Leaving early this morning in a few hours, so posting Song of the Day now, at 12:30, don’t ask…

ANGEL OF THE MORNING BY THE PRETENDERS (another oldie you gotta love)

Un piccolo compendio di storia della musica popolare:

Nel pieno di un rivolgimento politico (la consunzione del Labour Party e l’avvento dell’era Thatcher) e sociale (l’avvento del punk e delle ribellioni figlie del ‘77) nascevano in Inghilterra una serie di gruppi musicali che portarono grande fermento ed una esplosione del rock inglese a livello mondiale – quella che negli USA fu chiamata la “British Invasion”.

Una delle costole di questo fenomeno si dedicò al recupero ed alla rielaborazione della musica giamaicana, importata dai molti emigranti che dalla colonia venivano a cercare miglior fortuna in Inghilterra. Era il fenomeno della musica SKA. Una delle prime band a vedere un riconoscimento di pubblico la proprio lavoro furono “The Specials“, un gruppo che da Coventry cercava di imporre il “2Tone way of life” ovvero, prendendo spunto del bianco/nero del proprio nome e logo, l’integrazione tra bianchi e neri in un periodo in cui gli episodi di violenza razzista (soprattutto da simpatizzanti del National Front) erano all’ordine del giorno.

Alla fine del 1979, accompagnato da un 2Tone Tour con Madness e altre band ska, pubblicarono il loro primo disco. Un successo clamoroso, ripetuto l’hanno segunte (in tono minore) dal secondo disco “More Specials”. Nel 1984 un “In the studio with…” segnò lo sgonfiarsi definitivo della band.

Il 28 dicembre 1979 andai, con mio fratello, all’Hammersmith Odeon di Londra per vedere suonare “The Who“, una delle maggiori band di rock degli anni ‘70 (quelli di Tommy, per intenderci…) che si sarebbero esibiti dal vivo dopo la morte del loro batterista Keith Moon, e dopo un tragico incidente in uno show negli USA in cui morirono 11 spettatori di un loro concerto. Il programma prevedeva 2 band di supporto la prima “The Pretenders” (all’epoca avevano pubblicato un solo “singolo”) fu letteralmente cacciata dal palco dopo 3 pezzi al grido di “Nuda! Nuda!” all’indirizzo di Crissie Hinde. La band successiva erano “The Specials”. Qui accadde qualcosa che non mi è mai capitato di vedere: una band di supporto che “letteralmente” ruba la scena: propone uno spettacolo entusiasmante, divertente ed in totale e perfetta “sintonia” con il pubblico (10 volte di più della media dei loro spettatori abituali) e viene letteralmente costretta a ri-suonare le proprie canzoni da capo… uno show previsto per una mezz’oretta durò quasi un’ora e mezza (avevano un repertorio di non oltre 60 minuti di canzoni). Il concerto degli Who cominciò con più di un’ora di ritardo sul previsto (e fu anche quello memorabile). Quella sera nacque – non solo per me – il mito degli “Specials”.

La sera del 25 novembre sono andato a risentirli, un po’ timoroso di restar deluso, celebrare i loro 30 anni di attività, proprio nello stesso teatro in cui li avevo visti nel 1979. Dopo 30 secondi le quasi 5.000 persone presenti erano in piedi a ballare e a divertirsi con uno show perfetto e coinvolgente, senza un attimo di respiro. Mi è capitato solo due volte di “augurarmi” che lo spettacolo a cui stavo assistendo finisse presto perché “noi, il pubblico” eravamo stremati: nel 1985 e nel 2003 con Bruce Springsteen (ma in entrambi i casi si era dopo la terza ora di concerto…), stavolta –  quasi me ne vergogno, dopo un’ora e venti ero già al “lumicino”… sarà l’età…

Qui c’è il brano con cui hanno chiuso il concerto (il mio cellulare non è gran che…).

All images © FOX

[Ed. Note-- Hello monsters! You all know Erika, Glee recapper extraordinaire. Presented is her recap of last week's show. Season 1, Episode 10: "Ballad" SPOILER ALERT, duh.]

Last week: Everyone was handicapped and Sue Sylvester was human.

Will has a pop quiz for our favorite little singers: What is a ballad? Brittany says it’s a male duck. That would be a mallard, sweetie. Kurt contends that it’s a love song, which is close, but not quite. Apparently, new sectional rules require a ballad (Thanks indirectly to Rachel). On that note, just how many songs will New Directions be performing at sectionals?

Anyway, Will is dividing the Gleeks into pairs to sing ballads. Matt (the not-Asian football player) is at the hospital because of a… spider in his ear? Or would that be a nifty tool that many stumped writers refer to as a plot device? So Will is taking Matt’s place for the time being.

If that isn’t enough, Will wants the pairs to be decided by fate. The match-ups are as follows: Puck with Mercedes, Artie with Quinn, Finn with Kurt, Tina with “Other Asian” (Does anyone know his name?!), and Santana with Brittany. Kurt looks like his wildest dreams are about to come true.

Will, who is saddled with Rachel, does not look as enthusiastic. Artie asks for clarification on what a “ballad” is and clever Rachel suggests a demonstration. Will and Rachel sing the Lionel Ritchie and Diana Ross duet “Endless Love”. The voiceovers speak for themselves.

While Kurt, Puck, and Finn are thinking about Diana Ross, underwear (er…lack of it), and butts, Rachel is falling head over heels in love with Will. Will, on the other hand, realizes he made a bad call. No, really?

