The Online Portal 4 Hard Rock Merch!

  Tony Macalpine Tour & Album

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  Justice Live in Manchester

  Metallica-Fest: Orion Music!

  Lindi Ortega: Live in Lvrpl

  Tracer Back By Popular Demand!

  Christiaan Webb Solo Album

  2011 “The Year The Music Died”

  Hot Off The Press: #1

  Anarchy, Seether & Meat Loaf!

  Roxy Music: Complete 1972-1982

  Graceland: 25th Anniversary

  Nanci Griffith New Album in ‘12

  Chickenfoot Live 2012

  Be Heard & Seen, Ask Gene!

  DiFranco New 2012 Album

  Lost Alone: OTW: 2012

  Lanterns on The Lake: Live/Lvrpl

  Pete Townshend Saves Music!

  Stop the Rock? Nope!

  Dirty Three New LP in 2012

  Last Live Shows Of 2011

  Best Albums of 2011

  Korn: The Path Of Totality

  Rodrigo y Gabriela Tour 2012

  Nickelback: Here & Now

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  Volbeat & Toploader Live!

  Hard Rock Night! Live & Livid!

  Rock Local! Wrexham Central

  Seasick Steve Live

  Other Lives in Manchester

  Black Country Communion - Live!

  The Suzukis Inspired Live Show

  Sound City 2011 Review

  Drive-By Truckers in Liverpool

  Sarabeth Tucek Live

  Glamour Of The Kill: Live At Last!

  My Chemical Romance Live

  Thin Lizzy: The Boys Are Back…

  The Pretty Reckless Live

  Goo Goo Dolls Live in Liverpool


Thomas Ford: The Nu Blues!

Thomas Ford & the Dirty Harmonys are a six piece band from the southwest of England. They are led by 24 year old Thomas Ford, a vocalist, harp player and slide guitarist. The band also features Vince Lee (guitar) and Al Wallis (bass) from internationally acclaimed blues and roots band ‘The Wildcards’.

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The line-up is completed by Thomas’ brother Timmy Langsford (drums), his sister Becca Langsford (vocals) and longtime musical companion Junior Pearson on saxophone and keys. The band released their debut album ‘Separation Street’ in May 2009 to great critical acclaim. 10 of the 11 tracks are original tunes written by Thomas, steeped in delta blues tradition with a dark lyrical humour, timelessly simple enough to leave them swimming around your head for days!

They are about to enter the studio to record their new album with Michael Abbott who has worked on albums by Springsteen,  Bowie, The Clash, Paul Simon and many others, we will be speaking to him seperate about his production work and the new ‘Ford’ record very soon…

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Here’s what the critics have made of it:

“There are nods to Tom Waits, Ian Siegal and Robert Johnson throughout. Thomas is an excellent bluesman, delivering some great guitar and harmonica work. The title track is particularly strong, and any album that contains a song with the title “(It’s a Mean Old World) For a Drunken Hearted Man” has got to be worth hearing. Ian Siegal has some competition!” (Blues Matters! UK)

“This is a frighteningly good album” (www.bobtjeblues.com - online Dutch blues magazine)

“With his debut album ‘Separation Street’ Thomas already has a future classic in the making…..a very strong album that assures us of years of raw delta blues to come” (www.rootsville.be - online Belgian blues magazine)

“Thomas Ford & the Dirty Harmonys wanna blues you a new asshole, and they come pretty close on debut album ‘Separation Street’. Dirty slide, delta growl and delicious harmonica with modern Jon Spencer-esque moments proffer a junkyard authenticity that many aspire to but seldom attain. A raw delight! Album of the month.” (247 magazine)

“If you like blues-soaked rock and roll oozing with soul, you’re gonna love this band! They’ve just unleased their brilliant debut album ‘Separation Street’, and are destined for big things….. (Go2 magazine)

The album was recorded, produced and mixed entirely by Timmy Langsford in ‘bedrooms across the town of Plymouth’. To get your copy, for only £7.99, follow the link to the wonderful www.rootscd.com

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*****THOMAS FORD & VINCE LEE ARE ENDORSED BY EASTWOOD AIRLINE GUITARS. CHECK ‘EM OUT http://www.eastwoodguitars.com

Read more: http://www.myspace.com/thomasfordblues


Passport Approved! Worldwide

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A&R Worldwide delivers a one-stop solution for talent discovery, development, consulting and marketing. Passport Approved is creation of British-born / Los Angeles-based DJ Sat Bisla, who was previously a DJ at KCRW in Los Angeles. Passport Approved is a weekly radio show on the acclaimed ( www.indie1031.fm)

Read more  

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Weezer: Pinkerton/D2FM 2010

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WEEZER’S PINKERTON – DELUXE EDITION ADDS PREVIOUSLY UNRELEASED LIVE AND STUDIO TRACKS TO HIGHLY-ACCLAIMED 1996 ALBUM

Few albums in rock history have enjoyed as complete a critical and popular turnaround as Weezer’s Pinkerton. Though tagged a disappointment upon its 1996 release, today Pinkerton is considered one of the most influential and important albums of that decade and beyond. In 2004, Rolling Stone even felt compelled to re-review the album, raising it from three stars to the ultimate five. Spin has since honoured Pinkerton as among the 100 best albums of 1985-2005 and Guitar World ranks it among the top 100 guitar albums of all-time.

