Here's Nick Cave doing a song from a whole record I'd play during any thunderstorm(my Go-To Thunder Storm Record, if you will) 'And No More Shall We Part.'
One of my fav songs, 'Love Letter.' The trick is to wait for the violin to come in. It's the somber piano with "slithering" violin that makes it so great for that sort of weather.
Short live version (one violin)
Actual video (string section) w/ great cinematography (minimalist w/ time lapses)
http://www.youtube.com/watch?v=VoEwuyMZAE8
Enjoy!
Monday, September 13, 2010
Friday, February 13, 2009
Lux Interior R.I.P. (1945-2009)
Lux Interior R.I.P. (1945-2009)
I had the pleasure of witnessing their Vengeance back in 2004 - All needs where met.
Lux, you will be SORELY missed.
Rest in pee (I stole that from someone)
By Greg Kot - Chicago Tribune - Critic
February 8, 2009
Thursday, January 29, 2009
Ron Asheton R.I.P. (1948-2009)
At 60.
This is really bad news. I've seen the Stooges 4 times now. In fact, I just saw them a few months ago. I don't think I willingly passed up an single opportunity to see them live. From 1969 and up ALL of the generations of rock music I listen to are all inherently influenced by Ron's guitar playing--myself included.
Even with his minimalistic playing I was never happy with the results when covering a song like No Fun. Perhaps I have to hit the other A chord.
No one did it better and no one ever will.
Monday, January 26, 2009
Mick Harvey (former) Bad Seed
All sorts of bad news lately. All in how you see it, really.
Mick Harvey: An honorable person and artist. I'm sure his reasons are for the best. He's been involved in with the Bad Seeds since the beginning (about 25 years) and has been involved, and all-over, some of my favorite all-time records. Leave us not forget those Birthday Party records, hmm?!?!
Do check out his solo work. All of it is a good start.
Cheers!
chris
Below is a post from the Bad Seeds about it:
Mick Harvey, one of the founder members of Nick Cave and the Bad Seeds, announces he is leaving:
For a variety of personal and professional reasons I have chosen to discontinue my ongoing involvement with Nick Cave & The Bad Seeds. After 25 years I feel I am leaving the band as it experiences one of its many peaks; in very healthy condition, and with fantastic prospects for the future. I'm confident Nick will continue to be a creative force and that this is the right time to pass on my artistic and managerial role to what has become a tremendous group of people who can support him in his endeavours both musically and organizationally. It was a fantastic experience to finish my touring days in the band with the recent shows in Australia and the unique events that took place in conjunction with All Tomorrow's Parties, especially Mt. Buller, which was one of the many highlights of my involvement with the band throughout the years. I shall continue working on the Bad Seeds back catalogue re-issues project over the coming year and look forward to the new opportunities I shall be able to accommodate as a result of my changed circumstances.
Mick Harvey, 22nd January 2009
www.nickcaveandthebadseeds.com
www.myspace.com/nickcaveandthebadseeds
www.mickharvey.com
For a variety of personal and professional reasons I have chosen to discontinue my ongoing involvement with Nick Cave & The Bad Seeds. After 25 years I feel I am leaving the band as it experiences one of its many peaks; in very healthy condition, and with fantastic prospects for the future. I'm confident Nick will continue to be a creative force and that this is the right time to pass on my artistic and managerial role to what has become a tremendous group of people who can support him in his endeavours both musically and organizationally. It was a fantastic experience to finish my touring days in the band with the recent shows in Australia and the unique events that took place in conjunction with All Tomorrow's Parties, especially Mt. Buller, which was one of the many highlights of my involvement with the band throughout the years. I shall continue working on the Bad Seeds back catalogue re-issues project over the coming year and look forward to the new opportunities I shall be able to accommodate as a result of my changed circumstances.
Mick Harvey, 22nd January 2009
www.nickcaveandthebadseeds.com
www.myspace.com/nickcaveandthebadseeds
www.mickharvey.com
Tuesday, October 07, 2008
Nick Cave and the Bad Seeds @ MSG’s WAMU Theater 10/4 2008 (Finally!)
