Author: David Medsker (Page 43 of 96)

The Moody Blues: Threshold of a Dream: Live at the Isle of Wight Festival

July 6, 2009 /

Ah, now that’s more like it. The CD that Eagle issued last year of the Moody Blues’ performance at the 1970 Isle of Wight Festival was nice, but seeing the band in action makes a world of difference. Even better, they have rounded up four-fifths of the band for present-day interviews (flautist Ray Thomas retired in 2002) to discuss the show, and keyboardist Mike Pinder dusts off the Mellotron he played at the Isle of Wight show and gives a demonstration. (To give you kids some perspective on the unpredictability of the Mellotron, it’s a keyboard that literally plays loops of tape. Using one in a live show was gutsy, to say the least.) The DVD does not contain the full set that appears on the CD, but the big hits (“Tuesday Afternoon,” “Question,” “Nights in White Satin”) are all here, along with a montage of dozens of performances of “Ride My See Saw,” both in concert and for various television specials. The most amusing aspect of watching the band play live is how restricted singer/guitarist Justin Hayward and bassist John Lodge’s movements were by their gear; the cords that went from their guitars to the speakers were about five feet long. (Eagle Vision)

Click to buy The Moody Blues: Threshold of a Dream: Live at the Isle of Wight Festival

Artists, Concert DVDs, DVD Quicktakes, Pop

Passion Pit: Manners

June 26, 2009 /

Let’s acknowledge the elephant in the room, shall we? Manners, the debut album from Cambridge quintet Passion Pit, sounds a hell of a lot like MGMT. This is not to say that Passion Pit are thieves, mind you; with three keyboard players, a bass player and a drummer, there are only so many ways your band can sound, especially when your singer has a helium-soaked voice like Passion Pit’s singer and songwriter Michael Angelakos. So yes, the band sounds like a streamlined version of MGMT (a.k.a. they don’t dabble in psychedelia), but let’s not throw the book at them just yet. Indeed, Manners is a rather impressive melding of ’80s synth-pop with modern-day technique. Lead single “The Reeling” is stunning, a pop makeover of the Chemical Brothers’ “Star Guitar” with a monster cut & paste drum track. “Folds in Your Hands” has its roots in early ’90s house music, and “Sleepyhead,” with its fairy princess backing vocal line, is insidiously catchy. Whether or not it falls in another band’s shadow, Manners is a good first step; it will be interesting to see where they go from here. (Frenchkiss 2009)

Passion Pit MySpace page

CD QuickTakes, CD Reviews, Dance, Electronica, Pop

Rip! A Remix Manifesto

June 25, 2009 /

A movie about the art form of mash-ups that features mash-ups of the movie within the movie itself? We’re pretty sure we just heard the space/time continuum begin to rip at the prospect. Director Brett Gaylor attempts to make sense of the intellectual property laws that allow some musicians to steal riffs and make millions (Led Zeppelin, the Stones), while other, more cutting-edge musicians are branded as criminals (Girl Talk), and the end result is “Rip! A Remix Manifesto,” a wake-up call to Big Media that, whether they like or not, the rules have changed. Gaylor declares Walt Disney to be the first mash-up artist, and absolutely pummels publishing company Warner-Chappell for refusing to let “Happy Birthday” to enter the public domain (it’s true: if you sing that song, ever, you’re a thief), and for suing Radiohead fans for mash-ups once W-C acquired the rights to In Rainbows. Truth be told, the doc isn’t quite a five-star affair – we were frankly surprised that he didn’t mention when John Fogerty was sued for ripping off one of his own songs – but we’re giving it an extra star because “Rip!” addresses an issue that needs to be sorted out sooner rather than later. Indeed, one could argue that the music industry’s very survival depends on it. (Disinformation 2009)

Click to buy Rip! A Remix Manifesto

Documentaries, DVD Quicktakes, External Music, Songs

Amazing Baby: Rewild

June 19, 2009 /

When UK bands were crashing on American shores during the Britpop boom of the mid ’90s, it made sense that Pulp would have a more difficult time making the transfer than some of their contemporaries. Singer Jarvis Cocker’s lyrics were steeped in class warfare and bedroom politics, meaning that most American teenagers wouldn’t quite understand what it meant to live like common people. Flash-forward a dozen years or so, and Brooklyn band Amazing Baby, born from the ashes of several other Brooklyn bands, lets their Pulp flag fly on Rewild, and the results are intoxicating. Ringing guitar lines, breathy but deathly serious vocals and pogo-friendly drum beats abound, but Amazing Baby are no knockoff band; Pulp, for example, would never have written “The Narwhal,” though Supergrass might have. After enduring band after band of self-absorbed ninnies, to see a group like Amazing Baby actually enjoying themselves is a sight for sore eyes. More, please. (Shangri-La 2009)

Amazing Baby MySpace page

Alternative, Artists, CD QuickTakes, CD Reviews, Melodramatic, Pop, Rock

The Kings: Anatomy of a One-Hit Wonder

June 17, 2009 /

Strange that we would see two releases in the same year about Canadian rock bands that hit their commercial peak in the early ’80s but continue to soldier on, but the entertainment business is funny like that (see: “Deep Impact” and “Armageddon”). However, the Kings, who owned Friday afternoon drive time on rock radio for years thanks to their bouncy “This Beat Goes On/Switchin’ to Glide” and its “Nothing matters but the weekend” battle cry, did not assemble “Anatomy of a One-Hit Wonder” to inspire sympathy; rather, this collection of the band’s music videos and live performances, combined with a 40-minute documentary of the band members describing the origins of “Beat/Switchin’,” is a sweet love letter to both its fans and even casual admirers of their big hit. Singer Dave Diamond, who at times recalls Martin Short, does most of the talking (though that is likely because guitarist John Picard, a.k.a. Mr. Zero, is shooting the interviews), and he’s refreshingly aware of the Kings’ place in the grand scheme of things; when he talks about working with mega-producer Bob Ezrin (just after he finished The Wall, no less) or appearing on “American Bandstand,” he’s not sticking his chest out as he does so, thank goodness. The interview footage is admittedly not professional quality (Zero financed the movie himself, shooting and editing it over a three-year period), but no one buying this video is looking for slick production. In fact, the DVD is worth purchasing for the opening clip alone, where Zero splices footage from dozens of performances of the band’s big hit and creates one monster performance video. Good for them for seeing this video through to its completion. Now, if you’ll politely oblige, your presence is requested by Diamond and Zero in the Mercedes. (Dizzy Records 2009)

Click to buy The Kings: Anatomy of a One-Hit Wonder

Artists, DVD Quicktakes, External Music, Music DVDs, Rock

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