, Flathead (Nonesuch)
ALEJANDRO ESCOVEDO Real Animal (Back Porch/Manhattan)
MÖTLEY CRÜE Saints of Los Angeles (Masters 2008/Motley Records)
LIZ PHAIR Exile in Guyville [Deluxe Edition] (ATO)
SIGUR RÓS Med Sud I Eyrum Vid Spilum Endalaust (XL)
1. BRUBECK BROTHERS QUARTET "Open Door"
2. NELS CLINE / GREGG BENDIAN "Mars"
3. BRAD MEHLDAU "Exit Music For A Film"
4. JASON MORAN “Gentle Shifts South”
5. POWER TOOLS "Howard Beach Memories"
6. JOHN SCOFIELD "Time Marches On"
7. HORACE SILVER "Silver's Serenade"
8. MIKE STERN "Mood Swings"
9. RALPH TOWNER "Shadow Fountain"
10. DAVID S. WARE "Surrendered"
[George Carlin photo courtesy of HBO.]
The legendary and influential comedian George Carlin died on Sunday, June 22nd, of heart failure, in Santa Monica, CA.
Carlin recorded 23 comedy albums, 2 of which--FM & AM (1972) and Jammin' in New York (1993)--were Grammy Award-winners. He starred in 14 HBO specials, wrote three books, and appeared in several TV shows and movies, including Bill and Ted's Excellent Adventure, Dogma, and Jay and Silent Bob Strike Back. Carlin was also the first-ever host of Saturday Night Live and was ranked #2 on Comedy Central's list of the 100 Greatest Stand-Ups of All Time.
He was 71.
Is this a fact? We only listen to the radio when we're driving with 2 respective friends who generally listen to homemade mix CDs or a classic rock station in their cars, so we can't really comment on this. For the record, in the last 10 years we've listened to Nevermind, on average, about twice a year, and still feel it holds up, long after the hype has subsided. The Unplugged disc has aged even better. Despite meaning to, we rarely ever listen to Bleach or In Utero--gotta put 'em on the iPod--but appreciate them both, especially the latter.
Interestingly, then and now, of our friends with similar taste in music, most who had disparaging things to say about Nirvana were--by far--white. Don't know what that means but we find it curious, nonetheless. (While in Mexico City when In Utero came out we got to experience how the kids really took to it down there. Not as much as they loved Morrissey, but that's another thing altogeter.)
Which brings us to a point often overlooked, or ignored: many Gen X-ers of color not only dug the Seattle/alt-rock of the late '80s/early '90s but also felt a sense of inclusion. Ex: Two black buddies of ours were on hand at a Motley Crue in-store signing at a NYC Tower Records in the late '80s, and as the only non-whites there, were met with confused stares by their fellow Crue fans. (The band, however, greeted them quite warmly.) Meanwhile, the original Soundgarden lineup had an Asian bassist and an Indian guitarist. And of course, there was James Iha, David Pajo, Joey Santiago, etc. etc.
A rock guitarist--and Haitian--friend of ours once said he could never relate to the hair bands on the magazine covers--or the ones with similar musical influences, whose "guitarist wanted" ads he'd answer, only to be turned down without playing a lick when they saw what he looked like--but "these other guys" made him feel welcome; like he was a part of something. After all, no one at a Nirvana concert was gonna say to him, "Hey dude, you're at the wrong show: LL Cool J is tomorrow night."
Phish broke up on amicable terms in 2004; all four members have released solo albums since and have been involved in numerous outside musical collaborations, as well.
Two power pop icons: the great Todd Rundgren (above), who hit the big 6-0 on June 22nd; and Badfinger guitarist Joey Molland (61) on June 21st.
