2007

Wednesday Intermezzo: We Love Rock Docs

We’ve been blown away by the flood of amazing new rock documentaries about old bands. No Direction Home was brilliant. Amazing Journey was awesome. Runnin’ Down A Dream beats ’em all. And everything we’ve heard about Julien Temple’s Joe Strummer documentary makes us feel like a couple of custies for not seeing it yet. USA Today examines the trend, filling us in on what it takes to bring these artists’ stories to the screen.

Finally, we really got a kick out of Jack White’s matador impression in the White Stripes new video for Conquest. Check it out after the jump…

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Gogol Bordello: Terminal 5, New York City, NY 11/3/07

hy are so many people on the multilingual bus with Gogol Bordello? Because getting into them is as much as layered, depth-creating experience as it is the well-documented hyper-visceral one. That is, the more layers you peel back and the deeper you entrench yourself in what the band's laying down, the richer the experience gets.

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Queensryche: Take Cover

Either Queensryche doesn't love the songs on Take Cover or they are completely incapable of conveying their love.  Either way, this album is a failure even among all the failures that make up this sad new convention practiced by bands that are desperately trying to show their relevance.

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Separated At Birth: RAQ UM Up

We’ve noticed some striking similarities between two of our favorite shredders and two of our favorite villains. Any doppelganging in your nape of the neck? Above: RAQ’s Chris Michetti and

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Tour Dates: Isn’t Winter the Slow Season?

The beginning of the year is generally considered the leanest part of the live music calendar, yet January tour dates have been flying into Hidden Track headquarters faster than Ricky

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PJ Harvey : White Chalk

It shouldn’t come as a big surprise that White Chalk is another interesting slice of Harvey that is calmer but just as pleasing beginning with “The Devil” and continuing on with “Dear Darkness.” Perhaps the album brings to mind her “Dance Hall At Louse Point” period most clearly during the carnival-tinged “Grow Grow Grow” that is quirky, unsettling and yet strong. Throughout it all, Harvey plays the light, airy vocals to a tee, especially on the haunting, retro-laced title track.

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