Life’s full of unexpected and largely unexplained collaborations be it Andre Agassi dumping Brooke Shields for Steffi Graf or Michael Jackson turning up at Exeter City football club. Some musical one’s make even less sense (I’m thinking George Michael and Mary J Bilge…yeah, I know I’ve spelt it wrong). Then we come to the curious case of the Arctic Monkeys journeying to California to have their latest album produced by Rock God Josh Homme. This latest collaboration got me thinking - which musical acts should collaborate for their and, for that matter, our musical enjoyment.
The first thing that sprung to my mind was the merging of Tenacious D and Blink 182. Obviously one producing the other would probably be quite boring (Except for them making it. But where’s the fun for us?) So they almost certainly need to perform a joint live show. Just imagine those two live acts combined. I haven’t the words to describe it, but I’m guessing it would be the funniest, rudest most bizarre thing you would ever witness. Ever.
I’d also make Oasis work at gunpoint with a producer or artist who would push their boundaries. If they refused, it wouldn’t be like we’d be missing out on anything new creative-wise. I’m think of either Jay-Z (obviously), Calvin Harris or Dizzee Rascal. Come to think of it the Ting Tings would be hilarious. But I’d settle for a Franz Ferdinand.
Jamie Cullum and Slipknot anyone? I wouldn’t want to hear the result but, y’know, it might be the last work they produced. Hopefully.
I’d also give Muse a proper make over. Imagine the sound they’d make with Arcade Fire providing every instrument they could possibly use times a thousand. They could probably perform on the top of Everest and the whole world would hear.
Got any ideas? Write them below…
Thursday, July 30, 2009
Friday, May 15, 2009
Gig Review: Metric - Coventry Kasbah (13/05/09)
Maybe it’s a sign of the way the recession is hitting music, but I’ve never been to a gig with no support act. Not that this particularly matters when you go to watch Canadian new-wave band Metric. While tracks from their latest album, Fantasies, lack the raw emotion and energy of it’s predecessor, Live it Out, on record (or CD…or MP3 for that matter), the live versions certainly don’t.
A perfect case in point is Fantasies opening track, Help I’m Alive, second song of the night following Twilight Galaxy which saw front woman Emily Haines gradually thrusting a tambourine higher and higher as the chorus reached a crescendo.
As with her vocals, Haines presence on stage epitomises Metric’s vibe. After concentrating on the first half a dozen songs, still bounding about the stage with more energy then an infant laced with e-numbers, a ten-minute Empty (one of only three songs in the main performance not to come from Fantasies) featured a declaration of Metric’s musical manifesto and take on life. The audience responded and from then on the gig became a show with dedications to the front row on, er, Front Row and polished performances of Gimme Sympathy, Sick Muse and Dead Disco amongst others.
Quite how Haines manage to transmit so much energy bouncing around the stage, standing on speakers and playing keyboards for a whole tour may well be one of life’s unanswered questions. But it does make for a damn entertaining evening.
After a rousing sing-along with new favourite (and a damn fine album closing track) Stadium Love, an encore of a highly charged Monster Hospital and stripped down Live it Out, and the high fives with the front row it didn’t matter there was no support, it would have just detracted from a mighty fine performance.
As an interesting aside, despite the gig being in a small 300 (approx) capacity room and not being too far from the front, I came out with no ringing sensation in my ears, yet the sound quality was excellent. I’m not sure if this was down to the band or the venue but other small venues could learn from this lesson. Less was definitely more.
Venue rating 7/10: Why the hell did the ticket say the doors opening at 6 when we arrived at 7 and the doors had clearly only just opened? Oh, and the drinks seemed really expensive…but that may just be me getting old. But seriously good sound.
Bog rating: 8/10: Clean and large (for the small room). Plus the worst toilet troll in the world. Which is a good thing.
A perfect case in point is Fantasies opening track, Help I’m Alive, second song of the night following Twilight Galaxy which saw front woman Emily Haines gradually thrusting a tambourine higher and higher as the chorus reached a crescendo.