Meanwhile…Quinn is getting married. No, wait, she’s just getting into a white lacy dress in preparation for the Chastity Ball. Huh. While her mom gushes, Quinn is missing her Cheerios uniform. The fallen cheerleader captain is putting on the baby pounds, which makes her dress just a tad too small. Her mother is delightfully unsuspecting… right? Quinn’s dad, excited about the dress, the ball, and Glenn Beck, announces that he’s invited Finn over for Sunday dinner. The daughter looks… terrified.

Rachel is traveling down a dark road. She schedules a present and gives Will a satin, star-covered tie. What?

In other news, Emma is back! And blurting things about Will’s major sex appeal. We love Emma. Sit tight, kiddies, because Will has the harrowing tale of Susie Pepper to share with our dear guidance counselor.

Susie is strange, socially awkward, and mildly attractive. Oh, and completely obsessed with Will. Or was. Until Will got sick of the presents and the stalker phone calls at 3am and told her to stop. She then attempted suicide with… the hottest pepper in the world? Only in Glee. Luckily, she lived, after an esophagus transplant, three days of a medically induced coma, and intense psychotherapy.

Emma, in her wisdom, suggests that Will should sing his feelings to Rachel.

Kurt and Finn are working at their ballads. Finn snaps at Kurt. Kurt blames it on girls. Is he trying to turn Finn? We’re rooting for you, Kurt.

Finn, completely clueless, spills on his anxiety about Quinn giving away the baby. His baby. Er…what he thinks is his baby. Kurt has a song ready for Finn to sing. And we learn that Kurt plays piano. Why are all these children so talented?!

Finn gives a rendition of “I’ll Stand By You” from The Pretenders.

He sings it… to the sonogram. Maybe he should think about investing in a better football helmet, once he’s done paying baby bills.

However, he should have done this with his computer facing away from his door because Momma Hudson walks in and sees him singing to the sonogram. Busted! She confronts him and he breaks down in tears. She holds him and tells him that everything is going to be okay—the perfect, understanding parent.

Quinn, however, is not happy. She is pissed that Finn broke down and received comfort from his mother because no one can patch up her chew toy. Right? Honestly Finn, baby that is not yours aside, what do you see in her? The other Gleeks look on, pitying the constant baby drama.

Kurt is acting as an inside agent. And still trying to convince Finn to be gay. “It’s because she’s a girl,” he says. Our Kurt admits to being madly in love with Finn, his “knight in shining armor.” He says it only got stronger after bonding over Glee, football, and skin care. (O…kay?)

Kurt finds Finn’s stupidity “charming.” His ultimate plan? Get close to Finn so that he’ll be the shoulder for Finn’s tears when Quinn disappoints him. Which she will. Hopefully.

At practice, Will has a ballad for Rachel. Emma is also present, saying that she wanted to learn the “power of the ballad” for SAT prep.

Actually, she was there for moral support. Also, Will needed a witness, in case the plan went foul.

Will sings a mash up of “Young Girl” by Union Gap and “Don’t Stand So Close to Me” by The Police. Wow. Will has quite the dreamy voice.

Emma and Rachel are loving it, especially when he belts it out on the piano.

I’m sorry to say this Will, but this was NOT a good idea. Rachel totally misses the intent. Emma’s moral support evaporated into breathless fan girl applause.

Oh, and now Susie Pepper is stalking Rachel.

So Kurt is helping Finn dress for dinner at the Fabray’s. They discuss their respective dead parents (because Finn is raiding his dad’s old clothes) and get onto the subject of the baby. He compares himself to his father and gushes about how pathetic he is because he can’t tell Quinn’s parents what is going on. Kurt suggests having the right weapon.

Kurt suggests that Finn use that “power of the ballad,” which is like the Gleek equivalent of the Force. Use the Ballad, Finn, use the Ballad!

Meanwhile, Will comes home to… Rachel? Oh snap.

As it turns out, Terri let her in. That crazy woman, amused by the crush, is exploiting Rachel’s feelings and applying it to housework. Like cleaning.

Terri is afraid that Will is going to leave her. Angry with his “slightly” unbalanced wife, he storms out of the house to take Rachel home.

Rachel tries to practice the ballad with Will. Her song choice? “Crush” by Jennifer Paige. Yikes.

Just as she gets started, Will cuts her off and asks her about Puck. Go Will. Massive save.

Later, Susie is threatening Rachel about Will… or is she?

As Rachel storms off to stalk Will or something, Mercedes is chatting on the phone with Tina about pregnant hamsters. And the baby drama.

She and Puck are just getting ready to start their rehearsal when Mercedes tells him about the group’s plan to sing a ballad to Quinn and Finn. Puck feigns indifference. And then blurts out that he’s the father.

Whoa, Puck! Mercedes, however, stays relatively cool. She tells Puck that Quinn chose Finn and to stop messing with her life.

Poor Puck. He really lacks sympathy.

It’s dinnertime with the Fabrays! Daddy Fabray is toasting to his wonderful family when Finn freaks out. He retreats to the restroom and calls his new best bud, Kurt. Kurt tells him to relax and remember what they practiced. Uh oh. That did not sound good. About to give him more advice, Kurt is cut off with, “I have to go. They’ll think I’m pooping.” Finn spends a couple of seconds in the mirror getting pumped.

Go get ‘em, tiger.

Wait… what?

Quinn’s warning alarms start to go off when Finn walks back in with a kitchen radio. Finn, ignoring Quinn’s protests, starts to sing “Having My Baby” by Paul Anka.

