Wednesday, October 26, 2011
For Science!
Those of you who are old enough to remember the early 80s will understand that it has to be done. FOR SCIENCE!
Tuesday, October 4, 2011
Thursday, September 8, 2011
Tori Amos - Spark
Cover of From the Choirgirl HotelNews that Tori was soon to be gracing our shores here in SA got me running back to the house to dig up my copy of From the Choirgirl Hotel - by far my favourite (and in my opinion her most dangerously engaging) album. I remember hearing the album for the first time and exiting the tail end of it physically exhausted and distraught, not least for the hard and unnerving employment of noise in the recording, nor Tori's weird and wonderful wailing between moments of sweet and seductive siren-ing. (Yes, I make up words sometimes.)
Distortions, strange amplification, and just plain crazy musical variations make Choirgirl a masterpiece in the context of Albums by Iconic Women in Rock.Fuckit, never mind that - it's a great freaking album any way you want categorise it!
"Spark" - which opens the album - is a brilliant example of Amos' musicality over a tangential and seemingly obtuse sense of subject and lyric. The odd-time verses are an outstanding counter to the beautifully singable chorus.
And if you took the time to try to decode the lyrics, you'd find a number of possibilities and references that would appeal.
Fantastically appropriate video too, which in a way raises more questions and possibilities than answers.
Thursday, September 1, 2011
Midnight Oil - The Dead Heart
Cover of Diesel & DustMost people I've seen dancing in retro clubs remember the first single from Diesel and Dust ("Beds are Burning").But the album as a whole is probably one of the top - certainly in my top 20 - albums of the 80s. And there are PLENTY of albums from the 80s that are exemplary.
What set D&D apart for me was the combination of political sincerity (Garrett is still a politico), classic album mix (still love the way those guitars bounce all over each other), and the songs - well, you'd be hard-pressed to find more economically blissful songs on one album.
It seemed for a while there that between The Oilers and Crowded House, Australia/NZ were becoming the new caretakers of truly wonderful pop and rock. By this time, remember, Stock Aitken and Waterman had started taking over UK markets with their dance-oriented brand of radio pulp.
But Diesel and Dust (along with The House's Crowded House, Temple of Low Men and later Woodface), still holds up today as a collection of songs that exceed expectation and indeed many peers' lifespan.
To whit: The Dead Heart - the opening track to side B (yes, we had vinyl records then).
Thursday, August 25, 2011
Ard trends on Twitter
Image via WikipediaOriginally written for and published by Channel24 Twitter had some gems to offer Ard Matthews, after he bungled the SA anthem on national television.
Among the most popular retweets were advertisements for Nandos and Klipdrift (pictured), which surfaced hours after the incident.
But other seemingly commercial bents soon followed, like @Frankdotnet who tweeted: Life is full of surprises – right Ard? Be ready for the unexpected, with salary protection from FRANK.net.
Regular people had plenty of funny lines to offer as well:
@Miggslp: Dnt know what was worse, Ard Matthews stuffing up the SA anthem or those caps the Springboks were wearing!
@khayadlanga: Apparently Ras Dumisani says Ard Matthews can't sing. That's like Blade Nzimande calling Whoopi Goldberg ugly.
@ErnestRoper: After an hour of listening to Darren Scott, Ard's singing was still a welcome relief.
@JayRo_PromoKING: Ard im convinced that 2013 wont exist
Others took an analytical view of the event:
@KevinMcCallum: Difference between Ard Matthews and Ras Dumisane? Matthews blamed himself; Dumisane blamed everyone and everything else.
@MeMyselfAndMrV: Ard is a gentleman. He fixed it all on Jacaranda this morning. It happens. To me all the time. But on the spot I'd rewrite.
Watch the video here:
Other performers and celebs chipped in too:
@steve_hofmeyr: I suggest we simplify the anthem by dropping verse two for sport events. SA will know the WHOLE song overnite.
