Hello,

izm.rjmega@gmail.com wanted to share this video with you.

Click the link below to check it out:
http://www.vbs.tv/watch/soft-focus-at-atp/jon-spencer

See you around,

VBS.TV
http://www.vbs.tv

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No more words necessary. Enjoy!

Jon Spencer vuelve junto con Matt Vertay-Ray a entregar un nuevo disco, un nuevo discazo.

Heavy Trash es un dúo formado por el incombustible Jon Spencer y Matt Vertay-Ray, “Midnight Soul Serenade” es su tercer trabajo, el anterior, “Going Way Out With Heavy Trash” fue publicado en 2007 ya hora nos deleitan con otras once canciones que siguen con su particular visión del blue-grass (que no revival insulso; no, de eso no se trata) de los 50, con un pie en el rockabilly, y, sobre todo, espíritu.

Es empezar a escuchar este disco, y empezar a visionar tupés, humo y bailes de rock´n´roll clásico por todas partes. Los dos anteriores discos mantenían un nivel bastante remarcable en cuanto a calidad, en el tercero, siguen con ese nivel, e incluso, lo aumentan.

“Bumble Bee” recoge esos momentos que ya  nos ofrecían en anteriores ocasiones, y los potencia. No faltan los particulares “chillidos” de Jon Spencer. En “Pimento” juguetean con el surf más adictivo y “(Sometimes You Got To Be) Gentle” es una grandísima canción que ofrece los mejores atributos del dúo.

Resumiendo, buen disco de Jon Spencer (como no podía ser de otra forma), escuchable, con buenos momentos y canciones correctas, pero que no va a renovar, ni cambiar la música, porque tampoco lo pretende.

Man glaubt es kaum: Jon Spencer, der Mann der normalerweise seine Blues Explosion anführt, rudert zurück!

Mit seinen ehemaligen  Nebenprojekt Heavy Trash (Jon Spencer and Matt Verta-Ray) zeigt er in letzter Zeit mehr Präsenz als mit seiner Hauptband.
Musikalisch spannt er sogar einen weiteren Bogen, als mit der Blues Explosion,  in dem er sich mehr mit der Essenz der Sache Musik beschäftigt, als mit dem groovigen aber eruptiven Aufblasen von Momentaufnahmen.

Zwischen Pussy Galore (Spencers ex Band ) und Tav Falco passt nur Heavy Trash könnte man sagen, denn sowohl der rudimentär kaputte Style von Spencers Frühband als auch das schwitzige New Orleans-Blues-Flair mit Schräglage von Tav Falco wird hier gehörig zitiert.

…..  >>> hier weiterlesen!

midnight soul serenade, heavy trash.

as if charlie rich walked out the swamp a vampire.

[slice: (sometimes you got to be) gentle]

previous trash here.

Coisa aleatórias que você pensa enquanto o salário não cai e a turnê de reunião do Pavement não passa pela sua cidade.

1) Não vou cair na besteira de fazer análises semióticas sobre as “críticas a sociedade  ea nós mesmos” que supostamente – e MUITO supostamente – Bastardos Inglórios deveria conter. Digo apenas uma coisa e deixo logo registrado aqui para não ter que repetir em mesa de bar: é o melhor filme do Tarantino. Como não havia cultura pop na década de 40, o homem se viu obrigado a perceber o poder dos diálogos como parte ativa na construção da cena e não com efeito pastelão-banhado-em-sangue. Ainda está para nascer outra criatura capaz de fazer a audiência se encolher na cadeira por causa de um copo de leite. E não é só isso, tem mais coisas que me fizeram gostar do filme nesses níveis. Mas melhor do que eu enumerando razões, é ir lá e ver o filme.

2) Depois desse tempo todo sem atualizar, confesso que fresquei e me rendi a uma série de tevê. Bastaram uns poucos episódios de Fringe e já virei um obcecado freak, desses que ficam googlando sobre a série, fuçando o IMDB atrás de notícias e curiosidades e etc. Mas pior que vale a pena, porque além de sacar umas coisas interessantes sobre a tal série, o obcecado freak se sente menos sozinho a partir do contato com o trabalho de outros obcecados freaks que ganham dinheiro criando coisas tipo isso.

3) Falando em JoJo Abrams, acabei de ler Labirinto da Morte de Philip K Dick (o ridículo título em inglês é esse mesmo: A Maze of Death).  Sente a sinopse, copiada direto da contra-capa do livro: “Num futuro em que a existência de Deus e seu oposto já foi provada cientificamente, e já se estabeleceu um contato eletrônico com a divindade, um grupo de homens e mulheres estão perdidos num planeta deserto sem possibilidades de pedir ou receber socorro.Estão sendo sujeitos à ação de forças misteriosas, estão sendo mortos por essas forças, presos a angústias e sentimentos milenares, que atravessam o passado e continuam no futuro”. Pensou em Lost? Eu também. E olhe que eu nem assisto aquela porra. Voltando ao livro,  Labirinto… é um bom PKD, mas não entra no Top 5 do homem (e ninguém tira Ubik do primeiro lugar). Vale a pena ler, de toda forma. Tem uma edição da editora Melhoramentos brilhando nos sebos do Brasil varonil, facinho de achar.

4) Blog bom para baixar punk (pré, durante e pós) de tudo quanto é canto: Commercial Zone. Entre as pepitas,  tem dois do Pussy Galore: o álbum Dial M for Motherfucker e a raríssima fita-cover de Exile On Main Street que nem o Jon Spencer deve ter mais. E ainda tem The Scientists (punk australiano), The Plugz (punk latino) e outras maluquices igualmente bacanas.