BAD FINN. VERY BAD FINN.

At first, the Fabray family thinks this is a cute joke. Finally, Daddy Fabray gets the message and stops the music. He is pissed.

Cue family conference time. Daddy Fabray is mad, Mommy Fabray is quiet, and Quinn accuses her mother of knowing all along and not helping her when she needed it. She says that in their family, “If you don’t talk about it, it doesn’t exist.”

Quinn is kicked out.

She begs her father for forgiveness, and help.

He leaves and tells her to get out.

Finn and his mother take in the pregnant teenager.

Then, to distract us from all the serious drama (PHEW!), Susie and Rachel have a bathroom heart-to-heart. She tells Rachel that they’re alike, looking for “boys we can never have.” Susie, the cautionary tale, leaves Rachel with a lot to think about.

Rachel and Will are now in practice. Will stops her before she says anything else and lays his cards on the table. He seems to be bracing himself for the worst when Rachel says she understands. She even brought pink flowers as an apology. Oh, and a note that says:

Will consoles her and tells her that someday there’s going to be a boy that will like everything about her. Then they ditch practice.

But Kurt and Finn are still at it. Kurt actually looks like he feels bad for what his master plan did to Quinn. Yeah, your plan kind of sucked, Kurt.

Trying to lighten the mood, Finn turns the subject to Kurt’s ballad. Kurt blurts, “I honesty love you.” Finn, our star quarterback who always wears his helmet, thinks that this is the title to a “positive and nice and stuff” song.

Mercedes comes in and saves Kurt a potentially awkward explanation. They lead Finn into the choir room. The rest of the Glee club starts the beautiful rendition of “Lean on Me” by Bill Withers. Artie and Mercedes sing the leads. Chills.

Finn is smiling and Quinn is on the verge of tears. The club drags Finn and Quinn out of their chairs for a Glee dance circle and lots of hugs. Mercedes has a killer high note that rounds off the episode with a hopeful, wonderful feeling.

Next Week [Ed. Note: Tonight, we know]: Sue returns to being a kitten-eating monster, we meet the competition, and people turn into hippies.

Hace 17 años debutó Radiohead con su single Creep, una canción emblemática que les abrió las puertas del éxito. Aunque no la tocaron en directo durante un tiempo como reacción al temido encasillamiento, está considerada como una de sus mejores composiciones. Muchos han sido los artistas que la han versioneado. He seleccionado dos de entre todos ellos para que la comparéis con la original. En el siguiente video la podéis disfrutar en un lugar exótico, en el MTV Beach House en 1994.

El neoyorkino Moby es uno de los que se han atrevido con la que es para muchos fans un himno. El bisnieto del escritor Herman Melville, autor de la novela Moby Dick de la que coge su apodo, la ha tocado en varios conciertos. En el video por ejemplo tenéis la brillante interpretación que hizo en el Festival de Glastonbury.

Chrissie Hynde y sus Pretenders la adaptaron en formato acústico para incluirla en su box set Pirate Radio del 2006. La maravillosa voz de la ex de Ray Davis (The Kinks) y de Jim Kerr (Simple Minds),  ofrece otra visión de la canción que la hace especialmente atractiva. No os arrepentiréis de darle al play.

Grupo: Radiohead

Inspiración: “Radio Head” de Talking Heads

Radiohead en principio se formaron bajo el nombre On a Friday, porque era el único día de la semana en el que podían reunirse para ensayar. Sólo cuando un crítico musical apuntó lo aburrido del nombre en contraste con su energía lo cambiaron por el del tema ‘Radio Head’ del disco de Talking Heads ‘True Stories.’

Grupo: The Rolling Stones

Inspiracion: Rollin’ Stone’ de Muddy Waters

“Me robó la música,” eso es lo que dijo el gigante del blues Muddy Waters (que tuvo un enorme éxito en 1948 con el tema ‘Rollin’ Stone’) de Mick Jagger, añadiendo “pero me devolvió el nombre.” Aunque no literalmente, ya que Muddy, McKinley Morganfield, recibió su apodo musical por su conocida predilección por jugar en el barro cuando era pequeño.

Grupo: Judas Priest

Inspiracion: The Ballad of Frankie Lee and Judas Priest’ de Bob Dylan

“En principio, sí, bautizamos a la banda como la canción de Dylan,” confiesa el bajista de Judas Priest, Ian Hill. Sin duda alguna, hoy en día no serían los dioses del metal en los que se han convertido si hubieran elegido en su lugar la parte sobre ‘Frankie Lee’ del título del tema de Bob.

Grupo: The Pretenders

Inspiracion: The Great Pretender’ de Platters

Según una versión de la historia, Chrissie Hynde estaba una noche de juerga con unos colegas rockeros y uno de ellos quería ponerle su canción favorita. Tras asegurarse de que ninguno de sus amigotes estaba cerca, le puso el clásico de Platters ‘The Great Pretender.’

Grupo: Jet

Inspiracion: ‘Jet’ de Paul McCartney and Wings

Los responsables de ‘Are You Gonna Be My Girl’ suenan a todo menos a Beatles. Así que se fueron a un tema de la otra banda de Paul McCartney, The Wings a la hora de buscarse nombre. En agosto de este año editan nuevo álbum, ‘Shaka Rock’.

Grupo: Godsmack

Inspiracion: God Smack’ de Alice in Chains

A pesar de admitir conocer dicho tema, Godsmack insisten en que no son ninguna especie de clon de Alice in Chains y han alegado varios orígenes a su nombre. El más plausible es que venga de la que dicen es una de sus frases favoritas: “God will smack you for that one”, que en español traduciríamos como “Te va a castigar Dios”.