Anele Mdoda - @Anele: Dear Ard Matthews, thank you so so much, really thanks, signed, Ras Dumisani.
@RobVanVuuren: come watch my show this weekend - i promise i'll be better than Ard. Watch Twakkie's hilarious rendition of the anthem here.
Thursday, August 11, 2011
SA music quotas - who needs em?
Image via WikipediaThe Moshito Music Conference – billed as "Africa's premier music industry event" - happens in September, and as usual it aims to carry forth the plight of music and its industry here in Africa.One planned session in particular topic caught my eye:
"Day Two's programme features what promises to be one of the most heated debates of Moshito 2011 - an examination of 'Local broadcast content and compliance with the UN Convention on Cultural Diversity' by a panel that includes Christa Rautenbach (Northwest University), and Anel du Plessis (Northwest University)."
It's an old, cold war in South Africa; that broadcast - particularly radio - doesn't do enough to represent and promote South African music. Ask any South African musician or band bar the Parlotones, and they'll lament the lack of our own music on our commercial stations. For my own part, I don't pretend to have solutions or even practical suggestions. But there are thousands of people who are passionate about what they believe is fair in the face of a monolithic, label-dominated music industry.
Oversimplified
Some believe that it's also an oversimplified debate. Music activist and industry veteran Martin Myers (now with Tuned In Publicity) maintains that the discussion around this issue can't be meaningful unless we're willing to include the broader structures of the music business.
"Things like a sustainable touring circuit are key to developing a market," he says. "An artist like Robin Auld – who is a veteran of SA music – can sell more CDs touring than he can placing his discs in national retail. That shouldn't be the case, but that it is should tell you where the opportunities for expansion lie."
Speaking of which, history tells us that national music retail has not come to the party, and has largely sidestepped the accusatory glances whenever the issue has arisen. It costs the same for both an independent South African artist and a major label to place CDs on a shelf in a music store (not counting additional bulk discounting for the mass producer), despite an independent South African having a minimal budget to produce and promote the product in question.
Reality vs monopoly
You could say this is a reality of economics, but it's also unsatisfactory to have this situation in a market of monopolies, which SA music retail has largely been up until now.
"Nobody has, for example, successfully explored the idea of in-store digital kiosks where consumers can buy singles from the SA artists, saving them production costs for full CDs," says Myers. "Artists themselves could even think outside the box for marketing their music and their shows. Promotional tickets and giveaways via local vendors like restaurants is one idea."
Online music stores like Rhythm Online have started making a mark, and plenty of online audio streams or "radio stations" have sprung up over the past few years; evidence of the demand for diversified interests, tastes and markets. But they remain constrained by access and bandwidth issues at least for the time-being.
It doesn't seem like commercial radio intends to offer any olive branches in the near future. The most vociferous critics accuse them of hiding behind loopholes like "graveyard-hour play" and "repeat broadcasts" in filling the quota.
The business structures may argue that they're simply meeting the demands of their "market". Which seems to be the same market for all of them.
In any event, the idea of hearing a steady influx of new, independent SOUTH AFRICAN music on these channels is still a pipe-dream. And at least for the thousands of young musicians out in the clubs and pubs or in their garages, getting their voices heard may be as hard as... well, getting their voices heard.
Moshito Music Conference and Exhibition takes place from August 31st to September 2nd at the Sci Bono Discovery Centre in Newtown, Johannesburg.
Thursday, August 4, 2011
Holiday Murray - Holiday Murray
Originally written for and published by Channel24
Holiday Murray go to the trouble of packaging this eponymous effort in a lovely cardboard mounting. The value of this is in the message the band is delivering to its potential audience: "We take ourselves seriously, so you should too."
The downside, of course, is that they take themselves seriously, and if you're not really in that mood, Holiday Murray the album is tough to get into. I had three different responses to the album on the three occasions I listened to it for review, and I'm not too sure that's a good thing.