Current mood: awake
Category: Music
When I saw the Bad Seeds back in 2003, Nick parted ways that evening with these last words of death: "See you in 2 years." A phrase that was to surly haunt me. And sure enough it did. 2 years came. 2 years went. it wasn't until double that time came to pass that I had a chance to see Nick with Grinderman(his side project with half his usual band)play just last year, opening for the White Stripes @ MSG. I really hate that venue for music. I love the White Stripes but I really got the tickets for Grinderman. I couldn't have been farther away from the stage in my seats. And while my nose was bleeding all over myself I couldn't help but notice that I was sorta surrounded by other Nick Cave fans--who probably sprung for tickets the same way I did when I found that Nick was asked to support the show, and only a few weeks in advance. Grinderman only played 2 shows in the US, period.
Aside from the Grinderman record, a B-sides box set, and 2 other records(including 1 double record, among other things)went almost completely unsupported this side of the pond. So, needless to say, I've waited quite a while to see those Bad Seeds again(5 Years!).
As for the show, Nick was GREAT! And I wouldn't put it past him not to be. He played more off the new one(get the NEW one)than I initially remembered, 2 off the last one(Get ready for Love, Orpheus). nothing off Nocturama. From No More Shal We Part--Love Letter! God is in the House (both slightly UP versions). The usual classics, Tupelo, and the one about the electric chair(the Mercy Seat). He threw in a fantastic updated version of Hard on for Love(another old one). and closed it with the very typical Stagger Lee.
... He also played Henry's Dream, Deanna(always a fav--nodding to Bonni and Clyde),Red Right Hand(with Mick Harvey simulating those organ solos with his guitar--also without that set of percussions once amassed to one side of the stage--they had 2 drum kits instead, and smaller percussions), and happily played the Weeping Song without Blixa (obviously). Blixa, who left the band via E-mail the day before I saw them in 2003 for full time in his original Industrial band. He was replaced very quickly--yet he is still loved--even though he seemingly did very little(and in that defence he could be considered a Minimalist as he displayed alot of the small textures that you otherwise wouldn't notice).
Blixa's replacement was replaced by Warren Ellis(so no extra guitar player this time). If you remember him during Grinderman, he was playing that very tiny electric guitar looking thing. I believe, since he's always amplifying and distorting that snake moaning violin of his, and playing it like a guitar, I figured his new toy is tuned like a violin and plays that instead on a few numbers. And, of course, when introduced, you bet his back was turned to the audience, not unlike many other occasions.
I'm just starting to like the new record, a lot, you see... New songs played included: Dig Lazarus Dig, Today's Lesson, We Call upon the Author to Explain, Midnight man, Albert Goes West, and possibly opened with Jesus on the Moon, Dig was 2nd. Making that a 18 song set(21 in 2003). Isn't that short? But I'm not complaining--Goodness NO-wave! I guess some of the songs are long ones. I'm amazed how I remember all this. I guess it's still fresh in my head--How often does Nick come around anyway?
Too short, but great show! Noisily GREAT! (Finally!)
Currently listening :
Dig!!! Lazarus Dig!!!
By Nick Cave and the Bad Seeds
Release date: 2008-04-08
Category: Music
When I saw the Bad Seeds back in 2003, Nick parted ways that evening with these last words of death: "See you in 2 years." A phrase that was to surly haunt me. And sure enough it did. 2 years came. 2 years went. it wasn't until double that time came to pass that I had a chance to see Nick with Grinderman(his side project with half his usual band)play just last year, opening for the White Stripes @ MSG. I really hate that venue for music. I love the White Stripes but I really got the tickets for Grinderman. I couldn't have been farther away from the stage in my seats. And while my nose was bleeding all over myself I couldn't help but notice that I was sorta surrounded by other Nick Cave fans--who probably sprung for tickets the same way I did when I found that Nick was asked to support the show, and only a few weeks in advance. Grinderman only played 2 shows in the US, period.
