Today marks the release of SHINEDOWN’s video album, “The Sight of Madness”.

In honor of the release, which features SHINEDOWN’s music videos plus five live videos from their performance at the Tabernacle in Atlanta earlier this year, a series of SHINEDOWN’s official music videos and live footage will be featured on the homepage of Shinedown.com for the next couple of weeks.

01. 45
02. Simple Man
03. Save Me
04. Lady So Divine
05. Devour
06. Second Chance
07. Sound of Madness
08. If You Only Knew
09. Save Me (Live from Atlanta)
10. Devour (Live from Atlanta)
11. Second Chance (Live from Atlanta)
12. Sound of Madness (Live from Atlanta)
13. Call Me (Live from Atlanta)

More here: SHINEDOWN’s ‘The Sight Of Madness’ Out Now - Nov. 17, 2009

Melanie Fiona and Wale dropped albums today, and SOBs couldn’t be happier for them. Haven’t copped them yet? Maybe we can remind you why these are two artists worth investing in.

Before Wale was touring with Jay-Z, he played several times at SOBs. This is what it looked like:

Pick up Attention Deficit in stores now. Track 13, Beautiful Bliss, features another SOBs alum who also dropped her album today, Melanie Fiona.

Her album The Bridge is in stores today. Just a few months ago, she sold out her show here at SOBs.

Buy both albums on iTunes, or at your fav record store.

Black Sheep alumni Dres came to SOBs a bit ago to preform with Tanya Morgan. Check out the footage below.

Thanks to Brooklyn Bodega.

Cormega and AZ perform the legendary Affirmative Action

Freddie Gibbs stopped by SOBs last Thursday for our CMJ showcase. Unfortunately, his set got cut short. Why? Watch for yourself.

Many thanks to Rap Radar and Skee.TV for the footage.

new footage from a recent show. i really hope there’s a new record coming. as much as i love blu and his other endeavors, there’s nothing that stacks up to below the heavens.

Young Love Records threw down on Thursday night of CMJ Music Marathon in New York City. Setting Sun, Quitzow, Live Footage, and Skidmore Fountain all took the stage at the Side Walk Cafe in the East Village, as part of the label’s free showcase.

The venue was quaint and a pleasant escape from the hustle and rushed atmosphere that CMJ sometimes offers. Nestled in the back of a restaurant/bar was a small stage. In front of the stage and scattered amongst the room were candlelit tables for patrons to sit, relax, and enjoy the show. As Setting Sun frontman, Gary Levitt said to start the show, “It’s like we’re all backstage”.

Setting Sun opened the showcase with their track “No Devil Me No More” from their third studio album, Children of The Wild. The song was followed up by “How Long” off of the same album. After a couple more favorites, the band then played a new track entitled “Make You Feel” from their soon to be released fourth studio album.

Setting Sun

The five-piece band provides a comforting folk feel. Their sound is very crisp and full, with a rotating lineup of instruments including both cello and violin. Levitt has been compared to David Bowie and Elliott Smith. However, all comparisons aside, the man has his own set of pipes and their is something very pure and inviting in his voice.

That voice made an appearance in the next act as well. As the cast of characters rotated and Quitzow took the stage. This time Erica Quitzow, who played violin, bass, and guitar for Setting Sun took the reins and Levitt provided backing vocals and instrumentals.

Quitzow

Quitzow opened with the infectious tune “Peanut” from their album Art College. Infectious is an appropriate word, as it describes Quitzow herself perfectly. She is extremely charismatic and the allure transfers to her songs quite effortlessly. Quitzow’s lyrics and music are easily digested and relatable. The title track off of the band’s debut album Art College is one that many who majored it something semi-useless in college can relate to.

Keeping the close-knit, communal feel between acts, the Side Walk Cafe’s host for the evening passed around a mandolin for band donations from those in attendance. A great way for patrons to show their appreciation for the wonderful music bestowed upon them.

The pleasing sounds continued next with Live Footage. The duo consists of Topu Lyo (electric cello) and Mike Thies (drums, synth). Topu Lyo and his phenomenal cello skills are captivating. In fact, he played with all four bands during the evening and was intense and mesmerizing the entire time.

The set from Live Footage transformed the room. Each song started out simple and then built upon itself creating a fuller sound that engulfed the room. The band recently released their self-titled debut record and there is sure to be nothing but praise and accolades in their future. Simply magnificent.

