1972 Top 30 - # 7 Slade
46 minutes ago
Friday, 2 January 2009
You should be repulsed by this
Mustafa Barghouthi, Secretary General of the Palestinian National Initiative writes at 'The Washington Note' here.
'Free Jazz' Primer
Albert AylerOver at Dennis Coopers's blog today there is a wonderful guide to 'Free Jazz' by Chill Jay Chill from 'Destination OUT'
Sonic Youth's Thurston Moore on his top ten here.
(If you go here you can download many of Thurston's choices.)
Thursday, 1 January 2009
It's official
THE DEAD ANNOUNCE 2009 ARENA TOUR DATES - KICKING OFF APRIL 12
MARKS THEIR FIRST CONCERT TOUR IN FIVE YEARS
Happy New Year from the DEAD.
After months of fan speculation bolstered by an October 2008 performance at the “Change Rocks” concert/rally for Barack Obama in State College, PA and three recent viral internet videos with band interviews and performance footage, the DEAD today (1/1/09) officially announced tour dates for 2009.
Th is marks their first trek since 2004’s “Wave at Flag” tour.
Kicking off April 12 in Greensboro, NC and wrapping May 10 near San Francisco, the tour will encompass 19 shows--all to be performed as “An Evening With”--in 16 cities. Details for pre-sale and on-sale tickets will be announced in the near future. Go to WWW.Dead.net for ticket and tour information. All the concerts are set for indoor arenas except for the final show at Shoreline Amphitheatre in Mountain View, CA.
Original Dead members Bob Weir, Phil Lesh, Bill Kreutzmann and Mickey Hart will be joined by keyboardist Jeff Chimenti and Allman Brothers Band/Gov’t Mule guitarist Warren Haynes, both of whom played with the band at the “Change Rocks” concert.
Th e group first formed with lead guitarist Jerry Garcia as the Grateful Dead in 1965 and are legendary for their live performances. The Grammy-winning Rock & Roll Hall of Fame group always toured relentlessly, allowing their “Dead Head” fans to tape and trade their exploratory, free-flowing concerts.
“We’ve got some unfinished business,” says guitarist/singer Bob Weir. “Everybody has a whole new bag of tricks; we have the body of material we worked up over the years and we have a mind meld going on here and it would be a sin to let that just wither and die.” Drummer Mickey Hart adds, “A mind meld is a terrible thing to waste.” Bassist Phil Lesh says, “For me, it’s the question mark that’s really pulling me in…what’s gonna happen? When you walk
out on the stage the possibilities are infinite every time. Th e musical possibilities are infinite: there is no end to it, there’s no back wall and there’s no ceiling, there’s no floor. It’s infinite and therefore you can still explore it till the day that you die.” Drummer Bill Kreutzmann says, “I get goose bumps just thinking about the possibilities.”
Seeds of the idea of touring again were first planted in February of this year when Hart, Lesh and Weir played a “Dead Heads For Obama” show at the Warfield in their native San Francisco, and last year Weir, Kreutzmann and Hart performed at a post-inauguration for Speaker of the House Nancy Pelosi.
Always sonic and technological adventurers, the Grateful Dead formed in San Francisco’s electric Haight-Ashbury neighborhood in the mid-‘60s, combining their love of bluegrass, country, electric rock and jazz to create one of the most iconic repertoires in rock music. By touring continuously and never relying on radio hits or latest trends, the Dead and Dead Heads created an unparalleled bond. Fans were turned on to the group by live bootlegs and word of mouth, with many following the band on the road for whole tours.
For more information, go to www.dead.net or www.Dead.Net/Dead09
Date: City: Venue:
Sun 4/12 Greensboro, NC Greensboro Coliseum
Tue 4/14 Washington, DC Verizon Center
Wed 4/15 Charlottesville, VA John Paul Jones Arena
Fri 4/17 Albany, NY Times Union Center
Sat 4/18 Worcester, MA DCU Center
Sun 4/19 Worcester, MA DCU Center
Tue 4/21 Buffalo, NY HSBC Arena
Wed 4/22 Wilkes-Barre, PA Wachovia Arena @ Casey Plaza
Fri 4/24 Uniondale, NY Nassau Coliseum
Sat 4/25 New York, NY Madison Square Garden
Sun 4/26 Hartford, CT XL Center
Tue 4/28 E. Rutherford, NJ IZOD Center
Wed 4/29 E. Rutherford, NJ IZOD Center
Fri 5/1 Philadelphia, PA Wachovia Spectrum
Sat 5/2 Philadelphia, PA Wachovia Spectrum
Tue 5/5 Chicago, IL All State Arena
u 5/7 Denver, CO Pepsi Center
Sat 5/9 Los Angeles, CA e Forum
Sun 5/10 Mountain View, CA Shoreline Amphitheater
MARKS THEIR FIRST CONCERT TOUR IN FIVE YEARS
Happy New Year from the DEAD.
