Orphans, Bastards and Timewasters :: Getting to the heart of Ryan Adams’ prolificacy – A writer for Paste took the time to listen to all eleven of the albums that Ryan Adams crapped out on his website last year as DJ Reggie, the Shit, and WereWolph:
“On one hand, there’s merit in being able to deliver (and take) a joke, but eleven albums’ worth of really bad jokes (even though most are short) seems like totally pointless overkill no matter how you slice it.”
You can still listen to this stuff for yourself at Cardinal Radio. And be warned, Ryan has released even more Shit (and DJ Reggie) on there since these were reviewed.
Continue reading Ryan Adams: Reviews of his 11 Online Albums
Epic/Legacy is finally releasing remastered editions of Sly & the Family Stone’s first seven studio albums on March 20, each with several bonus tracks and new liner notes. This is long over due.
Sly’s catalog has been criminally neglected. The label rushed out horribly mastered versions of the most popular albums in the early days of compact discs, but it took them until 1995 to release CD versions of the first three Sly albums, A Whole New Thing, Dance to the Music, and Life, each with a single bonus track: “What Would I Do,” “Soul Clappin’,” and “Only One Way Out of This Mess,” respectively. And now even those have gone out of print.
Hopefully this material will finally be given the respect it deserves.
Just the facts, ma’am. Nielsen has released a summary of its year-end music sales stats for 2006, revealing a lot of really bad taste.
Congrats to JT who released the only album in the Top Ten that I actually own. And also to Carrie Underwood who received several of my votes over the phone (but not my shelf space or my attention—I was not one of the 3.02 million people who bouight her album).
And hey wow: apparently the rednecks, Republicans and ClearChannel did not manage to squash the Dixe Chicks after all…
Continue reading 2006 SoundScan Data
Welcome to late-night Lifetime syndication, bitch!
Fox has finally shit-canned The O.C. According to a press release, the final episode will air February 22. Schwartz was quoted; “For a certain audience, at a certain time,” he said, “The OC has meant something. For that we are grateful.”
I’ve mostly enjoyed the show this season. I was willingly engulfed by an Autumn Reeser crush, which I’m sure was the writers’ plan all along, and that was before they rocked the Whitesnake video resets; I thought the cage match under the sewers (or wherever) at Avocado Ave. and 4th was fucking great; and I still liked Seth and Summer’s whole thing, even if it was coasting on fumes without the benefit of the best writing. (Julie Cooper and her damaged soul daughter were getting all the great asides.)
I still knew the end was near, though. Besides, everyone knows Grey’s Anatomy breaks more bands than The O.C. these days. Or, at least The Fray knows that.
Now that it’s been officially shut down, I envision an O.C. spinoff for Mini Cooper, sort of like a Saved by the Bell: The New Class. Maybe Adam Brody can hang out for that shit, be like Mr. Belding’s assistant, now that Dustin Diamond took off for the lucrative celebrity boxing circuit.
Check out all of Glorious Noise’s OC coverage over the years. Good times.
I didn’t realize that NBC has started using YouTube… Earlier this year they demanded that awesome Natalie Portman rap video (my 2006 single of the year) to be pulled…
I’ve been Tivoing Saturday Night Live for a few years now, which renders it entirely watchable. Justin Timberlake was great the last time he hosted, and this time I was sad that Jimmy Fallon was no longer in the cast because the “Barry Gibb Talk Show” sketches had been so funny. Lo and behold, they brought Fallon back for the sketch (he probably wasn’t super busy).
Anyway, thanks to NBC and YouTube, you can watch the highlights after the jump, including the uncensored version of A Special Christmas Box…
Continue reading Justin Timberlake on SNL
Remember that Velvet Underground acetate on ebay? Apparently, that one wasn’t “one of a kind.” Or else someone ripped the vinyl before losing it. Or something… Because there’s a Japanese bootleg of the material floating around.
The bootleg’s source was apparently in rougher shape and contains more surface noise than the one that was being auctioned off last week. But there are probably a lot of people out there who just want to hear the alternate versions, no matter how shaky the quality.
Well, Merry Christmas, motherfuckers! After the jump, you can download the four songs from the acetate that were completely different takes from the officially released album, The Velvet Underground & Nico.
