I am finally out of this winter thing. Actually what pushed me out of it was a visit to a store.

The neon busy graphics, bold name, and sort of grunge kitty “feel” of Ivey Deschanel’s store always made me think perhaps it wasn’t a place for me. I  just don’t do that sort of grunge neko thing very well. However, I went in the other day and found that Ivey does a little more than sassy kitty clothing, and I liked what I saw.

This outfit from Ivey is glam and sexy and elegant all at once. The elaborate textures in the pants, as if burnt into a velvet, accentuate my long legs and curves with the sculpties that bottom out the legs in a flare. The jacket has a great bolero cut with a tied front—very modern and urban. But the sleeves, made of sculpties, have that decadent featheriness (without the cliched PS fur that everyone else uses) that makes this outfit truly glam. The rich depth of the top with its hand-drawn wrinkles and sexy low-cut back (shown here without the jacket) create a slinky and sensuous camisole. The look is complete and whole and ideal. Ivey’s system piece work is clean and well-done with great seams and edges. Her textures in this outfit are delicious.

Sachi Vixen has long been making skins, but her Portia line is a recent addition that once again displays her fine talents as an artist. I especially like the eye makeup on this skin with its subtle rainbow hues, entirely appropriate for an elegant glam girl—not over the top but pushing the edge. And her sexy décolletage is not over the top. I just don’t need to look like I am “enhanced.”

‘Never Say Never”:

Hair: * 0 Style *Angie *(Raven)_M by Rei Gully for Zero Style

Skin: Adam n Eve Skin – Portia – Tone 2 Dark – Rouge by Sachi Vixen for Adam n Eve

Outfit: :::Sn@tch Rocker (Clothing Layers Only)::: by Ivey Deschanel for Sn@tch

Boots: ~*ZHAO*~ “ASTA” Vendor (BLACK LEATHER) Silver by Melanie Zhao for Zhao Shoes

Riot – Thundersteel (1988, CBS Records)

1. “Thundersteel” … 3:49
2. “Fight or Fall” … 4:25
3. “Sign of the Crimson Storm” … 4:40
4. “Flight of the Warrior” … 4:17
5. “On Wings of Eagles” … 5:41
6. “Johnny’s Back” … 5:32
7. “Bloodstreets” … 4:39
8. “Run For Your Life” … 4:08
9. “Buried Alive (Tell Tale Heart)” … 8:55

Band:
Tony Moore – Vocals
Mark Reale – Guitar
Don Van Stavern – Bass
Bobby Jarzombek – Drums

Additional Musicians:
Mark Edwards – Drums (Tracks 2, 3, 5, 7)

Producer: Steve Loeb, Rob Hui and Mark Reale

What was I thinking ?!?!?! Never judge an album by its cover because then you miss out on some great music! That’s a lesson I’ve learned quite well with Riot. Despite reading for years that they were a great American NWOBHM-style band, I never bothered picking any release up. The main reason? Those awful album covers. I can’t think of any other band that has had so much terrible cover art. It really put me off and had me thinking these guys were cheap, cheesy metal that was not worth my time. How wrong I’ve been proven with Fire Down Under and now Thundersteel!

Out of the two Riot releases I’ve heard so far, Thundersteel is definitely my favorite. Fire Down Under saw the band in fully entrenched in New Wave of British Heavy Metal coming off like Diamond Head, but Thundersteel has a blend of NWOBHM, power metal and a more traditional ’80s metal sound that brings to mind Helloween, Iron Maiden and Judas Priest.

This was Riot’s “comeback” album after not having released any music since 1983’s Born In America. The band has continued to released albums every few years, but it’s a real shame this one wasn’t a huge success for them and that this band and album are fully appreciated like they should be.

While I had no problems with Guy Speranza on vocals, I much prefer Tony (his first album with the band), but I think each one was perfect for the type of metal the band was playing at the time. Tony has greater range though and that shows on “Run for Your Life”, which is actually my favorite song on the album. It sounds like the band was going for a Judas Priest vibe, right down to Moore’s vocals and the song would fit in well on Ram It Down.

A definite classic metal album well worth any headbanger’s time.

Highlights: “Thundersteel”,  “Sign of the Crimson Storm”, “Johnny’s Back”, “Bloodstreets”, “Run For Your Life”, “Buried Alive (Tell Tale Heart)”

www.officialriotnyc.com
www.myspace.com/officialriotnyc

Blues isn’t something I’m terribly familiar with. I’m a fan of the odd musicians like Muddy Waters and Mississippi John Hurt. I like some Tom Waits songs but haven’t delved deep enough to judge how good he may be. On this basis I was more than happy to listen to a blues record as well as being very intrigued as to how it would sit with me.

There’s something about blues music that is seemingly always authentic. Even when on a studio album it sounds just like it would in it’s rawest form. I believe this may add to how a listener receives the album. It doesn’t feel like Old Souls & Wolf Tickets has been pieced together take by take. The soul and heart hasn’t been ripped out of it by over-production or anything like that. In essence I suppose I’m trying to say that it just feels real.

One of the elements I really like this about this album is the simplicity of it. Often blues music can be an over-complicated melee of instruments but here a lot of the songs (It Didn’t Happen Overnight, Sweetie-O) are stripped, laid back arrangements.

