Feeds:
Posts
Comments

Archive for the ‘Rolling Stone’ Category

SOUNDTRACK: KING’S X-Live Love in London (2010).

King’s X released their most recent studio album (XV) in 2008.  It’s been over 11 years since that album came out, but King’s X still tours pretty much all of the time.  They could stand to mix up their setlists a bit from time to time, but they still sound quite good.

This concert was recorded on January 22nd, 2009 at the Electric Ballroom in Camden, London, not long after XV came out.  As such, there’s five songs from that album.  I actually thought that XV was a pretty great record and these songs hold up quite well with the rest of them.

This show starts, as pretty much all shows do since 1998 with “Groove Machine.”  The opening of “Welcome to the Groove Machine” is a pretty terrific way to introduce everyone to the show.  There’s a slightly extended drum solo in the middle of the song, but nothing too crazy.

It’s followed by a new song, “Alright.”  It features some noisy, squeaky guitars from Ty and is really catchy in it’s simplicity: “one day, (one day) it’s gonna be, (it’s gonna be) alright, (alright) alright, (alright).”  It’s a great singalong.

They quickly jump back to a popular older song, the quiet “Pleiades” although Ty’s vocals sound a little rough on it.  Back to the new record with “Move,” a suitably heavy song, although “What is This?” from the debut sounds much heavier.  You can tell that the band has played this song a lot because dUg is taking liberties with the lyrics: “make you look so fucking foolish.”  And lots of screaming.  Ty’s guitar solo is pretty epic.

Then they play two songs in a row from the King’s X album.  Up first is the quieter, grooving “Lost in Germany.”  Then comes the hugely popular “Black Flag.”

There’s a slightly lengthy bass intro as the band sets up for the new, absolutely rocking song “Pray,” in which dUg once again grapples with religion.  This is another great chanting sing along.

The crowd is excited for the older hit “Dogman” with some more noisy guitars from Ty.  dUg also makes his first reference to pot: after the line “give me a skinny or give me a fat,” he says “I smoke em fat.”

Then there’s two new songs in a row, yet another great sing-along” Go Tell Somebody.”  It’s a rollicking song that sums up the King’s X ethos pretty well: “if you like what you hear, go tell somebody.”  It leads into the quieter, Jerry Gaskill-sung “Julie” a nice song to his wife.  That’s it for new songs as they head back to older albums from here on out.

The first one is the only song from Ear Candy, the rocking “Looking for Love.”  It’s interesting when Ty plays his solo how much the rest of the sound goes away–its just bass and drums while Ty totally wails–a rather long solo for a 4 minute song.  The crowd goes crazy for “Summerland” and you can hear them all singing along to the final verse including the slight pause before it resumes.  The crowd is incredibly important at a King;s X show and it is a bit of a shame that the crowd is mixed out of this recording (I assume it’s a sound board and therefore hard to include the crowd).  But it’s really great to hear them sing along.  Apparently there is also a lot of chanting and such that is edited out for the CD, which makes sense, but is a bit of a bummer if you want to really capture the energy of the show.  At one point dUg even says, “I’ve been listening to you sing all night and its alright.”

They end the set with a rousing 12 minute “Over My Head.”  The extended part comes in the middle, of course.  The song slows down, the crowd starts clapping, and Ty plays a really impressive solo–just wailing around for almost 3 minutes.  Then it’s dUg’s turn.  “Welcome to the first church of rock n roll.”  He talks about the importance of music, “Music got me through a lot of hard times.”  In almost every show he tells a different anecdote.  This time he says, “My aunt told me … its a terrible thing for a man to do the thing he don’t wanna do for the rest of his life.  I decided I’m gonna make fucking music.”  The audience then sings the chorus pretty much through to the end of the song.

Then it’s time for the encore.  (The encore breaks are not evident on the CD).

dUg says, “This is gonna be a long encore.”  It starts with two songs from Faith Hope Love.  “It’s Love” was probably their biggest hit.  The song sounds great, although truthfully their impeccable harmonies sound a little tired here.   It segues perfectly in to “We Were Born to Be Loved” one of the great show enders.  This version runs to about six minutes with some extended moments and that awesomely complex ending sequence.