Now the two-CD Pinkerton – Deluxe Edition, released November 8, 2010, adds colour to the band’s musical journey with the original Weezer-produced album remastered and 25 contemporaneous bonus tracks, including every official B-side and 16 previously unreleased recordings. Among the latter are the newly-discovered gem “Tragic Girl”, unreleased B-side “I Swear It’s True” and numerous live performances, particularly noteworthy given that the band rarely played Pinkerton songs after the album tour. The 1996-1997 concert tracks were taken from the massive Reading Festival in the U.K., radio station sessions in Philadelphia and Salt Lake City and a lunchtime performance won in a contest by Shorecrest High School near Seattle. Accompanying the package is a booklet with numerous photos and an essay by band compatriot Karl Koch, who reveals how the glorious “Tragic Girl” was recorded at the last minute but left undocumented, causing many to forget its existence.

Singer-songwriter-guitarist Rivers Cuomo, guitarist Brian Bell, bassist Matt Sharp and drummer Patrick Wilson had scored with 1994’s self-titled debut (aka “The Blue Album”). The triple platinum disk spun off the hits “Undone – The Sweater Song,” “Buddy Holly” and “Say It Ain’t So.” But Cuomo shelved an ambitious rock opera for the follow-up (the Hamburg, Germany recorded demo “You Won’t Get With Me Tonight” on Deluxe Edition is a remnant). His experiences of sudden rock stardom coupled with entering Harvard and enduring painful leg surgery suggested a darker, more visceral, less playful tone than Weezer’s previous power pop.

At the time, Pinkerton’s vulnerable lyrics and edgier music took audiences and critics by surprise. But redemption was near. Today Pinkerton approaches platinum and is widely hailed as one of modern rock’s greatest albums.

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DISC ONE
Original Album:
1. Tired Of Sex
2. Getchoo
3. No Other One
4. Why Bother?
5. Across The Sea
6. The Good Life
7. El Scorcho
8. Pink Triangle
9. Falling For You
10. Butterfly
B-Sides and More:
11. You Gave Your Love To Me Softly
12. Devotion
13. The Good Life (Radio Remix)
14. Waiting On You
15. I Just Threw Out The Love Of My Dreams
16. The Good Life (Live and Acoustic)
17. Pink Triangle (Radio Remix)
18. I Swear It’s True*
19. Pink Triangle (Live and Acoustic)

DISC TWO
1. You Won’t Get With Me Tonight*
2. The Good Life (Live at Y100 Sonic Session)*
3. El Scorcho (Live at Y100 Sonic Session)*
4. Pink Triangle (Live at Y100 Sonic Session)*
5. Why Bother? (Live at Reading Festival 1996)*
6. El Scorcho (Live at Reading Festival 1996)*
7. Pink Triangle (Live at Reading Festival 1996)*
8. The Good Life (Live at X96)
9. El Scorcho (Live and Acoustic)*
10. Across The Sea Piano Noodles*
11. Butterfly (Alternate Take)*
12. Long Time Sunshine*
13. Getting Up And Leaving*
14. Tired Of Sex (Tracking Rough)*
15. Getchoo (Tracking Rough)*
16. Tragic Girl*
*Previously unreleased

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Asia: Omega: Dec Tour 10′

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Asia, the acclaimed British rock super group featuring prominent members of Yes, King Crimson, Emerson Lake and Palmer and The Buggles, released ‘Omega’, their highly anticipated new album of original material, on Frontiers Records, distributed by Cargo, on April 26th.

Following their triumphant, consummate, crowd-pleasing performance at the High Voltage Festival in Victoria Park in London at the end of July 2010, Asia, the acclaimed British rock super group featuring prominent members of Yes, King Crimson, Emerson Lake and Palmer and The Buggles, return to the live arena to play the following UK Concerts:-

Fri. 10th December – HMV PICTURE HOUSE EDINBURGH (ticketweb.co.uk / 0844 248 5037)
Sat. 11th December – HMV INSTITUTE – BIRMINGHAM (ticketweb.co.uk / 0844 248 5037)
Sun. 12th December – HOLMFIRTH PICTUREDOME (picturedome.net / 0871 230 1101)
Tue. 14th December – HMV FORUM LONDON (ticketmaster.co.uk / 0844 847 2405)
Wed. 15th December – FALMOUTH PAVILLION (seetickets.com / 01326 211222)

“Here we have the four founding members back together in perfect harmony for a new studio album. And ‘Omega’ stands out as the best thing the quartet has produced since that stunning debut album. All of the things that made the first album so good are present once again; strong songs, good melodies, tough arrangements, heartfelt vocals, quirky chords and an excellent production. 5/5. Album Of The Month” - Guitar Techniques, June 2010 issue.

Classic Rock’s Malcolm Dome stated “As soon as Steve Howe’s muscular riffing kicks’ ‘Finger On The Trigger’ into action, ‘Omega’ grabs the attention and keeps up a mature. classy momentum. The arrangements are lush and bright, and John Wetton’s emotive vocals are allowed to breathe, as Howe and keyboard player Geoff Downes complement each other. And let’s not forget Wetton’s bass playing, nor Carl Palmer’s flexibility on drums, making this a rhythm section that doesn’t so much drive as stretch out. The band seem to delight in their new compositions, and with good reason. The likes of ‘I Believe’, ‘Through My Veins’, ‘There Was A Time’ and ‘Light The Way’ have lustrous choruses, accentuated by multiple harmonies. This is what Asia fans want, and are given in vast quantities’.