Two of the best songs on this record contrast and provide dance driven blues juxtaposed with a bit of country. Two Tone Car is, as it says on the tin, a song about a two tone car. I can only imagine this car as one of the all time worst cars in history but it made one hell of a funky song. Anthem For Old Souls feels pretty much heartbreaking. It sounds like a song that should have closed a film like The Searchers or another movie of that ilk.

Unfortunately no songs from this record are available for streaming but I think you’ll agree this ditty from another record is performed with gusto.

As traditionally blues as this record is I’m sure this would have provided the backbone for many rock and roll records to come. With the best examples coming from Down The Road A Piece which has the flow of many contemporary records (see also Jolie’s Nightmare) and the opening riff too It Don’t Happen Overnight reminds of another more recent song.

Arriving towards the closing moments of the album there is no let up in the scattershot selection of genres. Blood Alley is the intro into a detective drama but cooler than Columbo et all. G-D Damn Liars is another rock and roll/blues standard and a reference to Chuck’s band.

Dixieland Funeral is a fitting climax to a free-spirited record. It brings together most of the elements from all the previous songs and is basically one massive jam. Just for that alone it could be be the magnum opus of the record, quite easily. This record has everything any music fan could want, there are no boundaries to be found anywhere. Did Chuck E Weiss rip up the musical genre rulebook? I think he chewed through it himself.

Old Souls And Wolf Tickets is available for listening here.

Next week will be the obligatory lists week. A new year will soon be upon us so we all have to do lists based on albums and songs. It is the law. A new decade too but I can’t really remember stuff from when I was ten so count that list out. This means you, yes you, have a fortnight to get your recommendations in, so, what are you waiting for? Leave them below, email or tweet them @spotify_tapes if you so wish.

On Tuesday night, Rich and I went to see Lily Allen play the Birmingham National Indoor Arena.   Neither of us felt particularly up for it (Rich bought the tickets on a whim) but after Rich rushed back from London, we managed to get up to the Mailbox in Birmingham to park (I really want to have a proper look around the Mailbox – it’s very posh).

We hadn’t eaten so we were desperately trying to find something vaguely healthy to eat but we just didn’t have enough time to eat somewhere proper so we ended up scorfing a sub-par hotdog / cheeseburger (me the hotdog, him the cheeseburger) with chips and a drink in the NIA.

We got down into the standing area in time for the support act, Example.  I had never heard of this dude but he was surprisingly good and he was also a bit dorky (and excited to play such a big crowd) which endeared me to him.  I recognised at least one of his songs and will non doubt be checking out more of his stuff.

We then hung around waiting for Lily to come on.  I’ll give her this – she does play some good tunes  to her waiting fans – Nirvana, Oasis, some old Ska…

The gig itself was very enjoyable – we don’t have her newer album but her tunes are very catchy and she is entertaining.  She was clearly very nervous and not used to performing to such a large audience.  She also managed to piss off half her audience by calling the people in the seated areas ‘posh’ and ‘moody’!  I think she was just overwhelmed by the large arena and it must be very weird having so many people sitting there watching you prance about (very few people in the seated areas were up on their feet dancing). With the bigger venue came a bigger budget for the gigs and when asked what she would like for her tour, she asked for a Guinness pump on stage so she could serve pints to her loyal fans who spend hours at the front before the gig to reserve their place (thus missing out on the bar!).  It was a nice idea but a little clunky especially since one of her songs ended while she was still pulling a pint, meaning it was a little anti-climactic.

She got into her swing though and despite her worrying about her poorly voice, she sounded great.  I wasn’t too keen on her backing musicians who at times drowned her out and generally made bit of a racket.  For me, the best bits were when the music was kept simple and her voice could shine.

At one point, Lily had to stop mid-song to get help for someone at the front who was ill.  She was visibly shaken by it and it threw her for just a moment but then she was back on form.  She performed a few covers: Oh my God (originally the Kaiser Chiefs which she covered for Mark Ronson), Naive (by The Kooks – I loved this!).

She also sang a version of Dub be Good to Me (originally Beats International) with special guest Professor Green (I am not nearly cool enough to know who this person is).

We left at the end of the main gig before her encore so we just missed her version of Womanizer (by Britney Spears, as if  I need to tell you) although we heard it through the door as we walked around the outside of the arena.  She also played my two favourite of her songs, Little Things and The Fear, before we left, so I was happy.

Mais uma banda da década de 70 que foi genial, mas não alcançou a devida popularidade que merecia

Atomic Rooster usou e abusou do Hard Rock e do Rock Progressivo para criar grandes álbuns até o meio dos anos 80.

Eu sei que o Rock Progressivo “assusta” muita gente, pelo fato do estilo ser taxado como chato e sonolento, mas ouvindo o Atomic, sua opinião sobre este estilo corre um sério risco de mudar.

Enfim, não postarei toda a discografia e sim os meus álbuns favoritos.
Façam um favor a vocês mesmos e conheçam esta banda que conseguiu unir o Hard e o Prog como poucos fizeram.






