After a couple of years of wishing, waiting and hoping, longtime fans of The Cure's singular 1989 masterpiece can finally rejoice on May 25th, 2010, when Rhino will continue with their reissue campaign of the English goth greats' catalog with a super deluxe 3-CD edition of Disintegration.
Like the previous Cure reissues, the album will feature a second disc with Smith’s home and studio demos for the album; the Disintegration rarities disc features 20 songs recorded in 1988 and 1989, including album cuts and b-sides, plus previously unreleased tracks “Noheart,” “Esten” and “Delirious Night” (Smith’s post lists his solo cover of Wendy Waldman’s “Pirate Ships” — originally recorded for Elektra Records’ Rubáiyát compilation — as previously unreleased, but he did offer it up as a download on the band’s Web site a few years ago). (See full tracklist below.)
The third disc, labled Entreat Plus, features an expanded, 12-track edition of that 1990 live album, fleshed out to include live versions of each song off Disintegration, assembled in order, from a concert at London’s Wembley Arena in 1989.
Smith explains that the single CD and double vinyl only will feature the remastered 12-track album (it’s worth noting that Disintegration originally was released on vinyl as a single record without so-called “bonus tracks” “Last Dance” and “Homesick”). The Cure frontman also writes that “it is likely a remastered version of the original eight-track Entreat live album will be made available online.”
But most tantalizing to fans is Smith’s sign-off: “There will be a lot more remastered Cure stuff in 2010… including Mixed Up 2…” (apparently a sequel to the 1990 remix album) as well as “The Cure @ The BBC box set… ‘In Orange’ and (1993 concert film) ‘Show’ on DVD… and…”
Tracklist: The Cure, Disintegration: Deluxe Edition
Disc 1: Disintegration
1. “Plainsong” 2. “Pictures Of You” 3. “Closedown” 4. “Lovesong” 5. “Last Dance” 6. “Lullaby” 7. “Fascination Street” 8. “Prayers For Rain” 9. “The Same Deep Water As You” 10. “Disintegration” 11. “Homesick” 12. “Untitled”
. Disc 2: Rarities (1988-1989)
1. “Prayers For Rain” rs Home Demo (instrumental) 04/88 2. “Pictures Of You” rs Home Demo (instrumental) 04/88 3. “Fascination Street” rs Home Demo (instrumental) 04/88 4. “Homesick” band Rehearsal (instrumental) 06/88 5. “Fear Of Ghosts” band Rehearsal (instrumental) 06/88 6. “Noheart” band Rehearsal (instrumental) 06/88* 7. “Esten” band Demo (instrumental) 09/88* 8. “Closedown” band Demo (instrumental) 09/88 9. “Lovesong” band Demo (instrumental) 09/88 10. “2late (alt Version)” band Demo (instrumental) 09/88 11. “The Same Deep Water As You” band Demo (instrumental) 09/88 12. “Disintegration” band Demo (instrumental) 09/88 13. “Untitled (alt Version)” studio Rough (instrumental) 11/88 14. “Babble (alt Version)” studio Rough (instrumental) 11/88 15. “Plainsong” studio Rough (guide Vocal) 11/88 16. “Last Dance” studio Rough (guide Vocal) 11/88 17. “Lullaby” studio Rough (guide Vocal) 11/88 18. “Out Of Mind” studio Rough (guide Vocal) 11/88 19. “Delirious Night” rough Mix (vocal) 12/88* 20. “Pirate Ships” (rs Solo) Rough Mix (vocal) 12/89*
All previously unreleased versions (*Previously unreleased song)
. Disc 3: Entreat Plus
1. “Plainsong”* 2. “Pictures Of You” 3. “Closedown” 4. “Lovesong”* 5. “Last Dance” 6. “Lullaby”* 7. “Fascination Street” 8. “Prayers For Rain” 9. “The Same Deep Water As You”* 10. “Disintegration” 11. “Homesick” 12. “Untitled”
Recorded live at Wembley Arena 1989; remixed by Rs 2009 (*Previously unreleased performance)
Just days before Mr. Bungle rocked Berkley, CA for their legendary bootleg and ground troops landed in Iraq, the town of Vestal, in Western New York, was the site of this dance party from January 5, 1991. Thanks to John Grossano for the discovery. Enjoy.