The final band of the evening was Skidmore Fountain. The band is comprised of Randy Bergida (vocals, guitar), Topu Lyo (cello, vocals), Steven Cohen (guitar, vocals), and Dylan Wissing (drums). The group played quite a few songs from their new release Cloudless Blue, including “Purple Mountain” and “Cloudless”, all to great crowd response.

The band provided classic indie rock with a pop-twist. Their harmonies were clean and smooth and the added element of the cello differentiates them from many bands who may fall into similar genres. They did a superb job of closing down an incredibly impressive evening.

Keep listening to BTR for music from all of these artists!

Link to this article:
http://www.breakthruradio.com/index.php?b=review.php?id=182

- Emily Smith

I hope everyone´s doing great. I´m planning my travels to the shows in november and couldn´t be more excited! just wanted to let you know that there`s an awesome retrospective with tons of live footage and comments by walter schreifels and co. props to felix for sending me the link.

& following on from that wish to see Prince work with Erykah Badu…

Here’s a live film clip of Prince covering Erykah Badu’s “Didn’t Cha Know” song, also  featuring Rhonda Smith  on vocals, recorded live in 2002:

See the clip on this video link:

http://www.dailymotion.com/video/xal6sk_didnt-cha-know_music

man cudi takes a lot of notes from ye. he hits up bet’s rising icons special for his own episode. he brings a small orchestra with him and performs ‘cudi zone,’ ‘mr. solo dolo,’ ‘day n nite,’ and closes off with ‘make her say.’

he also sheds light on why ‘make her say’ is even on the album – which is all good – but the song still sucks.

don’t forget to scroll a few posts down for sunbear’s review of the album.

man on the moon: the end of day is in stores today. and hey – amazon has it for only $3.99. support the moon man.

I e-mailed someone my resume today and it had my future New York address on it. I put that New York address on my resume three weeks ago, but for some reason it took until today to really register that I have a New York address. New York city. Manhattan. 

Who would have thought?

This pic was taken by my brother Kyle in March of 2005. I bet Times Square looks nearly identical to that right this very second.

(Check it out for yourself if you so wish. I just discovered this website that has live footage of Times Square 24 hours a day.)

I leave in 14 days and am (slightly) more excited than nervous. But most of all I’m seriously ready for the adventure to start. And besides, I recently found out that Gossip Girl has been filmed on my street, so whenever I get scared I just picture my future hobby of ‘celebrity stalking’ and everything immediately gets better.

Good Sunday Morning and God bless to all the Believers.. Sorry to be secular this morning but I have some (camera phone) footage of last night’s performance at the Shadow Lounge. We had a great time, #shoutout (twitter.com/nickprattmusic) to everybody who came out and sorry to those of you that missed it.

Bars to Tribe Called Quest’s “Midnight”

Swang x Say You Will <<my favorite

Peace,

Nick Pratt

here’s an interview with the deftones from the pukkelpop festival in belgium. someone on youtube was nice enough to put up a high quality 12-song set. this interviewer’s a little dumb, but it’s a nice segway into the set.

i’m feeling nice enough to link you to all the videos on the setlist, so here you go:

1. feitceira
2. my own summer
3. hexagram
4. beware the water
5. elite
6. nosebleed
7. korea
8. rx queen
9. hole in the earth
10. when girls telephone boys
11. change
12. back to school

since eros has been shelved, i’m curious as to where their direction is headed, and if we’ll see another record in the next 3 years. also, we’ve never really posted about chi’s coma – so nothing but well wishes on our part for chi.

-grizzly

You sure have noticed, this year the 40th anniversary of the famous Woodstock Festival was celebrated. Around the world millions and billions of people know the event and know the brand “Woodstock”, but lesser people know that there was two years earlier another festival in Monterey, the Monterey Pop Festival. In 1967 the who-is-who of the international pop scene met in Monterey. Next to headline events like “The Mamas and the Papas” or “Simon and Garfunkel” there were playin some fresh and new acts, like the until than not very well known Jimi Hendrix. Some say this was the beginning of the hippie movement, but like always in history, it´s hard to say when the exactly boiling point of a movement was. But it´s a fact that for the history of music, the Monterey Pop Festival is as important as Woodstock. Today I selected the live footage of the famous Otis Redding. One of the most impressive live acts I have seen. Even via youtube you can feel the energy of his music. So enjoy the show and keep an eye on the footage material of the Monterey Pop Festival, don´t miss the Jimi Hendrix Experience and The Who. The french-german public broadcaster arte aired two years ago live footage from the festival, so maybe you will find it somewhere. If you liked the Woodstock footage, you will love the Monterey footage.
Otis Redding died in the same year, when he and four members of his background band “The Bar Kayes” died in a plane accident in december 1967. There are rumours that Jimi Hendrix and Otis Redding planned to make a record together, after Jimi heard of the dead of Otis he destroyed all session tapes of them. What a big lost for the music world.