They come back out for encore 2 and play the lovely “Goldilox.”  The big difference this time is that the crowd sings the entire song!  Quite well, in fact.  dUg doesn’t sing anything and Ty only plays loud between verses.  It’s pretty cool.  They stay with the debut album for one more song, “Visions” which returns to the heaviness but keeps the harmonies.  The end part really takes off with some wild soloing from Ty as dUg and Jerry jam out together.  It’s a wonderfully wild ending and seems like it could easily end the show.  But the band isn’t quite done yet.

There’s one more encore break before they come back with the wild “Moanjam.”  The harmonies seem to have completely lost them by this time, but musically the song is outstanding.  Just a terrific jam that rocks out.

King’s X is a fantastic live band.  And, yes, they are getting older and don’t sound as amazing as they once did, but the energy and musicianship is still top-notch, even almost ten years after this release.

[READ: February 2019] King’s X: The Oral History

Even though I love music, I don’t read a ton of books about musicians.  I kind of don’t care all that much about most of them.  I want to see and hear you play, but I don’t have that much curiosity about your history.

But some bands defy the tropes of rock, and their story can often be interesting.

I’ve been a fan of King’s X for decades and while I knew some things about them, it turns out I didn’t really know all that much.  And it was fun to read this book which is constructed of quotes from the band and the people who were around them.

Most of the people interviewed are huge fans of the band and can’t understand why they were never more successful (a common question).  I also had no idea there was such acrimony between the band and their original unofficial fourth member, Sam Taylor (who does not make an appearance in the book).

Perhaps the biggest surprise to me was to find out that Doug (dUg) Pinnick is 68 years old! That certainly explains why his voice doesn’t sound superlative live anymore.  And fair play to him.  He sounds amazing for 68.  He is otherwise ageless, that guy.  dUg had a pretty rough upbringing–and he didn’t get a bass until he was 23!

Jerry Gaskill has had two heart attacks (!) and is from South NJ (and now lives near Asbury Park–wow, imagine running into him).  He started a band with his dad and his brother when he was 7 years old (Jerry & The Knights).  And they played out at weddings and parties.  How fun is that?

Ty Tabor is the baby at 58. Ty learned guitar from a babysitter and has been playing ever since.  He and others keep referring to Phil Keaggy.  I had never heard of him and was surprised at Ty’s reverence.  Well, Keaggy is an adult Christian musician so clearly I’d never have heard of him.  I listened to a track or two but just couldn’t get past the Christianness of it to really appreciate the music. (more…)

Read Full Post »

[ATTENDED: October 1, 2018] Evan Dando

Back in 2015 I saw that Evan Dando was playing at the New Hope Winery.  I had no idea that there was a concert venue so close to me and that Evan Dando would be there.  For some reason, I was unable to make that show, (Thurston Moore was also playing there around that time and I couldn’t make that either, so we must have been away).

Since then I have monitored the Winery to see what other cool bands would be playing there.  Sadly, pretty much since that day, aside from Dar Williams (who is awesome) everyone playing there is a cover band.  Which sucks.

I have loved The Lemonheads since college and It’s a Shame About Ray is a stellar album.  I’d never seen him play, so when I saw he had announced one show (which has since turned into a small tour) at Monty Hall in Jersey City, I knew I had to go.

Evan came out pretty late by any standard.  But I wasn’t even sure if he was going to show up.  He seemed surprisingly discombobulated (he forgot his capo) and it took a pretty long time or him to get set up.  This was all fairly surprising since he’d been doing this forever.

He had a total artist look: pants that were filthy and a suit jacket that had a giant rip under the armpit (and which seemed too small for him).

He was wearing glittery flip flops!  (more…)

Read Full Post »

SOUNDTRACK: JOHN PRINE-Tiny Desk Concert #717 (March 12, 2018).

