ok, ok, so i work for the guy and have for a few years. I still laugh my ass off at his records. So here's a promonet test, with an artist from one of my favorite indie labels...
Superhero
Stephen Lynch
What Are Records
Buy at eMusic
Considering getting a drum kit for 2006. It's not a string instrument. I'm branching out and want to bang stuff.
"It's not lame to clap ... it's only lame to get the clap." — Queens of the Stone Age's Josh Homme
please do a Kyuss reunion tour
please do a Kyuss reunion tour
please do a Kyuss reunion tour
please do a Kyuss reunion tour
QOTSA End Year On A High Note: Josh Homme Reunites With Kyuss Singer In L.A.
12.21.2005 8:00 AM EST
John Garcia joins Homme onstage for the first time in nearly a decade.
Photo: Sean Gardner/Getty Images
LOS ANGELES — Perhaps even more than their radio chestnuts "No One Knows," "Go With the Flow" and "Little Sister," Queens of the Stone Age are known for their revolving cast of players — which has included Dave Grohl, Pearl Jam drummer Matt Cameron and Screaming Trees singer Mark Lanegan. But on Tuesday night at the Wiltern LG, a most unexpected guest passed through the turnstiles, one fans have been clamoring for since QOTSA began: John Garcia, singer of Homme's previous troupe Kyuss.
After more than eight years of divorce, childhood friends Homme and Garcia buried the proverbial hatchet and resurrected three songs from their influential hard-rock band's catalog as part of an encore that capped an already surprise-filled night.
Hoping to put a positive spin on a rough year, Queens of the Stone Age committed to two consecutive hometown shows at the same venue where Homme made his first 2005 appearance as part of Tenacious D's tsunami benefit show (see "Will Ferrell Rocks Cowbell At Star-Studded Tsunami Benefit"). Homme had been dogged throughout 2005 by gossip about partner Brody Dalle's pregnancy (see "QOTSA's Josh Homme, Brody Dalle Expecting Their First Child") and lingering questions about the departures of erstwhile members Lanegan and singer/bassist Nick Oliveri (see "Nick Oliveri, Mark Lanegan Leave Queens Of The Stone Age"). He's also been rankled by bronchitis and severe exhaustion throughout the year (see "Queens Soldier On With Tour Despite Homme's Onstage Collapse "). Needless to say, the falsetto crooner was hoping to end 2005 on a high note.
Monday night's set was a fairly straightforward, two-hour jobber, although the usually slick Homme interrupted two songs — one because of a faulty guitar, the other because of an unruly fan he singled out as a "racist, homophobic Nazi." For good measure, he challenged the escorted brawler to fight the band's Amazonian keyboardist, Natasha Shneider, on his way out.
Going beyond QOTSA's knack for tweaking their live staples with freshly improvised twists, the ever-evolving band added another dimension with an occasional third guitarist: Aaron North of Nine Inch Nails and the Icarus Line. But fans begging for special appearances by Lanegan, Oliveri or ZZ Top's Billy Gibbons — who played with the band in Los Angeles earlier in the year and added a few licks to last year's Lullabies to Paralyze — were disappointed. Homme still managed to keep the mood light throughout, adding levity with wisecracks like "It's not lame to clap ... it's only lame to get the clap."
On both nights the band coughed up some odds and sods, keeping in step with their recently released, far-reaching DVD/CD collection Over the Years and Through the Woods. But Tuesday night appeared extra-special from the get-go: QOTSA led off with two numbers from their self-titled debut and the hard-to-find B-side "Born to Hula." They also treated the crowd to "Rickshaw," a track from Homme's Desert Sessions side project, and "First It Giveth," a rarely performed cut from 2002's Songs for the Deaf (drummer Joey Castillo has notoriously had problems re-creating the difficult beats originally laid down by Dave Grohl).
While he's made no mistake of his disdain for gossip, Homme sprinkled some gas onto the embers when he introduced the relatively new B-side, "The Fun Machine Took a Sh-- and Died," by saying, "This is a song about my former friends." One of the stand-out lyrics: "You're 10 pounds of sh-- and five pounds of man."
Two songs later, though, he dedicated the main-set closer, "A Song for the Dead," to Lanegan, who used to sing the song for the band on tour.
