Posts Tagged ‘David Bowie’

The Friday Mixtape: All Souls Edition, 10/30/09

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Welcome back.

Are you feeling comfortable? Good. Right about now, you’re sitting casually in your seat, perhaps in a chair staring at the monitor, perhaps bundled up on the couch, wrapped in your Snuggie, your laptop buzzing on your lap with the warmth of its underside providing a pleasant sensation there. Occasionally the hard drive skitters and skates, trying to access some connection inside of this digital field of play.

And it is a field of play, don’t let it fool you otherwise. Take a good long look at the screen, for instance. Sure, your conscious, active mind sees black letters spelling out the very words you’re reading, but let your eyes haze a moment. Don’t think about meaning so much — just see the black squiggles on the expanse of white, amassed like battalions, one paragraph against another, staring each other down, preparing for the moment to bolt in attack, random “s” characters raising their swords against the myriad numbers of “m,” not to mention the machinations of those vowels, so kind to link consonants into those words that spill into your head as you read them but, as we well know, they are Machiavellian, yes they are. Those “A” “I” and “E” shapes poised to kill their counterparts, running headlong with a blood-curdling scream of  “Aiiiieeeeee!!”

You could almost hear that scream as you read it, that “Aiiieeeee…” couldn’t you? It’s amazing the information the brain fills in with the absence of a direct descriptor to clarify it. Take, oh, I don’t know, that voice in your mind as you’re reading. It sounds like your voice, has all the cadence and nuance of your voice and, even, those words you mispronounce in your regular day-to-day speech are mispronounced by the narrator in your mind, the one you think is you — but it’s not you. These are my thoughts, my words, and in truth, at this very moment, it is me who is in your head right now, telling this tale, pulling these strings. Are you wondering perhaps, how long have I been in here?

You should.

Are you feeling comfortable now? Good. Let’s begin.

Metamorphosis by David Eagleman, read by Jeffrey Tambor (2009)

Harvest Moon, Blue Oyster Cult from Heaven Forbid (1998)

Harvest Festival, XTC from Apple Venus Volume 1 (1999)

The Ethics Of Jokes by Garrison Keillor from Horrors! A Prairie Home Companion(1996)

Earth Died Screaming, Tom Waits from Bone Machine (1992)

Prelude, Bernard Herrmann from The Day the Earth Stood Still (1951)

Humanity Part II, Ennio Morricone from The Thing: Original Motion Picture Soundtrack (1982)

Through The Mirror, John Carpenter and Alan Howarth from Prince of Darkness (1987)

Fat Albert, Bill Cosby from The Best of Bill Cosby (1969)

Cold Colours, Neil Gaiman from Warning: Contains Language (1995)

The Hearts Filthy Lesson, David Bowie from Outside (1995)

Vampira, The Devin Townsend Band from Synchestra (2006)

Dark Carnival, Resurrection Band from Lament (1995)

Limbo, Rush from Test for Echo (1996)

The Invisible Man, Marillion from Marbles (2004)

…and we saved the best, scariest and spookiest track for last. It’s buried in the cobwebs, inch-depth dust and dark thickness of a dank, humid night. Beware of clicking on it just in case you’re weak of heart or fearful of mind, for it has the power to instigate nothing less than utter madness.

Happy Halloween!

The Friday Mixtape: 9/25/09

Feel that tension building in your neck, that stress in the spinal cord that feels just like a piece of rope with the twine extra-wrapped? Feel that chafe of fraying fibers, rest to snap inside there? Let it go, man. Just let it go. You’ll feel all the better for it.