After months of fan speculation bolstered by an October 2008 performance at the “Change Rocks” concert/rally for Barack Obama in State College, PA and three recent viral internet videos with band interviews and performance footage, the DEAD today (1/1/09) officially announced tour dates for 2009.
Th is marks their first trek since 2004’s “Wave at Flag” tour.
Kicking off April 12 in Greensboro, NC and wrapping May 10 near San Francisco, the tour will encompass 19 shows--all to be performed as “An Evening With”--in 16 cities. Details for pre-sale and on-sale tickets will be announced in the near future. Go to WWW.Dead.net
Th e group first formed with lead
Happy New Year
buon anno
šťastný nový rok
godt nytår
godt nytår
gelukkig nieuwjaar
manigong bagong taon
hyvää uuttavuotta
bonne année
Frohes neues Jahr
ευτυχισμένο το νέο έτος
שנה טובה
नया साल मुबारक हो
selamat tahun baru
happy new year
laimīgu Jauno gadu
laimingų Naujųjų metų
godt nytt år
szczęśliwego nowego roku
с новым годом
feliz año nuevo
gott nytt år
chúc mừng năm mới
كل عام وأنتم بخير
manigong bagong taon
hyvää uuttavuotta
bonne année
Frohes neues Jahr
ευτυχισμένο το νέο έτος
שנה טובה
नया साल मुबारक हो
selamat tahun baru
happy new year
laimīgu Jauno gadu
laimingų Naujųjų metų
godt nytt år
szczęśliwego nowego roku
с новым годом
feliz año nuevo
gott nytt år
chúc mừng năm mới
كل عام وأنتم بخير
Wednesday, 31 December 2008
www.gush-shalom.org
THE WAR BELONGS TO OLMERT-THE VICTIMS BELONG TO US.'A Congress of Peace Seekers'
by Uri Avnery
(Uri Avnery is an Israeli peace activist and a former member of the Knesset.)
PLEASE TAKE A COUPLE OF MINUTES AND READ THIS ARTICLE.
Cryptic message # 2
There is a man (RT) that has solved the riddle of 2008!
Now my riddle for 2009:(why are Canton and Potsdam not in China and The Netherlands?)
Girl With A Gun # 1 (Revisited)
Go here & here.
Hazel - I don't think you have to change much really you know but I do think that you have to embrace the 'sisterhood of spit', (HAH!) but hey what would I know?
(Cryptic message that even I don't understand!)
Hazel - I don't think you have to change much really you know but I do think that you have to embrace the 'sisterhood of spit', (HAH!) but hey what would I know?
(Cryptic message that even I don't understand!)
What do you actually think of this blog? Good? Bad? Indifferent? I WOULD like to know...obviously Melanie & Kat you can tell me in person
I know that people are finding this blog.
What do you think?
Any feedback is welcome.
Comments.
Suggestions.
Let me know: monastreet(at)gmail(dot)com
If you like what you find spread the word!
Hoots mon it's Hogmanay! Who is that masked man?
"COMPRESSION"
The proudly-Scottish singer and songwriter, renowned for his fondness for traditional battle-dress, discusses his 1995 ISDN "Compression" album with Wendy E. Ball, recorded during his time of collaboration with Adrian Sherwood:
"How the idea started was that, coming from the Borders [***Ed.: ...of Scotland, specifically St. Boswells...***] and then going away and living abroad in the States for many years, I always wanted to come back, have a family and live here again. But I was concerned that there wasn’t a music industry in Scotland and I was hoping, twelve years ago, that there was at least the start. So I thought I'd come back having timed it right. Just shows you how wrong I was!
"So I had to figure away and was thinking, "How do I still hook up with my friends who were thousands of miles away?" I’d heard a story from a friend of mine, who was an engineer in New York, that Capitol Records in LA were doing a recording with Frank Sinatra in his house and he was having guest artists coming in through the telephone line. So I thought I’d find out more about it. I was really desperate to make this album with my friends before they all dispersed all over the place.