I am very excited to see the big screen adaptation of Scott Pilgrim vs the World. Judging from this trailer Edgar Wright has managed to not only faithfully adapt the comic, but also kept the series fun loving, innocent spirit intact. I don't know how well this film will go over with those not familiar with the source material, and quite frankly I don't care. Being a nerd/geek means you are part of small community. We care how our favorite stories are adapted for screens, but we could care less if the mass of movie goers like it or not.. Or at least that is how I am. In the end I have faith that edgar was enough of a true fan to really GET the stories. Judging by this trailer I don't think we have anything to be worried about...
Before I begin i have to apologize for the size of the picture. I know it's small, but it was what I could find so deal with it, kiddies. As I was browsing Netflix's selections I stumbled across a 5 volume collection called 42nd St. Forever. 5 DVDs of nothing but trailers Grindhouse movies played in the theaters of old Times Square. if you're old enough to remember when these films were shown, it will probably make you miss the sleazy days of old New York. If you aren't then these trailers are a curious and often hilarious relic to a pre-Disney NYC. These movies were shot in the 70s and it is interesting to see how sexism and racism were alive and well (check out the trailer for Corruption that states "we are so convinced that no woman will want walk home alone after seeing Corruption that no woman by herself will be allowed in" or the trailer for a blaxploitation movie simply called Nigger Charley... sure he gets his revenge on Whitey in the film, but a title like that?) These trailers also hearken back to a time when porn was still shown in theaters, one of the standouts being the preview for Sly Stallone's infamous porn flick. Judging from the campiness of these films it is impossible fro me to believe that they are worse than the horror schlock Hollywood feeds us these days. if i could I'd see every one of these if they were available on DVD. -Brad Filicky
It took me a minute to realize what was going on. At the top of my Facebook page, a friend of mine had posted a message that simply stated, "december boys got it bad...sorry, john". A quick scan below revealed condolences from another friend, and that is when I spotted the link my friend Amy had posted: Alex Chilton had passed away after suffering a heart attack in his adopted home of New Orleans. He was only 59, and is survived by his wife and son. He left behind a legacy that saw him start out as the teenage singer of The Box Tops, and then gain much critical acclaim - although little commercial success - after joining up with Chris Bell, Jody Stephens, and Andy Hummel to form Big Star. He later produced the first two Cramps singles and their debut LP, Songs The Lord Taught Us, and was the often cited patron saint of the 80's college rock scene, name dropped by everyone from R.E.M. to Steve Wynn to The Bangles to Kurt Cobain. He was immortalized by Paul Westerberg on the iconic Replacements track "Alex Chilton", and along the way managed to release 11 solo LP's (of varying quality), tour and record with Panther Burns, and, over the last 17 years, tour and record with reconstituted versions of both the Box Tops & Big Star. Most surprisingly, millions of people who tuned into That 70's Show during its seven season run found themselves humming along with the theme song, which unbeknown to most happened to be a cover of the Chilton penned Big Star classic "In The Street".
On the occasions that artists I truly loved and admired have passed on, I found it difficult to find the words to describe the impact those artists have had on my life. Today is one of those days. I had the pleasure of seeing Alex perform 4 times, and three of those were with the latter incarnation of Big Star, which featured Chilton and original drummer Jody Stephens joined by bassist Ken Stringfellow and guitarist Jon Auer of The Posies. Two of those shows took place in the mid 90's at Tramps in New York City, while the last of those performances came this past November at the Masonic Temple in Brooklyn, NY. It was a special event, with the power pop legends and crowd enthusiastically feeding off each other during the 90 minute set. Chilton appeared to really enjoy himself; he was in good voice that night and the band was decidedly less sloppy than it had been in the past, something which I chalked up to evidence that he was finally comfortable with his status as rock & roll elder statesman and was taking the bands live excursions that much more seriously. He even felt compelled to poke fun at his own vanity, acknowledging that he refused to wear his glasses during the set despite the fact that he had to put them on between songs to check the set list. From the opening notes of "In The Street" to the final "Thank you agains" chorus of the aptly named "Thank You Friends", the band was spot on. It is hard to believe that the man who showed so much passion and joy that night, and who obviously had so much left to offer, is gone so soon.