And then, after a few minutes of crowd roar, Homme came back out onstage to introduce a guest infinitely more unexpected than Lanegan.
"Now I want to play you something really old," he announced, whetting fans' ears for long-lost Kyuss material. This wasn't exactly anything new; QOTSA began their career mooching off Kyuss' catalog, and when QOTSA toured with Grohl, they played a memorable cover of "Allen's Wrench" at the Metro in Chicago. (Equally prized in bootleg circles is Tool's cover of "Demon Cleaner" with Kyuss bassist Scott Reeder from a 1998 gig at the Palladium in Los Angeles.)
A small portion of the crowd had a collective fit as the longhaired Garcia — who has surfaced in recent years on Crystal Method's 2004 hit single "Born Too Slow" (with Limp Bizkit's Wes Borland on guitar) and with his own Unida and Hermano projects — breezed across the stage. Everyone else appeared dumbfounded.
With guitarist Troy Van Leeuwen, bassist Alain Johannes, Shneider and Castillo doing their best to keep up, Homme and Garcia ripped into "Thumb," off their 1992 desert-rock masterpiece Blues for the Red Sun; "Hurricane," from their '95 swan song รข€¦ And the Circus Leaves Town; and the slow-jam fan favorite "Supa Scoopa and Mighty Scoop." Homme was all smiles as he dug into the forgotten low-end riffs — most of which he wrote in his teens — and the acerbic Garcia was on his best behavior, turning his back to the crowd at junctures where he'd usually give them the finger.
Once Garcia left the stage — and after he showed a rare sign of compassion by resting his head on the 6-foot 4-inch Homme's shoulder — the QOTSA foreman asked the crowd to help him dedicate the last song of the night to his onetime partner. Then QOTSA launched into "Go With the Flow," putting the finishing touch on a year that might prove to be a supa one after all.
Tuesday night's set list:
* "Regular John"
* "Born to Hula"
* "Avon"
* "First It Giveth"
* "Give the Mule What He Wants"
* "Leg of Lamb"
* "Monsters in the Parasol"
* "Rickshaw"
* "Someone's in the Wolf"
* "Long Slow Goodbye"
* "Burn the Witch"
* "I Never Came"
* "Little Sister"
* "In My Head"
* "Tangled Up in Plaid"
* "I Think I Lost My Headache"
* "The Fun Machine Took a Shit and Died"
* "A Song for the Deaf"
* "A Song for the Dead"
Encore:
* "Thumb" (with John Garcia)
* "Hurricane" (with Garcia)
* "Supa Scoopa and Mighty Scoop" (with Garcia)
* "Go With the Flow"
i was resting on my couch, hangin with my now-old dog fletch who is on the mend....I'll have to post satellite collar pics since he does have some fans...anyway...i was petting him, half reading my book...
wondering why i couldn't watch the skins-dallas (at washington) game (the answer is: Raiders Game) - when I noticed 2 things. One, the TV is on (yuck) and two, a commercial just angered me and became blog worthy. Apparently CBS has a new series called "love monkey" about a "major label A&R rep, single in new york."
yes. About a major label A&R rep and his own personal sex and the city. on CBS.
Must television continue to insult me? i mean, i don't expect much, but every time i activate it i get annoyed. last week it was a "fabulash" commercial, and today, it's "love monkey." Only this time, it's personal. when i see an ad for a product called "fabulash" i laugh with ease. When i see one which perpetuates lies about the music industry, well, as anyone who knows me knows....i must rant.
first of all, CBS is just a cousin of what used to be CBS records - one of the largest conglomerates to fuck over musicians in the history of the music business. Ever. In the present, cbs owns Viacom. Gene Simmons has a show on vh-1, so it was no surprise to hear KISS playing in the background of the love monkey promo.
Anyway, there are hardly any major labels left (only 3) and everyone in our industry knows - there is no more A&R on the major label. This statement is true for many reasons....but in the interest of time and length, i'll pick one basic reason:: They have all been let go! If the main character in this show keeps his job for longer than 6 months, well, there's just one more misconception about the music industry fueled by big media. the only remaining A&R reps left in the business are those at indie labels. the turn around rate at major labels rivals that of restaurants. And that's because the major label business model doesn't work, especially not in the digital age (but that's a different blog).