As with her vocals, Haines presence on stage epitomises Metric’s vibe. After concentrating on the first half a dozen songs, still bounding about the stage with more energy then an infant laced with e-numbers, a ten-minute Empty (one of only three songs in the main performance not to come from Fantasies) featured a declaration of Metric’s musical manifesto and take on life. The audience responded and from then on the gig became a show with dedications to the front row on, er, Front Row and polished performances of Gimme Sympathy, Sick Muse and Dead Disco amongst others.
Quite how Haines manage to transmit so much energy bouncing around the stage, standing on speakers and playing keyboards for a whole tour may well be one of life’s unanswered questions. But it does make for a damn entertaining evening.
After a rousing sing-along with new favourite (and a damn fine album closing track) Stadium Love, an encore of a highly charged Monster Hospital and stripped down Live it Out, and the high fives with the front row it didn’t matter there was no support, it would have just detracted from a mighty fine performance.
As an interesting aside, despite the gig being in a small 300 (approx) capacity room and not being too far from the front, I came out with no ringing sensation in my ears, yet the sound quality was excellent. I’m not sure if this was down to the band or the venue but other small venues could learn from this lesson. Less was definitely more.
Venue rating 7/10: Why the hell did the ticket say the doors opening at 6 when we arrived at 7 and the doors had clearly only just opened? Oh, and the drinks seemed really expensive…but that may just be me getting old. But seriously good sound.
Bog rating: 8/10: Clean and large (for the small room). Plus the worst toilet troll in the world. Which is a good thing.
Sunday, April 12, 2009
Rock songs for beginner drummers
I'd describe myself as someone who plays drums, but not a "drummer". I'm not in a band and frankly, I'm not all that good. But as a hobby, nothing (ahem) beats it.
The way I set about playing was: I had a few lessons, bought myself the rather-excellent Roland HD-1 electronic kit, then sat down with my iPod and went for it. Playing along to pre-recorded full-band songs is an excellent way to both help a beginner drummer keep time and will actively encourage the player to learn by ear. But what to play along to?
Clearly, there's not going to be too many songs suitable but I've found a few that, in the main and with a bit of practise, are playable and great fun. So here is the Bands Only guide to rock / indie tracks that are suitable for beginners / hobbyists - the * denotes recommended starting points. Enjoy and let me know your own suggestions.
The way I set about playing was: I had a few lessons, bought myself the rather-excellent Roland HD-1 electronic kit, then sat down with my iPod and went for it. Playing along to pre-recorded full-band songs is an excellent way to both help a beginner drummer keep time and will actively encourage the player to learn by ear. But what to play along to?
Clearly, there's not going to be too many songs suitable but I've found a few that, in the main and with a bit of practise, are playable and great fun. So here is the Bands Only guide to rock / indie tracks that are suitable for beginners / hobbyists - the * denotes recommended starting points. Enjoy and let me know your own suggestions.
- *Too Cool For School - Fountains Of Wayne (iTunes, 7digital)
- About a Girl - Nirvana (iTunes, 7digital)
- If Only - Queens of the Stone Age (iTunes, 7digital)
- Suzie - Boy Kill Boy (iTunes, 7digital)
- I Believe in a Thing Called Love - The Darkness (iTunes, 7digital)
- Every You, Every Me - Placebo (iTunes, 7digital)
- Pumping On Your Stereo - Supergrass (iTunes, 7digital)
- *Song 2 - Blur (iTunes, 7digital)
- *Evil - Interpol (iTunes, 7digital)
- Get Over It - OK Go (iTunes, 7digital)
- No Tomorrow - Orson (iTunes, 7digital)
- The Take Over, The Break's Over - Fall Out Boy (iTunes, 7digital)
- *Ain't It The Life - Foo Fighters (iTunes, 7digital)
- Come As You Are - Nirvana (iTunes, 7digital)
- Teddy Picker - Arctic Monkeys (iTunes, 7digital)
- Dakota - Stereophonics (iTunes, 7digital)
- Sing For Absolution - Muse (iTunes, 7digital)
- Exhausted - Foo Fighters (iTunes, 7digital)
- Get Your Guns - Nine Black Alps (iTunes, 7digital)
- Chelsea Dagger - The Fratellis (iTunes, 7digital)
- Good Fortune - PJ Harvey (iTunes, 7digital)
- Algeria - JJ72 (iTunes, 7digital)
Tuesday, February 17, 2009
Oh Joy! The BRIT Awards.