When John Wetton (vocals and bass), Steve Howe (guitar), Geoff Downes (keyboards) and Carl Palmer (drums), the four original band members, reformed in 2006 for the first time in 23 years, no one in the group knew how long the reformation would last. They were committed to a tour, but nothing after that was etched in stone.

The reunion, originally purely to celebrate the 25th anniversary of the band, morphed into an ongoing endeavour and in 2008 Asia returned with their first new album for a quarter of a century, ‘Phoenix’, predominantly influenced by their earlier classic AOR sound.

Now, nearly 5 years on, the band’s second album since the reunion, ‘Omega’, a stunning blend of the classic Asia sound, with a number of compelling and innovative new musical ideas, is about to be unveiled.

“We were looking to create something different with Omega,” states Geoff Downes, continuing, “Of course, the sound of the 4 band members of Asia will always have a certain hallmark when we play together. That’s a given. But we approached the song writing with a mind to getting a degree of variety into these compositions. Hence, you will hear areas of textures where arguably we have never gone before.”

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John Wetton comments that “It’s a collection of songs, but from the rocky, strident opening of ‘Finger on the Trigger’ to the wistful ‘Thank You.’ As for our audience…. in ‘Don’t Wanna Lose You Now’, it’s talking to you, the listener. ‘Omega’ gives you a sequence of real stories, that actually happened. The stories are set in a fairly lush, sophisticated production of what Asia is known for, concise, mature rock songs without the gratuitous meanderings of our Alma Mater.”

Steve Howe adds that “the whole recording process has been inspiring and rewarding, and I’m very excited about the result”. “I would say these are all strong individual songs” says drummer Carl Palmer. “It was a very smooth experience, and arguably one of our best records.”

For the first time since their debut album, Asia worked with an outside producer, Mike Paxman (Uriah Heep, Status Quo). “It was very different for me,” says Wetton. “…Not in the writing, or construction, of the songs, or even in the method of recording, but for the fact that as well as the band, there was a producer, and a hands-on record company making suggestions about musical direction. This has never been the case before, and made the band take a more aggressive attitude toward the final selection of material.”

As with the most popular of Asia releases, the cover art was specifically designed for the project by acclaimed artist Roger Dean. The concept of the title ‘Omega’, and the ‘Year of the Tiger’ referencing of the cover art underline the fact that this is real Asia. John Wetton explains: “The title ‘Omega’, as any fan of the band will tell you, is ‘very Asia’ (as is the album, by the way). It no more means ‘final’ than ‘Alpha’ means ‘the first’ (which it wasn’t). It’s a great sounding/looking word, and a bookend to ‘Alpha’. In many ways, musically and conceptually, the two albums share commonality.”

Formed at the dawn of the MTV era by ex-members of Yes, ELP, King Crimson and The Buggles, Asia were the logical successor to their collective mega bands of the 70’s. Asia’s eponymous debut album was the biggest-selling album in the world in the year of its release (1982) and spawned the US top ten singles ‘Heat Of The Moment’, ‘Only Time Will Tell’ and ‘Sole Survivor’. The follow-up, ‘Alpha’, produced the top ten singles ‘Don’t Cry’ and ‘The Smile Has Left Your Eyes’ and also went multi- platinum,

Videos for the singles, made by the ground breaking Godley & Creme team, were a staple part of MTV’s initial programming, contributing to ‘Asia’ selling over 6 million copies in the US alone, staying at the top of the Billboard Chart for an incredible nine weeks. But after the release of the multi platinum follow-up ‘Alpha’ in 1983, the four musicians went their own various ways.

Then in early 2006, the original line-up announced their reformation and a December UK tour. Classic Rock Magazine reviewed Asia’s sold out tour at London Shepherds Bush Empire gig on December 3rd 2006. Dave Ling enthused “Reunited to celebrate the quarter-century anniversary of their multi-platinum, self-titled debut, Asia play all of its nine songs tonight, plus ‘The Smile Has Left Her Eyes’ ‘Don’t Cry’ and ‘The Heat Goes On’ from successor ‘Alpha’. Combining the guilty indulgence of top quality pomp rock with soaring pop sensibilities, all sound absolutely glorious, reminding us why Asia were called a supergroup when they formed. The grins on stage and off tell us that the chemistry between these four exceptional musicians remains undimmed.”

Asia then recorded ‘Phoenix’, released in April 2008 on Frontiers. Record Collector’s Ian Abrahams stated “Regrouping for their first studio album since 1983, the original Asia line-up has produced a really pleasing twist on their early AOR sound. ‘Phoenix’ is a smart mixture of Epic rockers, power ballads and touching intimacy. At its core reside thoughtful reflections on love, vulnerability and mortality, while its exterior glistens with an unexpected contemporary sheen. Bassist and vocalist John Wetton recently underwent emergency heart surgery, which, in its turn, seems to have fuelled his passion for the work. The closing track, ‘An Extraordinary Life’, is his summing up of this and other health battles and resonates with the joy of four musicians rediscovering their passion for creating music together. A well described resurrection from the ashes.” (Record Collector, June 2008).

The original members of Asia - who have now been together longer than when they originally burst onto the music scene at the beginning of the 80’s!!! ‘Omega’, crammed with exquisitely performed, “Accessible, melodic, anthemic songs luxuriating in a bed of lush orchestration, with lyrics that strike a sympathetic chord in even the most cynical heart” (Wetton) more than marks a new renaissance and joie-de-vivre for Asia.