Atomic Roooster – Atomic Roooster (1970)

01. Friday the 13th
02. And So to Bed
03. Broken Wings
04. Before Tomorrow
05. Banstead
06. S.L.Y.
07. Winter
08. Decline and Fall
09. Play the Game [Bonus]


Download Atomic Roooster 1970 Atomic Roooster




Atomic Roooster – Death Walks Behind You (1970)

01. Death Walks Behind You
02. Vug
03. Tomorrow Night
04. Seven Lonely Streets
05. Sleeping for Years
06. I Can’t Take No More
07. Nobody Else
08. Gershatzer
09. Play the Game
10. The Devil’s Answer
11. Tomorrow Night
12. Shabooloo
13. Death Walks Behind You
14. The Devil’s Answer


Download Atomic Roooster 1970 Death Walks Behind You Parte 1

Download Atomic Roooster 1970 Death Walks Behind You Parte 2




Atomic Roooster – Nice ‘n’ Greasy (1973)

01. All Across the Country
02. Save Me
03. Voodoo in You
04. Goodbye Planet Earth
05. Take One Toke
06. Can’t Find a Reason
07. Ear in the Snow
08. Satan’s Wheel


Download Atomic Roooster 1973 Nice ‘n’ Greasy

På fredag är det beslutsångestens afton. Tre bra band lirar på tre olika ställen, eller vad sägs om:

AC4 lirar med förbandet CHICK-E-CHACK på Sticky Fingers, kalaset kostar 60 spänn eller fri entré före kl 22.

BOMBUS ställer sig på Pustervikbarens scen mellan 22-03 och för 90 spänn får nöjet att bli krossad att kvartettens stenhårda rock.

VICTIMS kommer i sällskap av Brittiska REGIMES och Göteborgsgänget WE LIVE IN TRENCHES och intar Truckstop Alaska. Portarna slås upp kl 21 och välkommen in är den som pröjsar 60 spänn och är medlem.

Har lönen kommit? Köp skivor för pengarna!
//H

Loved this shoot mainly it was the pieces that caught my eye, very rock n roll chic I felt like I needed to take a friend shopping so they could have some, but definitely the styling was well executed. I Love the shoes with the Mercedes logo on the heel, HAUTE!!

Styling: Elisabetta Dal Bello

Photography By: John Akehurst

IMG|SOURCE: FGR

Buddy  Miles foi um cara surpreendente, pois participou da banda do Hendrix (Band of the Gypsys) e também tocou com o Santana. Porém seu trabalho individual é extremamente importante e de muito valor. Vamos falar agora sobre seu disco “Them Changes”, um instrumental com presença forte de vocais excelentes. O baterista aqui participou também no baixo, vocais, teclados, guitarras, além de ser o produtor, arranjador e principal executor das músicas. Viveu até 2008 anos muito bem vividos, até 2005  participou de vários álbuns e teve cerca de 20 discos solo lançados.

O disco “Them Changes” foi lançado em 1970, e ajudou principalmente a definir, descobrir e explorar a fusão entre funk e rock. Buddy Miles era um exímio baterista, um músico poderoso, que manjava muito de blues & ritmo.

As músicas são um passeio por um som versátil e original, que abraça o rock n roll com abordagens r&b e funk. A capa do disco mostra o artista jovem, sentado junto a sua bateria, uma ótima imagem de Miles.

“Heart’s Delight”, contém um naipe de metais em chamas completo com trompete, saxofone tenor, trombone, trompete e até mesmo um funky.

“Dreams” mostra como ele é apoiado por um coro de cantores, e a guitarra + teclado passeiam pelas notas dando uma sutileza à canção. “Uhul!”.

“Paul B. Allen, Omaha, Nebraska,” demonstra um baterista criativo que ele poderia ser, só que um órgão e guitarra mínima aparecem providenciando o devido apoio. A linha de baixo é sensacional!

E que nós continuemos a ter influências tão boas para produzir os nossos sons.

Track list:
01- Them Changes 3:22
02- I Still Love You, Anyway 4:14
03- Heart’s Delight 4:08
04- Dreams 4:53
05- Down by the River 6:22
06- Memphis Train 2:57
07- Paul B. Allen, Omaha, Nebraska 5:33
08- Your Feeling Is Mine 2:13

Ouça!

You may be surprised at the scope of this week’s topic because when it comes to Elvis Presley, well nearly everyone’s got an opinion. The iconic nature of Elvis Presley in music and popular culture, has often made him a subject of, or a benchmark, in numerous songs. We launched the show with CALLING ELVIS by Dire Straits. Written by Mark Knopler and released in 1991, the song is about an Elvis fan that can’t believe that Elvis Presley is dead. Based on some of the bizarre ’sightings’ over the years, I fear he is not alone.

A song from one of my favourite films followed: Public Enemy’s groundbreaking FIGHT THE POWER from the soundtrack of DO THE RIGHT THING, directed by Spike Lee in 1989. Like the film, the song broke at a crucial period in America’s struggle with race. Unabashedly political, FIGHT THE POWER was confrontational in the way that great rock has always been. It attacks a whole roster of American icons including Elvis and John Wayne in what amounts to a virtual flag burning. Because who better embodies the American ideal than the King? The song goes so far as to call Elvis racist. I don’t agree with that. But what I do know from the National Archives is that in 1970 Elvis wrote a six-page letter to Richard Nixon asking him to make him a ‘Federal Agent-At-Large’ in the Bureau of Narcotics and Dangerous Drugs. And amongst the gifts that Elvis presented to the then President was a Colt-45 pistol. So what do we make of all this? Maybe only that, like a lot of his countrymen, Elvis was a misguided patriot who defended the nation’s order – an order from which blacks, in particular, had been routinely barred. The irony, of course, is that Elvis was the first artist to successfully blend black and white music: country music and the blues. And didn’t he do it well?