5) Ainda no assunto discos, saiu o solo do Spiral Stairs, ex-guitarrista do Pavement. A Pitchfork malhou, mas eu gostei do vídeo que a Matador colocou no YouTube. Vou dar uma chance pro rapaz, até porque acho a  Preston School of Industry suficientemente digna pra peitar os discos do Malkmus de igual pra igual (menos Real Emotional Trash, que aí já é demais).

6) Boas novas da L&PM: além da caixinha irada do Raymond Chandler, a editora vai colocar nas prateleiras Gênese, de R. Crumb. A casa do Peixoto carente aceita doações dos dois títulos.

7) Achei que tinha assunto para dez tópicos, mas não tenho nem pra oito.

|m|

Lanky and dark-haired and with a stage persona that is part revivalist preacher and part punk rock aggressor, Jon Spencer has cut quite a striking figure in the world of music. Starting with his first group, Pussy Galore, Spencer has stuck with a singular noisy blues-punk aesthetic, though systematically stripping it down during subsequent stints in The Jon Spencer Blues Explosion (now known simply as Blues Explosion) and as a member of his wife Cristina’s band, Boss Hog. These days, he is delving further into the core of his musical being, playing raw rockabilly alongside former Speedball Baby member Matt Verta-Ray in the band Heavy Trash. The band is gearing up for the release of their upcoming album Midnight Soul Serenade (out October 13th on Big Legal Mess) with a tour through Europe and the U.S. that starts tomorrow in Portugal. Before he boarding the band’s flight overseas, Spencer spoke with The Voice of Energy from his home in New York City.

The Jon Spencer Blues Explosion performing “2 Kindsa Love” on the Australian TV program Recovery (original track can be found on the 1996 album Now I Got Worry)

That was back in ‘97 maybe, around the time of Now I Got Worry. For a long long time, it was only seen by Australian people. For a long time, we didn’t even have a copy of it. We always could get on TV programs out of this country, but we never could seem to get a booking here at home. So when we trying to put together a reel to try and get a booking, we tried to get a copy of it. But we couldn’t even get a clip of this thing. It was 10 years before I saw it.

What do you remember about filming this?

I remember it was in the middle of a tour of Australia. The show went out in the morning on one of the national stations.  They would play music videos all night and then in the morning, they would also have a program with music videos. It was called Recovery. It was live, and we taped in the morning sometime. I don’t remember when but we had to get there kind of early. We probably had a show the night before, so we may have been buzzing on a little bit of nerves and a lack of sleep. I remember the person doing the audio mix was Tony Cohen. He helped record and mix The Birthday Party record Junkyard. So, for me, that was a thrill. He was mixing in a truck outside the studio. Our tour engineer was with him but he wasn’t allowed to touch any of the equipment. He was standing there making suggestions and he said that Tony was having a good hearty laugh the whole time. So, at least we did that. I mean, they were really nice and they didn’t try and stop us. But it wasn’t a planned thing at all. The thing that set it off was that the vocal mic was cutting out. We were going to do the song “Flavor” and it turned into a free form exploration.

How did the people filming the show react to it?

They were great. Nobody yelled at us and we weren’t in any kind of trouble. I don’t remember it too well, but I don’t think anybody had to come down to talk to us. We weren’t fined or anything. We appeared on Later…with Jools Holland and Jools sat in with us on piano. In that song, we tore it up a little bit and I jumped on top of his piano to encourage him to cut loose. They seemed quite happy about it, but then our record company got sent a bill for a piano cleaning.

Do you have any plans to do more work with the Blues Explosion?

I’m doing a lot of stuff preparing reissues for next year. We did play a festival gig this past year that was great, but we don’t have any plans to do anything together. I don’t have any plans at all really.

Jon giving a Theremin demonstration (taken from the 1997 video compilation What’s Up Matador?)

That was for a Matador compilation in conjunction with their 10th anniversary in ‘96 or ‘97. It was a home video, an hour-long video set up like a children’s show. It was hosted by some local New York City sports journalist and it was put together by one of the guys from Chavez who’s gone on to be a screenwriter in L.A. or something [Scott Marshall]. Matador artists would be on there giving talks or, in my case, giving a demonstration. You know, it’s a gag.

You’ve used that Theremin quite a bit with the Blues Explosion?

That’s a beautiful old Moog Theremin from the early ’60s that has since been lost. It was stolen from the band’s van in Vancouver. It actually stopped working and Bob Moog fixed it for me. I was calling all over New York trying to get someone to fix it and was having no luck. I showed it to Walter Sear [owner of Sear Sound Studio] and he said, “Why don’t you just call Bob and see what he can do?” I did and he said, “Yeah, ship it down.” That clip really does a disservice to [Léon] Theremin and [Clara] Rockmore and their great mission, which was to demonstrate that the Theremin was a real instrument that really belonged in an orchestra. It’s a true instrument that’s very hard to play, contrary to what I say in that bit of comedy.

A homemade video of a woman dancing to the Pussy Galore track “You Look Like A Jew” (from the band’s 1986 EP Groovy Hate Fuck)

Have you seen this clip before?

I haven’t seen it and I don’t really understand it. It seems to be some sort of dance competition or something.

What do you think of it?

Not a lot. Something like indifference. There seems to be a lot of this stuff on YouTube, but it doesn’t have much to do with me or the song or the band.

Jon performing the song “Everything Is Under Control” at Irving Plaza with Coldcut (original track found on the 2006 album Sound Mirrors)

How did you end up working with Coldcut?

They asked. Generally if somebody asks me to contribute something and collaborate with them, I try to say yes. It’s a chance to learn something. I was a little bit familiar with Coldcut and got to know them better through this. They were very nice people. I certainly like electronic music and as you know through the Blues Explosion have been open to having it be a part of the sound, so that’s probably part of the reason I did it.