Plus: Los dejamos con un video de Godsmack:

A chi tocca adesso? Mmmh… ma sì, un’idea ce l’ho. Però prima vi ricordo che potete votare le vostre 4 canzoni preferite sulle 15 proposte, nella pagina “Sondaggi in corso”, avete tempo fino a sabato ok?

Adesso ci ascoltiamo la rock band inglese, The Pretenders con il loro singolo che se non ricordo male è degli inizi degli anni ‘80.
Brass In Pocket!

I heard this rumor that, once again, Santa is bringing a pair of Flogging Molly concert tickets to my husband for Christmas.  I certainly hope this rumor is true, Flogging Molly is fantastic live.

The Green 17 tour, is Flogging Molly’s annual (in it’s 6th year) St. Patrick’s Day tour.  This year, as in years past, the tour stops at Cleveland’s House of Blues. Unfortunately, the tour is only booked for one night in Cleveland.  I believe both shows were sold out last year.

Tickets went on sale, through Ticketmaster, yesterday (November 13th) at 10 am.  At 10:01, when I was finally able to log on, all reserved seating was already gone.  That really stinks.  I know that certain groups get preferential access to the “good seats” but really, come on.  And it also stinks that this year’s general admission tickets cost the same amount (to the penny) as last year’s reserved balcony seating.  Ouch!

But more importantly, back to the huge disappointment of being unable to even have a shot at reserved seats at the time that tickets officially go on sale.  How many tickets did Ticketmaster preferentially sell to their “partially owned” scalping company?  I like how, when I tried to buy reserved seat tickets for the the Pretenders last year, a link came up sending me to Ticketmaster’s scalping company, TicketsNow, which was selling reserved seats at $174 each!  What total nutter would pay $174 plus fees to see the Pretenders play that awful country-esque music that was their latest album and listen to Chrissie Hynde repeatedly curse out audience members for taking her picture? All I wanted to hear were the classics, which she interrupted by again yelling at the audience.  Oh Chrissie! Poor, poor Chrissie.  What a terrible time you had.  Those awful, awful people taking pictures of you.  How insulting!  You have my deepest apologies for the way my fellow concert-goers behaved.  The savages!

At least I wasn’t directly linked to that other company when trying to buy the reserved seats for this concert.  I actually had to look them up, forgot the company name.   Apparently, they have no reserved seats either.  (not that I would buy them, as I am still operating under the assumption that the rumor, of Santa buying a pair of tickets, is true.  also, the general admission tickets on TicketsNow are $59 to $72!  The concert is not yet sold out and tickets are only $29.50!)

While I was looking up a few things (mostly the name of the scalping site), I was again reminded of the cruelness of being a music fan in Cleveland now (as opposed to being one 20 years ago when Cleveland was such an important part of the music scene that every band played here!). Shit, now Cleveland is such a joke, the Rock Hall won’t even host it’s inauguration ceremonies here! Seriously? How is that acceptable? Ever? The taxpayers paid for that building, our citizens continue to support the “foundation” through patronage, attendance and donations, and we can’t even hold the ceremonies here? It’s a huge insult to the city and its people.  (Oops, sorry,  really, really sore topic). Even Pittsburgh gets my favorite bands, but we don’t.  Anyway, while I was looking at the scalping site, I saw that the Arctic Monkeys (ooh, love, love them) are still playing US dates.  But none of those dates are here.  They played Columbus and played that Mr. Small’s in Pittsburgh, but no Cleveland.  Big sad sigh.

Last year, out of only a few US dates, Stereophonics also was scheduled to play Mr. Small’s.  I even had tickets.  We drove all the way to that awful town of Milford, PA (which I swear is an even more depressing version of the city from the movie Silent Hill) and they cancelled! Cleveland has some very nice venues.  Our even have parking! And our streets are not frighteningly steep and brick paved.  And yet, we still don’t rank enough to get Arctic Monkeys and Stereophonics.  Again, big sad sigh.

Too bad Santa can’t make the Arctic Monkeys play Cleveland.

Despite the attitude on the shirt, Chrissie Hynde is willing to roll with new technology.

The Pretenders are back!

Break up the Concrete, the first release since Loose Screw (2004), was recorded with a new lineup of musicians behind Chrissie Hynde over the course of only 10 days. The new release is a mix of the Pretenders’ ’80s New Wave rock and post-2000 distribution to a new, younger audience. Early album reviews reported a “raw, rootsy feel” to the album, due in part to the lack of timely refining.

Yet do not be fooled! Although the feel of the new album may recall a distinct feeling of 1983, the album will be distributed both in stores and online – for free. In a press release last week, Shangri-La Music announced the new distribution route for The Pretenders.

Each week, tracks from the new album will be available for download at a different web host. The first song, “Boots of Chinese Plastic,” is available through AOL’s Spinner.com. Subsequent tracks will be available through other partners, including Apple Quicktime, iLike, iMeem, MP3.com, and VH1 Classic.

Not willing to search all of those sites for your Pretenders fix? Just go to thepretenders.com for a link to the download pages.

The method to their madness? Says Shangri-La’s Jeff Ayeroff, “The oldest and most basic form of exposing music is through word of mouth and the newest way is through the internet. This campaign combines both word of mouth and the muscle of 11 major online media partners and will allow people to hear how truly great this album is. Anyone who hears any of the tracks onBreak Up The Concrete is going to tell everybody about it.”