Candlebox – 10000 Horses from Happy Pills (1998)
David Bowie – It Aint Easy from The Rise And Fall Of Ziggy Stardust (1972)
Dead Sea Effect – Battlefield I-5 North Commute from Those Of Us About To Die Salute You (2008)
Great Buildings – Heartbreak from Apart from the Crowd (1981)
Michael Knott – Cool from Fluid (1995)
Pete Townshend – White City Fighting from White City (1985)
Sepultura – Roots Bloody Roots from Roots (1996)
Spy Glass Blue – Ignorant Side from Shadows (1997)
Starflyer 59 – Your Company from Leave Here a Stranger (2001)
Talking Heads – The Lady Dont Mind from Little Creatures (1985)
Truck – Coffee In Church from 4X4X4 (2003)
Undercover – The Eyes Of Love from Balance of Power (1990)

The Popdose Guide to David Bowie, Part Two

Did you miss Part One of Anthony Hansen’s guide to David Bowie? No problem – just follow this link!

Let’s Dance (1983)
Purchase this album (Amazon)

So Bowie sold out. Really, what else could he do? Selling out was the thing to do in the ’80s, and Bowie was always one to stay on top of current trends. Of course, he had to have it his own way, drafting Nile Rodgers as producer, enlisting Stevie Ray Vaughan as the lead guitarist, and making a hit out of an old Iggy Pop collaboration (that would be the only slightly cringe-inducing “China Girl”). And of course, some of the songs had to kick ass. “Modern Love” is as exciting an opener as any in Bowie’s catalog, and the title track was a deservedly huge hit, an addictive slice of disco-funk that sounds like it was recorded in an exceptionally trebly cathedral. The rest of the album is carried along by the momentum of the three singles, not just in terms of quality but stylistically as well, which means that this is essentially a party album through and through. It may be the one case where all the “style over substance” claims lobbed at Bowie ring true, but it’s still one hell of a style. Fuck art — let’s dance.

Tonight (1984)
Purchase this album (Amazon)

Apparently running out of ways to surprise his audience, Bowie decided to try failing miserably. This isn’t terrible as far as mainstream ’80s pop goes, but by Bowie’s usually high standards, it’s a complete misfire. Supposedly he didn’t even want to record this album, and it shows: more than half of the album’s songs are attempts to get Iggy Pop more royalty money, leaving two genuinely good singles (“Loving the Alien” and “Blue Jean”) and two lame-ass covers that make a valid case for manually removing and eating one’s own eardrums. I suppose there’s some decent stuff among the Iggy numbers, provided you’re comfortable with a barely-audible Tina Turner, an overzealous horn section, and a full-time marimba player. Welcome to the ’80s, Bowie fans. Welcome to hell. (more…)

Soundtrack Saturday: Special Anniversary Mix Edition

film reelI’m not sure if you’re aware, but this weekend marks my first anniversary writing for Popdose. I can’t believe it’s been a year already! I also can’t believe I haven’t run out of movies to write about yet. Pretty soon I’m going to have to remake some of my earlier posts with younger, more modern (you know, shittier) words.

I want to thank everyone who reads this column whether you comment on the posts or not. I truly do appreciate the fact that you guys seem to get my sense of humor and enjoy most of the movies I’ve chosen to write about. I also want to thank the rest of the Popdose staff for welcoming me into the fold. You guys are the best.

So, since this is my anniversary, and since this is Labor Day weekend, I’ve decided I want to take it easy. Instead of devoting a post to one movie and spending hours rewatching the film, researching trivia about it, and finding songs from its soundtrack, I decided to do something a little different — I’ve made a mix of songs from a bunch of different movies. How do you like them apples, huh?

Now, I know you’re probably thinking, “That lazy bitch!” But the thing is, I’ve wanted to do this for some time. I don’t know if you realize how tough it is sometimes for me to figure out what each post is going to be about. It’s not as simple as just choosing a movie I like; I also want to make sure I’m not writing about a soundtrack that’s super easy to find. I mean, where’s the fun in that?

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Bootleg City: Lou Reed in Stockholm, May ‘74

It’s rare that I get a chance to talk to the artists whose music I steal each week, so when the opportunity arises, I seize it, no matter the consequences. Recently, word got out that I’d be featuring “Waiting for Lou,” the bootleg of Lou Reed’s performance at Konserthuset, a.k.a. the Stockholm Concert Hall, on May 14, 1974. But soon after I received a call from Reed’s manager, who said his client was interested in a “chat.”