Of course, the fact that 1,000 people were gathered in Brooklyn that night to see a band that almost 40 years earlier probably struggled to sell 5,000 records was remarkable in its own right. The reasons why Big Star, and Alex's tracks in particular, struck such a chord with those who bought their records will never be crystal clear, but two thoughts do come to mind. First off, there were the hooks. Musically, his influences were worn on his sleeve - you could hear the hints of Lennon & McCartney here and Ray Davies there, with the soul of Memphis' rich musical heritage percolating beneath it all. Lets face it, there were very few bands out there that borrowed so heavily from the British Invasion, yet managed to somehow capture the essence of Booker T & The MG's without sounding anything like them. The second, and often overlooked factor, is that although he didn't quite capture the dark, existential angst and uncertainty that enveloped the songs of band mate Chris Bell, he was a serious writer. There's a reason why so many "Alternative Nation" era bands covered Chilton's songs; they were snapshots of discontent, cynical love letters to the young and the restless a full 20 years before Generation X turned those same chords and lamentations into multi-million dollar recording contracts.
For years, Chilton bristled when questioned about the Big Star legacy, often citing the songwriting as somewhat tepid and proclaiming his later solo efforts, which are much less celebrated and often times critically panned, superior in quality. Whether he truly believed that or was just partaking in some sort of public relations gamesmanship, we will never know. What we do know is that he was always true to himself. The most enduring image I will take of Alex is him leading Big Star through what appeared to be an improvised rendition of Glenn Miller's "Pennsylvania 6-5000" during the last encore of their first New York "reunion" show in 1995. The song was a total mess, with both Jon Auer & Ken Stringfellow struggling to keep up as he labored to "lead" them through the song. When it was over, he basically shrugged his shoulders, grinned widely, and walked off the stage, leaving the crowd scratching their heads but of course wanting more. And now that he has exited stage left for the final time, I can say with confidence that he definitely left the crowd wanting more.
Rest easy Alex, you most certainly earned it.
Big Star tribute this past Saturday at Antone's during SXSW:
These days, former Dead Kennedys charge Jello Biafra is probably best known for his spoken word performances (with the exception of his slept-on 2004 collaboration with the Melvins, Never Breathe What You Can't See). However, 2009 saw Jello take another stab at performing, and formed a band called Jello Biafra and the Guantanamo School of Medicine and released their debut album The Audacity of Hype (taken to be a parody of the title to Barack Obama's book The Audacity Of Hope.) When I was first asked to take on the job of talking a listen at the album, I was not quite sure what to think. Would Jello still have that "sound" that he had back in the 80's on such classic DK albums like Bedtime for Democracy? Would Jello still sound the same without the backing up of the Dead Kennedys doing the good 'ol speed punk they had played?
I decided to take the task on, because let's face it, it's Jello! I started listen to Audacity and was impressed at how even the first few songs maintained what Jello had sounded like in the 80's, while still taking on a new band. I am impressed with the style that both Kimbo Ball and Ralph Spight had when playing the guitar, obviously going at extreme speeds, because, again; let's face it, it's Jello. The song "Panic Land" sounds like that weird combo of classic rock and hardcore punk that is possibly one of the more "catchy" songs on the album. "Electric Plantation" starts off with a very catchy bass-riff from Bill Gould (originally from Faith No More) and is executed into what could possibly be considered a five-minute jam-song with Jello uttering out lyrics in between, and sometimes in, solos that the guitar players play. Upon listening to some of the songs from the album played live (particularly, "Three Strikes"), Jello was up to his usual antics of telling political stories on stage in between songs. "Three Strikes" sounds like vintage Jello circa Give Me Convenience, or Give me Death. It was after listening to the raving guitar solos played throughout the song when it was played live that made me pay attention to the interesting sound of the song, and how the later parts in the songs (post-solo) sound much like (dare I say) something from a Pink Floyd song, which cleverly transitions back into it's fast punk feel.