Asia Like It - Roland Hyams - www.originalasia.com


Kings Of Leon Summer Sundown

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Columbia Records UK is excited to announce that Kings of Leon released the highly anticipated fifth album, Come Around Sundown, on October 18, 2010. It was recorded in New York at Avatar Studios and produced once again by Angelo Petraglia and Jacquire King. Come Around Sundown is the follow-up to the hugely successful Only By The Night, which sold over six million copies worldwide and garnered four Grammy Awards and two Brits. It’s yet another bold and expansive statement by the Nashville, Tennessee-based quartet who, in the last two years, have become one of the biggest bands in the world; also one of the most creatively restless. It became their third consecutive album to debut at #1 when it topped the UK album charts last week on release, claiming both the biggest week one sales of the year & the biggest ever first week digital sales along the way.

Kings of Leon Announce Huge 2011 Outdoor Shows

The band have announced details of a series of huge headline outdoor shows for 2011 that will see one of the country’s most adored bands perform in five UK cities this summer, including a return to London’s Hyde Park – the scene of last year’s triumphant headline performance to 65,000 fans. Tickets for the shows in Coventry, Sunderland, Manchester, London & Edinburgh go on sale on Wednesday 3rd of November at 9am.

Kings of Leon: Summer 2011

May 30th Coventry Ricoh Arena
June 17th Sunderland Stadium of Light
June 19th Manchester Lancashire County Cricket Ground
June 22nd London Hyde Park
June 26th Edinburgh Murrayfield Stadium

A Live Nation, SJM, and DF arrangement with Sound and Vision Artist Agency present
Buy Online at: www.LiveNation.co.uk , www.gigsandtours.com , www.ticketline.co.uk www.gigsinscotland.com

But before that, December 2010 will give those fans lucky enough to get a ticket a chance to see the Kings of Leon tear the roof off these venues.

Manchester, Eve News Arena – 13 December
0844 847 8000 / 24 hr CC hotline 0844 811 0051 or online @www.gigsandtours.com

Sheffield, Motorpoint Arena – 14 December
0114 256 5656 / 24 hr CC hotline 0844 811 0051 or online @www.gigsandtours.com

Birmingham, NIA - 16 & 17 December
0844 338 8000 / 24 hr CC hotline 0844 811 0051 or online @www.gigsandtours.com

Sheffield, Motorpoint Arena - 19 December
0114 256 5656 / 24 hr CC hotline 0844 811 0051 or online @www.gigsandtours.com

London, The O2 Arena - 21 December  
0844 856 0202/ 24 hr CC hotline 0844 576 5483 or online @www.livenation.co.uk

www.kingsofleon.com

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The New Album: Track By Track…

Come Around Sundown

Caleb: I think “Come Around Sundown” can mean so many different things. Like, “come around, sundown;” like you’re wanting the sundown to get here. But, it’s actually saying, “I think I’m gonna go have a cup of coffee, come around sundown.”

Jared: Some people interpret it as “come around sundown;” like “come over my house at sundown.” I don’t see it as that. I see it as like “come around sundown, we ‘bout to get down.” Ha-ha!

Matthew: And you always think about, in your free time, record titles and stuff like that — fun stuff. I was listening to some song and the person said, “come around sundown.” I said “maybe,” so I just told the guys and they’re like, “yeah, that’s awesome.” I just expected it to be thrown in the hat with a bunch of other names, but it was kind of immediate. Pretty much from day one, that was the title of the record.

The End

Jared: When we play “The End” live, I don’t know what I’m gonna do! I’m gonna look like Quasimodo; I’ll be hunched over, playing as hard as I can. It’s the hardest bass line I have ever written! I do it with my fingers, it’s so fast. You can’t really – it’s kind of a muffled sound on the record. But if you can hear what I’m doing: I tried to do a Tom ___ kind of thing. But it’s way too hard for me. I’m gonna literally have to play it with my back facing out – ‘cause I’m going to be making a face that no human should see outside the realms of hell. Ha-ha!

Caleb: Well, starting the record off with “The End”… I mean it’s definitely one of those songs that comes in one piece at a time. That’s always a good way – it layers itself – to start a record.

Matthew: I think we needed a strong song to start the record.

Nathan: It’s got a bit of irony to it being “The End” and the beginning.

Caleb: The song has a little bit of what we were doing on the last record. For someone that was a fan of the last record, when they put this record on, it’s not going to scare them away.

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Joe Satriani Live in Manchester

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Manchester Apollo, 17 October 2010

Back in the late 80s/early 90s I embarked on a massive upgrade to my hi-fi system, and in readiness for it acquired fifty of the top sounding albums as selected by What Hi-Fi magazine. Amongst that album selection were a few guitarists including Jimi Hendrix, John McLaughlin and Joe Satriani. To my suprise, it was the guitar albums that really struck a chord with me (pun unintended)and I’ve been a fan ever since. While I now possess most of McLaughlin’s and Satriani’s recordings, up to twelve months ago I had never seen these two amazing guitarists perform live. Then, like the proverbial buses, along they came and of course I jumped on… In addition I saw my first performances by other legends including Eric Clapton and BB King.