"I hadn’t the money to go back out and live there for six months to do it and I couldn’t get a record company to pay for it so I contacted BT [***Ed.: ...a big phone company in the UK...***] and I found a really good bloke called Ray Pritchard who was into my music and stuff. He said that they were trying to launch ISDN in 1992-3. I said to him "Look, I’ll make you a deal. You install the ISDN lines here and I’ll give you my music to promote so that you can show off what it’s capable of doing." That’s really how it came about."
So when did this, this come out?
"1995. It took about a year. The whole ISDN system was just up and running and so, for instance, we did the first [link] through to Africa and rhino and all sorts of things would run over the lines and they'd be out! So there were things that were kind of difficult to get back on line quickly. You know, until some, some wee lad goes out there with a pair of wire clippers and puts it back together again, you know? So, eventually I managed to install ISDN lines in a studio which I’d used in America called ‘House of Music’ in Orange, New Jersey. That’s the home of the P-Funk - the funkadelic lot of the top black musicians that inspired Prince and all that other stuff. They were my pals there and so it was easy for them to come in and do some stuff."
Would it not need a lot of logistical organisation, you know, when it’s sort of midnight in New York?
"I had a huge phone bill to begin with. Now ISDN is a penny a minute or something and it’s really cheap, you know. At the time it was quite expensive. It was like, a pound a minute and we were on-line for eight hours sometimes! They [BT] paid for that just 'til we got to the stage where we'd got the recordings done. After that, then I had to try and finance the thing myself.
"It was interesting to say the least that, you know, I could sing Umhlaba Jikelele with someone in Africa and they were singing with me. I also organised this live television shoot with ISDN as well, so that I had a TV monitor here and I had a cameraman running out with the long cable that went about fifty metres back to the studio. They had a PA out in the streets, and I was speaking in real time, telling him the shots I wanted and telling the girls to sing, when to come in on the beat and stuff. This was amazing. There was a real friendliness about the thing and that’s what really pleased me - because then I realised the potential of that and especially sound quality ... you could hear everything so clearly."
Has it been repeated, the experience?
"There was this group Future Sound Of London. They got a lot of glory for it but we were actually first because I put the ISDN lines into On-U Sound. On-U Sound with Adrian Sherwood was doing the big dub. They did a lot of reggae and they were a purist kind of dub funk lot that had a lot of respect in the industry but weren’t, like, the big commercial end of things. Future Sound Of London after we had done it brought out a record that they had done through ISDN but not to the extent we had."
You were talking about the track Braveheart?
"Yeh, Braveheart. I did a live ISDN show in Glasgow. I really don’t think people knew what the hell I was doing to be quite honest. But I had the video screen up, we had the video, we had Doug Wimbish from Living Colour, Skip McDonald from Tackhead and the heavy duty lads playing live in London."
What about the relationship between the audience and the performer? Is that not lacking a bit?
"Well, you see, what I did was to compensate for that. I stuck a mike up in the room and I stuck a mike up in Glasgow so the, the audience could shout along and, shout things to the bass player or the drummer and they could respond to it, which is really the whole point of communication doing a live gig. If the audience were just sitting and watching a screen and listening to incoming sound, and they weren’t actually able to participate, but if they whistled and they clapped and they shouted something for Keith LeBlanc, he'd lifted his drumstick and he waved it at them and he played something.
"It allowed that contact element that maybe might not have been there unless I’d done that. But I was aware of that and I thought, "Well, they’re just going to think they’re watching a tape. How are they going to know it’s live?", I mean one bloke was heckling away there and he was adamant about it, you know. And Doug just turned round and said, "What the hell’s wrong with you man. Sit doon!" You know. Well, he’s American but he said it in those terms and the guy was just sort of dumbfounded that he could see them in the club in Glasgow and was telling them to sit down!
So no, the potential of it is amazing and I’m glad I’ve done it."
(Re-edited extracts from an interview originally transcribed in the Scottish Borders Memory Bank)
The proudly-Scottish singer and songwriter, renowned for his fondness for traditional battle-dress, discusses his 1995 ISDN "Compression" album with Wendy E. Ball, recorded during his time of collaboration with Adrian Sherwood:
"How the idea started was that, coming from the Borders [***Ed.: ...of Scotland, specifically St. Boswells...***] and then going away and living abroad in the States for many years, I always wanted to come back, have a family and live here again. But I was concerned that there wasn’t a music industry in Scotland and I was hoping, twelve years ago, that there was at least the start. So I thought I'd come back having timed it right. Just shows you how wrong I was!