That said, some parts of the album are very pleasant; "Homeless and Happy"'s instrumentation reminds of a Steve Wycombe-led Waterboys ditty; and "The Sea Finds Me" is a pretty left turn on an album that threatens a bit of saminess towards the end. maybe it's telling that the songs that stand out for me are the ones that are the most unusual in the context of the album .
Watch the new video "Antagonizer" here
The band also relies on strong harmony work - an underused tool in modern band rock I feel. A pity that the vocals are mixed with such heavy reverb, which is a bit inapproriate for this type of album perhaps.
Still, you feel that Holiday Murray's signature mega-hit song is just around the corner. Which is not to say that this is a poor collection of songs necessarily, just that the balance isn't quite where it's threatening to be yet.
Reports have it that they're great live act as well, though I hasten to add that - at least traditionally - this particular brand of pop rock tends to do well in some areas and not in others. If your cup of tea sweetened towards the Sons of Trout/Mikanik family or their ilk, you'll probably want to check out the Murrays.
Holiday Murray go to the trouble of packaging this eponymous effort in a lovely cardboard mounting. The value of this is in the message the band is delivering to its potential audience: "We take ourselves seriously, so you should too."
The downside, of course, is that they take themselves seriously, and if you're not really in that mood, Holiday Murray the album is tough to get into. I had three different responses to the album on the three occasions I listened to it for review, and I'm not too sure that's a good thing.
That said, some parts of the album are very pleasant; "Homeless and Happy"'s instrumentation reminds of a Steve Wycombe-led Waterboys ditty; and "The Sea Finds Me" is a pretty left turn on an album that threatens a bit of saminess towards the end. maybe it's telling that the songs that stand out for me are the ones that are the most unusual in the context of the album .
Watch the new video "Antagonizer" here
The band also relies on strong harmony work - an underused tool in modern band rock I feel. A pity that the vocals are mixed with such heavy reverb, which is a bit inapproriate for this type of album perhaps.
Still, you feel that Holiday Murray's signature mega-hit song is just around the corner. Which is not to say that this is a poor collection of songs necessarily, just that the balance isn't quite where it's threatening to be yet.
Reports have it that they're great live act as well, though I hasten to add that - at least traditionally - this particular brand of pop rock tends to do well in some areas and not in others. If your cup of tea sweetened towards the Sons of Trout/Mikanik family or their ilk, you'll probably want to check out the Murrays.
Ajax CT home games for the rest of the year
Image via WikipediaI've decided to be a City man and get behind my football team. Join us! Ajax Cape Town will play all their home games ta the CT Stadium this year. We can do it! Wed 17 Aug 7:30 PM Maritzburg United PSL
Wed 14 Sep 7:30 PM Kaizer Chiefs PSL
Fri 23 Sep 8:00 PM Free State Stars PSL
Fri 14 Oct 8:00 PM Jomo Cosmos PSL
Wed 2 Nov 7:30 PM Bidvest Wits PSL
Fri 18 Nov 8:00 PM Supersport United PSL
Sun 4 Dec 3:30 PM Bloemfontein Celtic PSL
Wed 21 Dec 7:30 PM Black Leopards PSL
Tuesday, August 2, 2011
Interview: Suzanne Vega
Image via WikipediaThis interview was originally conducted for and published by Channel24. Click here to go o the original article.Modern music icon Suzanne Vega chats to Channel24's Anton Marshall about music, victims and the ever-changing world.
Suzanne Vega is a modern music icon.
She found international stardom with the hit single "Luka" (1987) and for over 20 years the singer-songwriter has remained at the forefront of her genre.
Vega is also an artist who has been a part of many firsts in the music business. Her song "Tom's Diner" was one of the first songs used in the development tests for the MP3 algorithm (She is affectionaltely knows as "The Mother of MP3").
In July 2011 she released the third of four albums in a series called Closer. The albums collect songs from her albums, re-recorded in new arrangements for the fans.
She was also the first artist to perform as a digital avatar in the online world "Second Life".
In this interview from London, Suzanne chats about the new albums, central themes in her work, human rights, and the "prickly" parts of life.