Would you ever consider doing an entire album of electronic-style music?

I’ve certainly mixed it up in my own work enough. There have been plenty of times that I’ve brought in modern and digital and synthetic sounds and non-traditional methods of composition and recording. But would I want to do an entire record like that? Sure, I think I would.

How was it performing live with these guys?

It was fine. It wasn’t the most fun ever, having to do all the work to get ready to play a concert and then only getting up to do one or two songs. Not really my favorite way to spend a couple of days.

Heavy Trash performing in the elevator at The Paradiso in Amsterdam for the web series (Behind) Closed Doors

How long have you known Matt Verta-Ray?

I’ve known Matt for a long time, since probably ‘96 or ‘97. We started playing together around 2004 or 2005 or whenever the first Heavy Trash record came out. Prior to that, our two bands played gigs together and Matt and I have worked together in the studio. He has a great recording studio that I have brought projects to.

Did you set out with the intention of forming a rockabilly outfit?

I didn’t have a plan and I don’t have a plan now. What made me want to work with Matt was to be able to play rockabilly which is a form of music that I have loved for a long time. And Matt plays with a beautiful guitar style that fits in perfectly with that.

What can you tell me about the new album?

I think we made a real deliberate choice to present something different and present a different side to the band. Not so much about rock or rockabilly but about mood and tone. There’s a thematic element to it about love and devotion. We used some modern ideas and techniques in the studio to capture a really full sound. I think it really shows the band coming into its own.

It’s interesting to me that almost all of the clips I found with you and your bands performing live were filmed outside the U.S., and you mentioned before that you had a hard time getting a booking on American TV. Why do you think that is?

I don’t really know. I think there seems to be more of an audience for this kind of music outside the U.S. I don’t know that there’s more of a connection overseas, it just seems to be that way. That said, when the Blues Explosion was at its peak, we were selling a lot of records in the U.S. and were on the radio and playing a lot of shows, but we never got a proper TV booking for some reason. Perhaps there are elements to my bands that are bit confusing, especially to the people booking these shows in this country. And certainly calling a band the Blues Explosion and playing the music we did seem to be a brain twister for people.

That reminds me of the article that Jim DeRogatis wrote about you for Penthouse…

I think that was a piece of shit. He was a bit disingenuous about the way he presented himself to me and the band and the conversations that we had. He probably came in with an agenda, but only came around to it in the article. None of my bands have been a joke. There’s a sense of life and joy and spark to what they’re doing. It’s lighthearted sometimes, but it’s not meant as a gag or a joke. In no way were we trying to suggest that the Blues Explosion was making fun of black music. It’s wrong. It’s stupid. I just can’t agree with that.

At the end of the video, when you pause in “Kissy Baby,” you can hear someone howl in the background. Who was that?

I don’t know. It was someone down the hall at this club. We were performing with The Sadies at the time so perhaps it was Dallas Good. I don’t know. We’ll have to make up some sort of clever answer to that.

How did you get to know The Sadies?

I saw them play with Neko Case and was really knocked out by that concert and the record they made with her, The Tigers Have Spoken. When Matt and I did the first Heavy Trash record with Yep Roc, we realized we were label mates with them. At that point, there had never been a Heavy Trash live show. So, with the record coming out, we asked if they would play with us and they agreed. It’s been a real pleasure getting to know those guys.

Boss Hog performing “I Dig You” at the 2008 All Tomorrow’s Parties Nightmare Before Christmas in Minehead, UK (original track found on the band’s 1995 self-titled album)

This was one of the first Boss Hog shows in eight years. Why did the band end up taking a break for so long?

At a certain point, everybody in the band was burnt out on the band and each other. So after a little bit, we took a big long break. Certainly, I was busy with other things, which I think is part of the reason Cristina wanted to stop. She was fed up with me and with everybody else because everybody was playing in another band as well.

Why did you decide to pick it back up again?

We got that offer to play All Tomorrow’s Parties. It was very nice to do it and hang out with some old friends.

And you played some shows here in the States too?

Yeah, mostly locally, played around Hoboken and New York City and New Jersey. And we went up to play the All Tomorrow’s Parties in the Catskills recently.

Do you have any plans to continue on with Boss Hog?

We’re kind of maxed out on vacation days this year. We don’t have any shows currently booked but if a nice offer came in for next year, I’m sure we’d consider it. We have started writing some new songs so it would be good to start chipping away at that.

“Tojo Told Hitler”, a track from the 1996 R.L. Burnside album, An Ass Pocket Of Whiskey

How did you end up being approached to work with R.L. Burnside?

Actually it was us. We were the ones who made the offer. We were very excited to play with R.L. and to have him come play shows with us and that relationship really blossomed. That was really a magical year with the band. We spent a lot of time touring with him.

What was the recording session like?

It was at some point during a tour. The idea of doing a session grew out of what was happening in the concerts. The whole session was one afternoon, a few hours long. It was in the dead of winter in an old hunting lodge with no running water and no heat, right after a big ice storm. Someone built a big fire in the fireplace and we set up in the living room and played. It was pretty cool. At the time, it just seemed kind of crazy, but it was okay.

You said before that you take on collaborations like this in hopes of learning something. Did you learn anything in particular from R.L.?

I definitely learned a lot from R.L. and from Kenny Brown and Cedric Burnside. A lot of it is still filtering through me. I mean, it’s not like I ever picked his brain about guitar playing. Judah [Bauer] would do that: sit down and take a lesson from him about playing. I was just soaking it up. It’s really great to be around someone like R.L. and these kind of musicians who are very true to themselves and are doing something idiosyncratic and powerful. Even though they don’t get a lot of attention, they stay with it. R.L. was a very funny guy. He spent a lot of the time talking trash and telling jokes. But what do you learn from that? I learned a lot of dirty jokes.

