Sunday, February 27, 2011
Saturday, February 26, 2011
Κάποιοι νοστάλγησαν τις κασσετούλες τους.
Την περασμενη εβδομάδα ο Τάσος Παπαλιάς έκανε ένα αφιέρωμα στο Fridge για την "αθάνατη κουλτούρα της κασέτας":"Η κασέτα, γέννημα θρέμμα της γερμανικής εταιρία Phillips, ήταν το μέσο με το οποίο μπορούσε ο καθένας να ακούσει μουσική περπατώντας στο δρόμο, όταν ήταν στο λεωφορείο ή σε κάποιο απομακρυσμένο λιβάδι. Δημιουργήθηκε για αντικαταστήσει το απαρχαιωμένο βινύλιο, για μερικούς πολύ σημαντικούς λόγους: με το βινύλιο δε μπορούσες να ακούσεις μουσική όταν έκανες τζόκινγκ, μέσα στο λεωφορείο ή στο αμάξι κατά τη διάρκεια μιας ρομαντικής βόλτας με την αγαπημένη σου. Το αποτέλεσμα θα ήταν πειραματική μουσική για σκληροπυρηνικούς." γράφει μεταξύ άλλων.Τον ενημερώνουμε ότι η Philips είναι ολλανδική εταιρία και διαβάζουμε το ωραίο του άρθρο στο Fridge.
Την Κυριακή που μας έρχεται στις 20.00 και στα πλαίσια των εκπομπών τους στο www.rockmachine.gr οι Γιώργος Καραμηνάς & Χάρης Πάνος κατεβάζουν τις παλιές τους κασσέτες απο το πατάρι, θυμούνται τι είχαν γράψει σε αυτές και παρουσιάζουν ενα δύωρο αφιέρωμα στο grunge αλλά και στον ήχο του manchester.Περισσότερες πληροφορίες εδώ.
Είναι ώρα λοιπόν να ξαναξεφυλλίσω το ωραιότατο βιβλίο που έχει "γράψει" ο Thurston Moore σχετικά με το ρόλο που έπαιξαν οι κασσέτες στις δεκαετιές που πέρασαν :"The first time I ever heard of someone making a mix tape was in 1978. Robert Christgau, the "dean of rock critics," was writing in The Village Voice about his favorite Clash record, which just happened to be the one he made himself: a tape of all the band's non-LP B-sides. One aspect really struck me - Christgau said it was a tape he made to give to friends. He had made his own personalized Clash record and was handing it out as a memento of his rock-and-roll devotion." Ολόκληρη η εισαγωγή του βιβλίου στο Wired.
Two new acoustic sessions from Daytrotter:
Pete Yorn's can be found here.
Pete Yorn on CD.
Swingin' Utters' can be found here.
Swingin Utters on CD.
Latin Rock, Mashups & the usual Coverville excellence
From The Vault: Latin Rock From The '60s And '70s by JASMINE GARSD
The doors to this hell will close, and perhaps I will want to leave.
That's a line from the 1973 song "Confesiones de invierno" ("Winter confessions") by Argentine band Sui Generis. At first listen, it's a song about heartbreak — specifically a guy who gets dumped by his girlfriend for not having a job. But buried in that mundane story a storm is brewing. A few lines later, the singer laments having drowned his sorrows in alcohol, and gotten a beating by the police.
That's because the '60s and '70s were a time of political turmoil in Latin America. By the 1970s most Latin American nations were ruled by brutal dictatorships. The ominous line from Sui Generis' "Confesiones" had become a reality. Much of Latin America turned into a true hell for those unable to leave.
Read the article & listen to the show here.
Nine Offbeat, Unlikely, Or Simply Awesome Song Mashups, By Bo Moore
Since the dawn of the DJ, mashups have become an increasing part of music culture. Artists like Gregg “Girl Talk” Gillis have popularized the party mix mashup, throwing together song upon songs to create full albums worth of mashed up material. And full mashup albums like Danger Mouse’s The Grey Album, a mix between The Beatles’The White Album and Jay-Z’s The Black Album, have proven surprisingly cohesive.
Often, the best mashups are the most surprising. Two songs with nothing in common come together to form a new something great. We picked several of our favorite offbeat, unlikely, or just plain awesome mashups.
Read the article & view the videos here.
Coverville 749: The Smokey Robinson & The Miracles Cover Story
This Cover Story focuses on a major contributor to the Motown sound – not just as a performer, but as a songwriter, too. Covers of Smokey Robinson & The Miracles – as well as the original.
Listen to the podcast here.
Smokey Robinson on Vinyl .
Smokey Robinson on CD
Wednesday, February 23, 2011
James Greene Jr's crate diggin' for Crawdaddy is fruitful :URGH! A Music War
Urgh! That’s the noise a sweat-streaked baby boomer makes as he desperately thrusts on the dance floor with his daughter’s friends, praying respect comes before the heart attack. Urgh! is the sound a chubby teamster sarcastically emits while moving an empty box five minutes before the end of his shift. Urgh? Why, that’s what you hear when small, ignorant children attempt to impersonate the Frankenstein monster, not realizing in Mary Shelly’s original book the monster was perfectly fluent in English (why are America’s schools failing our children?).
Of course, Urgh! is also the title of an epic 1982 concert film directed by Derek Burbidge that rounds up a music nerd’s wet dream of cutting edge new wave acts. The Police, the Go-Go’s, Wall of Voodoo, OMD, Echo and the Bunnymen, Magazine, XTC, Jools Holland, Gang of Four, Klaus Nomi—and that’s just scraping the surface. Each of the 40-some odd groups perform a song apiece in Urgh!, except for the Police, who perform three because, even by this time, they were The Police. They already had “Roxanne”, “Message in a Bottle”, “Walking on the Moon”, and that “De Do Do Do, De Da Da Da” mess to their name. Also, Miles Copeland, owner of IRS Records and brother of Police drummer Stewart Copeland, originally produced Urgh! I don’t want to cry nepotism, but… Well, let’s just say the tables may have been turned had Klaus Nomi’s brother produced this film.
Josh Rotter interviews The Church for Crawdaddy!
Starfish mainstreamed the Church back in the late ‘80s, but according to the band’s singer Steve Kilbey, the making of the album, which eventually soared to the top of the charts on the strength of the hit single “Under The Milky Way”, wasn’t as stellar. In fact, the LA recording sessions, set up by major label Arista Records and dominated by big-name producers back in 1987, were quite tense.
“It was a bit of a shock,” Kilbey said during our phone interview earlier this month. “All of our other albums were made in Sydney, where we’d sort of wake up and catch the bus into the studio. We’d work in town, so our friends dropped in. The recording process felt friendly.
“In LA, the studios were miles away from where we were staying,” he continued. “Some of the producers were kind of hostile and some just disinterested. We were kind of hippie characters flown into all this, and we didn’t like it.”
Συχνοτικής Συμπεριφοράς αφιέρωμα στον David Sylvian
Ο Στυλιανός Τζιρίτας (που έτσι όπως το πάει θα μου αλλάξει γνώμη για τον David Sylvian) βρίσκει την ευκαιρία και απόντος του Χάρη Συμβουλίδη αφιέρωνει μια ώρα στον David Sylvian.