Listen to the 12-minute interview here.
Tuesday, July 26, 2011
A word on the death of Amy Winehouse
Image by NRK P3 via Flickr"We’ve made celebrity out of self-destruction and empty notoriety, and in the process forsaken our own dignity and nobility."I posted a guest blog on my friend Dorothy Black's The Dot Spot about the tragedy of Amy Winehouse's death.
Thursday, July 21, 2011
Interview: Double Adapter
Do you think there’s still a difference – in the mind of the audience – between a DJ and a musician or band?
Tim: There is definitely still a difference, but strangely things seem to have shifted to the opposite side of where they were 3 or 4 years ago - it used to be that DJs drew a lot of criticism for not being real artists/musicians, and now DJs are becoming recognised as strong creative forces while it sometimes seems like bands are considered "done" or "boring" by a lot of young people. We totally don't share that view, we love both - there SHOULD be a difference in the eye of an audience, and I think its up to bands and DJs to really challenge that perception in their fans...
Dan: Yeah definitely. I would say that when people go watch bands they are not sure what is going to happen - is the sound going to be hot? Are we gonna dance? Where as when people go to watch a DJ I think they are going in with an attitude of we are going to party and we are gonna go mental!
I guess I’m asking the above because I’d like to now how you consider yourselves – as DJs or as musicians or a bit of both…
Tim: I definitely consider myself a musician - for me it's pretty boring to go on stage and just play stuff that other people wrote. I mean, if you've been DJing for a while, its not exactly rocket science to mix seamlessly from track to track - but to find inspiration in how you combine them, change them, re-edit or remix them, that gives a DJ/musician personality - to be honest, I think we consider ourselves performers first, good-time-lovers second, and then DJ/VJ/musicians third. But all are critical.
Dan: Double Adapter is definitely more of a live act then a DJ act. We see our selves as DJs and we are more then open about that fact but with the introduction of a audio/visual aspect I suppose these lines become blurred. Lately we have been working with a live drummer, guitarist and vocals and these lines have become even further blurred but at the end of the day I think we like to think of ourselves as DJs at the end of the day.
Tell us a little about how ADAPT OR DIE came about.
Tim: ADAPT OR DIE came about as a title for our first European tour which was earlier this year... a fan actually gave us the name via Facebook, and we ran with it! The documentary followed when our good friend at Mustard Post Production, Matthew Stonier, decided to come with and give some of his considerable creative energy to documenting our journey. It picked up the name too. Now, post tour, its kind of become our motto - stay current, keep moving, don't be complacent - dance music moves and evolves so quickly that a stagnant act will never last long.
Do you find it at all strange that your movie/documentary was aired before you even released an EP?
Tim: Not really, it was actually our goal! We've always had a firm resolution with Double Adapter - we are a vehicle to bring a party to a crowd of like minded people. Because the show is half visual, releasing music as an EP or something hasn't ever really been a goal - we're more into mediums that let people experience our show the way we play it - and that means video, or mixtapes featuring our typical heavy mashup style... that said, an EP is on the cards for this year. Its time to release some of our creations into the world on their own and see if they survive!
Dan: Ha ha, yeah I guess that is a little bit strange. Double Adapter has always been about the live act and I guess the best way to convey who we are is through film. However an EP is in pre-production and hopefully we will have that out soon.
What would you say was the most interesting thing about watching the other performers during your tours of Europe, etc – did you observe a marked difference in style or quality? Did you pick up any new ideas? Or did they in fact learn from YOU!
Tim: The most interesting thing we found is that SA is completely cutting edge - we saw it when we went there, and we often see it when international DJs and producers come here - it's getting harder and harder to spot who the "international" act is! I think the key difference to be honest is the quality of the guys promoting events and running artist agencies and labels over there - they are incredibly professional and it's relevant because their hard work is what is translating into artists over there getting such amazing recognition. It's that whole thing where an amazing gig is not JUST the music - it's the lights, the atmosphere, the people, the energy, and the performance too. But don't get me wrong - there are guys here is SA on a management/events level that are BRINGING it - Griet Artists, The Assembly, Dogbox - These are pivotal people in the SA electronic music industry and let us do what we do.