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My first Satriani album was his 1995 eponymous recording, a dark, bluesy, lyrical affair which I believe represented his first effort at song-writing. It remained my favourite Satriani album, until now. The excellent Manchester Apollo theatre date was Satriani’s first on this UK tour and a capacity seated audience of over 2,000 were to be treated to the new album almost in its entirety. BLACK SWANS AND WORMHOLE WIZARDS is an epic, expansive affair majoring on melody and, to my ears, great production. But before Satriani hit the stage a young Belfast blues/rock guitarist/singer called Simon McBRIDE provided 45 minutes of his own compositions.

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McBRIDE, supported by a drummer and bassist, proved to be an excellent guitarist with a powerful voice and a sound bedside manner which snared his audience after just a couple of songs. I was impressed and made a mental note to look out for an album on my next visit to HMV…

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Biography

As both a virtuoso guitarist and an Irishman ( Hailing from near Belfast, Northern Ireland) comparisons are often made with Rory Gallagher and Gary Moore, though he sounds like neither in particular. Simon first started playing at age 10 and (self taught) entered and won Guitarist Magazine’s Young Guitarist of the Year competition when he was 15. He was immediately recruited by Sweet Savage (Vivian Campbell/Def Leppard) with whom he recorded two albums and regularly played major festivals. That was 13 years ago, since when he has toured the world as guitarist for diverse acts including Grammy nominated soulman Andrew Strong.

Along the way he has played with artists like TM Stevens, Charlie Morgan, Zorro, Hugh Burns, Slash and Steve Lukather. He has demonstrated for Marshall amplifiers and Paul Reed Smith Guitars (PRS) and is endorsed by PRS and Hughes & Kettner amplifiers. Writing, recording and releasing an own album of mostly original songs opens a new chapter.

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Editor’s Blog: 2010

22 November 2010

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I’m struggling… It’s now 6 months ago that fag smoke last passed through my lips and I still want to light up as soon as my fingers hit the computer keyboard. I’m now convinced that smoking is one of the most addictive habits and its various chemicals lodge themselves in one’s body for a very long time. I went cold turkey and I can now understand why nicotine replacement treatments are so popular. I smoked for many years and it looks like my craving for a fag is set to also last a while yet.

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First it was called Pop Idol before Simon C got his hands on it and called it X-Factor. Then in 2010 X-Factor changed its name to FLOG IT! Yup, that’s what this show is all about, whether is paving the way for contestants (winners and losers) to get ‘instant hits’ when they depart or signed acts releasing new albums/singles. So far it’s been a sellfest with no less than three male groups in last week’s show flogging their imminent releases. And we lap it all up as if our lives depended on it. Cheryl’s had her tit in the till as usual with an impeccable miming display. Then there’s the programme’s press office feeding tit-bits of gossip to hungry tabloids and celeb mags - is it any wonder that certain newsworthy artists seem set in concrete and unmoveable? It’s just sell, sell, sell - judges, guests, competitors, makeover and coaching peeps - the last thing it now is an honest-to-goodness talent show…

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Heard of Emma’s Imagination (Emma Gillespie)? She’s the wonderful Scottish singer/songwriter who won the Sky It Must Be The Music talent show. I understand that Emma is in the studio finishing off her debut album, however, I have been trying to obtain some music to play on our radio show and ended up writing to her on MySpace, with no response! If you’re out there Emma here’s a message for you: COMMUNICATE!

I’m gonna get my hearing checked again. Matt Cardle’s absolutely murdered a great song (’The Last Time I Saw Your Face’) on Factor but was hailed for his performance. Then Fearne Cotton on Radio 1 said that Ellie Goulding’s version of ‘Sweet Disposition’ on the station’s Live Lounge was “beautiful.” For me it was one of the worst things I’ve ever heard. Maybe it’s just that I don’t listen enough to these more positive views enough to get brainwashed… My message to you is a simple one: Listen with your own ears and not some jiffy bag’s who thinks everything is “awesome” or “wicked.”

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Which leads me to BBC Radio 1… They are now boasting the fact that Chris Moyles has many people working on his morning show which must be the most costly in the broadcasting universe. Moyles alone earns over £400,000, give or take a few thousand, and the show is full of verbal shite that is neither funny nor interesting, with great music as rare as hens’ teeth - hell there’s about 4 songs per hour. Now all this got me wondering…

My major complaint about Radio 1 in particular is that few (usually major) pop acts grab a huge slice of airplay leaving not even crumbs for many other more worthy musicians. The BBC could do some very important things: Reduce the number of times play-listed songs are played each day/week by at least half, stop the elevation from the lower play-lists to the A-List, and reduce the number of weeks to 2 rather than the 7-8 that currently exists. Include ‘Live Lounge’ and Festival sessions into the daily/weekly number of plays. Reduce by half the advertising  and jingles, and other non-musical garbage. Then the biggie… Double the number of songs played per hour on daytime radio. This final trick would provide additional airtime for acts that can’t get arrested on Radio 1 right now. By doing this the shite music they play gets watered down (yes, they can even keep their precious frigging playlists) and the range of music played is dramatically expanded and improved (albeit with a new set of more fairly rewarded DJs).

On Sunday night’s Sessions radio show between 10pm-midnight I played 26 songs including one song that lasted ten minutes (http://www.shakenstir.co.uk/index.php/features/calon-105-fm-shakenstir-session-playlists/features/5656/), and I gave all artist, album and song titles. IT CAN BE DONE!