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Jon Spencer e o amigo Matt Verta-Ray formam a banda de Rockabilly / Rock / Punk mais nervosa do momento!!!!!!

Muito bom!!!

Baixem e curtam sem moderação.

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Tamanho: 45,988Mb

Tipo de Arquivo: MP3

Fonte: 4shared.com

The Phenomenal Handclap Band are definitely on OIW’s supercool list at the moment…

Started by two NYC underground DJ’s with an “encyclopedic knowledge of esotoric music”, there’s now 8 of them playing their electro funked up, dream-pop-disco (yes, it’s probably a genre!).

The New Yoikers came over to give us a taste earlier this year, and they’re back right now for a bigger UK tour before heading back to the US to tour with Simian Mobile Disco. There’s a Hoxton Bar & Grill date on Sept 22nd, and seeing as it doesn’t clash with any OIW happenings, we’d recommend you get your arse down to the show and shake it. There’s also this super-retro looking video that should explain exactly why you should do just that…

The band’s self-titled album came out through Tummy Touch (hee hee, that name has a strange habit of making me giggle like a schoolgirl) a month or so back and features good folk like Jon Spencer. Here’s a track from it for your ears. And your weekend…

The Phenomenal Handclap Band – You’ll disappear

Tracklist
1. Theme from Hot Fuzz
David Arnold
2. Goody Two Shoes
Adam Ant
3. Sgt. Rock (is Going to Help Me)
XTC
4. Village Green Preservation Society
The Kinks
5. Solid Gold Easy Action
T. Rex
6. Baby Fratelli
The Fratellis
7. Blockbuster
The Sweet
8. Dance With The Devil
Cozy Powell
9. Slippery Rock 70’s
Stavely Makepeace
10. “Uncle Derek”
Simon Pegg and Nick Frost
11. Night of Fear
The Move
12. I Can’t Control Myself
The Troggs
13. Fire
The Crazy World of Arthur Brown
14. Kick Out The Jams
Tubthumper
15. Lethal Fuzz (Osymyso Remix)
John Eric Alexander
16. Avenging Angel
Robert Rodriguez
17. Souljacker, Pt. 1
Eels
18. Caught By The Fuzz
Supergrass
19. Solid Gold Easy Action
The Fratellis
20. “What Did You Think of That?”
Simon Pegg and Nick Frost
21. Here Come The Fuzz
Jon Spencer and The Elegant Too
22. The Hot Fuzz Suite
David Arnold

