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Jordan Rudess Roland Video for V-Synth Wow!
Wow! I just ran into this performance by Jordan Rudess playing a Roland V-Synth. It’s hot! Just him and a drummer (who is that?)
http://media.roland.com/en/v/v0339/v033912M.mov
It’s a Quicktime Video so be prepared to stare at a blank page till it loads. It’s worth the wait!
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Xtra Large lives on Youtube!
“I used to love animals - now I eat them!”
Wow! I keep getting amazed with what I am finding on youtube.com
I just did a search for the band Xtra Large not expecting anything and there they are! Videos for the band!
Xtra Large could have been as big as Janes Addiction or Smashing Pumpkins if they only stuck it out. But they got splintered apart and we lost them… one cd is all they did I believe (I’ll have to look that up).
But now it’s fun to check out the videos on youtube.
Here is the video for Hooker by Xtra Large
Josh Freese is an incredible drummer! I saw himn once playing with Dweezil and Ahmet… what was that??? Was that Dweezils band??? I forget…
http://www.youtube.com/watch?v=JHUhEmp38ks
Snip Clip with Devo
http://www.youtube.com/watch?v=CjfZ9m_tG64
Josh Freese DW commercial
http://www.youtube.com/watch?v=nxPNmEGYBm4
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Live Earth - Watch the performances!
Hi, Mike Liebner here! Did you catch the Live Earth shows a few weeks ago???
Way cool! I just found that you can watch the performances from ALL of the LIVE EARTH shows online! MSN has all the stuff!
I was looking for the Japan show - found out there were 2 of them - Tokyo and Kyoto and MSN has the whole thing up there to watch online!
It’s really pretty amazing! I give Al Gore and the crew hats off for making this a cool experience. They are still pushing the messages but so what - th emusic is killer!
You can watch the bands like YMO, Linkin Park and so many others perform live!
http://entimg.msn.com/i/ExperienceData/p1-7/us/x.htm?sh=LiveEarth&ep=le_tokyo
They do have messages between all the songs but a small price to pay to see all the songs as they were performed!
Have fun at the Rock Show(s) !
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Human Audio Sponge is Yellow Magic Orchestra - YMO
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Hi, Mike Liebner here exploring the web for music… I found a ton of great stuff! Electronica and synth music fans will appreciate this stuff!
Man, it’s simply amazing how easy it is to find great stuff on the web! I was just searching for Yellow Magic Orchestra and their performance at the Live Earth Japan shows (they reunited for it) and found that they have been performing occasionally under the name Human Audio Sponge!
Human Audio Sponge is Yellow Magic Orchestra!
If you search on youtube and myspace you’ll find some great videos! I have yet to find the Live Earcth show on video but will keep looking.
Here is a link to video of a Human Audio Sponge live show performing Rhydeen. (read more…)
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Gentle and Genuine Dynamo Joe
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Gentle and Genuine Dynamo Joe by Roxanne McDonald
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Joe Strummer 1952-2002 |
From The Clash to The Mescaleros to Latino Rockabilly War to 101ers to The Pogues….
Joe Strummer, nee John Graham Mellor, made a dynamic impact on the punk rock and rock world(s)…all the while maintaining a contained, humble, personable character that is rarely paralleled.
If you saw as I did recently the short rockumentary, “Let’s Rock Again!”, you likely agree that Joe Strummer was not only a consummate performer but a self-effacing everyman who endeared instantly.
Yes, he was outspoken, vociferous, even. But his manner of delivering his bits of wisdom never alienated, never brought to bear any kind of misdirected egomania…from what I have seen and saw.