The BRITs are coming. No, this isn't a German public information warning people called Jurgan to put their beach towels on sun loungers, but a muddled attempt to explain why I find the drunken mess of the British Music Industry's annual knees-up such a turn off.
You see, when I was getting into music in the mid 90's the big winners were the bands producing music I liked. Blur, Oasis, the Manics were all "main" winners three consecutive years. So it’s not that I particularly think the wrong people win it. It’s not that the system of letting the public vote for some awards is necessarily a bad thing (see Belle and Sebastian “stealing” Steps’ award in 1999 with much hilarity). It’s not even that it’s on ITV. Honest.
I just think it’s overhyped - too in love with it’s self. Suffering the problems I most associate with the music industry. Too much liking and no-one saying, "Yeah, that last Oasis album did sound like the previous three", or, "Why does Chris Martin wave his hands around like a complete berk when he’s singing ". It's almost as if it’s the self-appointed spokesperson for the music we’ve all been listening to over the last year which no-one actually appointed. It’s also a bit of a popularity contest. Those awards that aren’t decided by the public vote are decided by a panel of “experts”. But because of the high profile nature, these people appear more likely to go for the populist option for fear of getting lynched in the press following the ceremony. Look at the nominations this year for Best International Group and Best International Album. They’re the same. There’s no originality, no thinking outside the box.
I also think it’s too much of a compromise. It’s doing that very British thing of trying to please everyone and pleasing very few. Perfect case in point is nominating Girls Aloud and Radiohead in the same category. I think it’s called Radio 1 syndrome.
It also loses some significance because it is a place to be seen. The non-entity celebrities that blight our life use it as a marketing tool. Do they really care or contribute the music industry any more than the rest of us? If not, why do they get free tickets, a slap up meal and a load of free alcohol?
Or maybe it’s because if I’m told something is fantastic (as all radio stations do, because all the DJ’s have tickets…or their bosses have tickets at least), then I find it much harder to like because it never quite reaches it's hype. Or really simply I just don’t like it and I don’t have to justify myself.
And now it’s gone and make me write a shitty blog that whines like an All American Rejects song. I hate the BRITs.
You see, when I was getting into music in the mid 90's the big winners were the bands producing music I liked. Blur, Oasis, the Manics were all "main" winners three consecutive years. So it’s not that I particularly think the wrong people win it. It’s not that the system of letting the public vote for some awards is necessarily a bad thing (see Belle and Sebastian “stealing” Steps’ award in 1999 with much hilarity). It’s not even that it’s on ITV. Honest.
I just think it’s overhyped - too in love with it’s self. Suffering the problems I most associate with the music industry. Too much liking and no-one saying, "Yeah, that last Oasis album did sound like the previous three", or, "Why does Chris Martin wave his hands around like a complete berk when he’s singing ". It's almost as if it’s the self-appointed spokesperson for the music we’ve all been listening to over the last year which no-one actually appointed. It’s also a bit of a popularity contest. Those awards that aren’t decided by the public vote are decided by a panel of “experts”. But because of the high profile nature, these people appear more likely to go for the populist option for fear of getting lynched in the press following the ceremony. Look at the nominations this year for Best International Group and Best International Album. They’re the same. There’s no originality, no thinking outside the box.
I also think it’s too much of a compromise. It’s doing that very British thing of trying to please everyone and pleasing very few. Perfect case in point is nominating Girls Aloud and Radiohead in the same category. I think it’s called Radio 1 syndrome.
It also loses some significance because it is a place to be seen. The non-entity celebrities that blight our life use it as a marketing tool. Do they really care or contribute the music industry any more than the rest of us? If not, why do they get free tickets, a slap up meal and a load of free alcohol?
Or maybe it’s because if I’m told something is fantastic (as all radio stations do, because all the DJ’s have tickets…or their bosses have tickets at least), then I find it much harder to like because it never quite reaches it's hype. Or really simply I just don’t like it and I don’t have to justify myself.
And now it’s gone and make me write a shitty blog that whines like an All American Rejects song. I hate the BRITs.
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