Part 1:

Part 2:

Part 3:

Some live footage from the June Llama Lounge, featuring the wonderful John Jo Murray on violin. It starts with Johnny K standard “Talking About Me”, the there is a small break for some technical adjustments. Then it’s back on it with a few verses of Clash classic “Guns Of Brixton”, ending with a couple of verses of the unreleased Johnny Kowalski song ” When The Time Comes”. As far as I am aware, this is the only recorded version anywhere of this last track.

As always, much thanks to the unstoppable King Dave for his awesome camera work.

Former Floetry star Marsha Ambrosius jetted in from sunny Los Angeles and performed live at the UK Soul Jam event (Jazz Cafe) on July 5th, in London.

Footage via Soul Culture

‘Take Care’

‘Say Yes’

Marsha is one talented lady. I really enjoyed watching both performances. 

I look forward to hearing the album.

Also it sounds as if Marsha’s English accent is no longer missing in action and has MIRACULOUSLY found its way back home.  

Hallelujah!

Yeah, I know. There’s no established ‘video of the month’ post selection yet… I’m adding an  ‘Awards Arena’ as a way of collecting great media from bands. I’ll post these normally, and you can refer to the list as they get buried in newer posts by clicking on the “Awards Arena” Category in the category list in the sidebar. :-] I pick, you enjoy– it’s easy.

Video of the Month: May

“Snow White” by D, live performance.

Out of all the videos I’ve watched in…well, probably all year, to be honest, I have to say this live footage of D’s Snow White was overall the most striking out of everything. The visuals are low-key, the sound quality is really bad– altogether it’s more or less like watching it through a hazy film, and the song itself is pretty mellow– but despite all this, I haven’t seen anything so striking in a good while. Sure, I’ve heard a lot of songs that beat Snow White in amazing-factor, and seen some incredible live footage that trump its visuals, but still…

Here it is: it is a performance that would have made Malice Mizer proud– in their Gackt days, no less. It was the quintessential Visual-kei performance. Asagi comes out of this unidentifiable object– something like a cross between a chandelier, a coffin, a bouquet, and a garden arbor. As he sings, he slowly descends the stairs to the stage where ‘rose-bushes’ have been arranged, and the band stands calmly. He is dressed in an elaborate ensemble that would make Snow White weep. By the peak of the song, Asagi has reached the stage and stands there, doing little but hold the mic and sing. Through most of the song, snow is falling on the stage, encouraging the gentle moodiness of the piece and the atmosphere together. They have arranged the performance perfectly to both capture the ideal of the Visual performance, and to support the perfect ballad.

The use of piano created just the romantic melancholy the whole thing was screaming for, and the way they eased into the other instruments was delightful and well-timed. It all melded neatly with the vocals, and got more rockish as it went on without disturbing the tempo or feeling. I really enjoyed the way they tied the piano and vocals to the music with the bass line.

The vocals were some of the most original I’ve heard– again, in quite a while. The way he begins beautifully– but in standard Asagi style (although he does let up a bit to suit the mood and melody), and then when he hits the chorus– well, just listen to it and you’ll see. Opera-rockers are shaking in their boots right now– and rightly so. D has really earned honors with this one. Not only is it a beautiful new ballad– Asagi rocks Visual-kei’s European-opera roots right down to its lace stockings. That ‘experimental’ use of a totally different vocal style is what absolutely makes the whole song.

At the end, Asagi hollers out to the audience in his usual majestically macho fashion– but after the initial ‘return to cool Visual-kei kingness’, he dips right back into that well we just basked in and murmurs softly, Arigatou, thus creating the perfect conclusion. So even though he breaks the spell, as it were, he brings us right back into the magic with that one little word.

Positively brilliant.