ภาพยนตร์ Action / Comendy เรต R ของผู้กำกับ Edgar Wright พร้อมการกลับมาร่วมงานกันอีกครั้งของ Simon Pegg และ Nick Frost หลังจากความสำเร็จในภาพยนตร์เรื่อง Shaun of the Dead กับเรื่องราวของเจ้าหน้าที่ตำรวจ Nicolas Angel ที่ถูกย้ายให้ไปประจำที่เมืองในชนบท Stanford ที่นั่นเองเขาได้พบว่าเมืองนี้ไม่ได้สงบสุขเหมือนดั่งที่เห็น Hot Fuzz เป็น Spoof Film อีกเรื่องที่สร้างออกมาได้ดีมีความลงตัวกว่า Spoof Film เรื่องไหนๆ
ภาพยนตร์มันส์ๆแบบนี้ เพลงส่วนใหญ่ในอัลบั้มก็ต้องเป็นเพลง Rock และ Punk มันส์ๆ แต่ก็ต้องยอมรับว่าเพลงอาจไม่ร่วมสมัยเท่าไหร่เพราะเพลงส่วนใหญ่ฮิตกันในยุค 60 -80 ทั้งสิ้นแล้วด้วยความที่เป็นภาพยนตร์อังกฤษ ศิลปินนักร้องที่เลือกมาจึงเป็นชาวอังกฤษเกือบหมด
อัลบั้มที่ผมได้มานี้เป็นเวอร์ชั่นที่จำหน่ายในอังกฤษซึ่งมีทั้งหมด 22 แทร็ค เยอะกว่าเวอร์ชั่นที่จำหน่ายในอเมริกาซึ่งมีแค่ 14 แทร็ค อีกเรื่องหนึ่ง คือ ทุกเพลงในอัลบั้มจะมีบทสนทนาหรือ Dialogue จากหนังแทรกเข้ามาด้วย ซึ่งแต่ละเพลงจะเชื่อมโยงกันด้วยบทสนทนาเหล่านี้จนไม่สามารถฟังแยกเพลงได้เลย แต่ถ้ามองในแง่ดีก็เป็นการสร้างอีกมิติหนึ่งให้อัลบั้มไปด้วย
Goody Two Shoes เพลง Rock มันส์ๆ ชนิดที่เคยฮิตติดชาร์ทมาแล้วของ Adam Ant ซึ่ง Dialogue ที่ใส่เข้ามาด้วยนั้นเป็นการแนะนำภูมิหลังตัวเอกของเรื่อง Nicolas Angel
Sgt. Rock (is Going to Help Me) เพลง Rock ติดชาร์ทอีกเพลงจาก XTC ที่แค่ชื่อเพลงก็เข้ากับภาพโดยรวมของหนังแล้ว Village Green Preservation Society เพลง Rock เบาๆของ The Kinks ที่สื่อถึงสังคมสงบสุข (หากมองจากแค่ภายนอก) ของเมือง Stanford
Solid Gold Easy Action เพลง Rock เฮฮากับเสียงกีตาร์อันโดดเด่นของ T. Rex
Baby Fratelli เพลง Rock / Punk หนักเครื่องของ The Fratellis ทั้งนี้ยังมีเพลง Solid Gold Easy Action อีกเวอร์ชั่นในอัลบั้มที่ร้องโดยวงนี้อีกด้วย Blockbuster เพลง Rock อารมณ์เพี้ยนของ The Sweet
Dance With The Devil เป็นเพลงเน้นเฉพาะดนตรีที่ฟังก็รู้ว่าได้แรงบันดาลใจมาจากเพลง Solid Gold Easy Action ในทำนองฟังสบายหูกว่า Night of Fear ของ The Move ที่ในส่วนของดนตรีดัดแปลงมาจากเพลงคลาสสิก 1812 Overture ของคอมโพเซอร์ Tchaikovsky
Souljacker, Pt. 1 เพลงจากวง Rock ชื่อดังของอเมริกาอย่าง Eels มาพร้อมเนื้อร้องกวนๆและท่อนกีตาร์สุดมันส์
Caught by the Fuzz และ Here Come the Fuzz คือ เพลงที่ถูกนำมาใช้เป็นธีมสำหรับหนังเรื่องนี้โดยเฉพาะ ทั้งคู่เป็นผลงานของ Supergrass และ Jon Spencer ตามลำดับ ที่แค่ชื่อเพลงก็เข้ากับหนังแล้ว
Lethal Fuzz ของ John Alexander เป็นการเอาเพลงธีมของหนังตำรวจคู่หู Lethal Weapons ที่แต่งโดยคอมโพเซอร์ผู้ล่วงลับ Michael Kamen มา Remix ใหม่ นอกจากนี้ในอัลบั้มยังได้ผู้กำกับ Robert Rodriguez มาร่วมแต่ง Score สั้นๆแต่ฟังดูฮึกเหิมและเท่ห์ไม่ใช่น้อยใน Avenging Angel
ในส่วนของ Score หลักๆเป็นของ David Arnold คอมโพเซอร์ผู้โด่งดังจากการทำเพลงประกอบให้หนังตระกูล James Bond 007 ตั้งแต่ภาค Tomorrow Never Dies เป็นต้นมา
Score ของ David Arnold ได้แก่ Theme from Hot Fuzz และ The Hot Fuzz Suite ซึ่งถูกใช้เปิดและปิดอัลบั้มตามลำดับ ลักษณะดนตรีเป็นการใช้วงออเคสตร้าควบคู่กับซินธิไซเซอร์และกีตาร์ไฟฟ้า(ให้เข้ากับเพลง Rock โดยรวมของอัลบั้มนั่นเอง)
Theme from Hot Fuzz เป็นการแนะนำธีมหลักๆภายใน 2 นาที ที่มอบความตื่นตัวแก่ผู้ฟังในช่วงแรกๆของอัลบั้มได้อย่างดี The Hot Fuzz Suite ซึ่งเป็นแทร็คเด่นและยาวที่สุดของอัลบั้ม เป็นการเรียบเรียง Score ที่ได้ยินกันในหนัง (เกือบจะทั้งหมด) มาเรียงร้อยต่อกันเพื่อบอกเล่าเรื่องราวของหนังตั้งแต่ต้นจนจบ โดยลักษณะการจัดอารมณ์ของเพลงเริ่มจากดนตรีเบาๆฟังสบาย ต่อด้วยดนตรีในบรรยากาศที่ไม่น่าไว้ใจและมีท่อนให้ผวากันเป็นช่วงๆ ตามด้วยท่อนคอรัสชวนขนลุกซึ่ง Arnold ก็ได้ประยุกต์มาจาก Score ของ Jerry Goldsmith ในหนังเรื่อง The Omen (ถ้าใครดูหนังคงจำกันได้ว่ามีฉากหนึ่งที่มีคนตายลักษณะเดียวกับบาทหลวงในเรื่อง The Omen) พักกันด้วยท่อนเบาๆ ก่อนที่จะเข้าสู่ดนตรีแบบฮีโร่ที่เปี่ยมไปด้วยความรุนแรงแล้วต่อเนื่องด้วยดนตรีประกอบฉากดวลท้ายเรื่อง 2 ชุด ซึ่งชุดแรกเป็นที่นำ Theme from Hot Fuzz สุดมันส์มาประยุกต์ใช้ได้มันส์ชนิดใส่ไม่ยั้ง ส่วนชุดที่สองเป็นดนตรีระทึกชวนลุ้นที่แอบมีกลิ่นอายของดนตรีประกอบ James Bond ภาค Casino Royale ติดมาด้วย เพลงนี้ปิดตัวด้วยดนตรีฟังสบายอันอบอุ่น
สำหรับผู้ที่ชอบหนังเรื่องนี้และคอเพลง Rock หนักๆทั้งหลาย นี่คืออัลบั้มที่ผมขอแนะนำครับ

Various Artists – Hot Fuzz
Part 1

http://up2u.in.th/index.php/files/get/JOh7WY20kI/hot-fuzz-1.rar

Part 2

 http://up2u.in.th/index.php/files/get/EMUSEuuGw0/hot-fuzz-2.rar

(MP3 ริปด้วยโปรแกรมWMP / Bitrate 256 kbps)

As you all know, it’s summer. For many, a fun and sticky time. A time that involves drinking, BBQ, and pool parties. I checked all three off my list this weekend. Hope you did too.

Because it’s summer, and it’s a fun and sticky time, I’ve been listening to Jon Spencer Blues Explosion’s Orange on the regular, which my partner and I found in a discount bin. A song like the “Bellbottoms,” the album’s opener, should explain why.