Judge for yourself if Hynde & Co. still have it.

Click here for track 1: “Boots of Chinese Plastic.”

Click here for track 2: “The Nothing Maker.”

Enjoy.

Chrissie Hynde has said that she hates this song. So much so that she wants to escape when it comes on the radio. Since it is, after all, the ultimate empowerment rock song, she’s outta luck.

P.S.  I’m sorry I’m not going to e-mail you back today.  It’s not because I don’t want to.

When I first heard this song, Under A Raging Moon by Roger Daltrey, I was blown away by it.

Although I was aware of The Who, it was this song (I still have the 12-inch single somewhere) that really inspired me to find out more about the band and their music.

The song comes from Daltrey’s 1985 album of the same name, released as a tribute to The Who’s drummer Keith Moon, who had died of a drug overdose seven years earlier.

Big Country’s Mark Brzezicki played the drums on all the songs on the album but on this track he was joined by some of the leading drummers of the day to provide their own tribute to Moon. They were: Martin Chambers (The Pretenders), Roger Taylor (Queen), Cozy Powell (Rainbow/Whitesnake/Black Sabbath), Stewart Copeland (The Police), Zak Starkey (son of Beatles drummer Ringo Starr, who would later play with The Who and Oasis) and Carl Palmer (ELP/Asia).

Incidentally, the song was co-written, believe it or not, by John Parr, best known for his 1985 hit St. Elmo’s Fire (Man In Motion), the theme song from the Brat Pack movie.

Here is a live performance of the song from some time around 1985 (although the drum parts appear to be on a backing tape):

And here, as a bonus, is the original album version:

The Pretenders. Viva El Amor!

!!!

1999, Warner/A&A Records

Primul contact cu noul material este aspectul coperţii simpliste (care putea fi făcută de o casă de discuri din România). Aici o vedem pe Chrissie Hynde luând o poziţie “revoluţionară” într-un stil caracteristic pentru Ernesto “Che” Guevara. Oricât de non-conformistă ar vrea să pară, vocalista cântă cam acelaşi rock melodic cu care ne-a înnebunit la începutul anilor ’80. Divorţată (de Jim Kerr, de la Simple Minds) şi cu un copil de 16 ani (]n prezent, 26; conceput cu Ray Davies de la The Kinks), Chrissie are o experienţă de viaţă pe care multe o suplinesc uitându-se la telenovele! Aceste decepţii în dragoste sunt întoarse pe toate feţele lor în textele melodiilor de pe acest material.

Începutul, reprezentat de Popstar (o piesă cu mai mult decât un iz de Pulp Fiction, în care Kylie Minogue este atacată) şi Human (o melodie clădită pe câteva note specifice celor de la James) este foarte dinamic. La un moment dat, Chrissie simte nevoia s-o imite pe Janis Joplin (în One More Time)… iar singura justificare acceptabilă pentru existenţa piesei Rabo de Nube (cântată în spaniolă) este titlul albumului… Alt cântec, al cărui înregistrare merită discutată, este Legalize Me. Chiar dacă mişcarea de legalizare a drogurilor prinde proporţii din ce în ce mai mari (dincolo), nu trebuie ignorat faptul că doi dintre membri fondatori ai formaţiei Pretenders au murit datorită consumului exagerat de halucinogene şi “ierburi” antidepresive (este vorba de primul chitarist, James Honeyman-Scott – †16.06.82 şi de primul basist Pete Farndon – † 15.04.83). Deşi trip hopul Samurai este una dintre puţinele încercări concrete de reinventare muzicală a formaţiei, Dragway 42 şi Biker ne poartă pe un val de başi plăcuţi timpanului, cea din urmă oferindu-ne totodată finalul elegant pentru un album dedicat vechilor fani. Acesta a fost primul ei material după Last of the Independents (1994).

Au mai urmat două albume până în prezent Loose Screw (2002) şi Break Up The Concrete (2008).

Una par de canciones de Pretenders sobre el amor.

The Pretenders

http://open.spotify.com/track/0ERVouc4XQrUgzekR7AJDD

The Pretenders – The Isle of View – I Hurt You – 1995

http://open.spotify.com/track/2ZgDnzoG22lfJiTTGp7oMi

The Pretenders – Pretenders II – Message of Love – 1981

I’m not here today to argue the relative strengths and weaknesses of comedy powerhouse Jack Black. I’m only here to say “When it’s right, it’s right.” The following 10 songs would be just that for Mr. Black…Right. Jack, if you are reading, there’s an album in here and a video DVD. Call me if you would like to discuss further.

10 –> For Those About To Rock (We Salute You) … AC/DC … This is pure rock genius and this list would be incomplete without it. It’s as if the song was written for Black.

9 –> Iron Man … Black Sabbath … Seeing Black in some form of GWAR-like costume aping the iron-clad hero delivering that iconic first line would be pure poetry. An epic Norse saga of death and destruction, but poetry nonetheless.

8 –> Brass in Pocket … The Pretenders … The sexual tension of the song would give Black a LOT to work with. I would be looking for a bit more metal vibe than the original had from Jack’s cover, but I don’t think I really need to say that.

7 –> Young Turks … Rod Stewart … I want to see this. I need dancing. Fame Style. Street Magic. Breakin.’ With Black leading the way.

6 –> Rainbow in the Dark … DIO … Ronnie James Dio? Hell yes! This video will tell you all you need to know. Listen and rock. Now.