Aside from the Grinderman record, a B-sides box set, and 2 other records(including 1 double record, among other things)went almost completely unsupported this side of the pond. So, needless to say, I've waited quite a while to see those Bad Seeds again(5 Years!).
As for the show, Nick was GREAT! And I wouldn't put it past him not to be. He played more off the new one(get the NEW one)than I initially remembered, 2 off the last one(Get ready for Love, Orpheus). nothing off Nocturama. From No More Shal We Part--Love Letter! God is in the House (both slightly UP versions). The usual classics, Tupelo, and the one about the electric chair(the Mercy Seat). He threw in a fantastic updated version of Hard on for Love(another old one). and closed it with the very typical Stagger Lee.
... He also played Henry's Dream, Deanna(always a fav--nodding to Bonni and Clyde),Red Right Hand(with Mick Harvey simulating those organ solos with his guitar--also without that set of percussions once amassed to one side of the stage--they had 2 drum kits instead, and smaller percussions), and happily played the Weeping Song without Blixa (obviously). Blixa, who left the band via E-mail the day before I saw them in 2003 for full time in his original Industrial band. He was replaced very quickly--yet he is still loved--even though he seemingly did very little(and in that defence he could be considered a Minimalist as he displayed alot of the small textures that you otherwise wouldn't notice).
Blixa's replacement was replaced by Warren Ellis(so no extra guitar player this time). If you remember him during Grinderman, he was playing that very tiny electric guitar looking thing. I believe, since he's always amplifying and distorting that snake moaning violin of his, and playing it like a guitar, I figured his new toy is tuned like a violin and plays that instead on a few numbers. And, of course, when introduced, you bet his back was turned to the audience, not unlike many other occasions.
I'm just starting to like the new record, a lot, you see... New songs played included: Dig Lazarus Dig, Today's Lesson, We Call upon the Author to Explain, Midnight man, Albert Goes West, and possibly opened with Jesus on the Moon, Dig was 2nd. Making that a 18 song set(21 in 2003). Isn't that short? But I'm not complaining--Goodness NO-wave! I guess some of the songs are long ones. I'm amazed how I remember all this. I guess it's still fresh in my head--How often does Nick come around anyway?
Too short, but great show! Noisily GREAT! (Finally!)
Currently listening :
Dig!!! Lazarus Dig!!!
By Nick Cave and the Bad Seeds
Release date: 2008-04-08
Monday, June 23, 2008
Bo Diddley Is Jesus
Just try and guess my title reference. Anyhow, I had the pleasure and honer of seeing the man in person at the first Garage Fest. Really! As soon as he hit the stage everyone turned around, stopped everything, even in mid conversation, and just went up, crowded around the stage to watch and listen. You can bet I did just that.
NPR.org, June 2, 2008 - One of the fathers of rock 'n' roll died Monday at the age of 79. Bo Diddley was born Ellas Bates in Mississippi and grew up in Chicago, where he played guitar on street corners before being discovered by Chess Records. He leaves behind a sound that helped build a musical movement.
Diddley's signature rhythm, among the most distinctive beats in rock 'n' roll, can be heard on songs like "Who Do You Love?" and "Bo Diddley." Scholars trace the pattern to church tambourines, West African drumming, and a hand-patting rhythm called Hambone that goes back to slavery. But Diddley told the public radio show American Routes that he found it someplace else.
"I was trying to play 'I Got Spurs That Jingle Jangle Jingle' by Gene Autrey, and stumbled upon that beat," Diddley said.
The beat may have come from a television cowboy, but later, Diddley described it as "basically an Indian chant."
"Just picture dancing around a daggone big fire, dancing around with their spears," he told Morning Edition in an interview.
Regardless of the beat's source, music historian Peter Guralnick says that Diddley made it big enough for everyone.
"That was just an invitation for people to step into," Guralnick says. "Lots of people imitated it; lots of people carried it on."