Dan: Yeah! We learnt a lot! There is undoubtedly a difference in style, all DJs perform in different ways and play completely different styles and it was really interesting to see what cats are doing in their native countries and how their audiences respond to it. Did they learn a lesson from us? I’d like to think they did - most were shocked at our hi-energy performances and I hope they took something away from that.
Why – according to the press release – were your actions during the filming of ADAPT of DIE at times “questionable”? Be honest now!
Tim: Good question. Haha. We like to party okay? Dan likes to swear! I like to drink stuff and fall off the stage! You know when you have a really crazy night, and you wake up thinking "Oh my god, why did I do that stuff"? We woke up feeling like that every single day for 3 weeks... I'm still dealing with my LC (loser complex) now. Haha - the only way forward is to do it again!
Dan: Tim and I like to get into trouble and we definitely like to live it up large when we get the chance, we drink a lot and get ourselves into awkward situations and that is the best part of touring!
Originally published by Channel24
Photos by Gabbi Harris
Tuesday, July 12, 2011
Marshall meets WWE's Celtic Warrior Sheamus
I'm always, like - so they grant me the interview or the photo session, and I know it's sometimes a drag to be stuck in these things all day - from the their point of view. So, I always try to find a way to say thanks or to make the subject feel a little appreciated.
I decided that since it was Sheamus' first visit to our shores, I'd give him an SA flag as a memento.
It also turns out brother Sheamus was a keen rugby player, and follows rugby. Though he naturally supports the Irish (whom I ALWAYS favour against the Boks), Sheamus conversely rates the Boks and reckons they've got a chance at the World Cup this year.
You can see some more of my photos from the Cape Town show here.
Monday, July 11, 2011
The worst "Essential" compilation yet produced
I take music compilations quite seriously. There's an art to compiling a GREAT set of songs that drive home a collective message or idea or sentiment. Sometimes, someone gets it together and does a good job. This is not one of those times.
Five discs of "Essential Love Songs" really could have been more essential, given its broad sell. And observant buyers will know that when it comes to these types of compilations, few labels do it better than EMI – what with their embarrassingly underused but vast back catalogue.
Unfortunately this Universal music collection shows up its lack of depth when it comes to those classic tracks that made everyone from your grandma to your teenager writhe in adolescent agony. Moreover, some of the picks turn an innocuous and forgettable listening experience into a frustrating and even offensive one.
So, disc by disc:
Disc 1 – Movie Love Songs
The highlight of this disc is an original-sounding Platters classic "Smoke gets in Your Eyes" – The Platters' classic recordings are really something to honour. But is "What a Wonderful World" really a love song?
1. All By Myself - Jamie O' Neal
2. Say You, Say Me - Lionel Richie
3. Unchained Melody - Righteous Brothers
4. I've Never Been To Me - Charlene
5. She - Elvis Costello, London Symphony Orchestra, Geoffrey Alexander
6. The Heart Of The Matter - India.Arie
7. Everlasting Love - Jamie Cullum
8. What A Wonderful World - Louis Armstrong
9. Smoke Gets In Your Eyes - The Platters
10. Out Of Reach - London Session Orchestra
11. I'm Not In Love - 10cc
12. Show Me Heaven - Maria McKee
13. Love Is All Around - Wet Wet Wet
14. The Lady In Red - Chris De Burgh
15. Crazy - Patsy Cline
16. Will You? - Hazel O'Connor
17. A Thousand Miles - Vanessa Carlton
18. You're The First, The Last, My Everything - Barry White
19. Je T'Aime Moi Non Plus - Serge Gainsbourg, Jane Birkin
Disc 2 – Duets and Harmony
Sentimental folks may well like the Jennifer Warnes/ Joe Cocker throwback to the classic movie song (wasn't disc one the movie disc… "An Officer and a Gentleman" anyone?), but the rest is ultimately forgettable Cape Talk/702 weekend B-rotation reject.