5 –> Lay It on the Line … Triumph … Realistically, “Triumph” should be all I need to say, here. This is tailor-made for Black’s razor-sharp wail and over-the-top style.

4 –> Life is Just a Fantasy … Aldo Nova … 6th grade. WCMF Rochester, NY. I think this has enough ridiculous drama to it to bring out the best in Black.

3 –> The Rainbow Connection … Kermit the Frog … The sensitive side, here. A bit of hyperbole is in order and I’m thinking a direct recreation of the scene from the Muppet Movie, frog suit and all. (As a serious aside, I do really LOVE THIS SONG and it never fails to make me tear up. What can I say?)

2 –> Cherokee … Europe … Holy CRAP, this would be hilarious. WATCH THIS GEM and imagine a Black version. Wow. Just wow.

1 –> Children of the Sun … Billy Thorpe … IF YOU ONLY LISTEN TO ONE SONG HERE, listen up. This is SO Jack Black that it pains me. JACK, PLEASE RECORD THIS SONG. Full on! Viral gold in the making, here.

Rock on!
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La banda sonora de esta película de Kenneth Branagh es un compendio de rock y pop de los ochenta que incluye nombres como The Pretenders, Cyndi Lauper, Paul Young, Eric Clapton, Elton John, Queen, Terence Trent D’Arby, Prefab Sprout, Tina Turner, Deacon Blue o The Pasadenas, con la incursión añadida de una clásica del jazz como Nina Simone.

Sin duda, rescataremos más temas esta banda sonora. En esta ocasión nos quedamos con la canción que abre la película, Everybody wants to rule the world, de los británicos Tears for fears, que actúa como hilo narrativo entre el prólogo de la película, situado en 1982, y el reencuentro de los protagonistas diez años después que constituye el motivo de la trama, mientras por la pantalla van desfilando acontecimientos de la vida pública británica acaecidos durante ese tiempo: la elección de Margaret Thatcher como primera ministro, la guerra de las Malvinas, las huelgas mineras, la boda de Carlos y Diana, las tragedias mortales en distintos campos de fútbol, la elección de John Major…

Y además, otro clásico, Hungry heart, de Bruce Springsteen, que engrosa la parte americana de la banda sonora.

“Don’t let the past remind us of what we are not now”-CSN

Yes, there is certainly wreckage to be cleaned up, but it is pointless to dwell on the past. What matters is what’s happening now. And right now it feels really good to be clean. Today I’m a Wharf Rat, as we say in the tribe.

While I know I’ve still got a long way to go, Chrissie & The Pretenders had it right when they sang “I’m not the cat I used to be.”

Thank God for that.

Scarjo in the recording studio; image courtesy of actressarchives.com

Scarlett Johansson wants to be considered a hyphenate. And not by joining her surname to husband Ryan Reynolds’s. She wants you to think of her as both actress and singer.

Now, I’m not sure when hyphenates like “actress-singer” or “singer-model” or “model-actress” became a punchline, but I think it suggests a certain snobbery toward classical training and finely-honed technique, usually acquired from years of stage work. Having just watched another episode of Glee, I wonder if guest-star Kristen Chenoweth and principal Lea Michele, both Broadway babies, lend legitimacy to the hyphenate. You could sub in any number of singing actresses with considerable stage training for more examples — Patti LuPone, Julie Andrews, Rita Moreno, Bernadette Peters, Vicky Lewis, Jane Krakowski, the mother-daughter legacy that is Judy and Liza.

Jane Krakowski as Lola in Damn Yankees; image courtesy of playbill.com

And yet, if actresses like Scarlett Johansson, Juliette Lewis, and Gwyneth Paltrow try to establish a musical career, their efforts are dismissed with a derisive chuckle (okay, admittedly, GOOP made Paltrow more of a punchline than Duets ever could). 

But Johansson is an interesting case, because she seems to want to tap into some of the indie caché that fellow It Girl Zooey Deschanel has cultivated with projects like She & Him, if not at the very least balance it with an attempted career in the imagined, perennially just-emergent film musical revival.

Johansson has made music for some time, having taken music and dancing lessons as a kid. Fans of Lost In Translation, her break-out movie from 2003, were perhaps charmed by her performance of The Pretenders’ “Brass In Pocket” during the scene at the karaoke bar. I know some girls who donned that pink wig for Halloween.

Johansson also leant her vocals to a cover of George Gershwin’s “Summertime” for a charity album in 2006 and performed with proto-shoegaze royalty Jesus and Mary Chain at Coachella back in 2007. Again, anyone who saw Lost In Translation can walk through the big symbiotic moment that results from having the actress sing a song featured in the movie that made her a star. That she is alongside the band that authored such a legendary song in the first place and performing it at such a public, credible venue as Coachella should not be overlooked. 

But Johansson’s first widespread effort to tap into hipster-approved musical ventures was her Tom Waits covers record, Anywhere I Lay My Head. Pointedly, this effort was widely dismissed by its target audience. The critics were not kind, dismissing it as a vanity project, discrediting Johansson’s ability, and crying offense that some starlet would dare cover the songs a musical legend like Tom Waits.

Cover of Anywhere I Lay My Head, released in 2008 on Atco/Rhino; image courtesy of tomwaitsuper.blogspot.com

Now, I don’t consider Waits’s ouvre or anyone else’s to be a sacred text. Songs are malleable. What’s more, covers are really fascinating. When they’re bad, they test what you actually like about the original. When they’re good, they can be transcendent, forcing you to rehear a song you already know and love. The Wire faced this each season when they re-worked Waits’ “Way Down in the Hole” for the opening credits, the original only being heard in season two. Let it be known that I think Steve Earle’s pedantic version for season five that swipes from the theme to Law and Order made me question if this song was actually good. Conversely, The Neville Brothers’ version in season three reminded me that it totally was.