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2009 was a brlliant album release year with some great rock albums more than justifying their position in our Best Of The Year list. The problem is that many of them were never played on BBC Radio 1. One of those albums was The Enemy’s MUSIC FOR THE PEOPLE which we played many times on our radio shows. The Enemy’s Tom Clarke has criticised BBC Radio 1’s decision to overhaul its music playlists in an attempt to attract a younger audience. The new criteria - which places emphasis on commercial acts (whatever that is) - was introduced early in 2009 after it emerged that the radio station’s average listener was aged 33 (oh the shock!).

In an interview with Mirror.co.uk, Clarke said the alteration had had a negative impact on guitar music.

“I think 2009 has been an awful year for music because in England, Radio 1 for some reason have stopped playing anything with a guitar in it,” he said. “What’s happened, their balls seem to have retracted into their lower abdomen, and they’re playing what can only be described as shite.” The singer described Radio 1’s current output as “diabolical” and “a shame” for new bands. “In trying to alienate all the older listeners in playing shit, then yes, they’re going about in completely the right way,” he said. “They’re just presuming that younger listeners want to listen to shit. I don’t understand it.”

You know what puzzles me about this BBC Radio 1 policy? Is assumes young school children are listening to the garbage it plays while they are at school which is not really possible - is it?

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It’s that time of year when we start going back over the year’s releases to try and pick the best albums of 2010. I thought it would be much simpler than it was in 2009 - one of the best release years ever. But of course it won’t be because we tend to take the job very seriously and try to make the outcome as objective as it can be. We check out our site reviews and radio playlists, then we listen again to every album that is ’short-listed’. This year we’ve fallen badly behind with album reviews but as soon as we receive music, we listen to it - we listen to everything - for radio airplay and to provide a quick assessment before reviewing. If the album is not up to our standards after several plays, it is not reviewed or airplayed. The end result is piles of albums with potential for beatification - many more than I first thought there would be. What strikes me about 2010 is the large number of solo guitar albums released by some of the world’s truly great guitarists including Slash, Satriani, Beck, McLaughlin, Clapton, Sayce, Santana, Bonamassa, Norum and several more. Another development in 2010 is the melding of great rock ‘n’ rollers into ’supergroups’ including the latest Black Country Communion (Joe Bonamassa, Glenn Hughes, Jason Bonham and Derek Sherinian).

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While BBC Radio 1 keeps trying to flog pop and dance the music world is rediscovering folk in its various forms with a huge range of music emenating from the USA, Canada and to a more limited extent from the UK. There have also been some brilliant re-releases and ‘ultimate collections’ from some very fine, established musicians. For the first time we’re actually going to play a very short list of contenders for top album on our Revelations radio show each Wednesday night - THE WHOLE ALBUM! Last Wednesday it was Eminem’s RECOVERY - after I managed to find a clean (no F-words) copy from the States.

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Liverpool Music Week 2010

liverpoolmusicweek1LIVERPOOL MUSIC WEEK 2010: LEFTFIELD / CHASE & STATUS / EFTERKLANG / DAN LE SAC vs SCROOBIUS PIP / BEARDYMAN / HADOUKEN / K’NAAN

We are pleased to announce the acts for this year Liverpool Music Week festival, which runs from the 29th October through November.

One of the headline acts for this year’s Liverpool Music Week, is one of the world’s most iconic electronic acts LEFTFIELD who close the 2010 festival at Liverpool University. After a series of outstanding summer festival performances Neil Barnes returns with a new live show. The band who trailblazed their unique sound in the early 90’s and took John Lydon back to the top of the charts, are back after over a decade. Leftfield’s debut album ‘Leftfism’ was voted ‘one of the greatest albums of all time’ by Q Magazine, and their follow up album ‘Rhythm & Stealth’ went to Number 1 spawning the techno anthem ‘Phat Planet’.

Another of this year’s headline acts will be CHASE & STATUS, after a hugely successful outing at this year’s summer festivals. Currently celebrating the release of their latest hit single “Let You Go”, from their forthcoming (and yet to be titled) 3rd album, they headline the o2 Academy on Saturday 13th November.

Another act confirmed for LMW 2010 is the highly acclaimed EFTERKLANG who have recently released their third album entitled Magic Chairs on 4AD. This will be the bands Liverpool debut, and will be flying in from Copenhagen especially to perform during LMW at o2 Academy on Sunday 7th November.

DAN LE SAC VS SCROOBIUS PIP is the next act to be announced for this year’s festival. Since their Liverpool debut at Liverpool Music Week 2007, they have gone on to become one of the best known names in revolutionary new music. On the back of a blistering festival run and their second critically acclaimed album, ‘Le Sac v Pip’ will take on their biggest Liverpool show yet at o2 Academy on Wednesday 3rd November.

Further hip hop & electronic beats will come in the form of improvisation sensation BEARDYMAN. Having won the UK beatboxing championships twice in a row, winning best MC at the Breakspoll awards, will make his LMW debut on the opening night of this year’s festival at the Stanley Theatre on Friday 29th October.

Two other acts to play shows at the Stanley Theatre are HADOUKEN and K’NAAN. A huge favourite in the city, dance-rock-ravers Hadouken will follow on from their second album ‘For the Masses’, and make their LMW debut on the Saturday 30th October.  Somali poet & rapper K’naan will make his much anticipated city debut following his huge summer hit Waving Flag, (the official song of the 2010 World Cup) and is touring his new groundbreaking album Troubador, hitting Liverpool on Saturday 13th November.