In order to go any farther and listen to the next half-hour of the album, I had decided to go listen to some of the old Dead Kennedys songs, just so I could get a grasp at what now has become a new end product for Jello Biafra. (Keep in mind that Jello Biafra had come from the band who had made some of the big skate punk faves such as "Police Truck", "California Uber-Alles", "Too Drunk to Fuck" and "Holiday in Cambodia.") After looking through old Dead Kennedys music and recording sessions, I had found a cover of "Holiday in Cambodia" with the Foo Fighters, featuring Serj Tankian on lead vocals. After listening to the cover I had realized that the cover totally lacked the energy that Jello had put into his vocals.
Upon this epiphany, I had gone back to listening to Jello Biafra and the Guantanamo School of Medicine. The band packs a huge punch, even with the fact that Jello is now 50 years old, and will soon be 51. Even at a half-century in age, Jello Biafra still has a tendency to be a wild animal on stage, just like in the 80's. The album ends with a bang, with the final track on this excellent first album, the name of the track is called "I Won't Give Up." The song tells of the basic concept that we vote for one of two "assholes" and one of them wins. Jello also takes his shots at the economy by stating lines such as "flat-screen flat-screen on the wall/who is the best marketed of them all?" and Jello states one statement that will stick out in my mind, after all other statements have been stuck out, "I will not give up, it's not an option."
The album is one of the best albums of the new millennium that proves that hardcore is not exactly "dead" yet, but just that people need to just take a deep look at what you find, and you just might like it. Not only does it prove that Punk is still alive, but it proves, just like Iggy Pop, that you can be old and still sing in a kick-ass band. Keep in mind that the entire band, itself was Jello's vision after he saw Iggy Pop's 60th birthday show he did with his band, the Stooges. I see Jello Biafra as the "Iggy Pop" of the hardcore generation, except just a couple of years after "Mr. Pop" and with a different band. The bottom line is that in order to get The Audacity of Hype you have to know about the Dead Kennedys first. Here, you see that it becomes a sort of "double-punch" for the listener, because you would have to listen to DK before you can understand J.B.A.T.G.S.O.M. I watched a few live performances of the band (one of which from when the band was first writing songs, playing shows, etc.) and saw that some of the people who had uploaded the video had said that the early shows "were in the middle of nowhere at a random time, spending the night with one of the most influential front-men of punk rock."
After I finished listening to the album, I had realized that the album was great; and that even without the sound of East-Bay-Ray and the rest of the Dead Kennedys; that the brainchild of this group could still go on to make excellent music. I had my questions answered. Jello sounds as good as he did with the Dead Kennedys, and he did still have that "sound" to his music. I would give the album a solid "A+" because this is one of the best punk albums I have heard since the Complete Discography CD by Minor Threat. I can say with confidence that this album proves, ultimately, that punk is not dead! -Cameron Wallace
Jello Biafra and the Guantanamo School of Medicine doing "Holiday in Cambodia"
And while I personally might not have the right words for this tragic news, I forward you to Rolling Stone's Rob Sheffield's beautiful tribute, found here.
RIP Alex Chilton. Thanks for the pop. -Ed.
Congressman Steve Cohen pays tribute to Alex Chilton on the House floor:
Here's something I've been looking for, audio from The Roots playing on Jimmy Fallon.
Click here for a mix of various hip-hop oriented collaborations where the Roots back up a variety of guest musical acts from Ludacris to Snoop Dogg. Too bad that sick version of "(I Don't Want to Go to) Chelsea" with Elvis Costello isn't on this otherwise hot joint.