So rather than do a bio of the gentle dynamo, here, I would like to show some of the comments Strummer has made which are almost more indicative than his background of what a great human being he was, surely must have been, for those who knew him, worked with, and loved him. (read more…)
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Greatest Dylan Songs and the Greats Who Have Covered Them
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Greatest Dylan Songs and the Greats Who Have Covered Them by Roxanne McDonald
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How many roads must a man walk down Before you call him a man? Yes, ‘n’ how many seas must a white dove sail Before she sleeps in the sand? Yes, ‘n’ how many times must the cannon balls fly Before they’re forever banned? The answer, my friend, is blowin’ in the wind, The answer is blowin’ in the wind.How many times must a man look up Before he can see the sky? Yes, ‘n’ how many ears must one man have Before he can hear people cry? Yes, ‘n’ how many deaths will it take till he knows That too many people have died? The answer, my friend, is blowin’ in the wind, The answer is blowin’ in the wind.How many years can a mountain exist Before it’s washed to the sea? Yes, ‘n’ how many years can some people exist Before they’re allowed to be free? Yes, ‘n’ how many times can a man turn his head, Pretending he just doesn’t see? The answer, my friend, is blowin’ in the wind, The answer is blowin’ in the wind. ~”Blowin’ in the Wind”; Bob Dylan; Freewheelin’ Bob Dylan |
“Like a Rolling Stone”; Highway 61 Revisited – named #1 Greatest Song of All Time by Rolling Stone; named #3 of 100 Greatest Rock Songs by Digital Dream Door
Anberlin
Bob Marley and the Wailers
Michael Bolton
Judy Collins
Cher
The Creation
Drive-By Truckers
Eiffel 65
The Four Seasons
The Jimi Hendrix Experience
John Cougar Mellancamp
Johnny Thunders
The Rolling Stones
Mick Ronson
Phil Lesh and Friends
Rotary Connection
Spirit
Neil Young
The Young Rascals
“Blowin’ in the Wind”; Freewheelin’ Bob Dylan – named #14 of 500 Greatest Songs of All Time by Rolling Stone; included in “NPR 100” as one of the 100 most important American musical works of the twentieth century
Alanis Morissette
Bender [“Futurama”]
Chet Atkins
Sam Cook
John Fogerty
Etta James
The guinea pig in Dr. Doolittle
Joan Baez for Jenny, a.k.a. Bobbie Dylan [played by ] in Forrest Gump
Lemar
Marge Simpson
Marlene Dietrich
Elvis
Peter, Paul, & Mary
Dolly Parton
Stevie Wonder
Neil Young (read more…)
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Rambling on a Piece of Rock
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Rambling on a Piece of Rock by Roxanne McDonald
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What makes a song? What makes a song a favorite? What makes a song the greatest of all time? |
1. “Like a Rolling Stone,” Bob Dylan
2. “Satisfaction”, The Rolling Stones
3. “Imagine”, John Lennon
4. “What’s Going On,” Marvin Gaye
5. “Respect”, Aretha Franklin
6. “Good Vibrations,” The Beach Boys
7. “Johnny B. Goode,” Chuck Berry
8. “Hey Jude,” The Beatles
9. “Smells Like Teen Spirit,” Nirvana
10. “What’d I Say,” Ray Charles
Top 10 of Rolling Stone’s “500 Greatest Songs of All Time”
What does it mean to say “I love that song!”? How does one explain or justify, if, say, he or she has a grade hanging over the head and is forced to, a “favorite” song?
Most challenging, yet, is how does one go about discriminating between such a massive passel of “great” songs to come up with that definitive fav?
Besides the obvious universality of music in general, that is, what is it that makes us like or love a particular piece and, further, share this profound appreciation whether we can articulate it or not?
The air-quotes as necessarily irritating as they are, here I sit, wondering such things.
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Best Bob Dylan Songs
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Best Bob Dylan Songs by Roxanne McDonald
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It ain’t no use in turnin’ on your light, babe That light I never knowed An’ it ain’t no use in turnin’ on your light, babe I’m on the dark side of the road Still I wish there was somethin’ you would do or say To try and make me change my mind and stay We never did too much talkin’ anyway So don’t think twice, it’s all right~”Don’t Think Twice, It’s All Right;” Bob Dylan; The Freewheelin’ Bob Dylan |
Well-respected musicologist Paul Friedlander, in his explication of music analysis, “The Rock Window: A Systematic Approach to an Understanding of Rock Music,”
defines what goes into and what can come of, by way of good critical review, the quintessential rock song. He names the components and subcomponents to consider as, for instance, the music (the ensemble, the rhythmic emphasis, the instrumental style, and the vocal solo); the lyrics (the meaning and the message); the artist’s/artists’ history; and the societal context/impact.
Some consider these as they name their favorite Dylan songs…, some just unconsciously know and name what they like.
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UberDylan
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UberDylan: Greatest Song of all Time, Greatest Rock Artist of All Time by Roxanne McDonald
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Once upon a time you dressed so fine You threw the bums a dime in your prime, didn’t you? People’d call, say, “Beware doll, you’re bound to fall” You thought they were all kiddin’ you You used to laugh about Everybody that was hangin’ out Now you don’t talk so loud Now you don’t seem so proud About having to be scrounging for your next meal.How does it feel How does it feel To be without a home Like a complete unknown Like a rolling stone? ~“Like a Rolling Stone;” Bob Dylan; Highway 61 Revisited |
It has been said and agreed upon that all art is a response to something. At the same time, the best of our musical artists are considered for the significant cultural impact they have made and continue to make [that they are the something to which others respond). Come up with a list of just such genii, be they intentional protesters of the period or inadvertent arbiters for an era, whether they are more passive social commentators or more active servants for the cause–and one name will surely be at the top: Bob Dylan.