It was time for a change of tone: The very whimsical and wonderful Kirsty McColl’s with THERE’S A GUY WORKS DOWN THE CHIP SHOP SWEARS HE’S ELVIS. The song made an appearance on the FAMOUS PEOPLE show, but definitely deserved another spin. We followed with Richard Thompson’s FROM GALWAY TO GRACELAND.

Robbie Williams’ ADVERTISING SPACE is a song not only about Elvis but, also, about the price of fame.  Emmylou Harris followed with BOY FROM TUPELO. In case you weren’t aware Elvis was born in Tupelo Mississipi on January 8, 1935. And then it was the great Roy Orbison with HOUND DOG MAN.

Living Colour funked it up with their critique of the tabloids. The song  ELVIS IS DEAD ups the ante with an appearance by Little Richard. Check it out.

We dived into the second hour of the program with Ann Margret singing the title song of the film BYE BYE BIRDIE. Based on the stage musical of the same name, the story was inspired by Elvis Presley being drafted into the US Army in 1957. Jesse Pearson played the role of teen idol Conrad Birdie, whose character’s name is a wordplay on another singer of the era, Conway Twitty.  The film is credited with making Ann-Margret a superstar during the mid-1960s, leading to her appearing with Elvis Presley in Viva Las Vegas in 1964.

A couple of great songs were suggested to me by BayFM’s very own Cowboy Sweetheart, Carrie D. First up, Bap Kennedy with GLADYS & VERNON about Elvis’s parents and the night that Elvis was born. And then it was the great Waylon Jennings with the very entertaining NOBODY KNOWS.

I absolutely adore BLACK VELVET by Allanah Myles and have played that before. But, hey, when a song’s as good as this one it deserves a replay!

U2’s song ELVIS ATE AMERICA illustrates the many personas of Elvis, both good and bad. And then it was the romantically delusional Scouting For Girls with ELVIS ISN’T DEAD: ”Elvis isn’t dead ’cause I heard him on the radio….. and you’re coming back to me.”  Yeah, sure guys.

Time to get serious: First up, Kate Bush with her hit song about Elvis – KING OF THE MOUNTAIN. And then, Nick Cave & The Bad Seeds transported us into a disturbing world with their song about the night that Elvis was born. Elvis was a twin but his brother was still-born. The song is TUPELO from the album THE FIRSTBORN IS DEAD. Here’s the totally mesmerising clip:

John Fogarty likens Elvis to the BIG TRAIN (FROM MEMPHIS). Neil Young reminded us that it’s “better to burn out than to fade away “, with his song MY, MY, HEY HEY.

Another of my faves followed: Cowboy Junkies with BLUE MOON REVISITED, otherwise known as SONG FOR ELVIS. And then it was Paul Simon’s song about travelling to Elvis Presley’s home, GRACELAND, with the Everly Brothers helping out on vocals. Don’t have a clip with the Everlys in it, but you can’t do much better than this concert performance of the song in Zimbabwe. Enjoy.

There was time for a little more mjusic dedicated to Elvis before signing off and what better than ELVIS HAS JUST LEFT THE BUILDING by the one and only Frank Zappa. And, of course, I had to play some of the King himself so we went out with BURNIN’ LOVE. Here’s what all the fuss is about:

Next week’s show will be dedicated to the patron saint of Theme Park, Roy Orbison, who died 21 years ago this December 6. So songs by Roy Orbison, The Travelling Wilburys, duets with Roy and covers of Roy Orbison songs. Anything connected to Roy Orbison qualifies. Personally I can’t wait!

Here’s this week’s playlist:

i didn’t see the broadcast of the American Music Awards, but from the stories i have read, Adam Lambert must have put on quite a performance.

More entertaining than the performance has been reading the spin Adam is putting on his actions, as well as his use of a well-worn cliche to justify them.

First, the spin: “It’s just entertainment.” In fact, the Associated Press story quoted him as saying everybody was enjoying his act and they were entertained. The key word is “entertainment;” it’s sort of like Hollywood’s get-out-of-jail-free card. Translation: we can do anything we want, as long as we call it “entertainment.” Then we can protect ourselves and tell everybody who objects to what we have done to lighten up _ after all, it’s just entertainment.

This is the insidious reality undergirding Hugh Hefner’s Playboy empire. The magazine carries the subtitle: “Entertainment for men.” By calling sex and sexual expression a form of entertainment, it makes the indulgence much more palatable in society. Hefner has been very successful is effectuating a massive shift in cultural attitudes toward women appearing naked in his magazine, and appearing nearly naked just about everywhere else.

Sex isn’t anything special, it’s just entertainment.

As for the well-worn cliche Adam has been using lately, i would like to hear a really good explanation of what “Envelope” it is he _ and many others _ seem so compelled to “Push.” His defense of sexually vulgar activity also included a claim that men have not been able to express themselves sexually in their musical performances over the years. i guess he hasn’t listened to much Rock N Roll then.  Or, at the least, he should turn on Mtv to get the picture.

