Ryan Adams has announced plans to continue his extensive world tour supporting his latest album ‘Easy Tiger’ in the New Year. The singer will play several US shows with The
Beck gave a rare small club performance at the EchoPlex in Los Angeles last night (November 25). The singer looked dapper in a hat and vest and seemed completely at
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.
It looks as if the Jackson 5 may reunite for what may potentially be the biggest source of Grade-A music-blog fodder since Radiohead “pulled a Radiohead.”
Jermaine’s talking, and he claims the talented one will be involved in some role:
Michael will be involved. We want to tour. We want to touch the lives of everybody who’s bought our records and supported us. It will probably start here first, but it will be sometime in 2008. That’s our plan.”
Our guess is Michael will want to touch more than just lives…we’ll let you know if “scrumptious boycock” is featured prominently on the tour rider. Eh, too easy.
We spent much of our Thanksgiving week hearing about how the pre- and post-holiday tradition of sandwiching live music around a delicious turkey may finally be dead. But sucks to your assmar, pessimistheorists, New York hosted a veritable shitload of live shows from Wednesday through Sunday, providing venues all over the city for hippies and hipsters alike to catch a wide variety of genres.
Your trusty Hidden Track sherpas caught three of these New York holiday shows, one taking in The Duo and Mocean Worker‘s awesome show at the Music Hall of Williamsburg before Thanksgiving, one catching RAQ at the Highline Ballroom on Saturday. And our main man Danfun headed over to the West Side’s Terminal 5 for The Hold Steady and Art Brut on Wednesday night.
Shane over at our corporate parent, Glide Magazine, reviewed The Hold Steady + Art Brut show in Phoenix two weeks ago, so head over here if you’re looking for words to compliment these fine, fine photos. Otherwise, read on after the jump for Danfun‘s view of the proceedings in New York’s newest big venue.
We had some fun at the expense of the popular indie-jam rock band moe. some five weeks ago, taking the piss out of the group’s management after it blasted out
If you’ve ever played Guitar Hero you’ve probably noticed the creepy “Oh, sure, this sounds just like the original” cover versions the games often use. Activision tries to save some cash by securing the rights to use a cover of the tune instead of ponying up for the original recording. The cover versions have been coming closer and closer to the originals with each new edition of the game.
Now The Romantics are suing Activision for using a cover version of What I Like About You that sounds a little too close to the original for their comfort. Believe it or not, The Romantics may have a good case. Artists such as Tom Waits and Bette Midler have won previous lawsuits claiming cover versions of their songs were too close to the originals. Read more about the lawsuit here as we move on to check out some of the other stories from the weekend:
Finally, My Bloody Valentine plans to “do a Radiohead” with their new release. Great, so there’s more fuel for the Radiohead superiority complex.
Pictures by David Bann of Battles at the Paradise Rock Club in Boston, MA on 11/12/07.
The Galactic album that became From the Corner to the Block was originally going to be all-instrumental, and in its initial stages was a little loose on concept. That was two years ago, when the band found itself on tour with Bay Area emcee Lyrics Born as the opening act and nightly sit-in guest, and was really enjoying itself as it figured out the next direction.
On John Fogerty’s new album Revival the ex-leader of Creedence Clearwater Revival acknowledges the brilliance of his past work rather than deny it. But the wry likes of “Creedence Song” notwithstanding, an air of self-consciousness pervades the album, which begs the question of whether Fogerty’s embrace of his past now overcompensates for that period he boycotted it over twenty-years ago?