Here's Todd, in full regalia, performing his classic "Hello It's Me" on The Midnight Special in 1973:
Badfinger performing "No Matter What" on Top of the Pops, 1971:
This November marks the 40th anniversary of one of the most discussed double albums in the annals of popular music: The Beatles' self-titled album, best known the world over as The White Album for its austere monochromatic cover. Arguably the most influential of the band's long-form releases—how much subsequent music out there actually resembles Sgt. Pepper's, Abbey Road or even Revolver?—The White Album is generally recognized as ambitious and visionary, pregnant with top-notch tunes, but incredibly uneven, nonetheless. It is for good reason that respected music journalist Charles Shaar Murray once referred to it as the best and the worst of The Beatles all in one.
Included among the 90+ minutes of music, are 30 tracks across 4 vinyl sides—or later, 2 CDs—ranging from acoustic ballads, forays into hard rock/blues/proto metal, avant garde experiments and classic Beatles pop, all of varying quality and complexity; performed by both a unit clearly in flux, and individuals as band leaders with their own musical statements to make. To echo Shaar Murray's above statement, there is some wonderful, transcendent music here. As well as some sub par nonsense—even a few unworthy of filler status—that should've never seen the light of day.
This was, of course, the record The Beatles set out to make, despite the objections of their most important collaborator, über producer George Martin himself, who was not at all partial to the idea of making it any lengthier than a single album; and over the years many have agreed with him. (We do.) But, as seems to be the case with every revered double album since, no one seems to agree on a single album-length track listing. Some may argue this indeed proves the overall greatness of the record, while we are inclined to think that perhaps a lack of the necessary mettle to discard sentimental favorites is mostly to blame.
Of course, who can argue the inclusion of such gems as "Back in the USSR", "Dear Prudence", "While My Guitar Gently Weeps", "Happiness is a Warm Gun", "Martha My Dear", "Blackbird", "I Will", "Julia", "Mother Nature's Son", and "Long Long Long"? But then the selection process starts getting murky and, for many, objectivity becomes hard to muster. One would think the likes of "Ob-La-Di Ob-La-Da", "Wild Honey Pie", "The Continuing Story of Bungalow Bill", "Piggies", "Rocky Raccoon", "Why Don't We Do it in the Road?" and "Everybody's Got Something to Hide Except Me and My Monkey" would be imminent castoffs for those seeking to streamline the record into a more cohesive statement. Yeah, right. Good luck with that. (To wit: the late Ian MacDonald, who wrote the must-read, chronological account of every song The Beatles recorded, Revolution in the Head, would certainly add "Helter Skelter" to the latter bunch. But we wouldn't. So there you go.)
One rarely mentioned and very important aspect of The White Album's influence is how, for better or for worse, its very nature—the sometimes maddening variety and scope of the record—can be seen as the future indie/alt-rock generation's musical ADD blueprint. This influence, which we alluded to earlier, is what leads us to consider it much more far-reaching in affixing its stamp on subsequent artists and like-minded albums, than the aforementioned Sgt. Pepper's, Abbey Road or Revolver.
On a personal level, while The White Album is not our top favorite among the Fabs' records—that distinction belongs to Abbey Road—it has been, however, very near and dear to our hearts from the very moment we discovered it decades ago. If for whatever reason you haven't had the chance, give it a spin. Like all of The Beatles' best work, once you put aside the myth and the hype, you'll surely understand why we're still talking about it four decades on.
[No news on whether the album's anniversary will be commemorated with a re-issue; a 30th anniversary, limited-edition, 2 CD set, designed to resemble the original vinyl release, was issued in 1998.]
Exile in Guyville (Redux) will be out June 24th on ATO.
Prompted by reps from the GnR camp, the site disabled the player almost as soon as it had set it up and apologized for the leak. Antiquiet may face legal repercussions for the unauthorized post. Stay tuned.
Meanwhile, after 15 years and a supposed $13 million in recording costs, Chinese Democracy has allegedly been completed and GnR management is said to be negotiating with the band's label for a release. Not counting the covers album, The Spaghetti Incident? (1993) and the Greatest Hits compilation (2004), the band has not released an album since 1991's Use Your Illusion I and II. GnR's classic 1987 debut, Appetite for Destruction has sold over 15 million copies in the US and 28 million worldwide. It is the fourth best selling debut in US history.