And then for an extended EP of commercial break jams ?uestlove made available via his very active Twitter account, go here.
The IRT was very saddened to hear the news surrounding the suicide of Sparklehorse mastermind Mark Linkous. As a tribute to this challenging, masterful and complex songwriter whose troubles with the music industry should not go unnoticed (particularly in the case of the Dark Night of the Soul debacle), here is the exclusive and revealing interview we ran with Mr. Linkous in 2006 by our friend and contributor Damien Napoli while Linkous was doing press for his the last Sparklehorse album, Dreamt for Light Years in the Belly of a Mountain. We hope you enjoy. Rest in peace, Mark. -Ed.
Sparklehorse: Riding Through the Fields By Damien Napoli
Musicians (the good ones at least), have an uncanny knack of emerging from the ether every once in a blue moon, Presidency, or if you’re Wooden Wand, menstrual cycle, and consistently bring something to the table. Mark Linkous is one such man (horse). Every couple of years, he swings on by, whips up Southern gothic tales steeped in archaic prose and sadness, and doesn’t leave the stereo till sometime the year after. He’s been doing this you see, since 1995, when Vivadixiesubmarinetransmissionplot reared its bi-polarized head. It was a beautiful, jangled mess with one hoof stuck in the mid 80’s fuzzed out alternative scene, and one in the sublime lo-fi sweetness of Sherbert-era Alex Chilton. And as time has gone by, Mark has brought more of the same. Although he has gone through some rough patches in his experience, he has never backed away from conveying to the listener his strife. Dreamt For Light Years in the Belly of A Mountain (Astralwerks) his latest statement, proves that in spades. Working with an inspired and motley cast with 2 dots on top of the s (Tom Waits, Dave Fridmann, Dangermouse , Fennesz) Mark has really outdone himself. I recently had the chance to speak with the former Dancing Hood (Allmusicoogle it) …………………….
OK
Stop looking at this movable type and read on!!!!!!!!
IRT: What were your days like living in Bellmore? How did you meet the guys in Dancing Hoods?
Linkous: I hung around with some guys in Virginia that were from New York. One of my friends from high school, his older brother who still lived there played drums. I wanted to move to New York, or England or somewhere, kind of when the punk rock thing was really happening. So I graduated from high school, moved to LI and started playing with some guys. I worked at a couple of different record distributors. There was one in Bellmore called Dutch East India Trading, I also worked in Hollis, Queens at Important.
IRT: After the 1st Dancing Hoods LP, the band moved to California. Did living through the process of trying to make it in a plastic Metropolis like LA make you yearn for the singular approach to your music and way of life in a place like Static King in Virginia? LINKOUS: Oh yea, I mean, I don’t want to diss it too bad. I guess I didn’t have a very good time In LA, but a lot of it was really my fault. I just ended up in a bad place. I got kind of lonely out there, being such a big city.
IRT: How did the 1st ideas come about in terms of the Sparklehorse project, where did they gel from?
LINKOUS: I guess for as long as I have been playing guitar, when four tracks 1st came out, in LA I’d always have a little closet in whatever apartment I lived in. I would just sorta hide out in there and make these little songs. After LA, I moved back to Virginia. I had met David Lowery from Camper (Van Beethoven), and he had just moved to Richmond. David and I just started hanging out a little bit. I didn’t know anything about recording and he had an old cassette 8 track. A Tascam 688 or something, really only seven tracks worked. I set it up in a farmhouse on a big plantation way out in the country we rented, and had that 7 track in one of the rooms. I would record a lot of the times late at night or really early in the morning. I would record really quietly, most of the time with headphones so I wouldn’t wake anyone up. A lot of that is how Sparklehorse was born. IRT: This album is has a lot of continuing themes between it & It’s A Wonderful Life. I loved how you meshed the songs that appeared on versions of the last LP & The Gold Day EP. Was this LP conceived from the same sessions?