These people included Eric Clapton, The Rolling Stones, Jimi Hendrix, and Bruce Springsteen.
"It's almost as if he foreshadowed James Brown in the sense in which rhythm predominated over melody and the usual conventions of pop songwriting," Guralnick says. "I think it's a tribute to Bo Diddley that it has lasted as long as it has."
But Diddley said that while rhythm was important, the secret to good songwriting lay in something else.
"A story with some funny lyrics, or some serious lyrics, or some love-type lyrics," Diddley said. "But you gotta think in terms of what people's lives is based on."
He took his own advice: Many of Bo Diddley's most famous songs were about Bo Diddley. Diddley was sent to Chicago as a child and adopted by his mother's sister. Deeply religious, she tried to steer the young man from the devil's music with violin lessons. He built violins and guitars at a vocational high school.
Diddley later met Gene Barge, a staffer at Chess Records.
"He was gifted with his hands," Barge says. "He loved to work on things: cars, record players, amplifiers. And he made his guitars. He crafted his whole sound."
Some of Diddley's guitars were custom-built to his specifications by the Gretsch company: shaped like stars or covered in fur. Barge says that long before Diddley worked audiences, he worked odd jobs and construction.
"He told me he was working one of the air hammers in the middle of the street that makes all this terrible noise," Barge says.
Diddley's music drew from the sounds of the Chicago streets where he first performed, and his name came from street-corner slang.
"Bo Diddley means that a guy was something extra-special or a real pistol," Barge says.
Barge says that in addition to playing rock, blues inspired by John Lee Hooker, calypso, and Latin-tinged blues, Bo Diddley was something of a comedian. He joined up with a female sideman –- the Duchess -– and Jerone Greene on maracas for songs like the 1958 hit "Say Man," which featured Greene and Diddley trading playful insults.
"Say Man" was Diddley's only Top 40 pop hit. His other classic tunes never crossed over from the R&B charts, and his style of rock eventually fell out of fashion. Diddley became bitter over how others had profited from his sound. He sold the rights to his songs to pay his bills, and his living came from constant touring. Toward the end of his career, Diddley toyed with rap and even returned — more or less — to his early classical training.
"I wrote a concerto that I wrote on the guitar," Diddley said. "It's called 'Bo's Concerto.'"
By Neda Ulaby NPR
NPR.org, June 2, 2008 - One of the fathers of rock 'n' roll died Monday at the age of 79. Bo Diddley was born Ellas Bates in Mississippi and grew up in Chicago, where he played guitar on street corners before being discovered by Chess Records. He leaves behind a sound that helped build a musical movement.
Diddley's signature rhythm, among the most distinctive beats in rock 'n' roll, can be heard on songs like "Who Do You Love?" and "Bo Diddley." Scholars trace the pattern to church tambourines, West African drumming, and a hand-patting rhythm called Hambone that goes back to slavery. But Diddley told the public radio show American Routes that he found it someplace else.
"I was trying to play 'I Got Spurs That Jingle Jangle Jingle' by Gene Autrey, and stumbled upon that beat," Diddley said.
The beat may have come from a television cowboy, but later, Diddley described it as "basically an Indian chant."
"Just picture dancing around a daggone big fire, dancing around with their spears," he told Morning Edition in an interview.
Regardless of the beat's source, music historian Peter Guralnick says that Diddley made it big enough for everyone.
"That was just an invitation for people to step into," Guralnick says. "Lots of people imitated it; lots of people carried it on."
These people included Eric Clapton, The Rolling Stones, Jimi Hendrix, and Bruce Springsteen.
"It's almost as if he foreshadowed James Brown in the sense in which rhythm predominated over melody and the usual conventions of pop songwriting," Guralnick says. "I think it's a tribute to Bo Diddley that it has lasted as long as it has."
But Diddley said that while rhythm was important, the secret to good songwriting lay in something else.
"A story with some funny lyrics, or some serious lyrics, or some love-type lyrics," Diddley said. "But you gotta think in terms of what people's lives is based on."