For all of the legendary status of John Prine, I don’t really know that much about him.  I also think I don’t really know much of his music.  I didn’t know any of the four songs he played here.

I enjoyed all four songs.  The melodies were great, the lyrics were thoughtful and his voice, although wizened, convey the sentiments perfectly.

The blurb sums up things really well

An American treasure came to the Tiny Desk and even premiered a new song. John Prine is a truly legendary songwriter. For more than 45 years the 71-year-old artist has written some of the most powerful lyrics in the American music canon, including “Sam Stone,” “Angel From Montgomery,” “Hello In There” and countless others.

John Prine’s new songs are equally powerful and he opens this Tiny Desk concert with “Caravan of Fools,” a track he wrote with Pat McLaughlin and Dan Auerbach. Prine adds a disclaimer to the song saying, “any likeness to the current administration is purely accidental.”

I thought the song was great (albeit short) with these pointed lyrics:

The dark and distant drumming
The pounding of the hooves
The silence of everything that moves
Late in night you see them
Decked out in shiny jewels
The coming of the caravan of fools

That song, and his second tune, the sweet tearjerker “Summer’s End,” are from John Prine’s first album of new songs in 13 years, The Tree of Forgiveness.

He introduces this song by saying that.  This one is a pretty song.  It might drive you to tears.  He wrote this with Pat McLaughlin.  We usually write on Tuesdays in Nashville because that’s the day they serve meatloaf.  I love meatloaf.  We try to write a song before they serve the meatloaf.  And then eat it and record it.

For this Tiny Desk Concert John Prine also reaches back to his great “kiss-off” song from 1991 [“an old song from the 90s (whoo)…  a song from the school of kiss off 101”] called “All the Best,” and then plays “Souvenirs,” a song intended for his debut full-length but released the following year on his 1972 album Diamonds in the Rough. It’s just one of the many sentimental ballads Prine has gifted us.

He says he wrote it in 1968…when he was about 3.

Over the years, his voice has become gruffer and deeper, due in part to his battle with squamous cell cancer on the right side of his neck, all of which makes this song about memories slipping by feel all the more powerful and sad.

“Broken hearts and dirty windows
Make life difficult to see
That’s why last night and this mornin’
Always look the same to me
I hate reading old love letters
For they always bring me tears
I can’t forgive the way they rob me
Of my sweetheart’s souvenirs”

The musicians include John Prine, Jason Wilber, David Jacques and Kenneth Blevins.

 

[READ: December 11, 2017] X

I really enjoyed Klosterman’s last essay book, although I found pretty much every section was a little too long.  So this book, which is a collection of essays is perfect because the pieces have already been edited for length.

I wasn’t even aware of this book when my brother-in-law Ben sent it to me with a comment about how much he enjoyed the Nickelback essay.

Because I had been reading Grantland and a few other sources, I have actually read a number of these pieces already, but most of them were far off enough that I enjoyed reading them again.

This book is primarily a look at popular culture.  But narrowly defined by sports and music (and some movies).  I have never read any of Klosterman’s fiction, but I love his entertainment essays. (more…)

Read Full Post »

SOUNDTRACK: PHISH-Live in Brooklyn (2006).

Just over ten years ago I started this blog.  And sometime in May of 2007 I wrote about this disc.  Well, actually, I didn’t really write about it. Initially the “soundtrack” was just the record I was listening to that day.  I didn’t really write about the music at all.  The only thing I noted about this disc was that a 17 minute guitar solo is not such a good idea when you are sleepy.

So, now that I’ve often spent more words on the music than the stories, here’s a full review of this live album (their fifth “official” live record).

This show was performed on June 17, 2004–the opening night of what was promoted as the band’s final tour, before their 2004 breakup.

This show starts with “A Song I Heard the Ocean Sing.”  It is a rocking opening although it sounds a bit flat.  “Dinner and a Movie” is fun, an angular version with a perfectly jazzy end section.  It segues into a great 13-minute version of “The Curtain With” and then a short, fast “Sample in a Jar.”