The first time I heard the JSBX (now going by Blues Explosion) was on the Tibetan Freedom Concert album (the same one Cibo Matto is on). Spencer was doing his Elvis schtick, going over real stupid with banter like “When we’re talking about freeing Tibet, we’re talking about . . . LOOOOOOOOVVVVVVE.” The first time I saw them was their video for “Dang!” (another Orange single) on Beavis and Butthead. I can’t find a version from the show, but you can imagine their reaction. A lot of screaming. A lot of “Yes! Yes! Yes!!!” I felt similarly. I still do. This video is crazy.

But what does all this have to do with Winona Ryder? Indeed, what do three sweaty guys have to do with this blog?

Well, the second time I saw JSBX, it was their video for “Talk About the Blues.” The band goes on a heist while actors play them in performance. Guitarist Judah Bauer is played by Giovanni Ribisi. Drummer Russell Simins is played by John C. Reilly. And frontman Jon Spencer is played by someone who a more glib person than I might call Gen X’s Audrey Hepburn. Yes, Ms. Winona Ryder.

Perhaps unsurprisingly, I love the concept of a female lip syncing a man’s song in music video. If I directed, say, LCD Soundsystem’s music videos, I’d have a woman or a girl pantomiming for James Murphy every time. Imagine how much better a song like “Losing My Edge” would be if the music video showed a teenaged girl lip syncing some neurotic guy’s monologue about how old he is and how much he knows about music in deadpan. See what I mean? YouTube sensation.

To me, having a female actor stand in for a male singer destabilizes what for many is a clear marker of gender — the voice — and renders that voice inauthentic or alien or wrong. It also makes more explicit and parodic the inherent performativeness of rockist male posturing and, you know, performing in a music video. This of course is itself a process of faking authenticity — trying to con the TV audience into believing that the recorded voice is any way connected to the soundlessness that the video’s performers are actually (not) producing. Having a woman in a man’s place pronounces the artifice at work. Her presence also potentially comments of the limited space for female participation in music culture by contending the exnomination of masculinity through heightening man’s visual (but not aural) absence. In short, it’s gender fuckery.

This is further enforced by how Winona is dressed and styled. While she already looks a little bit like Spencer (similar coloring and willowy figure), having her dress, imitate his posture, and replicate his performance style makes the con a bit more convincing. I also think that having Ryder play the lead singer is important — making a clear case for the feminized presence of the frontman in rock music (indeed, the other two actors are male). Perhaps casting Ryder also feeds into Terri Sutton’s assertion that alternative rock’s masculinity in the mid-1990s was embodied by “soft boys” who were sensitive, androgynous, and awkward. When you open her chapter in Trouble Girls: The Rolling Stone Book of Women in Rock, who should appear on the first page? A picture of JSBX.

Obviously, there’s a clear indebtedness to drag going on. However, this tactic doesn’t always yield transgressive or progressive results in music video. For example, model Gemma Ward’s performance in the music video for John Mayer’s “Daughters” creeps me out because her childlike appearance (along with Mayer’s authorial presence in black in white, lip syncing and playing his guitar) seems to further enforce the song’s patriarchal bent. And even in “Talk About the Blues,” I’m never wholly convinced that Ryder’s drag is successful. I never forget her breasts, for example. I also wish that she was playing her guitar instead of using it as a prop, as Ribisi and Reilly are both clearly playing their instruments.

But I think the effort is important, and should not be overlooked. So keep your eyes and ears open for female actors in music videos. Especially when their bodies don’t match up with the voices supposedly coming out of their mouths.

I preferred to alphabetize the band as “Blues Explosion” rather than wait for later in the alphabet (and be faced with alphabetizing dilemmas–Spencer, Jon Spencer, The Jon Spencer?)– but this is indeed The Jon Spencer Blues Explosion, one of my all time favorite bands, I’ll admit right away. This isn’t my favorite of their records (and I haven’t even HEARD all their records) but it’s pretty solid. Also nice is that it’s a record–one of the newest in the current collection I’m writing about– though it’s from 1993– which now seems as long ago as The Fifties. The boys look pretty young in their individual Richard Kern glamour portraits– Jon Spencer’s, on the cover, which should have sold a record or two, is particularly striking with all the stuff in his hair and his Kuchar-esque eyebrows. Hell– I’D buy that guy a double bourbon!

There’s even some pointless liner notes on the back, for an old-fashioned touch– by Herb Hitts– a description of a live show that is so generalized and cliché-ridden it may as well say, “they rocked” with one fist in the air. Is it meant to be ironic? While I think it is — the once ironic fist in the air, and heavy metal fist in the air, and expression “rocked!” — once intended to be ironic, is no longer taken, or even intended that way– so what you have instead is a willful reduction of the IQ by half. But with this band there is no discussing irony or sincerity, they are so far beyond those considerations, you can’t figure it out and you shouldn’t try. Though, I can imagine if I was in a band with Jon Spencer I might at some point beg him to “please sing normal for once!” I might roll my eyes violently when he comes into rehearsal with a song called “Back Slider.” It might lead to a fight, someone walking out on the session, sulking on a bar stool, but would any of that be real or just another episode in a cheap paperback version of the life of a blues band that’s a rock band and a punk band?

I guess the question with this band will always be (as it is with every band): are they just an act– are they merely ABOUT what they seem to be, or are they the real thing? I have had the benefit of seeing a live show a few years back (maybe the last live show I’ve seen) where that question was answered; either they were the real thing, or else the real thing doesn’t really exist. Which might be the case. As time goes on and layers of history are peeled away, and you closely examine what you considered the important bands from your past, you find out they were ALL acts. The only thing that is real are the rare moments when no one was looking, the mistakes, and the tiny miracles that occasionally transcend the cement weighted egos and vanities.