"As for being a two-hit wonder — well, I think it’s better than being a one-hit wonder, thank you very much."
Yes, downloading is surging. (So? Vinyl is too.) Does that mean people will never walk into a store again? Dunno...You can get almost anything you want online, yet stores still function. It's doubtful brick and mortar retail outlets will completely disappear. Granted, music stores have been hit quite hard, but sometimes it's just plain greed: the two NYC Virgin Megastores, for instance, are closing down, not because they're going out of business but due to the landlord--it's the same for both--having visions of a multi-millon-dollar payoff in their eyes.
Meanwhile, the latest issue of Paste has this to say in a lengthy, and worthy, article titled "The Record Store - A Good Thing":
"People are no longer leaving their houses. They are content to wirelessly import digital music straight into nano-engineered storage devices implanted in their grey matter, and the digital revolution is killing brick-and-mortar retail. But, to paraphrase Mark Twain, rumors of the record store’s death have been greatly exaggerated. Just as people of faith need houses of worship in which to commune, music zealots are no less dependent on shrines dedicated to their own decibel-cranked passion. For that reason, Paste hereby celebrates the record store, bestowing superlatives on a few of America’s finest. May they live long and loud!"[Thanks to "5"er Harold Martinez for the Globe and Mail piece. -KJ]
Oh, and in the meantime, here's our favorite: "Maybe I'm Amazed" live, from 1976. Enjoy!
COLDPLAY Viva la Vida or Death and All His Friends (Capitol)
JUDAS PRIEST Nostradamus (Epic)
SILVER JEWS Lookout Mountain, Lookout Sea (Drag City)
TEDDY THOMPSON A Piece of What You Need (Verve Forecast)
DENNIS WILSON Pacific Ocean Blue [deluxe reissue] (Caribou/Sony)
Check out "Go For the Exit" from Brown Submarines here.
1. BROKEN SOCIAL SCENE "Passport Radio"
2. CAFE TACUBA "El Hombre Impasible"
3. CARDINAL "Dream Figure"
4. THE FIRE THEFT "Backward Blues"
5. DONNY HATHAWAY "Valdez In The Country"
6. RICHARD HAWLEY "The Ocean"
7. THE JIMI HENDRIX EXPERIENCE "May This Be Love"
8. THE HIGH LLAMAS "Frankly, Mr. Shankly"
9. ALAN PARSONS "Tijuaniac"
10. EL TEN ELEVEN "Connie"
Each single is available as a digital download, CD and in 7” vinyl. The b-side for "Freakshow" is "All Kinds of Stuff". Check it out:
Flynn's initial reaction to Living Lohan--the brainchild (no, scratch that) the concoction of Dina Lohan, mother of Lindsay, and manager of 14 year old wannabe singer Ali--was one of "irritation turned to repulsion around the first minute, when Dina, after her morning ritual of scanning the tabloids for Lindsay's weary mug, announces, 'They'd better not start in on Ali like this.' Hey, I have an idea: Don't film a reality show in your child's fricking bedroom!"
Marginally kinder to Denise Richards' venture into 'reality', It's Complicated, she refers to the actress as now being "more famous for her bitter divorce from Charlie Sheen than her acting" (who, incidentally, sued and lost his appeal to keep their daughters off the show) and pretty much sums the up show as another boring opportunity for us to watch "a famous pampered person doing things we don't want to do either."
Among the 9 participating acts are latin genre-benders Ozomatli; jazzers Branford Marsalis, and John Pizzarelli, respectively; REO Speedwagon (!); Candlebox (!!); and country artist Gretchen Wilson.