“The Moma Dance” has a lengthy intro before the song starts and then a long jam afterwards.  It’s fifteen minutes long and then segues into an outstanding “Free.”  There’s a particularly cool razzy funky bass solo.  “Nothing” is a sweet song from Undermind, a nice mellow come down after Free and a good workout for Page on piano.  It’s followed by “Maze.”  This one sounds a little funny, but there’s some great soloing from Trey and Page.  Trey’s solo starts trippy and then turns wild and really rocking.  “Frankenstein” is not quite as faithful to the original as some earlier versions, but they’ve played it many times by this point.

Set 2 opens with the crowd chanting “It’s 1, 2, 3, strikes you’re out at the old ball game” and then it’s a 17 minute version of “46 Days.”  It mostly a guitar solo that segues into a long version of “Possum,” although this “Possum” is rather slow, comparatively.  The solo grooves along until it gets down to a quiet moment.  Then there’s a short “Oh Kee Pah” that launches into a rollicking 18-minute “Suzy Greenberg” with a great jam in the middle.  It segues into a super rocking “Axilla” and then segues into a groovy “2001.”  The jam on that song lasts 9 minutes and it’s connected to an excellent “Birds of a Feather.”

They dedicate the insane “Kung” to the people at the US Open next door.  They are going to sing it very loud so that the players can hear it.  And after the runaway gold cart marathon, Trey says they’re going to slow things down with “Mike’s Song,” but its’ got a very fast jam in the middle.  It does slow down to a mellow “I Am Hydrogen,” which segues into a romping “Weekapaug Groove.”

The encore is “Divided Sky.”   There’s a 1:15 pause while Trey doesn’t play the next note before beginning the rest of the show.  The crowd gets really restless.  It’s pretty funny.

This entire concert was simulcast on over 100 movie theater screens around the country.  The band was supposed to break up for good after this tour.  But here it is 13 years later and they are playing better than ever.

[READ: March 27, 2017] “Down and Out in Paris and London”

This issue of Lucky Peach includes an excerpt from a book by George Orwell.  Down and Out in Paris and London was the first full-length work by Orwell, published in 1933.  It is a memoir in two parts on the theme of poverty in the two cities.

What does it have to do with food?  Well, it was originally called “A Scullion’s Diary.”  And this excerpt comes from around Chapter III where the narrator obtains a job as a plongeur (dishwasher) in the kitchen at “Hotel X.”

He explains that one of the few humane jobs in the kitchen was polishing silver and glasses–at least the waiters might treat you as something of an equal.  Otherwise he was washing crockery–often for thirteen hours a day.

He marvels that the squalor of their kitchen–“we are in disgusting filth”–was only double doors away from the splendid dining room.  He says “we slithered about in a compound of soapy water, lettuce leaves, torn paper, and trampled food.” (more…)

Read Full Post »

SOUNDTRACKFUJIYA & MIYAGI-Live at Gibson Showroom, New York (2008).

This set is available for Download from KEXP.  I don’t know Fujiya & Miyagi all that well, but I really enjoy everything I’ve heard from them.  They place a keyboard-heavy, almost-dance music, but they use a lot of guitars to propel their songs further.

The most noteworthy thing about the band is the vocals–they are whispered (and often nonsensical–“Vanilla, strawberry, knickerbocker glory”) but the whisper seems to make the song move faster somehow–adding an almost sinister edge to the tracks (although sometimes it can feel sensual as well–it’s a neat trick).

This show has five songs from the album Lightbulbs–and it’s their first tour with a live drummer, which adds a nice complexity to their set.  One of these days I’m going to have to check out  their studio releases.

[READ: September 8, 2012] “My Journey to the Outer Limits of Funk”

Here’s another author I admire writing a short piece in Rolling Stone.  This one, unlike Lethem’s recent contribution, is about something he himself has done.  This article is a kind of music-based background explanation of his new book, Telegraph Avenue.