So it seems reductive to toss out some trivia when the man so many of us would take a bullet for has contributed so much. Let the following, then, serve as the smallest of tributes to the greatest, the absolute best of the best of expressionist and influential artists extraordinaire.
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Edith Piaf: Eminent Street Chanteuse
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Edith Piaf: Eminent Street Chanteuse by Roxanne McDonald
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Non, rien de rien Non, je ne regrette rien Ni le bien qu’on m’a fait Ni le mal tout ça m’est bien égal!~Edith Piaf |
You may have heard these lyrics in the final scenes of The Dreamers; in La Vie en Rose; or even [sadly] in a recent commercial. However you get your first exposure, you likely can’t help but take notice of the evocative, part guttural part warbled vocals of the legendary Edith Piaf.
So much of what contributes to the Edith Piaf mystique is in her unique and visceral rendering of the chanson-style singing. But her life experiences surely impacted followers and fans, as well—to the point where many details have evolved as possible legends rather than truths:
She was born Edith Giovanna Gassion in December of 1915, to father Louis Gassion, a touring acrobat and street performer, and Anita Maillard, an aspiring singer who was known as an alcoholic who would also work the streets as a lady of the night when she wasn’t busking as Line Marsa.
When her father was called to serve during WWI, the little girl was sorely neglected, inspiring her father to send her to live with Edith’s paternal grandmother, a brothel madame in Bernay.
Besides having a more doting grandmother, five-year-old Edith was often cared for by the prostitutes, women who in one instance reputedly closed down the brothel when Edith became temporarily blinded by acute conjunctivitis: the women turned to keeping a day-long prayer vigil. A few days later, Edith’s sight returned.
Louis Gassion retrieved his daughter in 1922, when Edith was seven, old enough to join her papa first cutely passing the hat to encourage larger contributions then singing, by the age of nine, on the streets of Paris.
By the time Edith was a teenager, she had developed her voice, joined up with her half-sister Simone, and was singing for tips in cafes, at military camps, and on the streets, when she wasn’t running with the thugs or engaging in transient rendezvous in one of the flop houses or cheap hotels where she and Simone stayed. More accurately, Edith would use the tougher men of Paris, the pimps and petty criminals, as protection on the streets.
At seventeen, Edith fell in love with Luis Dupont, a delivery boy. They had a child together whom Edith neglected as much as she would soon neglect her lover—busy singing and bored with the relationship as she was. She would leave him holding their daughter, a child who soon died in his care because of meningitis [not because of his parenting]
Always to be one to engage in less than healthy relationships—or those that were unusual, short-lived, or short on “normative” dynamics, which bored her anyway—Piaf hooked up with another street denizen, a protector, a pimp who kept a generous percentage of her performance earnings. This instead of prostituting her in the usual fashion. Reportedly, as she continued a pattern that would last her lifetime and readied to leave this man as well, he took shots at her—shots that she barely escaped being felled by.
Now nineteen, Edith was discovered on the streets by cabaret owner Louis Lepleé—who took her in, groomed her for the role of star act, and determined she was la môme Piaf (the waif sparrow, the little sparrow, or the kid sparrow, depending on who translates).
No longer Edith Gassion but Edith Piaf, the teenager with the powerful, mournful voice with its “rapid vibrato that wrung the sentiment out of every lyric” had a manager who streamlined her song list, mentored her in stage presence, and gave her what would be her trademark little black dress.
From her stage debut, attended by the day’s celebrities, to her first Polydor Records contract, Piaf had become one of the most sought-after stars of the time. But running with the same sort of street people would keep her suspect in more ways than not. In 1936, for instance, the man who had reinvented her was shot and killed in his Paris home. Because of her continued associations of ill repute, police made Edith the prime suspect in Lepleé’s death. Despite the fact Piaf was cleared, the media’s persistent speculation kept her at the center of the scandal—a phenomenon that now threatened to ruin her future as a professional singer.
Giving up the weak reception tours outside of Paris, Edith returned to the city to seek support in resuscitating her singing success. She approached songwriter, businessman, and Foreign Legion veteran Raymond Asso—whose work she had earlier declined performing. Asso not only took her on as a charge, managing her career, he consummated his great attraction to her, making her his lover, forbidding her continued association with the pimps and other undesirables, and establishing a basic education regime Edith had been deprived of in the first part of her life.
But Asso didn’t altogether erase the street urchin in Edith: rather, he encouraged her stories of being virtually born on the streets [one legend has it she was born under a street lamp] and of having grown up on them. These stories he used to create [and co-create, with Marguerite Monnot] the Piaf repertoire, to showcase Piaf the anomaly, to usher in Piaf the Parisian star.