1. Don't Go Breaking My Heart - Elton John, Kiki Dee
2. Ain't No Mountain High Enough - Marvin Gaye, Tammi Terrell
3. Up Where We Belong - Jennifer Warnes, Joe Cocker
4. Endless Love - Lionel Richie, Diana Ross
5. Reunited - Peaches & Herb
6. All I Ever Need Is You - Sonny & Cher
7. If I Never See Your Face Again - Maroon 5, Rihanna
8. All My Life - K-Ci & JoJo
9. Lie About Us - Avant, Nicole Scherzinger
10. Two Hearts - Stephanie Mills, Teddy Pendergrass
11. Do That To Me One More Time - Captain & Tennille
12. Sugar Baby Love - The Rubettes
13. The Girl From Ipanema - Stan Getz, Joao Gilberto, Astrud Gilberto
14. Song For Whoever - The Beautiful South
15. You Can't Hurry Love - (Stereo) The Supremes
16. What Becomes Of The Brokenhearted - Jimmy Ruffin
17. No Matter What - Boyzone
18. Caravan Of Love - The Housemartins
19. Love Me For A Reason - The Osmonds
20. The Sun Ain't Gonna Shine (Anymore) - Walker Brothers
Disc 3 – Pop Love Songs
It seems that when they said "Love Songs" they meant both the currently-in-love and heartbreak variety. By far the most convincing track on disc three is Vanessa Williams' sugary "Save the Best for Last". At least that track is superbly indicative of its pop era. Great arrangement and vocal performance, too. And it was a nice touch to add the Pat Boone and the Shangri-Las. Far better Connie Francis ("Where the Boys Are"), Dusty Springfield and even Swing Out Sister tracks exist that could have been included here.
1. Love Is A Losing Game - Amy Winehouse
2. One Day In Your Life - Michael Jackson
3. LA LA (Means I Love You) - Swing Out Sister
4. Big Girls Don't Cry (Personal) - Fergie
5. Save The Best For Last - Vanessa Williams
6. Achy Breaky Heart - Billy Ray Cyrus
7. (Your Love Has Lifted Me) Higher And Higher - Rita Coolidge
8. Baby, I Love Your Way - Peter Frampton
9. As Time Goes By - Bing Crosby
10. Love Letters In The Sand - Pat Boone
11. Leader Of The Pack - The Shangri-Las
12. Release Me (And Let Me Love Again) - Engelbert Humperdinck
13. I Just Don't Know What To Do With Myself - Dusty Springfield
14. Who's Sorry Now? - Connie Francis
15. Wives And Lovers - Jack Jones
16. Your Lies - Shelby Lynne
17. If I Can't Have You - Yvonne Elliman
18. Love And Affection - Joan Armatrading
19. Big Big World - Emilia
20. Beautiful - Mandalay
21. Love Is Blue - Paul Mauriat
Disc 4 – Rock Love Songs
Way to start a "Rock Love Songs" set with a New Romantic synth-pop tune there. "Wind of Change" by Scorpions? Really? "Luka" by Suzanne Vega? REALLY?
1. Tainted Love Original 7" - Soft Cell
2. If I Could Turn Back Time - Cher
3. Lovesong Remastered - The Cure
4. Valerie 2010 Remaster - Steve Winwood
5. Don't Know What You Got (Till It's Gone) - Cinderella
6. Is She Really Going Out With Him? - Joe Jackson
7. You Wear It Well - Rod Stewart
8. Pale Blue Eyes - The Velvet Underground
9. Heartbeat - Buddy Holly
10. Wind Of Change - Scorpions
11. You're The Best Thing - The Style Council
12. Lessons In Love - Level 42
13. The Reason - Hoobastank
14. Wonderwall - Ryan Adams
15. Linger - The Cranberries
16. Luka - Suzanne Vega
17. Up The Junction - Squeeze
18. She's A Star - James
19. Always The Last To Know - Del Amitri
Disc 5 – Urban Love Songs
This disc destroys it all. "Urban" must mean "black" in the compiler's dictionary - that's the only way you can explain Shirley Bassey (yes, the Welsh one), The Jackson 5 and Etta James on a disc with the description of "urban". What was going to be a two-star disc just lost any sympathy with that bit of lazy and offensive labelling. Don't insult my intelligence, nigga.