The premise of one of the plotlines is that two guys work in a record store, Brokeland Records, and are aficionados of jazz.  But he felt that was kind of dull, so Chabon delves into how he was able to get his characters to feel more interesting.  He didn’t wan them to just be “into jazz”–blah–he needed to add even more details so that they were more than just jazzies.  So he talks a bit about what he learned from Wax Poetics a magazine that refracted black popular culture through hip hop.   (more…)

Read Full Post »

SOUNDTRACK: SANDRO PERRI-Impossible Spaces [CST085] (2011).

This album has become one of my favorite releases of the year.  I simply can’t stop listening to it.  And the funny thing is that on first listen I thought it was too treacly, too “sweet,” especially for Constellation Records (home to the over-the-top Godspeed You Black Emperor amongst other wonderful bands).  But after a listen or two, I heard all of the genius that is present in this record–so many different layers of music, and so many interesting instrumental choices. Indeed, it does come off as sweet, but there’s really nothing wrong with that.

This album gives me a happy pick me up without being cloying in any way.  That’s a great accomplishment.

“Changes” opens kind of all over the place, with some noisey guitars and really high bass notes.  But once the shk shk of the shakers comes in, the sing settles into a great groove (and there’s a cool bassline that really holds the song together).  After about 3 minutes, it turns into a cool light funk jam, with retro keyboards, buzzed out guitar solos and some funky drums.  It’s unlike anything you’ll hear anywhere else.  “Love & Light” is one of the shorter pieces at just under 4 minutes.  It’s different from the other tracks, in that Perri’s vocals seem to be the dominant motif, rather than the cool music.  I like the song, but it’s probably my least favorite here.  “How Will I?” uses a similar multi-tracked vocal style but it has some wonderful flute moments (yes flute) that make the song bubbly and happy.  The song kind of drifts around the ether in a kind of jazzy world until about 5 minutes in, when the bassier notes anchor the song with great contrasting notes.  And the electronic ending is as cool as it is disconcerting.

“Futureactive Kid (Part 1)” is a shuffling minor key number that’s just over 3 minutes, it features a cool bass clarinet and backwards guitars to propel the song.  The backwards guitar solo segues into the uplifting (literally, the keyboards just go higher and higher into space. “Futureactive Kid (Part 2)” features fretless bass, a flute solo and My Bloody Valentine-esque sound effects (although radically simplified from MBV’s standards).  It fades out only to introduce my favorite song in forever–“Wolfman.”  I can’t get enough of this song.  It’s a simple structure, but at ten minutes long, it deviates in amazingly complex ways.  It has so many cool aspects that I love–I love the chord changes at the end of each verse.  I totally love the guitar solo that goes up and down the scale for an impossibly long run–well over 100 notes by my count.  I also love that the end of each section features a different guitar style playing the simple chord progression–from acoustic to loud solo to full band playing those same notes–so by the end of the ten minutes you ‘re not sure what to expect.   By the time the flute solo comes in at nearly 7 minutes, I’m totally committed to the song and wherever it’s going to take me.  So when it gets a bit of an electronic ending, I’m ready to go there with it.  Oh and lyrically the song is just as curious as the music.

The final song “Impossible Spaces” is a beautiful, quiet guitar song which is actually easy to sing along to.  It quiet a departure from the rest of the record, but it ties things together very nicely.  I have listened to this record so much lately, I just can’t get enough of it.

You can stream the whole thing here.

[READ: May 10, 2012] Conversations with David Foster Wallace

This is a book that collects interviews with David Foster Wallace.  Although DFW was reticent about d0ing interviews (as the introduction states), he did do quite a lot of them–often at the same haunts.  This book contains 22 interviews that span from 1987-2008.