Tim Russert (1950-2008), RIP
[Album cover courtesy of allmusic.com]
The mighty Black Sabbath's self-titled debut was released on Friday the 13th, in February of 1970. So to commemorate such a momentous occasion—hey, any excuse to post some Sabbath and to take advantage of a cheesy 'Friday the 13th' segue—we bring you the legendary Birmingham quartet's unofficial theme song in all its doomy glory. Enjoy!
"While we occasionally enjoy reading the various comments, rumors, speculation, reviews, gossip and all the good that the internet brings, rarely do we feel the desire/need to respond to the 'blogosphere' . . . hey, everyone is entitled to have their thoughts and opinions, right? However, once we re-surfaced on Tuesday after a few weeks on tour in Europe, we were informed that someone at Q Prime (our managers) had made the error of asking a few publications to take down reviews of the rough mixes from the new record that were posted on their sites. Our response was 'WHY?!!! Why take down mostly positive reviews of the new material and prevent people from getting psyched about the next record. . . that makes no sense to us!' So after a few rounds of managerial ear spank and sentencing everyone at Q Prime to 20 push-ups each, we figured why not take matters into our own hands and just post the links here on our site. Kerrang, Metal Hammer, The Quietus. You see, we have maintained an 'in the press' section here on Metallica.com for many years now, posting links to reviews of shows, album and DVD releases, and various other tidbits we've come across while surfing around. Some good, some not so good, but we put 'em all up . . . sort of the same way we treat our message boards on this site . . . welcoming all feedback.
So in the spirit of keeping this section current, we've put as many of the reviews of the rough mixes of the new record up here as we could find. If we missed any, let us know . . . and in the meantime, we're always adding, so peruse at your leisure."
‘But why are the brothers DeLeo—guitarist Dean, bassist Robert—not being sued?’ you ask. Well, this is where the plot thickens. The DeLeos were let out of their contract when STP broke up. But now that the band have reunited and have talked about recording an album, the label feels it’s been duped and that the breakup was a ruse for STP to get out of their contract. That’s a bit of a stretch since the band was defunct for 6 years, but we kinda see how Atlantic would be miffed at missing out on a potential moneymaker. Or what passes for one in these piracy-laden times.
"They asked me if I would partake and I had to decline. Part of me would love to run around and act like a fucking asshole again but I can't do that. I've got two kids. I saw something on VH1 or something about me in the '90s and I thought, oh my God, how am I going to explain this to my kids? I have a few years to think about how to finesse it but I do think about it on a daily basis."
- Mark Wahlberg on donning his ‘90s alter ego moniker and reuniting with The Funky Bunch
We’re not surprised. He's been trying to bury this part of his resume for years. And anyway, would you do it, if you had an Oscar nomination and a decent Hollywood career? (We wouldn't have done it to begin with, but hey...)
HONG KONG - A stuntman was killed and six others injured in a fire while shooting an action scene in director John Woo's Chinese historical epic Red Cliff, the film's crew and Chinese media said Tuesday. The accident occurred Monday morning while filming an action sequence in Beijing, the crew said in a statement.
A small boat was set ablaze and collided with a larger boat as the filmmakers had intended, but the fire quickly raged out of control and engulfed both ships. The person killed was a 23-year-old stuntman, the Beijing News reported, citing a local fire commander.Woo, told of the news while promoting his film in Hong Kong, rushed back to Beijing, the crew said.
The crew "is deeply distraught and full of regret. They are making every effort to make arrangements for the deceased, his family and the injured crew members," the statement said.
It was the latest setback to Woo's massive production, which marks his return to Chinese-language film after a stint in Hollywood. Red Cliff, about a well-known battle in feudal-era China, has suffered casting changes and set problems since it started filming in April last year.
‘Candie's…has announced it's taking over "the majority of the cost" for Heroes star Hayden Panettiere's single "Wake Up Call," which will be released on Aug. 5. The song will be aggressively marketed by the fashion company, which … [is] described as ‘reggae-flavored,’ which makes me think Ace Of Base, which makes me think of an atrociously hooky song blaring from radios in the hottest month of the year. And thanks to its presence in the ad campaign, "Wake Up Call" will probably blare whether or not it's actually popular. You've been warned.’
