Sonic Youth has a new limited-edition compilation coming out on June 10. It’s called Hits Are for Squares and it will be sold exclusively at select big city Starbucks stores. The track list was selected by a bunch of famous fans, and Billboard has revealed the selections.
Of course the first thing we must determine is: Who is hardcore and who’s a poser? I.e., who picked the accessible “hits” and who picked the weird old noisy stuff? For what it’s worth, Radiohead selected “Kool Thing” and Chloe Sevigny selected “World Looks Red” from 1983’s Confusion Is Sex.
Criticize the rest of the picks after the jump…
Continue reading Sonic Youth: Starbucks is for Squares
Almost twelve years ago, some friends and I were having an e-mail discussion about Neil Young when one of our other friends made some ridiculous comment about how we shouldn’t waste his time on such an awful singer and terrible songwriter like Neil. I spazzed, of course, but my man George’s response was genius. Check it out after the jump…
Continue reading Tell like it is, G.
Hope you snatched them while you had the chance. A few weeks ago, we told you about eMusic’s coup of landing the ABKCO catalog. It seemed too good to be true, and unfortunately it was. Alert GLONO reader Baltimucho pointed out that now when you search for the Rolling Stones, you get the following response: “Due to events outside of our control, we no longer carry the Rolling Stones catalogue on eMusic. We are sorry to see it go, but hope to get them back in the future.”
Ars Technica looked into it:
All ABKCO would say is that eMusic “executed an excellent promotional campaign” but that the label “has decided that at this point in time we wish to further evaluate this area of the digital marketplace.”
eMusic, for its part, expressed frustration. “Unfortunately, during this time of transition in the music industry, customers are often caught in the middle as traditional music companies determine how to adjust to new opportunities in the marketplace,” it said in a statement.
This sucks, obviously, in general. But it sucks even more for people who put off downloading as much Stones stuff as they wanted, assuming it would still be there next month.
Continue reading eMusic Loses the Stones
The title’s not a call to action but a statement of fact: Pete’s free today, having served 29 days of a 14-week jail sentence for breaking probation. And from the sounds of it, prison life has it’s ups and downs when you’re Pete Doherty.
“I got trouble from the start, from the inmates and the guards, mainly shouting at night really,” Pete told the NME. “Some people were saying ‘Keep your head down’, the other half were saying ‘Keep your chin up’. So I was a bit like a nodding dog – I didn’t know whether to keep my chin up or keep my head down. It was 18-day early release – I can’t complain really.”
Doherty also claims to have been drug free during his time in the Joint.
“I managed to stay clean. I got my certificate. I was going to Sellotape it to the wall, but they wouldn’t give me any Sellotape,” he said. “Did I take heroin inside? Complete rubbish.”
Still, Pete’s upbeat. “It could have been a lot worse.”
Update: The Guardian has video of Pete waiting for his manager to pick him up.
Dirty Pretty Things news after the jump…
Continue reading Free Pete Doherty
Dennis Wilson‘s solo album, Pacific Ocean Blue, out of print since a crappy 1991 CD version, is being reissued on June 17 as a two-disc legacy edition with 24 unreleased bonus tracks (plus “All Alone” which was included on the Endless Harmony soundtrack). This is exciting news for Beach Boys fans and MOJO readers, as Pacific Ocean Blue is widely considered a lost classic and “the best solo album ever released by a Beach Boy.”
One weird thing about the reissue is that it contains one song (“Holy Man”) with a newly recorded vocal track by Taylor Hawkins of the Foo Fighters. Buddyhead talked to reissue producer Gregg Jakobson about how this came about:
Taylor was in town, a fan of Dennis’s. He’s also a family friend and interestingly enough has the same gravely, whisky, smokers voice as Den. They sound very much alike. We were in the studio mixing the Holy Man track, Taylor comes down to the studio, we hammer out a lyric, Taylor sings it. Perfect! It was meant to be. Destiny.