But enough about me. This record is the kind of record, unfortunately rare, that I always prefer to listen to all the way through. I love some of it and hate some of it, but to isolate individual songs seems pointless. It all runs together the way a record album should. I’ve listened to it now hundreds of times, but I couldn’t tell you what a single song title is or what any of them are about. There’s a lot of grunting, groaning, screaming, unsettling noises, and then suddenly you find yourself in a groove that you wish you never had to leave. The guy’s singing “typecast” but he may as well be singing “hotpants” – guitars are destroyed, and the side is over.

To all of you in the CD generation, you will, I’m sure, not believe me when I tell you that you will never, ever be able to understand the singular, sublime pleasure of turning a record over and putting the needle on the second side. After some Elvis from hell bullshit, we again find ourselves in a groove that is over far too soon. Then some kind of an incomprehensible plodding noise out of which suddenly can be heard the phrase: “a Roy Rogers roast beef sandwich!” Probably the high point of my life. Then an instrumental funk groove that serves a similar function as when, in certain times and certain cultures, one would excuse oneself from the table to gracefully throw up. Followed by an unpleasant exorcism of a song– but it all works together, because then you get to the last song on the record, which is also the best, and it’s like you endured your dreadful vegetables, formalities, and pleasantries so that you can be rewarded with (your favorite dessert here). Bon appetit!

Numeri di Jon Spencer in concerto ieri a Seaport per l’inaugurazione del Bycicle Film Festival!

Prima di loro, con un tot di fan on stage, i Teenagers da Parigi, ma non sembrava =)

Något av det första jag lyssnade på som barn, bortsett från barnskivor, var Elvis Presley. Mamma hade en LP, kommer inte ihåg vad den hette, men den var nog från tidigt 70-tal. Som jag minns den visade omslaget att han hade börjat fläska till sig en aning men inte farligt. I vilket fall var den här skivan troligtvis mitt första riktiga möte med “vuxenmusik”. Jag vill minnas att jag tyckte den var ganska bra, jag minns iallafall att jag lyssnade på den ganska ofta. Mamma hade tre skivor som jag lyssnade ofta på, Elvis-skivan, en Beatlessamling och en ABBA-samling. Mamma var vid det här laget säkert ganska nöjd med min musiksmak och blev förmodligen väldigt besviken när jag övergav hennes skivor till förmån för min kompis Kims Kiss Alive och Kiss Alive II. Iochmed upptäckten av Kiss var allt annat, inte minst Elvis, ointressant.

Under årens lopp fortsatte jag att tycka att Elvis var ointressant, men någonstans i tjugoårsåldern började jag intressera mig för att ha koll på den nutida populärmusikens rötter, så att säga och det är då svårt att bortse från Elvis Presley. Så jag återstiftade bekantskapen med denne musikhistoriska gigant och varför valet föll på just den här skivan kan enkelt förklaras med att den ligger på plats sex på Pops hundrabästalista.

339. Elvis Presley – From Elvis in Memphis

Även nästa skiva finns med på Pops lista, närmare bestämt på den orimligt fina åttonde platsen. Jag skriver “orimligt” för det här är en skiva vars storhet jag verkligen inte begriper. Kanske är det så att jag kom i kontakt med den för sent, kanske är det så att den har haft ett enormt inflytande på populärmusiken sedan den kom. Kanske, men skivan är idag högst medelmåttig måste jag säga, och det har jag tyckt sedan jag köpte den någon gång under andra halvan av 90-talet.

Primal Scream är på det hela taget ett band vars storhet jag inte begriper. Min första kontakt med dem var när de var Rolling Stones-kopior på Give Out But Don’t Give Up. Sedan är det min redan beskrivna inställning till Screamadelica och slutligen Vanishing Point som min dåvarande flickvän köpte när den kom 1997. Den tyckte jag var ok då, inget jag hjulade av glädje åt, men som sagt helt ok. De må vara kritikerälsklingar men för mig består deras storhet främst i att sångaren Bobby Gillespie spelade trummor i Jesus and the Mary Chain en gång i tiden, att Mani, tidigare medlem i Stone Roses trakterar basen, samt att husguden Kevin Shields, My Bloody Valentines frontfigur, spelar gitarr när de är ute på vägarna.

340. Primal Scream – Screamadelica

Vad gäller nästa skiva har jag ett erkännande att göra. Jag har stulit den. I Linköping finns en fästningsliknande studentkorridorskoloss kallat Flamman. Varje år anordnas det husfest på Flamman. Det innebär att varje korridor i denna koloss har utsmyckats till fest och att man som gäst vandrar omkring där från korridor till korridor och blir full. Riktig roliga fester brukade det vara när jag själv var aktiv och det var under en sådan som en naiv invånvare på Flamman hade lämnat sina skivor fullt synliga i ett korridorskök, däribland The Prodigys Music for the Jilted Generation som jag plockade på mig, och Pearl Jams Ten som en kompis lade vantarna på. Jag skäms givetvis för det idag, jag skämdes för det redan dagen efter dådet. Det är emellertid långt ifrån det värsta jag har gjort i fyllan och villan.

Skivan är för övrigt snorbra om man är sugen på hård och röjig dansmusik. Den innehåller ett pärlband av riktiga stänkare som än idag skulle få mig, med rätt alkoholintag, att äntra dansgolvet.