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Liverpool Music Week began in 2003 and over the last 8 years has gone onto become a nationally recognised event and highlight of the music calendar. Resulting in Liverpool Music Week becoming the UK’s biggest indoor winter music festival, a musical showcase that features big name acts and gives a performance platform for fresh emerging talent, a number of which have gone on to reach nationwide success. Last years event attracted a record breaking 65,000 people to the city and is a combination of free and ticketed shows. The winning format returns in 2010 to stage over 80 events and play host to over 400 live bands.

LMW Director and founder Mike Deane said: “As we head into our 8th festival, there have been several landmark announcements, but in particular it’s been a serious long-term ambition for me to see Leftfield on the line-up for Liverpool Music Week. We’re also really pleased to have persuaded Efterklang to make their Liverpool debut. They will be flying in especially to play the festival. These are just the first of several exciting announcements for Liverpool Music Week 2010.”

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November Artists:-

Dan Le Sac vs Scroobius Pip
Wednesday 3rd November
02 Academy Liverpool (Main Room)
£14.50+BF / Age: 14+ / Doors: 7.30pm

Efterklang
Sunday 7th November
02 Academy Liverpool (Main Room)
£10.00+BF / Age: 14+ / Doors: 8.00pm

Chase & Status
Saturday 13th November
02 Academy Liverpool (Main Room)
£14+BF / Age: 14+ / Doors: 7.30pm

K’naan
Saturday 13th November
Liverpool University (Stanley Theatre)
£12.50+BF / Age: 14+ / Doors: 7.30pm

Leftfield
Thursday 25th November
Liverpool University (Mountford Hall)
£24+BF / Age: 14+ / Doors: 7.00pm

Tickets available from www.ticketline.co.uk / Tel: 0844 888 4401. More acts to be announced over the coming months. Info: www.liverpoolmusicweek.com / www.myspace.com/liverpoolmusicweek


Lady Gaga The Death Of Sex

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This fascinating and excellent piece by Camille Paglia first appeared in The Sunday Times Magazine, 12 September, 2010.

http://www.thesundaytimes.co.uk/sto/public/magazine/article389697.ece

Paglia’s feature piece is about Lady Gaga but in discussing the artist, she touches on a number of other topics which now dominate our lives. It is one of the best original music-related pieces I have read and pretty well sums up Gaga and the powerful influences of the web and high budget marketing.

Lady Gaga is the first major star of the digital age. “The planet’s biggest pop phenomenon.” “The most famous woman in the world.” “The new Madonna.” Since her debut album, ‘The Fame’, was released in August 2008, Stefani Germanotta (aka Gaga) has risen from obscurity in grungy downtown Manhatton to sell 15m albums and 40m singles worldwide. Her videos have garbered hundreds of millions of hits on the web. Her Facebook page alone has more than 10m followers. Fans of Gaga have grown up with sell phones and iPods as sticky extensions of their bodies. It is an era of miniaturisation, computer-generated special effects and image manipulation by Photoshop, with everything steeped in unreal, highly saturated colour disconnected from nature. The fine arts have been replaced by video games, from which the cartoonish Lady Gaga seems to have popped.Since her rise, she has remained almost continually on tour. Hence, she is a moving target who has escaped serious scrutiny. She is often pictured tottering down the street in some outlandish get-up and fright wig. Most of what she has said about herself has not been independently corroborated… “Music is a lie”, “Art is a lie”, “Gaga is a lie”, and “I profusely lie” have been among Gaga’s pronouncements, but her fans swallow her line whole.

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She constantly touts her symbiotic bond with her fans, the “little monsters”, who she inspires to “love themselves” as if they are damaged goods in need of her therapeutic repair. “You’re a superstar, no matter who you are!” She earnestly tells them from the stage, while their cash ends up in her pockets. She told a magazine with messianic fervour: “I love my fans more than any artist who has ever lived.” She claims to have changed the lives of the disabled, thrilled by her jewelled parody crutches in the Paparazzi video.

Although she presents herself as the clarion voice of all the freaks and misfits of life, there is little evidence that she ever was one. Her upbringing was comfortable and eventually affluent, and she attended the same upscale Manhattan private school as Paris and Nicky Hilton. Gaga showed early talent as a pianist but was never a prodigy.

There is a monumental disconnect between Gaga’s melodramatic self-portrayal as a lonely, rebellious, marginalised artist and the powerful corporate apparatus that bankrolled her makeover and has steamrollered her songs into heavy rotation on radio stations everywhere.

For two years, I have spent an irritating amount of time trying to avoid Gaga’s catchy but depthless hits, which make me leap for the radio dial to switch stations. That banal voice - alternating between bland, bubblegum soprano and pushy, faux-manly alto. Gaga’s proper ambience is bars and dance clubs, where she is wildly popular. Lady Gaga is a manufactured personality, and a recent one at that. Photos of Stefani Germanotta just a few years ago show a bubbly brunette with a glowing complexion. The Gaga of world fame, however, with her heavy wigs and giant sunglasses (rudely worn during interviews) looks either simperingly doll-like or ghoulish, without a trace of spontaneity. Every public appearance, even absurdly at airports where most celebrities want to pass incognito, has been lavishly scripted in advance with a flamboyant outfit and bizarre hairdo assembled by an invisible company of elves.

