June 2010

Young Forever: Bonnaroo Day 4

Jennifer Kirk June 16, 2010 No Comments

“I keep getting older, and [it] stays the same age.”

[For those indie rockers who made fun of the hippies coming here in 2002]

Borrowing a classic line from Dazed & Confused seemed appropriate for the final Bonnaroo journal entry of the year. I’ve got to admit, it’s been a mind-blowing experience to see how Bonnaroo, as a festival, has grown but still manages to stay the ‘same age’, so to speak. I’ve been attending the festival since its inception and at the time I was still an undergrad. Now, two degrees and a full time job later, it’s allowed me to look at the festival in a different perspective. Not to mention the simple fact that I’ve grown older as well — I’ve seen my fellow Bonnaroo friends grow up, get married, buy houses, have kids and everything else that classifies us as “adults” now. Heck, I even saw my OWN students at Bonnaroo this year. Talk about a weird experience.

I love how there are things you can count on year after year at Bonnaroo besides the music – the tents, the bobble heads, the fountain, the Ferris wheel, the Silent Disco – to name a few. They also have tweaked and added things as the years have passed – the Barn, Planet Roo, additional stages, the installations throughout the campgrounds and the Comedy Tent. This year we saw the addition of a slip and slide, beach volleyball, Rock Band contests and a midway carnival. The promoters make the experience such that you always have something new to check out and can still rely on some of the same ol’ things. A little like Disney World – only for half-way grown up music fans. Anyways, enough about the reminiscing – let’s get to Sunday’s music!

Bonnaroo Journals: Thursday, Friday Daytime, Friday Late Night, Saturday

Glide Magazine: Friday, Saturday, Sunday

READ ON for Jennifer’s thoughts on the final day of Bonnaroo…

Vid: Devo – Something For Everybody (Pt. 1)

Jeffrey Greenblatt June 16, 2010 No Comments

Despite regularly touring over the last few years, it’s been two decades since we’ve seen a new release from art-rockers Devo. Yesterday that drought came to a halt as the

Toadies Resurrect Feeler for August Release

June 16, 2010 No Comments

It was a long told rock and roll urban myth, Toadies made a record in 1997 entitled Feeler which was meant to be the follow up to the critically acclaimed,

The Barrens – Bold & Outrageous

Jennifer Harmon June 16, 2010 No Comments

The band has come a long way since their move to New York. Today, the group has lost its inhibitions, connecting further with the audience. They seem to feel freer to roam around the stage With her sweet, sensual sound, Debbie Chou take turns on vocals with Fitzgerald while maintaining keyboards; Chris Gersbeck, a controlled, yet highly energetic drummer, remains powerful and observant; and Mike Koene, on lead guitar, is confident with his playing, as feral as his sound may be.

Outkast’s Big Boi Returns With Solo Album- Sir Lucious Left Foot

June 16, 2010 No Comments

The world knows him as Big Boi -Antwan André Patton – one-half of OutKast. Now make way for SIR LUCIOUS LEFT FOOT: THE SON OF CHICO DUSTY, Big Boi’s first

Phish in Portsmouth: Setlist & Recap

Scott Bernstein June 15, 2010 12 Comments

Phish Summer Tour continued tonight at the cozy nTelos Pavilion in Portsmouth, VA for the fourth stop of the first leg, where the band showed they are still willing to

Loving Cup vs. Loving Cup: Grudge Match

Hidden Track Staff June 15, 2010 3 Comments

Friend of HT Andrew Bruss compares two versions of a Stones’ classic..

The Rolling Stones’ magnum opus, Exile On Main Street, has recently been remastered, and re-released with an additional disc of B-sides, highlighted by an early outtake of fan-favorite, Loving Cup. Ben Ratliff of The New York Times called this outtake amongst the best tracks the Stones ever recorded, and said it was superior to the studio-cut Stones fans have spent nearly four decades appreciating. While this B-side is an amazing track, featuring the unmastered grit and grime you’d expect from an early live show, there are arguments for and against Ratliff’s bold assertion.

The most obvious difference is in the piano intro performed by Nicky Hopkins. On the studio cut, this intro is brief, and to the point, segueing right into Jagger’s affirmation that he’s “the man on the mountain,” asking you to “come on up.” On the B-side, the piano intro is sullied by its added length, and slower tempo. The piano intro on the studio cut and B-side both clock in at around 15 seconds, but the slower tempo on the latter gives the listener an impression that the B-side is considerably longer and the perception of this delay in getting to the vocals makes it less of an intro and more of a segment of its own. This effectively weakens the effectiveness of the “less is more” philosophy the Stones mastered on tracks like Sweet Virginia and Rip This Joint.

Mick Jagger’s vocals on any Stones track are always amongst the most definable characteristics, and on both takes of Loving Cup, this proves to be no exception. Although the vocal track on the B-side is generally more emotive, incorporating more vibrato, it proves inferior to the original. One of the highest-energy moments on Exile is Jagger’s lyrical burst, “gimmie little drink,” and on the B-side, he takes his time to get to that sense of urgency, deflating the effectiveness of the lyrics.

READ ON for more of Andrew’s Loving Cup analysis…

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