341. The Prodigy – Music for the Jilted Generation

Att jag äger nästa skiva är helt och hållet Jon Spencers förtjänst. Det är redan dokumenterat att jag var riktigt nere med Jon Spencer Blues Explosion och Pussy Galore var ett band som Jon Spencer verkade i före JSBX, så naturligtvis var jag nyfiken på dem och jag köpte den här skivan. Den innehåller några riktigt bra låtar och en nästintilll outhärdlig energi. Tyvärr är det för min del outhärdligheten som tar överhanden efter en stunds lyssnande. Skivan innehåller helt enkelt för få riktigt bra låtar för att jag ska stå ut med så mycket rå energi och attityd.

342. Pussy Galore – Dial ‘M’ for Motherfucker

Känner ni inte till Pussy Galore? Ni behöver inte skämmas för det, det gör nämligen inte Spotify heller, men smakprov på resten finns här.

El Indie es una etiqueta musical que designa a todo grupo que tiene un estilo musical distinto al “mainstream” (masivo, comercial) y que no cuenta con el apoyo de una discográfica multinacional, sino “independiente” o “indie” .

Básicamente, son grupos de pop / rock en el que predominan las guitarras y cuyo sonido es asimilable después de la segunda escucha, puesto que en la primera, si no se está acostumbrado, puede ser de difícil comprensión.

Con respecto a la filosofía, destacar la herencia del punk del “hazlo tú mismo” y permanecer fiel al independentismo frente al corporativismo de las multinacionales, el mantenimiento de la eterna juventud en forma de “síndrome de Peter Pan” y cierto fetichismo por lo antiguo, raro y a veces hortera o “kitsch”.

A finales de los 80 el término indie se asoció a bandas de pop y de rock que llevaban más allá todas las influencias recogidas hasta el momento, todavía sin denominación, en el que se mezclaba el rock, el punk, la vanguardia y la experimentación, y otros tipos de músicas para llegar a un pop muy simple o muy elaborado -según el artista- editado en sellos independientes a ambos lados del Atlántico. Tal es el caso de Sonic Youth, Band Of Susans, Hüsker Dü, Violent Femmes, Pixies, Dinosaur Jr, My Bloody Valentine, Spacemen 3, etc. Estos grupos se caracterizaban por hacer una música que en el fondo era pop, pero que podía diferir sobremanera en la forma o estilo.

A partir de Nirvana, esta etiqueta fue adquiriendo fuerza (por ser un cajón de sastre, donde cabía de todo) que a su vez tuvo diversos subgéneros, antes y después del éxito del Nevermind de Nirvana. Como ejemplos anteriores podemos citar el C-86 o Anorak Pop (Primal Scream, Talulah Gosh, My Bloody Valentine) y Shoegazer (My Bloody Valentine, Lush, Ride, Slowdive). Como ejemplos posteriores estarían el Post-Rock (Bitch Magnet, Slint, Tortoise, Rodan, Gastr del Sol), el Slowcore (Codeine, Low, Bedhead) y el Emocore (Lungfish, Sunny Day Real Estate) entre otros.

Otros grupos paradigmáticos en activo “in strictu sensu” son Yo La Tengo, They Might Be Giants, American Music Club, Sun Kil Moon, Avantgarde, Ivy, Stereolab o The Wedding Present, grupos todos ellos que recogen influencias tan variadas como la música de vanguardia (tipo Stockhausen, Gyorgy Ligeti), el minimalismo (Steve Reich, Philip Glass), el folk (John Denver, John Fahey), la canción francesa (Françoise Hardy, Serge Gainsbourg), el easy-listening (Henry Mancini, Les Baxter), las bandas sonoras (Lalo Schifrin) y el surf (The Beach Boys, Dick Dale). En un sentido más amplio, desde rockeros tétricos como Jon Spencer hasta bandas ruidistas como Sonic Youth pueden ser consideradas “indie”.

Actualmente permanece como un término amplio, aunque más definido que en la década de los 90, en el que se incluyen todos aquellos grupos que teniendo este sonido editan sus discos en multinacionales o en sus subsellos (The Strokes, Wilco, Radiohead).

Estos son los videos de algunos de los artistas que se han citado:

The Strokes

Nirvana

Fuente: JACOBS, Marc. (2006, 03 de febrero). Historia de la música independiente. Recuperado el 06/06/09.

http://elcabrondelgallego.spaces.live.com/blog/cns!1392242D45D3E8FA!904.entry

And, he rocks too. Here he is playing Dick Johnson in his pre Blues Explosion days with his band Pussy Galore (which existed between 1985-1990).

One of my favorite things to do since starting my blog is to check my stats. It tells me what people search for to get to my blog, how many people come on a daily basis, and what links they hit when they are here. But, what has been most interesting for me the past month or so is the searches that people are doing to get to “Radio Loveless the Blog”.

The top searches are listed below:
1. Christina Martinez
2. Boss Hog- Christina Martinez
3. Christina Martinez’s Boobs.

This shocked me. I have posted about Guided by Voices, Shoegaze, My Bloody Valentine, PJ Harvey, but the thing that everyone wants to know about is Christina Martinez and its the album cover of Christina Martinez’s band Boss Hog that I posted in the 1995 to 2000 shown here that seems to get all the attention.

I love Christina, don’t get me wrong, but what is it about this woman? Is it that she is nude on over 50% of her album covers (some featured below)? Is it her sultry voice? Is it because she got to marry Jon Spencer? Is it just because she is so damn HOT?  I just don’t understand. Someone please explain this to me.

St James the Great Church, Hackney

Downs Baptist Chapel

Newington Green Unitarian Chapel

Evangelical Church, Shrubland Road

St Monica’s, Hoxton Square

(c) All images copyright Jon Spencer