Oh the irony, that William Paley's CBS records would dissolve and then one day morph into the modern version of a CBS television series. Oh look, it's the geeky A&R guy who can quote music (the promo has him recognizing some obscure artist known as sting). Oh look, it's the major label A&R guy, he's got money, he's got clout and taste. He's got ears. He's single in new york and earnest and goofy. He's the reason your viacom and clear channel owned terrestrial radio stations play linkin park and hoobastank. THIS GUY, the guy we are supposed to love and relate to as closet music geeks, the main character of "love monkey" - he is the one budgeting for modern payola and spending artist money on an old dysfunctional business model. He's the one supporting the RIAA. check out the a&r guy.
the a&r guy - check him out on CBS. He's got hair - for some reason the actor has hair, but let's face it, most of the guys in the music business don't have much of it. hair, that is. And it's no slight on the men i work with - some of them lost it from working too fucking hard. Those are the ones i love, i really do, and a few might be reading this. but some - most - are just assholes and their hair couldn't take it anymore.
and as if i couldn't get any more peeved about a tv series perpetuating myths about an industry to which i've dedicated my life - the show title itself really pisses me off. I hate that i'm even mentioning it in my blog. Love Monkey pisses me off - because i actually do love monkeys. some of my friends know that i frequently refer to monkeys, monkeys with coconuts, i have monkey pajamas, and i believe clint eastwood's best work was with a monkey named clyde.
The new series on cbs about a ficticious a&r guy, who is a tool to push records on viewers (it's one big palette for product placement) - this fucker who doesn't exist - is the new max headroom - he's a device in light of clear channel's demise and the upswing of satellite radio, podcasts and general digital innovation. In the onset of the digital age, the only way a major label knows how to adapt is to rely on it's co-conspirators. Innovation was not part of the business plan. they wrote contracts and plans based on the notion that the bucks in creativity stopped with them, and they were wrong.
say hello to kinky electroclash. and another promonet test.
Buy at iTunes Music Store
That's right, it's rumours with a 'u'
a little birdie told me about this potential Coachella 2006 (april 29-30) lineup. holy VIP pass.
April 29
Depeche Mode, The Strokes, Portishead, Franz Ferdinand, Fatboy Slim, Massive Attack, Infected Mushroom, Royksopp, Kings of Leon, Doves, Sufjan Stevens, Broken Social Scene, Atmosphere, Blackalicious, Super Furry Animals, The Buzzcocks, Primal Scream, Supergrass, Ladytron, DJ Peretz, The Shins, Dieselboy, Tortoise, Sleater Kinney, Richard Hawley, Grooverider, Death From Above 1979, Yesterday’s New Quintet, The Walkmen, Son Volt, Will Oldham, The Clientele, Lightning Bolt, Cage, The Crimea, OK Go, Clap Your Hands Say Yeah, John Kelly
April 30
The White Stripes, Roxy Music (featuring Brian Eno), The Arcade Fire, Sigur Ros, Yeah Yeah Yeahs, Boards of Canada, Underworld, Ween, Death Cab for Cutie, Armin Van Buuren, Built to Spill, De La Soul, Big Star, Iron & Wine, Uberzone, Happy Mondays, Dinosaur Jr, TV on the Radio, Elbow, Eagles of Death Metal, The Tears, Esthero, T. Rauschmiere, Cat Power, The New Pornographers, Carl Cox, Grandaddy, Calexico, Explosions in the Sky, The Wedding Present, Andy C, Fatlip, DJ Icey, The Notwist and Themselves preforming as 13 & God, Devendra Banhart, The Coral, Stateless, 65 Days of Static
SXSW2006 announces keynotes from Neil Young and Jonathan Demme. While this is not inaccesible news, the excitement is contagious and worth a share.
And yes, IODA will be having a party at sxsw, same time, same place. You know what to do.
A few things to rant about here.
1. Sheet music was the first sellable product in the music industry. It's the first record. It's the original CD. On behalf of at least 5 other people in this business, i can easily say that we all love and respect the integrity of sheet music and, more importantly, the artist(s) from whence it came.
2. I can't wait for crackpipe language equating the RIAA, MPA, Warner Chappell and the like with the general term "The Music Industry" to go away. They aren't the music industry. They are not the music industry. The RIAA, MPA and friends - they are not the music industry. They are not the music industry. repeat it to yourself three more times if you must and please, please, please tell your friends.