Snow White can be found on the single Snow White. It is D’s latest addition, fresh off the press January 21st, 2009. They’ve really polished up since going major, which you can see clearly when listening to Snow White and Birth and then going back to their older stuff…everything is crisper, cleaner, and have they even gone anti-hero? Oh who knows. Their newest single is truly a beauty– down to the album cover. The single comes with the songs Snow White, Snow White ~ Another Gift (an upbeat, faster, rock version of the song),  Night Ship “D”  (Live Version), Snow White (Voiceless).

Snow White - D

This CD can be purchased directly from Japan at the multi-lingual CDJapan.com through my affiliate link in the sidebar.

To learn more about D, check out my write up on them here :-)

D’s Official Site (Japanese)

Remember last week’s video of Dame Dash and his visible disappointment in finding out that Jay-Z agreed to a performance at the Mixtape Power Summit without notifying him? Well Choke No Joke’s not the only one who had cameras down there in 2003. Here’s the start of Roc Madness. Hov, drink in hand, doin’ “Dead Presidents” and “Can I Live.”

… lots of Elkie Brooks. The internet has given everyone poor attention spans so only the truly dedicated will make it all the way through this post. These videos are from a single live performance and in no way a ploy to pad out my lack of any genuine insights into Elkie Brooks. Enjoy.

I’m going to start by saying how refreshing it is after trawling through many dodgy Top of the Pops performances to have a bona fide live live performance. No second guessing here. Heck, I don’t even know the context, date, or location of this performance. I am just happy it’s arrived.

Nights in White Satin, a song written by men with awesome facial hair for men with less awesome facial hair to quietly retire and weep to, sung by a woman? I would cry “Sacrilege” if I put any effort into figuring out what the song lyrics actually meant. With that not being the case it is a worthy retelling, with added acceptable embellishments of the era. The director chooses to spice up the instrumental parts with slow motion. Ballsy.

I am a sucker for a man with a big drum. Always have been. I have yet to seek counselling to find out why. Perhaps I rowed on a longship in a past life? Anyway, a give a sigh of relief this isn’t going to be a gig completely filled with ballads.

It seems a bit joyless being part of Elkie Brooks’ band. The light only seems to shine on you whenever there is a brief solo before its all switched back over to Elkie. I would perhaps be more forgiving if she was just doing songs she wrote herself but, come on, lets give some love to those who took time and effort to learn an instrument.

There was a time I used to sneer at all seated gigs. Now, as years go on and as my contemporary pop music knowledge shifts from Radio 1 to Radio 2 (one day hoping to make it as far as to fully embrace 3) I actively welcome it. It allows me to let my mind wonder on important adult things like mortgage rates and bleeding radiators. You’ve got to get your wits about you though, as Elkie might break into a tribute to the theme tune from Minder at any minute.

Finally we have Lilac Wine. This a song so wonderful it cannot be ruined by anyone. It weaves a tale of heartbreak and alcohol abuse that is very dear to me. The people are lighting are pleased they brought the right colour filters to this gig.

Well I’m glad you made it this far.For those who skipped the videos and text hoping for some killer parting overview, you should be very ashamed of yourself.

Coming up next: Peter Sarstedt has been watching you all this time

Huey Lewis and the News prove that if this really is a small world, then these guys are the best American band of the 1980s on this or any other continent…

OK it’s confession time. As a fully matured sober adult I went out and bought an album by Huey Lewis and the News.  I own a copy which sits comfortably between less popular and therefore more prestigious albums by cLOUDDEAD and Cat Power (second confession, I seldom put things in alphabetical order). I own it an I am not ashamed. I am free.

The Power of Love is concentrated happiness. It is a song which, like “Walking on Sunshine” by Katrina and the Waves, manages to break my constructed persona of a miserable cynic and say “Hey, live doesn’t have to be so crappy after all you guys!”. If this world was populated by animals who could talk and sing, I would happily dance along the hills of Bristol with them with this as the soundtrack. Thankfully, the outside world is a cruel and unforgiving place, but rest assured I am dancing enthusiastically in my head.

There are plenty of things to pick and snipe at in these videos. Today though, I am a forgiving sort. If Back to the Future was a worse film maybe my bias would shift but such trivial “What if..?”s erode with some slow rythmic swaying. I will alow myself to be indoctrinated. I will win the victory over myself.

Coming up next : Elkie Brooks!!!

