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Hidden Flick: X and Why

[Originally Published: 10/26/2010]

Zelig, chameleon, “I’m 12 years old. I run into a Synagogue. I ask the Rabbi the meaning of life. He tells me the meaning of life. But, he tells it to me in Hebrew. I don’t understand Hebrew. Then he wants to charge me six hundred dollars for Hebrew lessons.”

Rich sounds of some subterranean nature, specifically the voice, guitars and drums as it flows in the design, a sublime addition to a fine piece of cinema, an engaging slice which subtly celebrates the hidden truths of daily sounds, shadowing an almost silent unheard music captured by the Masqued Wind and carried off to another breathtaking locale.


And within the Unheard Music, the silent sounds of the daily ritual that you and I share, we toil amongst ourselves, neither forgetting or acknowledging each other’s existence, until we are free…a moment and then nothing, glass shatters beyond this window and the earth winds to a halt. Beyond this window something unknown is watching you and me. There’s laughing inside, but we’re locked outside the public eye. X marked the spot.

We venture forth and move backwards through time and space. Most people are unaware that on the initial release of London Calling, The Clash’s landmark double album, their hit single, arguably the most commercial piece of old school ear candy the band would ever record, wasn’t even listed on the sleeve. Train in Vain appeared as a hidden track, the last song on side four, kicking in after Revolution Rock, and solidified the legendary status of the album and the band. The gesture also spoke volumes about the post-punk quartet’s confidence that a) they could record a cool, timeless track, and b) they didn’t need to shove the product down the consumer’s throat by highlighting its appearance.

This punk mentality definitely found a home on the West Coast of America, as well. Many punk bands flourished in their own artistic way in the 1970s and 80s, but arguably no other Los Angeles punk rockers had the enduring longevity as X. Indeed, 30 years on, they celebrate their anniversary with a holiday run beginning in December. Before each show, the band will screen a film, this week’s Hidden Flick, X: The Unheard Music.

READ ON for more on this week’s Hidden Flick…

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HT 25 Best Albums of 2010: Numbers 21-25

For the second consecutive year, we concocted an innovative little experiment for our year-end Best Albums list. Instead of picking the old fashioned way, we opted for something a little different: a collaborative, collective list that incorporates the opinions of everybody here at HT.

To begin, we devised an all-encompassing list of well over 100 nominees, whereby most everything our contributors recommended made this list. Then, we invited our crew of writers to independently and blindly vote on each album within the list on a scale of 1 to 20 (20 = epic). We ended up with varying degrees of familiarity for the nominees as some folks voted on just about everything, while some ranked just a few. From there, we deployed our egghead algorithm for rating albums: (two times the average rating) + (the total number of votes). At that point, we took the top 25 highest scores and presto: Hidden Track’s 25 Best Albums of 2010. No bullshit, no big opinions; just the results.

Let’s kick off our week long countdown of our favorite albums of 2010 with numbers 25 through 21…

25) Sleigh BellsTreats

Key Tracks: Tell ‘Em, Infinity Guitars

Sounds Like: Electric Guitars and Cheerleaders


The Skinny: Sleigh Bells came out of nowhere in 2010 to emerge as a break out of the highest order. Despite being a just a duo, the boy-girl tandem of Derek Miller and Alexis Krauss manage to slug out bombs with their stomping beats, cutting guitar attacks and anthemic vocal hooks. With Treats, Sleigh Bells have created a genuinely unique twist on amped-up party music.

READ ON for the next four albums in our countdown…

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Widespread Panic 25th Anniversary Shows

Jam titans Widespread Panic will celebrate 25 years together in 2011. The group starts the year with three shows billed as 25th Anniversary Shows. On February 10th and 11th, Widespread

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Pullin’ ‘Tubes: Those Beady Eyes

Given their well documented dislike for each other, and public bickering, it’s pretty remarkable that Liam and Noel Gallagher managed to make Oasis last as long as it did. Over

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Review: Phish New Year’s Eve @ MSG

Glide’s Eric Ward penned a review of Phish’s insane New Year’s Show for Hidden Track and the main site. Check out the beginning of Eric’s review here and then click

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Stormy Mondays: Trane and Miles

As we do every year at Stormy Mondays, we celebrate the arrival of the new year with the music of John Coltrane. This time around we’re looking back to Trane’s

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Video: Tennis – Cape Dory

As we shake off the last effects of our New Year’s Eve weekend hangovers, I thought we’d ease into the week with some hazy indie-pop from a band that you’ll

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Review: Gov’t Mule NYE @ Beacon

Gov’t Mule @ Beacon Theatre, December 31

Last night was one of the wildest, weirdest Mule shows ever. On the one hand, they played with as much intensity and firepower as I’ve seen in the last five years. On the other, they played like a band definitely ready for a break — haphazard, slapdash at times, randomly explosive — and after the first set, pretty much threw any concept of show pacing out the window.


First set and the first part of the second set was greatest hits Mule: a combination of classic (and overplayed) Mule songs, I think about 2-3 from each of the studio albums, performed ably to extraordinarily. Highs were many, especially a ripsnorting Time to Confess, a wrenching, emotional No Need to Suffer, and a volcanic Game Face with a gooey, psychedelic middle, each tonal shift flavored with impressive work from Jorgen Carlsson.

Gov’t Mule – Beacon Theatre, New York, NY
I: Mule with Kirk West Introduction, Painted Silver Light, Gameface, Blind Man In The Dark, Bad Little Doggie, No Need To Suffer, Beautifully Broken, Banks Of The Deep End, Trying Not To Fall, Time To Confess with Get Up, Stand Up Tease, Thorazine Shuffle

II: Slackjaw Jezebel, Brand New Angel, Steppin’ Lightly, Broke Down On The Brazos, New Years Countdown, Achilles Last Stand * , Bridge Of Sighs * , Nantucket Sleighride * with Corky Laing, Bad Company * , Yer Blues *

Shakedown Street *, Sugaree with Jon Herington & Bill Evans, Sco-Mule with Jon Herington & Bill Evans, Oye Como Va Tease & Dance To The Music Lyrics, Afro Blue with Bill Evans & Oz Noy, Norwegian Wood Tease
* First Time Played

Source: JamBase via  mule.net & nokin in the comments

After the New Year’s Countdown came the fan-voted covers, and Warren said from the stage that Zeppelin’s Achilles Last Stand and Mountain’s Nantucket Sleighride were the No. 1 and No. 2 voted selections (really?). Achilles was a blast — a rip roaring, mindfucking blast — and the band then moved into slow-marinating, colder-toned territory with Bridge of Sighs. Mountain’s own Corky Laing did what basically amounted to a walk-on — Hi Corky, good to see you! — sitting in for that coursing Sleighride, and then the band summoned two more: a decent Bad Company, and then a nasty, nasty Yer Blues that found Warren howling at the top of his lungs and some guitar acrobatics from both the man himself and Dastardly Danny Louis.

READ ON for more of Chad’s thoughts from Mule NYE…

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