That made me nervous, since the godfather of punk isn’t known for his sunny disposition. He was described by Legs McNeil in his and Gillian McCain’s book Please Kill Me: The Uncensored Oral History of Punk (1996) as being “old, and snotty, and like someone’s cranky old drunken father” when McNeil interviewed him in the mid-’70s for the first issue of Punk magazine. And director Mary Harron (I Shot Andy Warhol, American Psycho), who wrote for Punk and tagged along for the interview, noted Reed’s “famous nastiness” and said the interview didn’t end well “because of Lou lashing out or getting bored or whatever…. Lou started getting so hostile. I can’t remember why. He got very mad at Legs, he just hated him.”

With that in mind, I gave Lou a call a few Saturdays ago. Here’s what he had to say …

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The Popdose Guide to David Bowie, Part One

He’s been dismissed as insincere, overrated, pretentious, and unoriginal. He’s also been praised as a visionary, a genius, and one of the single most important musicians in the history of rock music. He’s made an entire career out of defying expectations, changing his style and image on what is sometimes an album-by-album basis. In his “classic period” alone he went from being a brainy, introspective singer-songwriter to a flashy glam-rock idol to a cocaine-fueled funk enthusiast to an aggressively left-field purveyor of experimental rock. All this in little over a decade, each phase spawning virtual legions of imitators. He almost single-handedly revived the careers of Iggy Pop, Mott the Hoople, and arguably one of his own biggest influences, Lou Reed. He was one of the first rock artists to openly flirt with bisexuality and play with gender roles, giving a lot of insecure and sexually confused teens in the macho ’70s a rock idol they could call their own. His back catalog is dense and divisive, and to pick one album that sums him up is nigh impossible.

The point is, he’s David Bowie, and depending on which variation of David Bowie you encounter, there’s no guarantee that you’ll like what you hear. The best of his material, however, retains a freshness and relevance that counters any dismissal of his talent as mere trend hopping. So here it is, folks — hot on the heels of the most pompously reverent-sounding introduction I’ve ever written, part one of the Popdose Guide to David Bowie.

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The Friday Mixtape: 7/24/09

The more things change…

Adam Again – Ain’t No Sunshine from Ten Songs by Adam Again (1988)

Deliverance – Beauty And The Beast from Camelot in Smithereens (1995)

Jacob’s Trouble – Tell Me What You See from Door Into Summer (1989)

Lost Dogs – I’m A Loser from Little Red Riding Hood (1993)

Mortal – Nowhere Man from Wake (1994)

Passafist – Street Fighting Man from Passafist (1994)

Phil Keaggy – When Will I Ever Learn To Live In God from Crimson and Blue
(1993)

Rez – Presence Of The Lord from Silence Screams (1988)

Terry Scott Taylor – Long, Long, Long from A Briefing For The Ascent (1987)

The 77s – Over, Under, Sideways, Down from 88 (1991)

The Choir – Behind That Locked Door from Wide-Eyed Wonder (1989)

This Train – Baby Baby from You’re Soaking In It (1995)

You can download art for this mixtape here

CD Review: John Vanderslice, “Romanian Names”

John Vanderslice - Romanian NamesThe first thing that you notice about the new John Vanderslice album, Romanian Names (Dead Oceans), is the sound. The album has a definite sonic quality that is akin to some of the greatest albums of the 1970’s, album’s like Rumours, or David Bowie’s Berlin Trilogy. There’s no doubt that this achievement is the result of the completely analog technology in Tiny Telephone, the San Francisco studio that Vanderslice founded with producer Scott Solter.