Por Pedro Sciarotta

“É 1966. A grande era do Rock ’n’ Roll britânico. Mas a BBC toca menos de 45 minutos de música pop por dia. Dessa maneira, as rádios piratas ancoram no Mar do Norte e tocam pop e rock 24 horas sem parar. E 25 milhões de pessoas – metade da população britânica – ouvem os piratas todos os dias.”

Assim começa o filme Os Piratas do Rock (The Boat That Rocked, no original), do diretor Richard Curtis (Um lugar Chamado Notting Hill, Quatro Casamentos e um Funeral), que mistura ficção com fatos reais, criando uma agradável comédia.  A história propriamente dita começa quando a mãe de Carl o manda para morar com seu padrinho Quentin, após ele ter sido expulso da escola. O garoto passa a viver no barco Rádio Rock, em que Quentin é capitão, juntamente com vários DJ’s, encarregados de manter uma programação constante na rádio pirata.

O barco esbanja alegria e rebeldia o tempo todo, e consegue passar isso para seus ouvintes – até para aqueles que têm de ouvir baixinho ou escondidos. Nem mesmo quando o governo inglês encontra uma brecha para poder ir atrás do barco, que está em águas internacionais, eles desistem. Decidem que não irão parar de tocar, não importa o que aconteça.

O principal destaque do filme são as músicas. Hits dos anos 60 combinados com cenas de movimentação rápida e criativa, com diversos personagens dançando e curtindo, criam um efeito incrível. The Beach Boys, The Who, Rolling Stones, The Kinks, Jimi Hendrix, The Turtles, e por aí vai… a seleção é ótima, e a única falta percebida de cara são os Beatles, que provavelmente não puderam ser usados pelo diretor por algum problema com os direitos das canções.

Um ponto a ser discutido no filme  é a “romantização” dos fatos abordados. É evidente que as rádios piratas não foram tão “mágicas” e utópicas como são apresentadas. Na realidade, a maioria das rádios piratas na Europa era financiada com dinheiro estadunidense, com o objetivo de “americanizar” as rádios européias. Isso porque, diferentemente dos Estados Unidos, a lei na Inglaterra (e grande parte da Europa) proibia anúncios comerciais nas rádios, o que afetava as agências de publicidade, já que era um mercado que poderia ser explorado.

Mas no filme tudo é possível, e não poderia acabar de forma trágica ou sob essa chata realidade. Assim como no começo, ele termina com uma mensagem. Diz que no verão de 1967 a época de sucesso das rádios piratas acabou, mas isso não fez com que o sonho dos piratas acabasse. Segue falando que hoje em dia existem 299 estações de rádio no Reino Unido que tocam pop e rock 24 horas por dia, e que apesar de 40 anos já terem se passado, o rock ‘n’ roll continua existindo. Termina mostrando capas de discos de diversas épocas, em um ritmo alucinado.

O filme teve sua estréia no dia 1º de abril, na Inglaterra, e saiu recentemente (13 de novembro) nos Estados Unidos e Canadá. Quanto ao Brasil, ainda não há uma data para ser lançado. O jeito é esperar, ou baixar o filme pela internet. Mas é melhor fazer isso escondido, igual ouvir as rádios piratas.

Director and writer Richard Curtis(“Notting Hill” and “Four Weddings and a Funeral”) brings to life the story of outlaw DJs who defied the British government for all that is worthy: drugs, sex and rock ‘n roll.

The government banished modern pop and rock ‘n roll from the mainland radio stations. Rock DJs took to the high seas to broadcast from ships docked in the North Sea. The film follows the fate of one pirate radio station called Radio Rock. They would play the most popular artists of the day: The Beatles, The Kinks, The Rolling Stones and The Yardbirds.

The story begins with Carl(Tom Sturridge) arriving on the Radio Rock ship because he had been expelled from his school for smoking cigarettes and marijuana. He claims his mother sent him there to try a different way of life with his Uncle Quentin(Bill Nighy). He meets a ragtag crew who DJs twenty-four hours a day from the ship, including the ship’s cook, Felicity(Katherine Parkinson), who plays a lesbian. Carl bunks with a man called Kevin, who is nicknamed Thick Kevin(Tom Brooke) because he doesn’t process information that quickly (Kevin wore an Easter bunny costume to Christmas dinner). This is a coming of age story for Carl who learns about rock ‘n roll and loses his virginity(while it was being broadcast live).

The station becomes threatened when the prudes at the BBC ban advertising on pirate radio stations become illegal. In response a legendary, sexy and feisty DJ named Gavin(Rhys Ifans) returns from the United States to draw in millions to listen to Radio Rock (It’s appropriate “Jumpin’ Jack Flash” by the Rolling Stones is used to introduce Gavin).

Eventually, the government deems it illegal for any ship to broadcast rock ‘n roll. Of course, Radio Rock defies the orders and continues to rock out. They try to make a getaway when the prime minister’s minion goes after them, but their engine blows up. The ship begins to sink into the North Sea.

The arrangement of cast members and intertwining of comedic episodes made this film very enduring. January Jones plays Elenore, a woman who pretends to love another DJ(Chris O’Dowd) so she can sleep with Gavin. And, another DJ named Midnight Mark claims his secret with the ladies is silence and one-liner “So, shall we get to it?”