3. Like Rob Glaser, this idiot (read below), the one who smokes crack and wants people who share lyrics online to face jail time, is misrepresenting artists and pissing on the entire creative space of music. While I doubt Glaser smokes crack, I am reinvoking his name from an old post to make a point about marketing, strategy, survivability and how frakking lame it is to pick the wrong enemy solely b/c you think they are bigger than you, instead of opting for innovation and realistic competition. Glaser picks on apple, and wastes his employees hard work by botching the company image rather than relying on branding their value against their, uh, real competitors. Apple isn't really their competitor. We all know it's yahoo. Glaser is attempting to convert a marketplace rather than shift with it. It's like really really bad sex, when there's a change of tempo and the other person just doesn't change with it, keeps doing that lame thing they were doing before. but that's another post. Moving along, the RIAA and these sheet music companies are targeting online content creators without acknowledging that the same creators of web content are also the consumers. The marketplace has changed. In fact, hopefully we will soon be able to eliminate that generic word "marketplace" from our lingo all together. (To digress, i hope terms like "turn-key solution" and "at the end of the day" go with it.) My point here is that the sheet music companies, and cock smoking fuckhole crack addicts like this Lauren Kaiser dude are killing the value of their product rather than adapting to the new state of consumer affairs. Imagine the marketing possibilities for sheet music if indeed some of these companies shifted their monies from bullying college students and software innovators over to working with the technology and finding new creative ways to sell sheet music. And then i guess we'd have to all hold hands and light candles. A girl (in the business) can dream. Wait, no, a woman in the music business will DO. And thanks to corporate ignorance and reliance on the legal system rather than considering adaptability as an option, my job in the indie world just got lucrative (in the same way that glaser gave free publicity to apple on the same day they announced an nbc deal). tis the season of the indie label. The majors, yeah those suits who piss on artists and want jail time for "piracy" can look to december for high numbers, ours will spike in january, and we're ready. So here's the article that has me all fired up:
Song sites face legal crackdown
By Ian Youngs
BBC News entertainment reporter
Unauthorised guitar tabs and other musical scores are widely available
The music industry is to extend its copyright war by taking legal action against websites offering unlicensed song scores and lyrics.
The Music Publishers' Association (MPA), which represents US sheet music companies, will launch its first campaign against such sites in 2006.
MPA president Lauren Keiser said he wanted site owners to be jailed.
He said unlicensed guitar tabs and song scores were widely available on the internet but were "completely illegal".
Mr Keiser said he did not just want to shut websites and impose fines, saying if authorities can "throw in some jail time I think we'll be a little more effective".
Bitter battles
The move comes after several years of bitter legal battles against unauthorised services allowing users to download recordings for free.
Publishing companies have taken action against websites in the past, but this will be the first co-ordinated legal campaign by the MPA.
The MPA would target "very big sites that people would think are legitimate and very, very popular", Mr Keiser said.
"The Xerox machine was the big usurper of our potential income," he said. "But now the internet is taking more of a bite out of sheet music and printed music sales so we're taking a more proactive stance."
Music publishers and songwriters will consider all tools under the law to stop this illegal behaviour
David Israelite
National Music Publishers' Association
David Israelite, president of the National Music Publishers' Association, added his concerns.
"Unauthorised use of lyrics and tablature deprives the songwriter of the ability to make a living, and is no different than stealing," he said.
"Music publishers and songwriters will consider all tools under the law to stop this illegal behaviour."
Sandro del Greco, who runs Tabhall.co.uk, said the issue was not serious enough to warrant jail time and sites like his were not necessarily depriving publishers of income.
Learn
"I play the drums mainly but I play the guitar as well. I run the website and I still buy the [tab] books," he said.
"The tabs online aren't deadly accurate so if someone really wants to know it they'll buy the book.
"But most of the bands I listen to don't have tab books to buy so if you get them online, that's the only way you can really learn it unless you work it out yourself."
The campaign comes after lyric-finding software PearLyrics was forced off the internet by a leading music publishing company, Warner Chappell.
mass destruction compacted into 90 seconds of bliss.
here is the treo video for the last time
soo.....