The recording process was a little different this time, though. These songs started life as piano or guitar/vocal demos recorded in a little basement studio that Vanderslice built for himself. There they got time to breathe, change, grow, and even be thrown out. Only after that process did the recording move on to Tiny Telephone, and the resulting album is a leap forward for Vanderslice. If all the planets are in alignment, this should be the album that gives him the recognition that he deserves. This time out he has blended appealing melodies with lyrical content that is less dense and narrative driven than on previous efforts, and provided the songs with interesting and atmospheric arrangements.

Romanian Names opens with “Tremble and Tear,” which will immediately put you in mind of Bon Iver. There’s something about that harmonized falsetto that gives the song a comparable sense of loneliness, despite the fact that the lyrics here look forward to the arrival of “the one that’s gonna do it to me.” The thudding, bass driven “Forest Knolls,” and the dark tones of “Summer Stock” provide the album’s most interesting arrangements. (more…)

Lost in the ’70s: Amanda Lear, “Blood and Honey”

lit70s

Where to begin with Ms. Lear?  How about her modeling career in ’60s France?  How about her years-long romance with surrealist Salvador Dali?  How about her relationships with Bryan Ferry and David Bowie?

How about the (unconfirmed) fact that she began life as Mister Lear?

While several of her contemporaries remember Amanda back when she was Alain, Lear has never publicly admitted she’s had a sex change.  That’s okay, though, because plenty of her (former?) friends are more than willing to come forward to tell their tranny tales.  In either case, Lear became a rock star accessory by the ’70s, hanging on the arms of the aforementioned Ferry and Bowie.  That’s her on the cover of Roxy Music’s For Your Pleasure and she acted as emcee for Bowie’s 1980 Floor Show TV special, aired here in the States as an episode of NBC’s The Midnight Special.  There’s a bootleg of outtakes from that special that makes the rounds (*cough*torrent*cough*), and it’s hysterical.  Here Bowie and Lear try to get through an impenetrable exchange while futzing up over and over (skip to about the 1:00 mark):

I don’t wish to imply there was a lot of nose candy on that set, but yeesh, I think I can hear Stevie Nicks’ teeth grinding from here. (more…)

Popdose Concert Flashback: David Bowie and Nine Inch Nails, 9/16/95

“That guy,” my wife Kate said of Trent Reznor on the way home from this show in one of the most memorable one-line concert reviews I’ve ever heard or read, “is a grease spot on the windshield of rock and roll.”

She was there to see Bowie, obviously.

This show, like David Bowie, is an enigma wrapped in a conundrum wrapped in a rid–no, wrapped in a rancid corn dog. In my mind he is a great artist and a creative force, a visionary who understands how music works (composing, performing and arranging) on a level most other pop stars just can’t. Prince and Paul McCartney and Beck are much like Bowie in this regard; Britney Spears needs to hire 15 people to do the tasks Bowie can accomplish all by himself, when he feels like it.

Bowie’s also a great collaborator, having worked with everyone from Jagger to Iggy to Lou Reed to Luther Vandross to Stevie Ray Vaughan to…Trent Reznor. He understands how to make the sum greater than its parts, musically. He also knows how to glom on to the coolest music of the moment, which in the mid-1990s was….wait for it…industrial and its son, post-industrial waste.

And, sadly, he’s also had his musical slumps, like the great Derek Jeter and his 0-for-32 a few years ago. After the fumes of the brilliant Let’s Dance gave way to clunkers like Tonight and Never Let Me Down, Bowie dusted off his crap machine, recycled some more spineless pop junk, and tried to make a silk purse out of sow’s ear with some upbeat soulful jazz arrangements and noisy rhythm, putting together his Black Tie White Noise CD. Its hit single, “Jump They Say,” showed a little promise (no video embedding, just linking, the Bowie Marketing Machine decree-eth).

Then came 1. Outside, whatever the heck that was (for the record, a concept album rumored to be the first in a trilogy but so half-baked that Bowie’s never recorded the second or third part). Funky, here and there, but it sounded like warmed-over Happy Mondays or bad jungle techno in too many spots, with some jazz sounds tossed in here and there so’s we can tell it’s sophisticated. (more…)