The soundtrack which features major rock ‘n roll hits help the film’s appeal where it lacks fluidity.

I really enjoyed “Pirate Radio” and have seen it twice. Overall though, “Pirate Radio” has  some truthful kernels about pirate radio off the coast of Great Britain, but in reality most of it is fictional.

L.A. Guns – L.A. Guns (1988, PolyGram Records/Vertigo Records)

1. “No Mercy” … 2:47
2. “Sex Action” … 3:42
3. “One More Reason” … 3:07
4. “Electric Gypsy” … 3:25
5. “Nothing To Lose” … 4:14
6. “Bitch Is Back” … 2:53
7. “Cry No More” … 1:18
8. “One Way Ticket” … 4:20
9. “Hollywood Tease” … 2:52
10. “Shoot For Thrills” … 4:30
11. “Down In The City” … 3:56

Band:
Phil Lewis – Lead Vocals
Tracii Guns – Lead Guitar
Mick Cripps – Rhythm Guitar, Keyboards, Backing Vocals
Kelly Nickels – Bass, Harmonica, Whistle, Backing Vocals
Steve Riley – Drums (credited but did not play)

Additional Musicians:
Nickey “Beat” Alexander – Drums
Alan Jones – Sax
Paul Kaufman – Washboard

Producer: Jim Faraci

I’ve seen some critics call L.A. Guns a combination of Guns N’ Roses and Poison. That’s a pretty good description of them, though I think there’s a dash of Motley Crue as well. The Guns have always seemed to straddle the line between the seedy, sleazy life that GNR wrote about and the sex & party world of glam metal poster boys Poison. It makes for some good rock ‘n’ roll and L.A. Guns have never fully gotten the respect, success and credit that they should have despite having two platinum albums in their catalog (this one and Cocked & Loaded)… They should’ve sold more!

Anyway, this a really good debut. Phil Lewis rocks, guitars are great (Tracii also does not get the respect he should), there’s plenty of sleaze and fun for everyone! But the band has a softer side — there’s “Cry No More”, a pretty instrumental, to break up the album and it leads into the ballad “One Way Ticket”.

“Sex Action” was a small hit for the band, but I tend to think that’s an overrated song. It’s a good song, but I’ve often seen it mentioned as a LAG fave but I think there’s plenty of other songs here that overshadow it. “One More Reason” is my favorite from the disc. Cocked & Loaded is regarded as the quintessential L.A. Guns release. That album is a bit more catchy and melodic, but this one is heavier. I like them both equally.

Original LAG drummer Nicky “Beat” Alexander played on the album, but it was Steve Riley (coming over from W.A.S.P.) who got the album credit and his face in the band photo as he joined the band just before the album was released. Most of these songs were written with L.A. Guns’ previous singer Paul Black. Maybe that’s why Phil was able to get “Hollywood Tease” (from his previous band Girl) on the album?

Picked this up online for about $6. Definitely worth the cash. The cover is really cool too — you’ve got guns, a skull and a Hollywood night in the background. The art was done by Tyler. I wonder if he’s ever done anything else in the hair metal arena?

Highlights: “No Mercy”, “Sex Action”, “One More Reason”, “Electric Gypsy”, “One Way Ticket”, “Shoot For Thrills”

www.laguns.net
www.myspace.com/lagunsofficial

lady_gaga_adam_lambert for your entertainment fever idea girl consulting

Adam Lambert shares why Glam is back, Glamrock is here to stay and will be in his new album – For Your Entertainment.

Here is Adam’s message to his fans.

I’m so happy that Lady Gaga and Adam Lambert got a chance to make a song together.

Sexual Fever, totally appropriate song for these two to work on together.

Adam’s talents shine as he can take an older song, and bring it up to speed, while adding his own flair to the song!

The Rolling Stones

The British Invasion remains one of the most relevant music movements of the sixties. British pop and rock ‘n’ roll bands, already sensations in their home country, rose to take the US music scene by storm. This movement was led in 1964 by the prominent migration of ‘Beatlemania’ across the pond. The Beatles were first played on American radio on December 17, 1963, and were duly received with vast amounts of praise and curiosity. Capitol Records was forced to release the single I Want To Hold Your Hand three weeks early. This became a precursor to their immense and immediate popularity, a phenomenon that would continue until the band’s end in 1970.

The Beatles – I Wanna Hold Your Hand

But The Beatles weren’t alone in spreading Britain’s unique musical talent, others followed; The Rolling Stones, The Kinks, The Who and The Animals became ubiquitous in the US, spreading the reach of their influence across the globe. Bands such as these firmly established the genre of music they represented, primarily rock and roll, along with the legitimacy of the British music industry. Bands of the British Invasion inspired American performers, some of whom began to mimic the style, and periodically stifled other emerging genres. This wave of ‘Britishness’ occupied the US music scene in its entirety, up until 1967.

The Rolling Stones – Not Fade Away

The Ministry of Sound at Elephant & Castle, London UK

Just like The Beatles headed the British Invasion, Ministry of Sound has remained at the forefront of club music for eighteen years. The nightclub, founded in South London in 1991, was originally dedicated to the promotion of US house music in the UK. It opened in a disused bus garage and was fast to gain popularity. Now, Ministry of Sound presents the very best of genres such as house, electronic and dance, attracting international DJs and a diverse crowd that all share a common love of music. Not only was it successful in heralding the arrival of US house music, but it has cultivated that success by always presenting the freshest new beats.