He took his own advice: Many of Bo Diddley's most famous songs were about Bo Diddley. Diddley was sent to Chicago as a child and adopted by his mother's sister. Deeply religious, she tried to steer the young man from the devil's music with violin lessons. He built violins and guitars at a vocational high school.
Diddley later met Gene Barge, a staffer at Chess Records.
"He was gifted with his hands," Barge says. "He loved to work on things: cars, record players, amplifiers. And he made his guitars. He crafted his whole sound."
Some of Diddley's guitars were custom-built to his specifications by the Gretsch company: shaped like stars or covered in fur. Barge says that long before Diddley worked audiences, he worked odd jobs and construction.
"He told me he was working one of the air hammers in the middle of the street that makes all this terrible noise," Barge says.
Diddley's music drew from the sounds of the Chicago streets where he first performed, and his name came from street-corner slang.
"Bo Diddley means that a guy was something extra-special or a real pistol," Barge says.
Barge says that in addition to playing rock, blues inspired by John Lee Hooker, calypso, and Latin-tinged blues, Bo Diddley was something of a comedian. He joined up with a female sideman –- the Duchess -– and Jerone Greene on maracas for songs like the 1958 hit "Say Man," which featured Greene and Diddley trading playful insults.
"Say Man" was Diddley's only Top 40 pop hit. His other classic tunes never crossed over from the R&B charts, and his style of rock eventually fell out of fashion. Diddley became bitter over how others had profited from his sound. He sold the rights to his songs to pay his bills, and his living came from constant touring. Toward the end of his career, Diddley toyed with rap and even returned — more or less — to his early classical training.
"I wrote a concerto that I wrote on the guitar," Diddley said. "It's called 'Bo's Concerto.'"
By Neda Ulaby NPR
Friday, February 22, 2008
Daniel Johnston @ Highline Ballroom 2/21 2008
I just started seeing shows again.
I'm usually the guy with an extra ticket. I didn't get a ticket for Daniel Johnston, but I didn't want to miss the show either. So I thought I'd just show up and either buy one(chancy)or I'd buy one off someone. WRONG! Little did I know that there would be an already established Stand-by line. Met some kid named Tim at the end of it. Doors at 7, it was already 8! About, 40 mins later it started to get colder. Thought I'd be fine as long as I could still feel my feet. Guy to the right in a hoody... MISTAKE! He was getting text updates from a friend inside, "The opening act is on!" Getting colder. Little by little people start bailing out of the line, mostly from the wrong end. Even colder, also wind. It's well after 9. The man at the door with the little heater next to him, his only instruction for us is "Stand by." I seem to remember that I missed seeing the Fall at this venue, something that I kick myself for form time to time. Guy on the right reads a new text, "Daniel is going on, like now!" Stand-by line was getting a bit flustered. I was surprised that I haven't felt the affect of skipping dinner to buy 15 mins for the train from Westchester. I get a phone call, it's my brother and not my friend who is inside, who's spare ticket was spoken for. "Stand by!" Starting to lose feeling in my toes... And what's with these kids in hoodies?!?! Do they WANT to DIE?!?! New text, "Daniel is on and I don't think they're gonna let anyone else in." Looks grim, a few more people bail the line, still wrong end. "Stand by!" We fantasise about cutting limbs of the nearest tree and setting it ablaze, as we a do a new dance called "The Big Freeze!" Just then, a sign of life! Man comes out, "You can get mad but we only can let 25 of you in." They start the count. The venue is attached to a Western Beef, a grocery store, a WARM grocery store, that we all avoided to not miss out on what could ultimately happen seconds later. It would be the first place I go to remedy any current ailments; food, warmth, beer, something heavy to hit things with... 24, 25! It was 9:40--Tim was number 25, and I was ahead of Tim!