Yikes! It’s “Wannabe” all over again.
1. THE BEATLES “Dr. Robert”
2. BLOW MONKEYS “Diggin’ Your Scene”
3. JACKSON BROWNE “Doctor My Eyes”
4. DR. DRE "Nuthin' But a 'G' Thang"
5. DR. JOHN “Mama Roux”
6. LITTLE FEAT “Rock and Roll Doctor”
7. MOTLEY CRUE “Dr. Feelgood”
8. ROBERT PALMER “Bad Case of Loving You”
9. STEELY DAN “Dr. Wu”
10. PETER TOSH “Bush Doctor”
The show is scheduled for Aug. 6th—with opening act The B-52s—and tickets go on sale this Saturday, June 14th. The twist: tickets can be obtained only as donations to the aforementioned stations and will be available for “$150, $350, $500 and $750. There is also a $5000 package featuring access to soundcheck, and a $2000 combo with prime seats and a private pre-show party,” according to Billboard. A future broadcast and/or CD/DVD release has not yet been confirmed.
(By the way, that first single—and title track—sounds a little too musical theatre-ish to us. Just sayin’…)
Wal-Mart only, huh? How the mighty have been de-fanged…
On Saturday June 7th, during the Foos two-night stand at Wembley(!), Grohl returned to his former instrument, stepping behind the kit while drummer Taylor Hawkins belted out “Rock and Roll” alongside the mighty Zep's respective guitarist and bassist. Grohl returned upfront to sing the Led Zeppelin II album track “Ramble On”
In March, Rush’s Alex Lifeson and Geddy Lee joined Hawkins on stage in Toronto for a run through the Canadian trio’s classic instrumental “YYZ” and a few weeks later the Foos were joined on stage in Japan by Huey Lewis who jammed with them on harmonica. And now, 2/3 of the surviving Led Zeppelin.
Why couldn't any of this happened when the Foos were good?
We happen to detest practically everything Sandler touches so there’d be no sadness on our part if this were to finally prove what we, and many others, have known all along: that he is a crass, talentless hack who got supremely lucky. Surely there is a real comedic talent taking Sandler’s place on the Tuesday night, 7:45 PM slot at, dunno, Yuk-Yuks in Fresno; just the kind of thing that fuels an atheist's beliefs.
OK, guys? Listen...we defended you to the bitter end during and after the whole Napster fiasco because we thought you were on the side of righteousness. Because it was common knowledge that you’d been generous and gracious to your fans over the years, and that just because you’d made a good living you weren’t obliged to give away your work for free to please some misguided, freeloading, pseudo-utopian-thinking college kids, who’d later become greedy investment bankers the moment they got out of school. But this is ridiculous. C’mon! What the hell are you guys smokin’ anyway?!
"What do Daft Punk, Meat Loaf, KoRn, and The Stooges have in common from an audience perspective? How is there any efficiency in the same marketing team working all of those records (and scads of others just as unaffiliated) in the past year?"
Rogers’ got some more ideas right here.
Dates are as follows:
7-10 Aspen, CO
7-11 Las Vegas, NV
7-12 San Diego, CA
7-13 Anaheim, CA
7-15, 16 Los Angeles, CA
7-18 San Francisco, CA
7-21 Vancouver, BC
7-22 Calgary, AB
7-23 Edmonton, AB
7-25 Pompano Beach, FL
7-26 Orlando, FL
7-27 St. Petersburg, FL
7-29 N. Myrtle Beach, SC
7-30 Washington, DC
8-1 Glenside, PA
8-3 Atlantic City, NJ
8-5 Westbury, NY
8-7 Chicago, IL
8-10 Toronto, ON
8-12 Montreal, QC
8-14 New York, NY
8-21 Austin, TX
8-22 Houston, TX
8-23 Dallas, TX