LINKOUS: Some tracks like "Morning Hollow", the one that Tom Waits plays piano on, that was a leftover song. I wouldn’t say left over, cause I just didn’t include it proper on the last LP. It would have been slow song overkill. I really like that song a lot so that’s why I put it on.
IRT: There is a deep sense of loss throughout your work. Does most of the imagery come from experience, or one of the dream states you conjure up?
LINKOUS: I think there has always been a certain amount of mortality in my records, but more so in the newest one. Since the last record, after 9/11 and all of that, I have lost a lot of people around me. There has even been a quadruple murder not too long ago, some friends. There was always that element in the records; I guess it’s really prevalent in this record because it’s true. IRT: There seems also a way of returning to the past, not in a nostalgic sense, almost like a simpler way of looking at the world. Do you feel we need to go back to a localized way of life to make it in the future?
LINKOUS: Well.. I really dwelt on that a lot. After 9/11 a lot of shit happened. It really fucked me up and I really did think it was the end of the world and no one else knew it but me. I started reading the Bible, “Revelations”, and in a way I thought for a long time that everything need to just stop and just start over you know, start with a clean slate.
IRT: A clean slate would be a start. The world is so industrialized these days. It’s like our food and services travel more than we do. LINKOUS: Oh yea. There is also not a whole lot of mystery and intrigue in things anymore. I loved ordering a record, waiting a few weeks for it to come and just the anticipation. And finally getting the LP just reading every word, you know just living with the album.
IRT: The tangibility and also the ritualistic properties of a record are totally lost on this generation. How do you feel about the new media age then do you see any positive changes helping your music or just music in general?
LINKOUS: Well I think it probably helps bands that otherwise wouldn’t have a chance at all making a living doing music. You know the way labels are these days, it must be really hard to get a contract. I guess that’s one of the advantages is the progress now is the availability of obscure things, especially music. I felt really strongly about the artwork on this record just being such good artwork that people would wanna go out and buy it instead of just downloading it. I have been happier with this artwork on this record than any other record so far.
IRT: A lot of tendencies in your music bring up Pagan or Wicca imagery. Would you consider yourself spiritual in those realms, or do you follow your own path?
LINKOUS: I don’t know. I went through the last 5 years or so….. went through sort of… I needed some kind of spiritual anchor, whether it was traditional religion or something. I guess if nothing else, just your relationship with nature, you know. If you just know yourself in the world and know you are just part of everything.
IRT: Humans have totally lost that intuition. Again, it’s the modern age I guess that just brings upon that. We are so ingrained by the society that is built around that we don’t even take a step back. It’s just a very awkward time.
LINKOUS: Yea I believe that. I was convinced for a while that the Earth had just had it with us and it was really in a defense mechanism. I felt it was trying to fling us off like parasites.
IRT: Throughout the work, you seem to have a deep affinity for animals. Do you feel a close bond with them, even more so than humans?
LINKOUS: Yea, a lot of times. I guess it’s a lot easier to lose your inhibitions and be affectionate with no reserve.
IRT: On this album, did Dave Fridmann work on it extensively? Or was it more with the stuff from the earlier sessions?
LINKOUS: There were some later sessions that we did. Um “It’s Not So hard” and “Knives Of Summertime”. Some of the basic tracks, especially the stuff that Steven of The Flaming Lips played drums on down at Tarbox Studios.
IRT: What about Dangermouse, he did some mixing on the album?
LINKOUS: Yea mixing, and we recorded and co produced about 4 songs.
IRT: How did you connect with him? I know you worked on the Dangerdoom album, you played some bass on it right?
LINKOUS: Right. Someone sent me The Grey Album like a year or so ago. I finally got around listening to it, and I thought it was amazing. I was talking to my manager about other people I would wanna collaborate with. And I asked her who he was and she gave me the lowdown. I didn’t know at all that he was in demand as he is. Anyway we started talking, and I articulated to him the aesthetic I was going for with this record. I wanted to bring more electronic stuff in, and push it as much as Kid A or Amnesiac, but I wanted it to have choruses. I wanted it to push the electronic end, but still be really strong traditionally constructed pop songs.