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Do the CockWalkRock Life with Whitestarr
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Do the CockWalkRock Life with Whitestarr by Roxanne McDonald
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I’d like to go to great, stretched-out lengths to avoid turning this piece into a long, stretched-out dissertation on Cisco Adler’s unmentionables, but not sure how long I can hold out. |
The idea WAS to add Cisco and the other Whitestarr band members to the Rock Relationships archive. The plan was to casually look at the dynamics of the band as it aspires to become famous—the interpersonal pressures, the grating gripes, the subsequent physical fights that foreshadow a flash-in-the-pan sort of fame.
Let’s see if I can get something salvageable now that I have partaken of two episodes of “The Rock Life” and a quick curiosity-sating peek at some pics that are all over the net.
Okay, so, Whitestarr members, Cisco, Orbi, Rainbow, Damone, and Dancing Potato Tony have been together for years. [Orbi says something about having been in this band for eight years, so I’m going on that for starters—despite how sites like StarPulse.com cite the band-formation date as 2000.]
Their relationship as a collective is oddly defined. In one sense, there is a camaraderie and syncopation that is fascinating to witness, while in another sense the levels of interaction go way beyond the male banter dynamic and into “Shut the fuck up” and the pointing out of others’ flaws disrespect phenom.
I think it was Cisco who, as the bandmates were bringin in their shit to live with him while they work on making their next album, said that it was like they started out a group of dogs and ended up like a pack of wild wolves….
He leads the jam in front of manager Carl Stubner, for example, and does this odd stop/cut/stop/cut thing before they can even get one song off the floor. Then, he sings, “Now I’m drivin down the road/You just fucked up right there….” No, those aren’t all lyrics. The latter half is Cisco admonishing Rainbow mid-song.
Okay, so they don’t have a Butch Cassidy and Sundance Kid thing.
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Mick Karn - Masami Tsuchiya - and DJ’s Jamming
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Hi, Mike Liebner here on a “Musical Discovery Sunday”.
OK, it’s so nice out I know I should be at the beach or in the sun, but here I am finding the most incredible music… It’s weird how it hits you when you least expect it. I couldn’t pull myself away if I tried (hold on Milo I’ll walk you in an hour!)
I was snooping around looking for Mick Karn stuff when I landed on this rare find video.
http://www.youtube.com/watch?v=qskcymLljyw
Mick Karm on Fretless Bass along with Masami Tsuchiya ripping on guitar live with a bank of dj’s mixing in the background.
This brings new meaning to the words jam session.
This would be awesome with a drummer jamming live but as it is it’s really good! (read more…)
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Philosophy 101: Bursting the Bret Reality Bubble
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Philosophy 101: Bursting the Bret Reality Bubble by Roxanne McDonald
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And getting the pieces stuck all over our faces in the process. |
I don’t know whether to be disappointed the denial cannot be denied or pissed people can’t leave a good bawdy and rollicking show alone. Bret and Kristi Lynn Gibson rock in love.
Okay, so “Rock of Love” aint no Oscar/Emmy-Award-winning entertainment fare. So the only reason so many would recommend it to others is to be able to share in the poking of fun. So what? It sure beats watching golf. And so what Michaels is using the reality TV venue as a platform for self-aggrandizement?
Did ya happen to catch the shameless and utterly dreadful and dull half-hour-long commercials for The Parker? I’d choose watching Bret test the tit factor on “Rock of Love” over having to sit through one more episode of overgrown Peter Pans wrecking a hotel room that takes twenty minutes to discuss by hotel reps plugging the greatness and the monetary damage and the amount of money some unknowns spend on a room, food, a pool, and a bed. Snnnnnore.
So I get the need to break innocuous bubbles, or I recognize the need to jump on the reality TV wreckers’ wagon and pretend this is the first time it has been announced that Bret is posing for publicity…not looking for love. But [if it IS true], do ya have to ruin it for those who prefer to stay in love with former Poison front man and present day solo rocker Bret Michaels?
Nobody said anything at first, as we devoted TV bloggers wrote of the promise of what we hoped would be another kind of show in the minority—rocker-flavored reality. Nobody balked about appearances or truths. That is, not until somebody caught wind of the efforts a middle-aged man was making [or had made, given that “Rock of Love” was pre-recorded] to keep his life going strong.
What do some people have against aging? Why so cruel about the hair and the hat? Who says [besides, like, three yahoos on a message board] that Michaels is a has-been?
And did ya have to ruin the fantasy that is “Rock of Love” by announcing that Bret is living a quiet, settled-down, and happily married life in Arizona?
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