The conversations are in chronological order, which is really a treat because you get to see DFW’s opinion (and his addiction to nicotine) evolve over the years.  You also get to see the topics that he was really focused on at one time and whether or not they stayed with him until the final interview.  DFW was outspoken about certain things, especially entertainment, which is unsurprising.  But he was also a big advocate of truth, honesty, realness.  It’s amazing seeing him when he lets his guard down. Although his honesty is there for all to see in his work, he is better known for his difficulty with language or his humor.  So seeing him without the multiple revision is quite enlightening.

The first pieces, “David Foster Wallace: A Profile” published after his first novel The Broom of the System launched Viking’s paperback imprint actually looks into his classroom a little bit and shows him interacting with a student (I wonder if she knows she is in this book?).  It seems sweet and almost naive compared to what is to come next.  And, for anyone who is familiar with him from later in, it’s a wonderful look behind the scenes.  There’s also a number of pieces from The Wall Street Journal.  Like the second piece in the book, the worryingly named, “A Whiz Kid and His Wacky First Novel.”  It’s not a bad piece at all, but man, headlines can be delicate matters. (more…)

Read Full Post »

[WATCHED: January 3, 2011] Classic Albums: Rush–2112 • Moving Pictures

Sarah got me this disc for Christmas.  Thank you, Sarah!

This DVD is from the Classic Albums series.  The series is shown on VH1 in the states and BBC (and other places) elsewhere).  There’s been about 35 episodes of the series, with Rush being one of the few bands to have two albums for the show (which is an honor, but which also cuts down on the content for each album by half…boo!).

The show is an hour, and there’s almost an hour of bonus footage on the DVD  (which die-hard fans will enjoy more than the actual show).

The main show itself looks at the creation of these two classic albums.  There are interviews with the band members as well as many people associated with the band (and a couple completely random musicians).  We get their manager Ray Daniels and the producer for these albums Terry Brown (his segments are my favorite because he gets behind the mixing console and plays around with the songs).  We also get Cliff Burnstein (the guy with the crazy hair) who was instrumental in getting Rush publicity. (more…)

Read Full Post »

SOUNDTRACK: ALANIS MORISETTE-Jagged Little Pill (1995).

In this book, DFW considers himself to be absolutely useless when it comes to music.  He doesn’t know anything at all.  He says he listens to Bloomington country radio stations until he can’t take it anymore and then he switches over to the alt rock station.  He’d never even heard of Nirvana until after Cobain’s suicide.

And so, the soundtrack for the book is R.E.M., Bush (two songs) and Alanis.  In fact, there’s a surprisingly long section devoted to Alanis in the book, including DFW’s admittance that he would love to have a date with her for tea.  He admits that she is pretty much manufactured angst and yet there’s something about her that he finds irresistible.

At this stage (2010), the whole Alanis thing seems almost adorable in it’s “controversy” or “hype” or whatever.  It’s still hard for me to be objective about the quality of Jagged Little Pill (I mean, Flea plays bass on it so it must be good, right?).  I really enjoyed it at the time, perhaps because of its rawness or its honesty (which was pretty novel at the time, especially from a woman), all packed in a clean production of course.  There’s also something weirdly appealing to me about her (really not very good) voice.  She seems just off enough for all of this to be really sincere.

And of course, the nastiness of “You Oughta Know” was pretty astonishing for pop radio at the time.  True, there’s songs on here that make me cringe now (there’s a lot about her that makes me cringe) and yet there’s still some really enjoyable stuff here.  Even the perennially mocked “Ironic” for all of its flaws has a stellar chorus.

Now that the “women in rock” phase of alternative music has passed, there’s very little music like this being made anymore.  So it’s kind of fun to reminisce about this stage of my musical life, warts and all.

Oh, and by the way, I also grew up watching Alanis on “You Can’t Do That on Television,” so it was pretty exciting to see a child star that I knew make it big.

I never liked Bush though.

[READ:April 21, 2010] Although of Course You End Up Becoming Yourself

As I mentioned, I was super excited to get this book and I treated it like the artifact it is: trying to read it in one sitting (impossible) or at least in as compressed a time as possible to preserve the stream of consciousness attitude of the book.