Buddyhead adds that Hawkins is also “a bearded surfing drummer just like Dennis.” So there you have it.
Official site: Pacific Ocean Blue. Pre-order from Amazon. Buddyhead has a couple mp3s and videos. Full press release after the jump…
Continue reading Dennis Wilson's "Pacific Ocean Blue" finally reissued
Bands catch a lot of flack these days for making half-baked, inarticulate political statements. It’s always fun to poke fun at dopey rock stars, I guess, but I just read a great quote in MOJO by Brian Jones from January, 1967:
“Our real followers have moved on with us, and they are questioning some of the basic immoralities which are tolerated in present-day society — the War in Vietnam, the persecution of homosexuals, the illegality of abortion and drug taking. All these things are immoral. We are making our own statement. Others are making more intellectual ones.”
We shouldn’t expect musicians to make air-tight political arguments. Leave that to the activists and intellectuals. But it’s great that they make their own statements, whether overtly political or not. There are many ways to subvert the system.
Kind of funny (and by funny I mean extremely disappointing) that 40 years after Brian Jones said that, we’re still basically fighting against those exact same immoralities…
We all know that Lester Bangs got his start at Rolling Stone. Here at Glorious Noise, we’ve gathered up links to his Stone reviews that are available online twice: Lester Bangs in Rolling Stone (2006) and Even more Lester Bangs in Rolling Stone (2007).
Those are all great, of course, but Bangs really kicked his prose into high gear after Jann Wenner fired him from the Stone for being “disrespectful to musicians.” He moved to Detroit Rock City and took over Creem. Since today marks the 26th anniversary of his death, we’re honoring his memory by providing links to a bunch of his classic pieces for Creem…
Continue reading Lester Bangs in Creem
While many of us may not be all that fascinated with Moby—it is rather remarkable to consider that Play goes back to 1999, so time fades—it seems that Mr. Hall isn’t all that fascinated with his own music or that of his contemporaries. Indeed, to describe what is generally heard on iPods and from turntables as “trivial” is probably to give the music too much credit, vis-à-vis what he argues in a post on his blog.
Moby is completely smitten with George Gershwin’s 1924 composition Rhapsody in Blue. Unfortunately, that work’s power has undoubtedly been diminished for many people by its use in United Airlines commercials. Nothing like associating shitty airline service with one of the musical masterpieces of all time (and no, I believe that, I am not channeling Moby).
This raises an interesting point to speculate on: What music that has been made in the past several years truly has the sustaining power that Gershwin’s composition has? Certainly, there are more than a few Beatles’ songs (although Rhapsody in Blue is a composition for piano and orchestra and is considered to be a “classical composition,” we shouldn’t lose sight of the fact that Gershwin earned much of his daily bread by writing for Tin Pan Alley). But who else?
Is Moby right?
Josh Rogers, the drummer in my band and longtime reader and sometime contributor to GLONO, turned me on to a book a few months ago because the story seemed to mirror my own life as a budding indie rock fan growing up in conservative West Michigan. As I read the first few chapters of Perfect from Now On: How Indie Rock Saved My Life I realized that for a period in the early to mid-90s the author and I attended about 80% of the same shows. I am sure I bumped into him on more than one occasion at various St. Andrews shows featuring Madchester bands or local punk shows at the various underground clubs that all seemed to take residency in the same shitty warehouse on Oaks Street in Grand Rapids. But I don’t know John Sellers, not personally.
I am getting to know him through his fantastic blog, Angry John Sellers (coincidentally, and appropriately, I was tagged “Angry Vantrell” in my pseudo American Mod band). His latest entry is a case in point of why his book is so fantastic for indie fans who came of age in the 80s and 90s. We can’t help but hold great contempt for the idiots we once were, but there’s also a sense of sympathy for the little dopes. If only we, the grizzled and wise older version, could go back and guide the chubby, peach fuzzed nobs we may have gotten laid after prom.
Behold, Angry John Sellers’ Top 25 of 1986.