However, unlike The Beatles and the British Invasion movement, Ministry of Sound has extended its popularity through more than one medium of influence. Over the years, Ministry has evolved from a venue to a global brand; this includes the regular release of CDs, a TV station, a radio show, and various paraphernalia such as clothing and other merchandise. Additionally, a second club has opened in Egypt. Also dissimilar is Ministry’s ability to adapt to the times. It is widely thought that the British Invasion lasted for a mere three years. Comparatively, Ministry celebrated its eighteenth birthday two months ago and has thrived for nearly two decades. The Ministry of Sound label began as a key component of the internationalization of US house music; it now stands as a movement in itself, one that celebrates a broader genre of electronic music on a global scale. Here’s to another eighteen years of prosperity.

Plumb – In My Arms (Bimbo Jones Extended Remix)

Anna Christofferson

Endeverafter – Kiss or Kill (2007, Razor & Tie Records)

1. “I Wanna Be Your Man” … 3:06
2. “Baby Baby Baby” … 4:14
3. “Gotta Get Out” … 4:04
4. “Poison” … 4:14
5. “Next Best Thing” … 5:18
6. “Tip of My Tongue” … 4:06
7. “Road to Destruction” … 5:41
8. “All Night” … 3:35
9. “Slave” … 3:44
10. “From the Ashes of Sin” … 4:09
11. “Long Way Home” … 6:14

Band:
Michael Grant – Lead Vocals, Lead Guitar
Kristan Mallory – Guitar
Tommi Andrews – Bass
Eric Humbert – Drums

Additional Musicians:
Butch Walker, Grace Sims, Tom Jane, Azeron, Skye Nicolas – Backing Vocals
Jessica Catron – Cello

Producer: Stacy Jones with Bill Lefler

Here’s a strange album for ya! Endeverafter are a fairly recent band that seems be torn as to what kind of rock that they want to play. Are they the next Fall Out Boy? Do they want to be the next generation of pop metal? Or would they rather play nu-metal or NWOBHM or post-grunge? Well, they aren’t sure yet and neither am I because this album waffles more than John Kerry, but I’ll get back to you as soon as they decide!

Don’t let the band’s looks and touring credentials fool you either — sure, they have opened for KISS, Poison and Cinderella but I have no idea what songs they would have played to win over those types of crowds when sound their sound has much more in common with Fall Out Boy than the previously mentioned bands. In addition to that, they’ve performed on ’80s rock packages like Motley Cruise and ShipRocked which makes their primary choice of music even more puzzling.

FOB is one of the worst bands to come out in the past decade. I have heard a lot of their stuff and it’s terrible and they’ve spawned countless (and equally terrible) copycat bands. The songs here with the FOB are just as bad as the real thing. Now, they did try to spice things up a bit. It’s not all alt rock/pop. A handful of songs break out of alt. rock/pop mode and get a bit heavy or at least bit more spirited than the majority of the album.

There is potential here. The band is totally Michael Grant’s show. He wrote all of the music and lyrics. He sounds way too much like Patrick Stump, but I hear bits of good hair metal (and good metal in general) within some of these songs. He just needs to decide what kind of band Endeverafter is. It’s too bad American Hi-Fi’s Stacy Jones, as producer, couldn’t straighten these young chaps out and tell them to pick a sub-genre and stick with it.

I totally took a chance on this band. Classic Rock magazine was hyping them up as the second coming of Poison and Motley Crue and that’s just not the case at all. Hm… Do you think it has anything to do with the band’s UK label being the Classic Rock-owned Powerage Records? Shame on you, CR!

Luckily, the album can be found fairly cheap so it wasn’t a huge loss. I would be interested in new music from this band, but I’d have to hear some samples first before buying.

Highlights: “I Wanna Be Your Man”, “Baby Baby Baby”, “Poison”, “From the Ashes of Sin”

www.endeverafter.com
www.myspace.com/endeverafter

Sgt. Roxx – Weapon of Miss Distraction (2009, Eonian Records)

1. “All You Need” … 3:20
2. “Why’d You Lie” … 3:28
3. “Movin’ On” … 4:06
4. “Push & Squeeze” … 3:48
5. “Million Dollar Girls” … 3:56
6. “Wrap Yourself” … 4:22
7. “Don’t Cry” … 4:26
8. “Rockin’ Horse” … 4:14
9. “Decisions” … 4:37
10. “Alright” … 5:31
11. “Without You” … 3:20
12. “Thinkin’ of You” … 4:29
13. “Ransom” … 2:41
14. “(Don’t Do) What Your Mama Sayz” … 3:37
15. “4th Time Out” … 4:57
16. “I Don’t Know” … 4:36
17. “Psycho In The House (live)” … 4:31
18. “My Lady (live)” … 4:08
19. “Bread & Water” … 4:37