Brian Ferry a suave bastard. Too obvious observation perhaps but I believe he has earned the right for that sentence to be placed first in any article written about him. Brian Ferry is a man who questions my understanding of free will. From the moment of conception Brian was destined to do the music he does. He was destined to have his hair that certain way. Looking at performances 20 years since and nothing has changed about what he does. He can do nothing else.

That is not to say “If it ain’t broke don’t fix it”. He’s not faultless but he is, like the rest of the world, delightfully complacent with what works. Perhaps if you are Brian Ferry it is easy maintaining being Brian Ferry. This is certainly communicated in this performance, which is performed with the minimum consciousness required on his part. Brian could do with a snooze but hey… don’t stop the dance!

And what a dance it is! Slowly turning to the audience feigning surpise, slowly walking on spot, even the miming by the backing singers hs time warping properties. I look back at my failed dream of being a backing dancer and realise I was born just a few decades too late. The drummer, with conspicuously boundless energy, was clearly not invited to the same parties the rest of the group attended.

Complaining about Brian Ferry is a pointless endeavour, ignoring dodgy John Lennon covers. If this plays in a darkened room you can, without trying too hard, believe  you as suave a bastard as Brian Ferry. Hey ladies. I’m looking for some backing singers to tour with me. Hey, how about you cats all come around my house for auditions? Groovy.

Having a fit and loudly reciting the words to The Smiths is perhaps less effective and probably in hindsight where I’m going wrong.

Coming up next: How much News can you handle Huey Lewis giving you?

It’s risky business combining hit making with attempts at artistic statement. Sure, you cant complain at the added royalties and adoration this brings, but put yourself in Mark Knopfler’s shoes for a minute. You are filling a stadium, back for an encore and playing your biggest song. The enthusiastic fans shout back the lyrics “See the little faggot with the earring and the makeup”. Alright, Mark reasons in his head, they get that the lyrics are not in the first person and are they are the thoughts of a character not myself.  There is though the other possibility that must nag at him every time he plays it.

No sign of any worries here as they confidently stroll through this semi-live performance. I say “semi-live” because seeing it over and over I am not completely convinced if its miming or not. Suspicions start early when the opening verse sounds like a chorus of two seperate Mark vocal performances. An innocent moment of absent mindedness? Secondly, and this really rests on my poor music knowledge, but didn’t Sting do the backing vocals to this song? Regardless the S-man is absent and two band members exchange backing vocal duties without actually sounding different to one another.

Perhaps I’ve just been lied to too many times I can never trust these performances.

None of this, thankfully, distracts from the general enjoyment of this classic song. At least in this video we can just focus on just silly fashions rather than silly revolutionary computer generated delivery men. The album in which this features, along with “Reckless” by Brian Adams (which will will remain quiet about for the time being), perhaps most defines my childhood. This is because , aside from going to school and staring at the tv either watching Inspector Gadget or waiting patiently for the next episode of Inspector Gadget to appear, my most common activity was sitting impatiently as a passenger while my parents drive. These albums were a staple of my early travels.

I explain this to myself to find some reason the Pavlovian reaction I get whenever I hear Dire Straits. Without warning I stop what I am doing and filled with a sudden rush of restlessness, and trepidation about the undefined by undoubtedly long wait to arrive at destination unknown.Thankfully no travel sickness.

Pavlovian reactions are perhaps attributed too readily.

Coming up Next : Brian Ferry is too classy for this joint

The NME tour has gone through some changes over the years. In a time before camera phones, in a time before crowd surfing, success was defined by a sheer volume and relentlessness of the audience screams. Having only recordings do go on I can only assume this is what all pop concerts were like in the day. Well lit, well dressed, surrounded by screaming teenage girls. Of course in a time before teenage pregnancy and rebellion this was all perfectly innocent, swell and dandy in fact.

History gives The Hollies a free pass on this one. I can forgive early peddling of twee love songs (and this is as twee as it could possibly get) for a group that later on came up with “The Air That I Breathe”. Much like The Beatles and other bands of the time it’s nice to see a hard fought journey from disposable pop to artistic credibility. It makes a change from the acclaimed debut/disappointing second album/major label dropped cycle that repeats itself nowadays.

Is that it? Well away from deadline crisises there is little else for me to say for a clip which wraps up nearly in under two minutes. Apart from being quite a neat summary of what I understood 60s pop music to be, all that is left is to do a Rufus and reassure the audience “They do get better”.

I should perhaps apply this faith to modern equivalents.

Coming up next: Dave Clark Five annoy the landlord