Continue reading Velvet Underground Acetate MP3s
There is some critical concern vis-à-vis the Love album that contains music by the Beatles that has been re-realized by the group’s producer George Martin (and son Giles). One could argue that the sounds that we hear from the Beatles have as much to what Martin did at the mixing board as the boys in the studio, so it is in some ways “his” music as well as theirs. Although this remastering and mash-up of various of the songs—the prime example being a combination of “Drive My Car,” “What You’re Doing,” “The Word,” and “Savoy Truffle”—is released as a free-standing disc, what is not as evident as it should be is the fact that Love is a show that is being performed at the Mirage casino in Las Vegas by an extraordinary cast of Cirque de Soleil members. Those people are to acrobatics what the Beatles were to music. The music of Love is a soundtrack more than an independent work, and while it can more than ably stand on its own merits, the show’s the thing. Having had the opportunity to see the show, which could cause an adjectival avalanche of gob-smacked praise, the music takes on an entirely different context than it would through just listening. Some of the music is there in the form that it is in order to support what is going on on stage (e.g., “I Want to Hold Your Hand,” “Lady Madonna” include screaming fans and running mop-tops in the former, and Busby Berkeley-like dancing in the latter). It is as much about flipping and soaring and swooping and a nearly inexplicable number of other things that the performers are doing as it is the music itself. Yet this is all integrated in a way that is far more intimate than the current predilection in Hollywood, for both movies and TV shows, to put popular tracks on top of scenes because, in effect, using the message and mood of the music to pick up where the writing has not done its job. Which is to say that the only way to really hear Love is to see Love.
Eagles of Death Metal’s Jesse “The Devil” Hughes talks to the NME about the dustup with Axl Rose:
“Then when he called us The Pigeons Of Shit Metal, Tommy Stinson, their bass player took his bass off and goes: ‘Fuck you, that’s it’. And then he threw his bass down. But then Axl picked up his bass and fucking threw it at him dude. It was a fucking circus up there.
“By the end of the night that guy [Rose] had caused a giant uproar,” said Hughes. “It was like a total mutiny on the part of his band and everyone. I could hear screaming in the dressing room, ‘Those are our friends and you’ve insulted our friends’. Then at 4am in the morning our tour manager gets a phone call which essentially amounted to: ‘Axl’s thought about it, he thought you guys were a band getting shoved on his tour from the label. He’s really sorry and you’re more than welcome to finish the tour’.
“When my manager told me that, I just said, ‘You can tell that motherfucker to go and fuck himself because I will never go through that again’.”
This is great. There’s really only one way to solve this feud: bare-knuckles fisticuffs between Axl and the Devil. I would happily fork over the $50 pay-per-view to see Axl gets his ass whooped by a dude with a handlebar mustache.
The New York Times covers Percolator’s new challenge to the Pazz & Jop poll.
The new survey will be organized by Michaelangelo Matos, a well regarded freelance writer who has served as music editor at the Voice-owned Seattle Weekly…. Jackin’ Pop will have some new technological bells and whistles, like demographic breakdowns of ballots, but will largely be modeled after Pazz & Jop. Mr. Matos, 31, said it was as much a homage to that model as a protest against the new Voice.
“Pazz & Jop has always been about intellectual music coverage,” he said. “There are people at The Voice doing good, smart work, but the overall culture does not smile upon it being particularly thoughtful.”
… To nab that credibility, Idolator first offered the job of putting Jackin’ Pop together to Mr. Christgau. He declined, but said he would contribute to both Jackin’ Pop and Pazz & Jop.
Read Percolator’s Jackin’ Pop announcement: Time To Raze The Village.
Update: the results are in.
Not sure exactly what this will mean for the future of radio, but Clear Channel was bought out for $19 billion from private equity firms.
Tidbits from Bloomberg:
• “The company also plans to sell 448 of its 1,150 radio stations and all of its 42 television stations.”
• “The company lost more than 60 percent of its market value since 2000…”
• “Now the company plans to sell almost 40 percent of its radio stations. None of those are in the top 100 U.S. markets and the assets represent less than 10 percent of revenue.”
• “The deal leaves current executives in charge of the company, including Mark Mays and his brother Randall Mays, 41, who is chief financial officer.”
• New owners “Lee and Bain have been buyers of media companies before… [They] partnered with Providence to buy Warner Music Group…”
Guessing this is just another “same as the old boss” type of scenario. But who knows?