Category: Artists (Page 151 of 262)

His boots have walked beyond the pale…

For some reason, it hasn’t made the major news sites yet, but per his official MySpace page and through his publicist, it’s been made official that Lee Hazlewood has succumbed to renal cancer. I really didn’t know Hazlewood beyond much more than his name, his association with Nancy Sinatra, and the fact that he’d written “These Boots Were Made for Walkin’,” but earlier this year, I fell in love with his swan song, Cake or Death, which inspired me to start filling in his back catalog; as such, I’m sorry to hear this news and wish more than anything that I’d discovered his work sooner than I did.

Here’s the text from the aforementioned notice on his MySpace page:

HIS BOOTS WILL KEEP ON WALKING

LEE HAZLEWOOD:
9 July 1929 – 4 August 2007

Kiss all the pretty ones goodbye
Give everyone a penny that cry
You can throw all my tranquil’ pills away
Let my blood pressure go on its way
For my autumn’s done come
My autumn’s done come.

Lee Hazlewood, My Autumn’s Done Come

We are sad to announce that LEE HAZLEWOOD has died peacefully at his home outside Las Vegas, USA, after a three year struggle with cancer. He celebrated his 78th birthday earlier this month surrounded by family and friends from around the world. He passed away on August 4th, 2007, in Henderson, Nevada, and is survived by his son Mark, his daughters Debbie and Samantha, and his devoted wife Jeane.

For over half a century, LEE HAZLEWOOD proved himself to be one of the most ingenious, inspired and impressively stubborn sons-of-a-bitch the music industry ever saw. His career – a word that HAZLEWOOD himself scorned – saw him take on almost every aspect of the music industry – a word that HAZLEWOOD himself was equally dismissive of – and come out on top every time. Most famous for his work with Nancy Sinatra – he wrote and produced many of her biggest hits, including These Boots Were Made For Walking, Sugartown and the unforgettable Some Velvet Morning – HAZLEWOOD in fact started his musical career as a DJ in Coolidge, Arizona. It was here he first met Duane Eddy, with whom he began to flesh out and record some of his songs. In 1955 he set up Viv Records and in 1956 hit paydirt with Sanford Clark’s legendary The Fool, and the following year he gave up DJing to focus on production and writing. In the early 1960s he established the LHI label (which is best known for having released the debut album by Gram Parson’s first group, The International Submarine Band) and began releasing his own solo albums, including the extraordinary “Trouble Is A Lonesome Town”.

In the mid sixties, in the face of The British Invasion (led by the likes of The Beatles), HAZLEWOOD retired to the shadows (where he was always most comfortable) only to be reluctantly dragged out to work with Nancy Sinatra. Their work together – including the iconic Boots – was an overnight success and saw her become a star in her own right worldwide, but she also insisted that HAZLEWOOD step out in front of the microphone himself, leading to the release of three “Nancy & Lee” albums.

In the early 1970s HAZLEWOOD moved to Sweden to ensure his son was not drafted by the US military. He recorded a series of solo albums there as well as collaborating with film director Torbjörn Axelman, but then ‘retired’ again, working only occasionally over the next two decades. Instead he began to follow an itinerant lifestyle which he pursued until very recently, living in Ireland, Germany, Spain and of course America. However it was the rediscovery of this work two decades later by a new generation of musicians – including the likes of Sonic Youth, whose drummer Steve Shelley tracked HAZLEWOOD down and reissued a number of his solo albums on his Smells Like Records imprint – that led to a resurgence of interest in his work as a performer. In the late 90s he returned to the studio to record the typically cryptically titled standards album “Farmisht, Flatulence, Origami, ARF!!! and Me”, and in 1999 he returned to the stage at the invitation of Nick Cave who was curating that year’s Meltdown Festival in London. Following a sold out show at the Royal Festival Hall he sanctioned the release of two albums of unreleased material, most notably “For Every Solution There’s A Problem”, toured Europe, and then returned to the studio to record his final album, “Cake Or Death”, which was released to worldwide acclaim in 2006.

HAZLEWOOD’s music has always been a staple of movie soundtracks, but it has continued to become more and more fashionable, regularly turning up in films as diverse as The Dukes Of Hazzard – which saw Jessica Simpson perform These Boots Were Made For Walking for the title track – and the arthouse flick Morvern Callar – which used Some Velvet Morning to great effect.