Rob Glaser recently referred to apple/ steve jobs as "An easy pinata," yet he wants people like me to be desirious of Rhapsody compatibility. To get me to even want, for one iota of a second, to use rhapsody on my mac or ipod, could someone over there in Real Networks marketing feed him better rhetoric? Or strategy? While rhapsody served me well on a PC (i used it only as a stereo, the PC wasn't good for much else, and yes, it was nice to have access to a wide variety of content to stream...when it wasn't buffering...) I have no need for it on my mac. Nor has Rhapsody marketing convinced me of a need. Glaser ought to pick a fight with Yahoo. I've been to a ton of events lately, yahoo has had presence at all of them. I haven't seen a single Rhapsody rep reaching out to the digital marketplace at the events where consumers are actually congregating. the sold out Portable Media Expo/ Podcast Expo was treated to a packed-like-sardines party for podcasters (who also represent a large number of digital consumers - except these are the ones who blab about what they like and don't like) by yahoo. but Real Networks was well, i think they had just one guy there for one day who was on a panel dealing strictly with media players. but where was his backup? What did real have to say about digital music and the new media revolution as it collides with digital marketing? What if Rhapsody had a presence at that expo and taught podcasters how to make rhaplinks? Is rhapsody going to be self reliant or will it embrace new media to help push sales? does anyone know? i don't even care about an answer unless it's a wise one. Fighting apple with name calling only turns me away from what rhapsody wants me to embrace. Glaser might want to think about picking on someone his own size when he gives these grandiose speeches at conferences designed solely for his corhorts, then he can work his way up to mr. jobs...pay attention to yahoo, pretend apple isn't the enemy and maybe he'll get further. Today he merely gave Jobs' creativity free publicity and primed us all up to love & defend apple. Here's one reason why Steve Jobs just doesn't have time for glaser:
NEW YORK (Reuters) - General Electric Co.'s NBC Universal and Apple Computer Inc. on Tuesday said they would make several NBC-owned television shows, such as "The Office" and "Law & Order," available on the iTunes music store.
The shows, taken from NBC, the USA Network and the SciFi Channel, include current and older programming, the companies said.
Among the offerings are "Late Night With Conan O'Brien," "The Tonight Show With Jay Leno" and "Surface," as well as older programs such as "Alfred Hitchcock Presents," "Dragnet" and "Knight Rider."
Most of the programs cost $1.99, the same as hit programs "Lost" and "Desperate Housewives," which Walt Disney Co.'s ABC several weeks ago said it would offer at the iTunes music store.
Financial terms of the deal were not disclosed. NBC and Apple officials were not immediately available for comment.
The deal signals growing desire among television networks to distribute their programming beyond the traditional TV screen.
The iTunes music store, which Apple Chief Executive Steve Jobs said has sold more than 3 million videos since the iTunes catalog launched two months ago, is one that has aroused particular interest.
ESPN, also owned by Disney, is looking into distributing some of its TV programming on the iTunes service, ESPN and ABC Sports President George Bodenheimer said on Monday.
News Corp.'s Fox Filmed Entertainment also is open to a deal with iTunes, co-Chairman James Gianopulos said last week at the Reuters Media and Advertising Summit.
No, as much as i love the who, i do not smash the mirror. I smash the Treo. and it's all on film. stay tuned for my own personal donkey kong. it's almost in the can.
the only part worthwhile is Charlize Theron. She moves and speaks just like our beloved Aeon. Apart from a few (maybe three) aesthetically well rounded shots, parts of this movie look like a film school project. It's a great time if you love to laugh at shit that sucks and shit that sucks bad. Bad dialogue. Bad editing. Horrifyingly cheap score. Lacking sex scene (aeon had some great sex in her animated life, but in the latest live action film, she is just another bitch&ho). So other than the sizzling performance from Charlize, this movie can suck itself. Don't bother with it, just get the animated series from 1995 on dvd, pack the bowl, and thank me later.
See The Real Aeon Flux Here
On the lighter side, I saw the preview for Underworld: Evolution. Even though the blue dye is overdone in Underworld, I'm ready for the rise of lichen-vampire mutts. Does it get any sexier?
...goes to IODA engineer Papa Schloss. Peace out. Sam Jackson couldn't say it better. You can find this gem and many duds like it at Jewcy.com - Jewcy is also sponsoring an upcoming party featuring my favorite lawnguyland babe rappers Northern State.