"So I had to figure away and was thinking, "How do I still hook up with my friends who were thousands of miles away?" I’d heard a story from a friend of mine, who was an engineer in New York, that Capitol Records in LA were doing a recording with Frank Sinatra in his house and he was having guest artists coming in through the telephone line. So I thought I’d find out more about it. I was really desperate to make this album with my friends before they all dispersed all over the place.
"I hadn’t the money to go back out and live there for six months to do it and I couldn’t get a record company to pay for it so I contacted BT [***Ed.: ...a big phone company in the UK...***] and I found a really good bloke called Ray Pritchard who was into my music and stuff. He said that they were trying to launch ISDN in 1992-3. I said to him "Look, I’ll make you a deal. You install the ISDN lines here and I’ll give you my music to promote so that you can show off what it’s capable of doing." That’s really how it came about."
So when did this, this come out?
"1995. It took about a year. The whole ISDN system was just up and running and so, for instance, we did the first [link] through to Africa and rhino and all sorts of things would run over the lines and they'd be out! So there were things that were kind of difficult to get back on line quickly. You know, until some, some wee lad goes out there with a pair of wire clippers and puts it back together again, you know? So, eventually I managed to install ISDN lines in a studio which I’d used in America called ‘House of Music’ in Orange, New Jersey. That’s the home of the P-Funk - the funkadelic lot of the top black musicians that inspired Prince and all that other stuff. They were my pals there and so it was easy for them to come in and do some stuff."
Would it not need a lot of logistical organisation, you know, when it’s sort of midnight in New York?
"I had a huge phone bill to begin with. Now ISDN is a penny a minute or something and it’s really cheap, you know. At the time it was quite expensive. It was like, a pound a minute and we were on-line for eight hours sometimes! They [BT] paid for that just 'til we got to the stage where we'd got the recordings done. After that, then I had to try and finance the thing myself.
"It was interesting to say the least that, you know, I could sing Umhlaba Jikelele with someone in Africa and they were singing with me. I also organised this live television shoot with ISDN as well, so that I had a TV monitor here and I had a cameraman running out with the long cable that went about fifty metres back to the studio. They had a PA out in the streets, and I was speaking in real time, telling him the shots I wanted and telling the girls to sing, when to come in on the beat and stuff. This was amazing. There was a real friendliness about the thing and that’s what really pleased me - because then I realised the potential of that and especially sound quality ... you could hear everything so clearly."
Has it been repeated, the experience?
"There was this group Future Sound Of London. They got a lot of glory for it but we were actually first because I put the ISDN lines into On-U Sound. On-U Sound with Adrian Sherwood was doing the big dub. They did a lot of reggae and they were a purist kind of dub funk lot that had a lot of respect in the industry but weren’t, like, the big commercial end of things. Future Sound Of London after we had done it brought out a record that they had done through ISDN but not to the extent we had."
You were talking about the track Braveheart?
"Yeh, Braveheart. I did a live ISDN show in Glasgow. I really don’t think people knew what the hell I was doing to be quite honest. But I had the video screen up, we had the video, we had Doug Wimbish from Living Colour, Skip McDonald from Tackhead and the heavy duty lads playing live in London."
What about the relationship between the audience and the performer? Is that not lacking a bit?
"Well, you see, what I did was to compensate for that. I stuck a mike up in the room and I stuck a mike up in Glasgow so the, the audience could shout along and, shout things to the bass player or the drummer and they could respond to it, which is really the whole point of communication doing a live gig. If the audience were just sitting and watching a screen and listening to incoming sound, and they weren’t actually able to participate, but if they whistled and they clapped and they shouted something for Keith LeBlanc, he'd lifted his drumstick and he waved it at them and he played something.
"It allowed that contact element that maybe might not have been there unless I’d done that. But I was aware of that and I thought, "Well, they’re just going to think they’re watching a tape. How are they going to know it’s live?", I mean one bloke was heckling away there and he was adamant about it, you know. And Doug just turned round and said, "What the hell’s wrong with you man. Sit doon!" You know. Well, he’s American but he said it in those terms and the guy was just sort of dumbfounded that he could see them in the club in Glasgow and was telling them to sit down!
So no, the potential of it is amazing and I’m glad I’ve done it."
(Re-edited extracts from an interview originally transcribed in the Scottish Borders Memory Bank)
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