Oh, have you seen The Wire? If you haven’t, you should.

For me, then, it wasn’t so much that Johansson, an actress, dared attempt reworking the songs of the (male) master. I could think of far worse things Johansson could do with her time and resources (get arrested for drugs, get cosmetic surgery, get really skinny, make another movie with Woody Allen).

My big frustration with her Waits covers record, which is where I ended up siding with some of the critics, is that I couldn’t actually hear Johansson. Perhaps putting her vocals so far down in the mix was meant to free her from any tethers to the master’s words. But, to my ears, it kind of sounded more like an attempt for producer David Sitek to upstage her, twiddling knobs and piling on layers of reverb so that her voice lent a “cough medicine/Tinkerbell“ vibe to the proceedings. Sitek’s futuristic, anthemic sensibilities usually do it for me, particularly with the work he’s done with Telepathe, The Yeah Yeah Yeahs, and his own band, TV on the Radio (aka my favorite band, aka the rock band of the 2000s). But here, I was like “oh, this is really his record.” It seems to make all the difference when she sings the song live.

Despite this setback, Johansson continues to make music. Last summer, she covered Jeff Buckley’s “Last Goodbye” for the soundtrack to He’s Just Not That Into You, a movie I did not see because I figured an ensemble rom-com of needy skinny women, aloof men, and Wilson Cruz being underused would make me yell “feminism!” and throw tampons at the screen and that’s why we watch movies at home. I can’t valorize her efforts, because the original is a song that made me so swoony for the beautiful boy singer that I taped a photo of him in my notebook and spent my allowance money on Grace. Johansson’s version, on the other hand, reminded me of Vonda Shepard. Tepid execution of such a powerful song makes me feel like a wet noodle.

But now Johansson has recorded Break Up, an album she did with Pete Yorn (who has not had the effect on me that Buckley has, but he seems nice enough). If you’d like to hear some songs off the album, along with their interview with NPR, check it out here and then thank my friend Kristen for, once again, pointing you (and me) in the right direction.

Cover to Break Up, released in 2009 on Atco/Rhino; image courtesy of forthempire.info

Yorn had Serge Gainsbourg and Brigitte Bardot’s collaborations in mind when composing these songs and casting long-time friend Johansson, who he felt was today’s version of the French bombshell.

The music itself sounds fine, and definitely lines Johansson up more closely with the indie-friendly retro cool Deschanel has found for herself. I still feel like her voice, while more expressive and interesting here, seems a bit flat and projectable. And, of course, there’s something potentially unsettling about Johansson being linked with men like Yorn and Sitek who seem to have a little too clear a vision of what they want to construct instead of fostering a more openly collaborative relationship. One could easily extend this reading into a comparison of patriarchal impulses surrounding production between musicians and movie directors. 

So while I don’t want to suggest that Johansson isn’t singing for herself, I also hope she keeps striving to find her own voice.

Take out your iPods and iPhones and hit shuffle! Here’s the first five songs that we came up on ours this week:

Autumn:

1. Ra diohea_d  RainyDayz Remixes by Amp_Live: ‘15 Stepz’ (ft. Codany Holiday)

Even though Radiohead has said recently that they no longer feel the need to produce album length work, the way they released In Rainbows on the last minutes of my birthday a few years ago was genius: pay what you will, fans, and download it now. They followed the album with In Rainbows 2, a shorter release and a variation on the original theme, and then came the Remixes. I loved that In Rainbows continued to keep coming back at me in differing variations; I never wanted the album to end. ‘15 Stepz’ totally re-envisions the kinetic first song of the album with downbeat tempos and soul vocals.

2. The Charltans: ‘A Man Needs to Be Told’

The chorus of this song is lovely, with its distorted ‘do do do do do do dos’ and sweet lyrics to remind a man there’s a whole lotta world going on.

3. Michael Jackson: ‘The Girl is Mine’

Love this song, love the video, love that Michael and Paul fight over the same woman. It crescendos with Paul’s ‘I don’t believe it!’ and you think MJ might just have this one in the bag.

4. Cat Power: ‘Ramblin’ Woman’

Chan does Hank and it is earth-shaking. That crazy broad’s got the voice to do this song, and the past to make it real.

5. Radiohead: ‘Mk1′

Please see #1.

Wendy:

1. Radiohead: ‘All I Need’

Honestly, I can’t say much about this song.  I still haven’t given In Rainbows a fair listening to.  Dare I say it, but I’m a little Radiohead’d out.

2.  The Beach Boys: ‘Here Today’

I should listen to this song more often.  I am all for a good anti-love song.

3.  PJ Harvey: ‘Rid of Me’

PJ making psycho sound sexy, like she always does.  This was the first PJ Harvey album I ever owned.  It was just what I needed in high school.

4. Tony Galla & The Rising Sons: ‘In Love’

One of the random old soul songs that I have.  I don’t believe one can own enough old soul, so I just keep acquiring more and more.  I love it when one pops up on shuffle.  They always put me in a very distinct frame of mind.

5.  Guns n’ Roses: ‘November Rain’

I laughed out loud and thought “YES!” when this one popped up.  My second thought was about how I’ve never taken this song on during karaoke.