For, as the subtitle doesn’t quite state, this is five-day conversation between David Lipsky and David Foster Wallace.  The tape recorder was running for most of these five days and what we get is a literal transcript of the conversation (with much of Lipsky’s parts excised).  It is an all-access pass to the mind of the man who wrote Infinite Jest as the hype of the book was really taking off and as his brief promotional tour for the book was winding down.

Lipsky was (is) a reporter for Rolling Stone. DFW’s Infinite Jest was the huge media hit (#15 on the bestseller list) and the hype was outrageous.  DFW had begun a (sold out) reading tour which actually began the day before the book came out, so he rightfully notes that no one could have actually read the book by then, they were just there because of the hype.  And Lipsky himself is part of this hype.

Lipsky was sent to do a profile of the wunderkind, literature’s next great hope (RS hadn’t (hasn’t?) covered a young author like this in a decade at least).  The idea was that Lipsky would tag along with DFW, go to the last readings on the tour, an NPR interview, and spend most of their time together: planes, rental cars, hotel rooms, etc generally just hanging out with tape recorder running. (more…)

Read Full Post »

dfwshelfSOUNDTRACKFLEET FOXES-Sun Giant EP (2008).

sungiantMy friend Jarrett introduced me to the Fleet Foxes with their self-titled CD.  I recently picked up the Sun Giant EP and it is just as good as the main CD.  It opens with a beautiful a capella introduction to “Sun Giant” in multipart harmony that melds into a nice folksy song.

The remaining 4 songs all contain these harmonies, although some rock harder than others (within their style of orchestral folk).  Orchestral folk implies a “bigness” that the band never really strives for.  In fact, some songs sounds downright pastoral.

“English House” is great for so many reasons: the fantastic guitar lines, the breaks in the song proper, just everything.  But the track “Mykonos” is probably my favorite Fleet Foxes song of all.  It has such a wonderfully catchy pre-chorus and then an even more fantastic post-chorus.  Simply amazing (even if I don’t know what they’re saying).

The EP is a great introduction to this fantastic band.

[READ: Mid-September 2009] uncollected essays

I don’t normally like to have a bunch of things appear in one post.  But this post is going to be about those small, uncollected pieces that aren’t really long enough to warrant their own entry (letters, interviews, etc).  I tracked down most of these pieces from The Howling Fantods, but I also got a few from The Joy of Sox.  You’ll notice that many of these pieces are stored at http://theknowe.net/dfw and yet I can’t figure out how to access the files there directly, so Howling Fantods links are what we get.

The text in bold comes from The Howling Fantods site (I hope they don’t mind that I swiped it).  The text underneath is my review/opinion/idea. (more…)

Read Full Post »

rsI began my Rolling Stone subscription a few years ago when I bought something at Best Buy. The subscription was a bonus gift of some sort. The choices were pretty lousy and I didn’t even want Rolling Stone, but I figured what the heck.
I was really surprised by how much I enjoyed the magazine.

I suppose no one has to be told what Rolling Stone is like. Or so I thought, because here was me, being surprised by this most mainstream of magazines.  I mean, I’ve seen the covers for years, and I knew they liked sex, drugs and rock and roll, but there’s more under the covers.

I have quickly learned my favorite sections and the ones I don’t even bother looking at.

Skim the letters. Maybe there’s a worthwhile addition.

The first main section is the “news” of the last two weeks…usually a concert or a new album or some such. This one happens to focus on American Idol, so, I skipped right past that nonsense.

The Hot List is 5 things that impress them since last issue. I usually like 1 of the 5.

I never read the Smoking Section, but Breaking is usually about an indie band that I heard about a few months earlier.  RS finally catches up and I can read a bit more about them. The In the Studio section is worth browsing to see who’s due for a new disc.

The Random Notes I feel is meant to be a big deal, with “insider” photos and blah blah. I skim it but little more than that.

And then the issue proper starts. (more…)

Read Full Post »

Older Posts »