They corralled us up to the balcony. Danny was playing the end of his first solo set. Then introduces his college buddy for his guitar accompaniment. That was a nice set. THEN, they come out with the band and start off with Speeding Motorcycle. Different from last time, upright bass, the keyboardist was good but a little sloppy. It was a much bigger band set-up. As a whole, the band did some nice things but fell apart around Daniel a couple of times. It was a very good show though. Daniel is a pretty amazing person. He's prolific, and consistently good! I was only lucky enough I found a decent place to stand.
I'm still waiting for a new record!
Here's some clips of what the band sounded like:
"Speeding Motorcycle"
http://www.youtube.com/watch?v=Di7KIByn7nI&feature=related
"True Love Will Find You in The End"
http://www.youtube.com/watch?v=yP1TOaRE7XQ&feature=related
"Rock and Roll Ega"
http://www.youtube.com/watch?v=_f5djkYWgRQ
"Mean Girls" (without band)
http://www.youtube.com/watch?v=6xjqX9Q0np4&feature=user
Currently listening :
END IS NEAR AGAIN
By DANIEL JOHNSON (DANNY & THE NIGHTMARES)
I'm usually the guy with an extra ticket. I didn't get a ticket for Daniel Johnston, but I didn't want to miss the show either. So I thought I'd just show up and either buy one(chancy)or I'd buy one off someone. WRONG! Little did I know that there would be an already established Stand-by line. Met some kid named Tim at the end of it. Doors at 7, it was already 8! About, 40 mins later it started to get colder. Thought I'd be fine as long as I could still feel my feet. Guy to the right in a hoody... MISTAKE! He was getting text updates from a friend inside, "The opening act is on!" Getting colder. Little by little people start bailing out of the line, mostly from the wrong end. Even colder, also wind. It's well after 9. The man at the door with the little heater next to him, his only instruction for us is "Stand by." I seem to remember that I missed seeing the Fall at this venue, something that I kick myself for form time to time. Guy on the right reads a new text, "Daniel is going on, like now!" Stand-by line was getting a bit flustered. I was surprised that I haven't felt the affect of skipping dinner to buy 15 mins for the train from Westchester. I get a phone call, it's my brother and not my friend who is inside, who's spare ticket was spoken for. "Stand by!" Starting to lose feeling in my toes... And what's with these kids in hoodies?!?! Do they WANT to DIE?!?! New text, "Daniel is on and I don't think they're gonna let anyone else in." Looks grim, a few more people bail the line, still wrong end. "Stand by!" We fantasise about cutting limbs of the nearest tree and setting it ablaze, as we a do a new dance called "The Big Freeze!" Just then, a sign of life! Man comes out, "You can get mad but we only can let 25 of you in." They start the count. The venue is attached to a Western Beef, a grocery store, a WARM grocery store, that we all avoided to not miss out on what could ultimately happen seconds later. It would be the first place I go to remedy any current ailments; food, warmth, beer, something heavy to hit things with... 24, 25! It was 9:40--Tim was number 25, and I was ahead of Tim!
They corralled us up to the balcony. Danny was playing the end of his first solo set. Then introduces his college buddy for his guitar accompaniment. That was a nice set. THEN, they come out with the band and start off with Speeding Motorcycle. Different from last time, upright bass, the keyboardist was good but a little sloppy. It was a much bigger band set-up. As a whole, the band did some nice things but fell apart around Daniel a couple of times. It was a very good show though. Daniel is a pretty amazing person. He's prolific, and consistently good! I was only lucky enough I found a decent place to stand.
I'm still waiting for a new record!
Here's some clips of what the band sounded like:
"Speeding Motorcycle"
http://www.youtube.com/watch?v=Di7KIByn7nI&feature=related
"True Love Will Find You in The End"
http://www.youtube.com/watch?v=yP1TOaRE7XQ&feature=related
"Rock and Roll Ega"
http://www.youtube.com/watch?v=_f5djkYWgRQ
"Mean Girls" (without band)
http://www.youtube.com/watch?v=6xjqX9Q0np4&feature=user
Currently listening :
END IS NEAR AGAIN
By DANIEL JOHNSON (DANNY & THE NIGHTMARES)
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