The family have requested that those wishing to honour LEE HAZLEWOOD should make donations to the Salvation Army…

Lollapalooza, Day 2: Gaga for an unsigned act

With constant cloud cover and a 15-degree drop in temperature, this was the most picture-perfect weather an all-day concert fan could possibly ask for after being burned to death the day before. And with better weather came a much better day of performances. Oh, and BE writer James Eldred assures us that Daft Punk was “fucking incredible” on Friday. Sigh,.

2:30: Silverchair, AT&T stage

David: The quote of the day came with the first band I saw: “I had a dream that I vomited dolphins.” And laugh all you want about Australia ‘s teenage answer to Pearl Jam playing Lolla, but these guys freaking brought it live. I just got a copy of their new album. I can’t wait to hear it.

3:00: Lady Gaga, BMI

Jason: Ho-ly shit. What the hell did I just witness? Lady Gaga came out and rocked on keyboards and vocals while Lady Starlight DJd and go-go danced on the stage! They were both scantily clad and oh so luscious. Lady Gaga’s only 20 years old and is making amazing music. Check her out!

3:30: Motion City Soundtrack, MySpace stage
David: At the risk of dating myself – which is illegal where I come from, bad um bump – I had never heard of this band in my life. But they were the kind of band that I’d be okay with my kids listening to. Sounded good, seemed to be decent human beings, and their drummer was damn good.

4:30: The Roots, Bud Light stage
David: So, these guys write songs of their own, right? Half of their set consisted of covers, including, God help us, Biz Markie’s “Just a Friend.” I know that lots of people love the Roots, but this was not their finest hour

5:00: Roky Erickson & The Explosives, PlayStation

Jason: Oh. My. God. Roky fucking Erikson came out and blew the place away with his psychedelic blues. Just incredible. This is a legend we’re talking about people, and the man did not disappoint. It was everything great, real rock and roll should be and then some. I witnessed history, folks, and even Jeff Tweedy showed up in the crowd. Beautiful.

5:30: Regina Spektor, Adidas stage

David: So, so cute. Like eat-you-all-up cute. During one song, she whacked a drum stick on a chair while singing and playing piano with one hand. Adorable.

6:30: Snow Patrol, Bud Light stage
David: Sounded fab, but not terribly engaging. The bit where they spoke of Spider-Man (I was out of view of the stage) was funny. Someone must have come up onstage for a snog.

7:30: Patti Smith, Adidas
Jason: What was gonna top Roky? Nothing, but Patti equaled him. Patti’s 61 this year and is still as powerful as ever. It was if she was exorcising herself and the crowd as the rain came down and she and her band thundered through “Gloria” and a ton of other rockers. I am so glad I opted to see Patti instead of Spoon, as I had originally scheduled. This was powerful, earth-moving stuff.

7:30: Spoon, Myspace stage
David: I like Spoon, I really do. But they bore me to tears live. Three songs in, we left to get as close as we can to see Muse.

8:30 – Interpol, Bud Light
Jason: Yeesh. What’s this wannabe Bauhaus stuff? I’m not sure what the big draw to this band is, having now heard them live. Needless to say they were not anywhere close to matching the entertainment and excitement I witnessed from the three prior acts. Ah well, it was a wonderful day overall filled with amazing music and performances.

8:30: Muse, AT&T stage
David: As BE’s resident Muse nut, I have to say that I was slightly disappointed with the set list. “Butterflies and Hurricanes,” YES. A whole bunch of mellow piano songs in the middle of the set, NO. But “Knights of Cydonia” freaking killed. “No one’s gonna taaaaaake meeeee aliiiiiiiiiive…”

Will Harris brands Jack White arsehole

It’s only fair, after all, what with this NME article, Jack White brands journalists lazy.

In the short piece – which is undoubtedly part of a longer rant, but you know me: as a journalist, I can’t be bothered to confirm that – White declared, “Journalists are inherently the laziest people on earth. Even in the age of Google, they don’t do any work to check what they’re writing about. I’d say 90 per cent of what they get is from the press release. We have fun putting things in there – like in the press release for ‘Elephant’, somebody inserted a joke about how none of our studio equipment was made after 1963. Before you knew it, people thought we wouldn’t touch a piece of equipment unless it’s 60 years old or something! It gets to the point where you’re answering questions based on a joke somebody made.”