Jen Mae:

1. Daniel Johnston: ‘I’m Nervous’

This song is from one of my favorite Daniel Johnston albums, Welcome to My World. It’s a compilation of what I think are some of his best, older songs, but it also includes a few newer gems. Critics have debated Johnston’s musical prowess, but I think he’s a superb songwriter.  His lyrics possess a vulnerability that I can certainly relate to.  Maybe you can too. He’ll be playing at the Highline Ballroom on October 14th.  I wish I could go.

2. Lambroula Maria Pappas: Donna È Mobile

This was definitely an impulse purchase.  It’s from the World’s Very Best Opera for Kids… in English! I bought it while I was pregnant, thinking that I would play it regularly for my daughter, but I’ve come to find that I cannot stand opera in English. It just sounds awkward to me.

3. Language Addicts: ‘Characteristics (Recognize)’

This is a recording of common Greek expressions used to describe physical characteristics. I’m trying to learn Greek so I can eavesdrop on all of my husband’s relatives. They always look like they’re saying something really juicy. I listen to this album all of the time while I’m working around the house.

4. Elizabeth Mitchell: ‘Three is the Magic Number’

Now here’s a song that I love, love, love! The original Schoolhouse Rock tune has been covered over and over again, but I absolutely adore this version by Elizabeth Mitchell and Daniel Littleton. This is another record that I purchased for my daughter while I was pregnant, but I play this one for her almost every day and she loves to sing along and dance to it. My heart gets really warm when I hear this song because I think of what a beautiful trinity my little family is. If you have children, know someone who does, or just like mellow, lo-fi music, you can listen to and find out more about Elizabeth Mitchell here.

5. Booker T and the MGs: ‘Jellybread’

One of Stax Record’s greats! I can’t listen to Booker T and the MGs and be in a bad mood at the same time.  There are undoubtedly funkier songs on this album, but ‘Jellybread’ still makes me shake my rump.

Jenni:

1. Lucinda Williams: ‘Fruits of My Labor’

Love, love, LOVE her.  Saw her play at Radio City a few years back and was blown away.  She’s an amazing poetess who is uber-country but all attitude.  Makes me want to wear red cowboy boot shit-kickers.  I can’t help but sway and swoon every time I hear this song.

2. Crooked Fingers: ‘Destroyer’

I have a very soft place in my heart for Eric Bachmann.  Like many bands, they remind me of Gainesville because I saw them play at the Covered Dish, circa 2000-ish.  This song is a slow ditty with lots of croons and electric guitar.

3. The Evens: ‘All These Governors’

I love this duet, but of course I’m always a sucker for a guy/girl duet, plus this one has the added bonus of the two singers being sweethearts.  Oh, gush, gush.  The Dischord sound always fondly reminds me of living in D.C.

4. Lifesavas: ‘Shine Language’

This is from the “Gutterfly” Soundtrack.  I honestly didn’t even know I had this in iTunes; I don’t think I’ve ever even listened to it and I haven’t seen “Gutterfly!”  That said, on first listen, it’s not bad hip-hop, I guess I have to put “Gutterfly” in my Netflix queue.

5. Jawbox: ‘Reel’

Reminds me of living in a dormitory my freshman year in college, back when I really didn’t know what music I should like.  At the time, I was being introduced to so many new, great bands who weren’t being played on the ever-so-plentiful classic rock stations of Central Florida.  It all seemed so fresh and interesting.  So, a good feeling tune.

Lisa:

1. LCD Soundsystem: ‘45:33′

Me, my brother, and a group of his friends usually have a Nike+ challenge (the whole iPod pedometer thing) going on. From time to time Kevin also finds/creates running playlists and shares them. This one is a little too dance/trance for my musical tastes, but it did entertain on one 45-minute run to check it out.

2. Aretha Franklin: ‘Respect’

Great live album. I think every track is 10 minutes plus. Each track is its own mini-performance. I like listening to it on weekend mornings, puttering around the house.

3. The Quantic Soul Orchestra: ‘Barbarabatiri’

No idea what this group or track is. About 75% of my iTunes is music sent to me by brother that I download from SendSpace, but then never get around to listening to.

4. Amy Winehouse: ‘I Heard it Through the Grapevine’

From the days of my Amy Winehouse obsession a few years ago. I still really like her voice, but thinking of her makes me a little sad. So much potential!

5. Dana’s Hip Hop: ‘Dana’s Hip Hop 2′

Oh, the days of mixed CDs without track names, but with such inventive names for the CDs (not!). This was from a CD made by one of my college roommates, Dana. On listening, this is Q-Tip’s Vibrant Thing…”Yo, you such a vibrant vibrant vibrant a vibrant thing.” Definitely got some play at college house parties. Now, it might make it into a running mix every once in a while.

Mariela:

1. Stephen Malkmus: ‘Freeze the Saints’

Perfect example of why this Top 5 is genius.  I swear, it’s like I never heard this song before — partly because the song names never imported.  This is Malkmus at his poppiest and softest.  He’s almost Wilco-esque.  Love the intro piano and the drums in the chorus.

2. Neil Young: ‘Lotta Love’

From Autumn’s 2009 Mix CD — my favorite of the year so far.  Young is so vulnerable here and love needs to pull him through.

3. The Pretenders: ‘Thumbelina’

Not a fan of this one.  I don’t dig the zip zip zip, country-rock vibe.  Skip.

4. The Buzzcocks: ‘Soul Survivor’

1:41 of classic punk rock.

5. Deep Purple: ‘Black Knight’

I feel like I’m in Freaks & Geeks.

What are your First Five?