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Furthermore, despite showing acres of pallid flesh in the fetish-bondage garb of urban prostitution, Lady Gaga is far less sexy than Stefani Germanotta used to be. In fact, Gaga isn’t sexy at all - she’s like a gangly marionette or plasticised android. How could a figure so calculated and artificial, so clinical and strangely antiseptic, so stripped of genuine eroticism have become the icon of her generation? Can it be that Gaga represents the exhausted end of the sexual revolution? In Gaga’s manic miming of persona after persona, over-conceptualised and claustrophobic, we may have reached the limit of an era.

In 1933, the critic IA Richards, writing about The Waste Land, spoke of TS Eliot’s “persistent concern with sex, the problem of our generation, as religion was a problem of the last.” After the first world war, sexual experimentation and titilating smart talk became the hallmark of the emancipated new woman, who smoked, drank, bobbed her hair and danced the antic Charleston. Hollywood discovered that sex was great box office - leading to pressure from civic and religious groups for a production code, which movie-makers found ingenious ways to evade.

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Phil Campbell SAVIOUR’S SONG

philcampbell

Released on X3R on 18 October 2010

Singer/songwriter Phil Campbell’s life has come full-circle with last year’s return to his native Glasgow, following a rather turbulent 20 plus year career spent in London. Few other UK artists have impressed me as much as Campbell following around fabulous album releases. It started with his beautiful but ill-fated FRESH NEW LIFE album released by EMI back in 1997 - still one of my top ten albums of all-time. Then followed two brilliant albums from his band, White BUffalo, before he returned to being a solo artist and the release of several more great albums. In 2009 Campbell returned home to Scotland and this is his first recording since returning.

SAVIOUR’S SONG is written, performed, recorded, produced and mixed by Campbell, and as an object lesson to those artists so unjustly ignored by the music media and broadcasters, and as a result lacking sales and funds to employ ‘experts’. The album sounds brilliant and bursting with joy. In fact it sounds as though Campbell has been given a new lease of life up there in Glasgow, and is making the best of it.

“Moving back to Glasgow in March ‘09, I immediately began recording this album. It was at first an attempt to stay sane, but it turned into a very enjoyable experience which constantly pushed and challenged me. I got to play drums, get wired with a DJ mixer and drift on the astral plain with an Indian harmonium. I had a laught with the vocals, mimicking a gospel choir on W.M.B.L. and CSNY on Radio Luxembourg. I made up characters and stories and put on voices and overall had a whale of a time. It is a record I am really proud of.”

Listen to opener ‘W.M.B.L.’ (We Must Be Lovers) and you’ll hear Mumford & Co with a firecracker up its arse and a little more way out west. It opens this great album on a distinctive high with melody to burn, powerful rhythm, telling vocals and sound quality that belies its homemade heritage. By rights this song should be screaming out from the BBC R1 studio (playlist AA…). And this is just the beginning. ‘Vodka Milk’ is an extraordinary track and especially in the way it travels along a stop-go journey in terms of pace - it speeds, it slows to a crawl and then speeds up again. Brilliant! ‘Boom Town Rats’ is a tub-thumpin’ indie rocker with Ian Murray providing the most wonderful rhyhthmic backdrop. Campbell seems to have found his Scots accent big-time as he almost raps one of several standout tracks on the album.

Then check out the guitar riffs on ‘Nations and Babes’and nostalgic instrumental sounds on ‘Radio Luxembourg’, a song that reminds me of Campbell’s signature sound from previous albums but with the addition of some gorgeous vocal harmonies. Campbell doesn’t put a foot wrong on this record despite the fact that it provides a generally very different Campbell sound. ‘Shooting Baddies’ is a hard rocker with vicious, slow rhythmic undercurrant and glorious guitar riffs courtesy of Chris McCabe.

It’s one of the major crimes of the UK music industry that Phil Campbell is not at least as big as David Gray, and this album proves it. A fun record maybe, but it’s also a brilliant and diverse one worthy of our very picky end-of-year-best-of…
5/5

A Buyer’s View

“Those who are familiar with Phil Campbell’s previous works, particularly recent albums ‘After The Garden’ and ‘Daddy’s Table’, will notice an immediate difference in style on this album. As soon as “W.M.B.L.” begins it is clear that this is something quite different. I am a big fan of the previous albums so I was initially uncertain about this change of direction, but I found that the track grew on me very quickly, it’s very well produced with multiple layers of vocals and sounds. That leads into “Vodka Milk” which is a bit rockier in sound, and utilizes
a very interesting ’slow down’ technique before it picks up again and a fantastic chorus kicks in. Lead single “Boom Town Rats” also has a very rock-y sound, beginning with a fantastic vocal scream before a pounding drum beat sets the pace for the song. “Nations and Babes” is in a similar vein, with a brilliant arrangement of various instruments which make for a very catchy number. “Radio Luxembourg” changes the pace, slowing down around the albums midway point before the towering sound of “Black Moth” crashes in. I can imagine “Milton Car Thieves” being a great live number, with a lengthy refrain, loud guitars and crashing symbols. One of my favorite tracks “Shooting Baddies” basically sounds like the singer is having an absolute blast, which makes the song a great deal of fun to listen to over and over! “Devil’s Chord” takes on more of a country/bluesy feel telling a ‘deal with the devil’ kind of story. Finally the closing number and title track “Saviour’s Song” ends things beautifully, it seems to be much more personal lyrically, and is largely piano-based. It seems to be a very experimental album in my view, but I always find it’s a great deal of fun to listen to from start to finish as there’s plenty of variation.”

5/5 - D. Johnson


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