Okay, first off, if I’m putting together a piece and it falls to me to provide a fact or figure, then I absolutely confirm its accuracy before I place it within whatever I’m writing. Honestly, who wouldn’t? White’s right about one thing, at least: in the age of Google, where just about any answer is available at your fingertips within mere seconds, there’s absolutely no reason not to check your facts.

But, see, here’s the inherent problem with White’s jackarsery: why in the hell would a journalist Google something from a press release?

Dude, your band put the fucking thing out! I mean, I write press releases and bios for bands all the time, and I would never knowingly and willfully put a fake bit of information into either one of them. Why? Because there’s a very reasonable presumption that you’re going to include accurate information in those things!

Similarly, while I know bands love to just make shit up to fuck with the writers that bore or irritate them, there’s no reason for most writers to presume that the person they’re interviewing is going to give them a statement about themselves that needs to be fact-checked. One of my first-ever interview was with Sean Kelly, lead singer of The Samples, and he fed me eight kinds of shit about the various between-album hobbies of his bandmates, offering claims that one of them followed ornithological pursuits, while another made mirrors in his spare time…and me being a squeaky-clean young intern, I ate it up like it was ambrosia, running his comments intact in the piece.

Ouch.

Now, mind you, years later, I ended up writing The Samples’ official bio, and a not-very-chagrined Kelly apologized with a laugh, saying it was all in good-natured fun…and I was cool with that.

This, however, isn’t cool at all.

This is Jack White, one of the biggest alt-rock figures of the 21st century, basically telling the journalists who’ve praised their work for the last several years, “We put a bunch of bullshit in our press releases, and if you accept it at face value, then you’re a lazy dumb-ass.”

Actually, I’m pretty sure Jack White’s the only real dumb-ass in this situation. I mean, clearly, the journalists he’s just railed against will be extracting their revenge in the pages of their respective publications. Of course, I’m sure he’s of the belief that it won’t matter, and that the fans will still keep buying White Stripes albums as much as they always did…and, even worse, he’s probably right.

But that doesn’t make him any less of a dumb-ass.

Video Vault – Procol Harum

Procol Harum was one of the best and oddly overlooked bands ever. Every one of their albums has something worth hearing, which is more than you can say for 95% of what’s out there today, if not a little more. Here they are blistering “Still There’ll Be More” in the ’70s. B.J. Wilson’s drumming was incredible; Gary Brooker’s voice and piano playing always a joy.

A small Victory, indeed

It is incredibly easy to get buried in publicity emails, and lose track of what you should actually be covering versus what publicists want you to cover. Our publicist (Mike Farley, take a bow) sends me, on average, dozens of emails a day, all of which scream, “Listen to this right this second!” Before I know it, a band I like, like Travis, has a new album out, and I wonder why I haven’t heard a thing about it. Seriously, isn’t it strange that Travis put out an album and the label did nothing to promote it?

Anyway, at the end of the day today, Mike forwards an email from the Director of Publicity at Victory Records. The title of the email instantly gets my attention:

I’m removing you from the promo mailing list.”

Wow, classy.

Even better, the email is a mass email, delivered to God knows how many other sites that Victory had once called upon. The body of the email is almost as funny as the title:

I have been sending you promotional material for almost a year now and have not seen sufficient action on your site for one reason or another.

If you have an issue with this, please respond within the next WEEK and let me know how this can improve, otherwise, please get in touch when you’re able to give us exposure.

Again, wow, classy.

Okay, here’s the point of my piece. I have been so consumed with putting out the fires in my inbox that it wasn’t until I forwarded this hilarious email to some of the writers on my staff that I even realized (my writers, unlike me, are still in contact with the outside world) that Victory records is in the middle of a veritable shitstorm of negative publicity. All of their biggest bands, including Hawthorne Heights, Taking Back Sunday and Atreyu, have jumped ship following charges of gross malfeasance. The final nail in the coffin came today, when former Victory Records VP Ramsey Dean wrote a lengthy dissertation for Absolute Punk about his time with the label. It has since been taken down but, thanks to Idolator and Google cache, the rant lives on. If you have ever supported this label, you owe it to yourself to read this and learn what is really going on. Racism, hookers and paranoia, oh my!

To read the entire rant (warning: it’s really, really long), click here. As a post script, I was tempted to tell the publicist that we would be delighted to be taken off their promo list, but I care so little about their product that I decided not to bother.

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