Here’s Bruce’s cover of When I Leave Berlin by British Folk musician Wizz Jones.
Category: Rock (Page 5 of 241)
They don’t write em like that any more . . .
It’s funny how we learn about new music today in the digital world. I haven’t quite turned in my music journalism card yet, so I receive many pitches for new and established artists. Also, in the interest of full disclosure, I’m a music publicist–so I won’t pimp my own artists in this spot. So besides those press releases, I hear about new artists through my clients, through other taste makers like Val’s List and Bob Lefsetz and Kings of A&R. I hear about great music from trusted friends. I hear stuff from colleagues repping cool new acts. I hear songs on TV shows or in movies, or on the radio through bumper music (but almost never from the actual radio anymore). And occasionally from online radio stations. That’s it. It’s amazing how music will find its way into our ears and onto our hard drives now. And speaking of that, I had better purge my iTunes a bit before my PC explodes. Meanwhile, here are some things I’m listening to that you should check out if you feel so inclined.
“Skeleton” by The Good Natured–If you’re a fan of synth-driven ’80’s pop, this title track to the British group’s 2011 EP will take you back to those days a bit, while sounding like it could work on today’s Top 40 radio–whatever that may be. I found this group through a pitch from their publicist, who is pimping their new single, “Video Voyeur.” Now, that video will surely take you back to the early MTV days.
“Celebrate Tonight” by Allen Stone–One of my clients opened for this kid, who really came out of nowhere. He’s a scrawny Seattle-bred white kid with an old school R&B soul. Kind of like Daryl Hall, who took Stone in for a “Live from Daryl’s House” session that literally gives me goosebumps when I see and hear it. The best part is seeing the unbridled joy on Stone’s face as Daryl plays along and sings with him.
“Show and Tell” by Sugar & The Hi-Lows–Nashville singer/songwriters Trent Dabbs and Amy Stroup collaborate here for some pure magic–beautiful melody, arrangement, and a soaring yet lo-fi harmony drenched chorus. It also has a mild ’70’s vibe ala Josh Rouse’s 1972 album (sorry, I have a penchant for music from past decades!).
“Almost Blue” by Joseph Arthur–This guy’s music follows me around, and it’s sheer brilliance. And this past week he released a new double album on his website, available for free download (though there is no way I’m not hitting the “donate” button–I want Joseph Arthur to make music until he’s 80).
“Sweetheart Like You” by World Party–Their new Arkeology set (releasing next Tuesday April 10) is 70 tracks deep and features old songs, new songs, covers, live recordings and more. The World Party fan in your life just has to have this. This song is a Bob Dylan cover that singer Karl Wallinger spins his own way, and it winds up sounding like it jumped off of The New Radicals’ only (and genius) album from 1998.
“Drumming Song” by Florence + The Machine–There is something purely intoxicating about Florence + the Machine, and this song embodies that desire to get drunk with her voice and music, as well as the booming percussion. That said, you just have to check out this acoustic video from KEXP–there is no auto-tune, no slick production–mostly Florence’s positively sick vocals out front.
“Please Stay Strong” by Stolen Silver–I guess it’s okay for me to talk about a band put together with members from a former client band of mine? Well, I just did. These guys have an incredible acoustically driven, harmony-rich sound with some killer songs.
“Forget the Diamonds” by Dave McGraw and Mandy Fer–Just like Sugar & The Hi-Lows above, this duo makes magic together. It’s Americana, yet really it’s just haunting and melodic music that you will find really hard to stop listening to.
“Wine Dark Sea” by Daniel Tashian–Tashian is one of those under-the-radar Nashville cats who I’m certain writes insanely sweet melodies in his sleep. The front man for The Silver Seas steps aside with a solo project here, but it’s really an extension of his band, and something that will tide this big fan over until the next Seas release.
Okay, so I just realized that I could do this all day. But maybe I should save it and do this more often. What do you think? Hit me up here, or on Facebook or Twitter. And thanks for hanging out in my music room for a bit.
The new Van Halen song is pretty average. The video is even worse as David Lee Roth looks silly as an old rocker.
It makes perfect sense that a documentary about SoCal ska punkers Fishbone would follow in the wake of “Anvil! The Story of Anvil.” Both bands were far ahead of their time, proved to be wildly influential – Gwen Stefani, for one, sings Fishbone’s praises to the heavens – yet neither band could sell a record to save their lives. Slash offers a great quote about how several speed metal bands ripped Anvil off and left them for dead. Fishbone had a few more chances at the brass ring than Anvil did, but the end result proved to be the same. “Everyday Sunshine: The Story of Fishbone” explains, in often uncomfortable detail, several of the reasons why they were often their own worst enemies.
The structure of the story is not your typical ‘analyze the band’s career from album to album’ approach. Unfortunately, that turns out to be a problem. The great Laurence Fishburne narrates the band’s tale, but disappears for long segments at a time, and since the timeline jumps around a bit, the viewer never really knows when to expect his return. Also, several albums from the band’s catalog, including 1986’s In Your Face (which included minor MTV hit “When Problems Arise”), are not discussed at all, which denies anyone unfamiliar with the band any sense of momentum, or lack thereof, the band had as they soldiered on.
The first act of the film, though, is pure genius. As the band members recall the early days and their formation, the stories are backed with “Fat Albert”-style animation that both nails and works in stark contrast to the vibe of the band and the area in which they lived. David Kahne, the Columbia Records exec who produced Fishbone’s first four albums, admits that their failure to reach the next level is his greatest career disappointment. There is a wealth of live footage from the early days. Most of the content, though, is a landslide of conflict and hard times; we see lead singer Angelo Moore get evicted from his place, and worse, we see him on video laying into Norwood Fisher, the only other surviving member of the group. Even the guy shooting the video is telling Angelo to stop before he’s gone too far. Then you see Norwood talk about sharing a band with a guy who insists on being Dr. Mad Vibe on the Theremin in the middle of Fishbone gigs, and it’s suddenly easy to see why the band is exactly where it is.
But hot damn, were they awesome at times, and in an industry where the pioneers are scapled a lot more often than they’re rewarded, you can see why someone would want to pay their respects. We’re betting that even the filmmakers did not anticipate the places “Everyday Sunshine” would go, and while that would occasionally lead to an eye-opening moment, the conclusion does not instill the sense of optimism that Anvil had when their credits rolled. Pity. (Cinema Guild 2012)
Click to buy Everyday Sunshine: The Story of Fishbone from Amazon
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