IRT: You also worked with Fennesz.
LINKOUS: Yea.
IRT: Did he help you apply that aesthetic as well?
LINKOUS: Well there’s not a whole lot on this record, but him and I are gonna do another record on our own. We did a thing together in Geneva that got recorded and filmed. Dangermouse and I are also gonna do another project together.
IRT: What do you enjoy so much about fractured sounds?
LINKOUS: I guess it’s just the aspect of the sound that’s alien to the ear. I have always been intrigued by like what a satellite sounds like on the inside, or how satellites trying to talk to each other. I don’t what the allure to the aged fractured thing is, but it has always been appealing to me. The aesthetic of it is really intriguing.
IRT:In terms of being on Astralwerks how’s your relationship with Capitol? Do you feel that Astralwerks is a good fit for you? Capitol really didn’t do a great job of getting your name out there; in America at least. I know that EMI handles you well in the UK but here they really didn’t know what to do with you.
LINKOUS: Yea, that sums it up. I guess I was lucky in that they sort of just left me alone. This record was a really long time coming, and I think they would have preferred to have it a while ago, and I would have preferred to have it a while ago, I just wasn’t really able to work for a long time. When I finally did hand it in, I didn’t hear from them for sometime, and I was really nervous. And I didn’t know that much about Astralwerks, but now after meeting them and knowing what I know now, it’s a great thing. I’ve never really had eight people in a room enthusiastic and happy to have something to do with Sparklehorse.
IRT:What’s the touring situation like?
LINKOUS: We’re doing a couple of gigs in the States, then we are going to Europe for a while, like a seven week tour.
Thanks to my pal Chris Weingarten at 1000TimesYes, I just found out, via a link to journalist David Itzkoff's news blurb on the New York Times Web site, that one of my all-time favorite bands will be kicking off the Williamsburg Waterfront concert series, as the reunited Faith No More will be playing its first NYC show in over a decade on July 5th.
Tickets go on sale March 19th at Noon via Ticketbastard.
FNM will also be playing Coachella this year as well...
I'm just "Cuckoo for Caca" over this news!
For more information, visit the band's site at www.fnm.com. And check out this sick footage from last year's batch of shows on the European festival circuit. Thank you.-Ed.
"Evidence" at Lowlands 2009:
"Poker Face">"Chinese Arithmetic" at Download Festival 2009:
"Just A Man" at Festival Sudoeste 2009 (Zambujeira do Mar, Portugal):
A few weeks ago I had the privilege to see Little Steven Van Zandt give an interview at the 92nd St YMCA. Although he focused on his new projects (his Underground Garage radio show and a website he is planning to launch at the end of the year), he had a good time reminiscing about his time on the Sopranos and the E Street Band and his role in taking down apartheid (he wrote and recorded the "We Won't Play Sun City" single). The main gist of his talk though had to do with love of 50's rock n roll. An era he described as a "renaissance". This is a man who has seen a lot, and contributed in a significant way to the history of rock music and television, but still remains down to earth. If only more celebrities were like this.
Video of Pavement's kickoff show of their hotly anticipated reunion tour in Auckland, New Zealand was posted last night moments following the gig. Here are some of the better clips.
I hope you kids have tickets for the Central Park shows. This one is gonna be a classic! They sound awesome! Thank you. -Ed.
1. Man With The Blues 2. Seaman’s Blues 3. Dark As A Dungeon 4. Gotta Walk Alone 5. Satan Your Kingdom Must Come Down 6. My Baby’s Gone 7. Freight Train Boogie 8. Satisfied Mind 9. You Done Me Wrong 10. Pistol Packin’ Mama 11. Ocean Of Diamonds 12. Drinking Champagne 13. I Am A Pilgrim 14. House Of Gold 15. Nobody’s Fault But Mine