Band:
Jack Adams – Lead Vocals, Backing Vocals
Rob Briles – Lead & Rhythm Guitar, Backing Vocals
Bob O’Connor – Lead & Rhythm Guitar, Backing Vocals (Tracks 1-5, 11-16)
Scott “Grover” Weatherspoon – Lead & Rhythm Guitar, Backing Vocals (Tracks 6-10, 17-19)
Darrin Laszlo – Bass, Backing Vocals
Kevin Cora – Drums, Backing Vocals (Tracks 6-10, 17-19)
Scott Wilson – Drums (Tracks 1-5)
Gabriel “Gabie” Anthony – Drums (Track 11-16)

Sgt. Roxx are a Chicago-based melodic hard rock outfit that was active in the early ’90s. Though they never had a major label deal, there were able to release an EP called Push N Squeeze, which apparently has gone for big bucks on eBay. I couldn’t find a listing for it though… Maybe the few copies that exist have all found happy homes or maybe people just aren’t interested now that they can own the full EP plus tons of more songs on this remastered collection of songs recorded by the band from 1990-1994. Can you imagine shelling out $200 or so for the EP then finding out a few months later that that EP and so much more was getting a proper CD release? OUCH!

But let’s get to the music — it’s enjoyable, but nothing earth-shaking. Sgt. Roxx definitely treads on the lighter side of hair metal (though there is a slight Ratt influence) on the first half of the disc. They aren’t as slick & poppy as Danger Danger or Enuff Z’nuff, but I am constantly reminded of those two bands throughout that first half because the rockers just fall short. I have to admit, they do have a knack for writing ballads. “Movin’ On” and “Don’t Cry” are worthy additions to power ballad compilation.

When the band finally does muster up some quality hard rock, sometimes the lyrics themselves fall flat. On “Alright” we have a pretty good rocker but then one of main lyrics is “would it be alright if I made love to you?” What kind of lyric is that for a hair metal song ?! You don’t ask! You say you’re going to do it and that you’re going to be the best she’s ever had! Don’t be so sheepish!

What’s funny is once we get to the later songs, despite being recorded in 1994 when grunge and alternative was all the rage, you get to hear Sgt. Roxx digging their heels into glam metal and cranking out some really cool hard rockers like “Ransom” and “(Don’t Do) What Your Mama Sayz”.

Overall, the album is a mixed bag. First handful of songs are light, the ballads are good and second half really rocks like hair metal bands should (despite the less than perfect audio quality). Definitely worth looking into for anyone tired of pulling out their old Cinderalla, Poison or Ratt albums for millionth time.

Highlights: “All You Need”, “Movin’ On”, “Don’t Cry”, “Thinkin’ of You”, “Ransom”, “(Don’t Do) What Your Mama Sayz”, “I Don’t Know”

www.myspace.com/sgtrox
www.eonianrecords.com

An important race relations moment occurred in 1986. It was a newly-recorded version of a song called “Walk This Way,” written by Steven Tyler and Joe Perry, originally recorded by Aerosmith (1975; Toys In the Attic), but in 1986 released as a record from Aerosmith and Run-DMC. The song appeared on Run-DMC’s multi-platinum album, Raising Hell.

It’s easy to see some segment of the racial divide being brought together through this song and its subsequent music video (below), but let’s consider how disproportionately-slanted the mainstream music market of 1986 was towards the white population, and who needed who more in this pairing.

Rick Rubin, co-producer of Raising Hell and co-founder of Def Jam Records, along with Jam Master Jay, DJ of Run-DMC, conjured up and sold the idea of Run-DMC remaking the song for the Raising Hell project.

The “DMC” in Run-DMC, Darryl “DMC” McDaniels, initially responded to the idea as such:

“Motherf*^ker, this is hillbilly gibberish, this is f*^king bulls*^t.” (quote from Andy Greene’s 10/15/09 Rolling Stone article on “Walk This Way”)

Prior to Rubin introducing Run-DMC to the music of Aerosmith, they didn’t know who the band was.

Rubin, trying to genuinely aid the creation of progressive art, and simultaneously bring it profitably to the masses, shared the following in the above-mentioned Rolling Stone article:

“The album needed one more element. I thought there had to be a way to present this to rock fans so people would think, ‘this really isn’t that different than the kind of music I like’.”

But who was really more in need of who? The all-white rock band, or the all-black hip hop group?

From the book Are We Not Men?: Masculine Anxiety and the Problem of African-American Identity, by Phillip Brian Harper:

“…Rolling Stone critic Mark Coleman suggested that, rather than benefiting from the ‘innovative’ quality of Aerosmith’s 1970s composition, Run-DMC’s cut actually modernized the rock band, ‘dragging guest stars Steven Tyler and Joe Perry into the Eighties, kicking and screaming’….Barry Walters (1986) has made a useful point by way of explicating Rick Rubin’s claim that his black classmates were more musically ‘progressive’ than their white counterparts: ‘The music industry treats white music as an ongoing history, and black music as just the latest thing. Many record companies will keep in print the entire catalog of white acts that don’t sell big numbers and delete product by all but the biggest-selling black acts…In other words, black kids are “progressive” because they’ve got no choice. (p. 23)’.”

Was the teaming of Run DMC and Aerosmith in the mid-80s “progressive”? There’s little question that it was. But it wasn’t all roses, and is still far from it.

This combination of musical styles, forms and audiences was a big step forward to truly bringing black and white together to appreciate, respect and enjoy their diversity, while also helping all to see that the melding of the collective creativity could be enjoyable to all.