1. End Of The Road A Cappella - Boyz II Men
2. Back At One - Brian McKnight
3. Down Candle Light Remix - Jay Sean
4. Rub You The Right Way - Johnny Gill
5. Thong Song - / Explicit Version Sisqo
6. Cherish - Kool & The Gang
7. Three Times A Lady - Commodores
8. Kiss Me Honey, Honey Kiss Me - Shirley Bassey
9. You Make Me Feel Brand New - Stylistics
10. How Sweet It Is (To Be Loved By You) - (Stereo) Marvin Gaye
11. I'll Be There - Jackson 5
12. Reach Out, I'll Be There - (Stereo) Four Tops
13. The Tracks Of My Tears - (Stereo) Smokey Robinson & The Miracles
14. Ev'ry Time We Say Goodbye - Ella Fitzgerald
15. I Just Want To Make Love To You - Etta James
16. With You I'm Born Again - Billy Preston, Syreeta
17. That Ole Devil Called Love - Billie Holiday
18. Touch Me In The Morning - Diana Ross
19. Teardrops - Womack & Womack
20. Words - Anthony David
21. Stickwitu - The Pussycat Dolls
Thursday, July 7, 2011
Willie Nelson deserves better
There's a concept called justice and - I like to think - appropriate justice.
Image via WikipediaNot that the LAW must apply differently to some because they're celebrities, but because in some cases, strict application of the law serves no justifiable end.
We all know that Willie Nelson smokes pot. We all know he's done it since time began. So when you bust him for the 300th time since 1955, and the PROSECUTOR says to you, the judge: "Hey, it's old Willie. Let's just fine him for possession and send the old man on his way. He's mostly harmless, and it's not like he was selling it to kids or nuthin. And WE ALL KNOW HE SMOKES!"
El Paso - A judge has rejected a plea deal that would have resolved Willie Nelson's marijuana possession case in West Texas with a fine, saying the country singer shouldn't get what she considers special treatment.
Nelson was arrested in November after a Border Patrol agent said 6 ounces of marijuana were found on Nelson's tour bus.
Judge Becky Dean-Walker told The Associated Press on Wednesday that she rejected prosecutor Kit Bramblett's suggestion that Nelson resolve the case by pleading guilty and paying a $500 fine for possession of drug paraphernalia.
Dean-Walker claims the prosecutor "doesn't do that for anybody else."
The judge says Nelson should be charged with the misdemeanor marijuana possession, which carries up to a year in jail.
Basically, Judge - and with all due respect afforded the Law and its Constitution: This sucks.
I'm posting this video for Willie... Because people of integrity and value are not - have never been - measured by their vices, but by their message, courage and yes, what they give the world.
Sending a 78 year-old man to jail for a personal choice that harms no-one else is not justice. Even the prosecutor says to let it ride FFS!
Image via WikipediaWe all know that Willie Nelson smokes pot. We all know he's done it since time began. So when you bust him for the 300th time since 1955, and the PROSECUTOR says to you, the judge: "Hey, it's old Willie. Let's just fine him for possession and send the old man on his way. He's mostly harmless, and it's not like he was selling it to kids or nuthin. And WE ALL KNOW HE SMOKES!"
El Paso - A judge has rejected a plea deal that would have resolved Willie Nelson's marijuana possession case in West Texas with a fine, saying the country singer shouldn't get what she considers special treatment.
Nelson was arrested in November after a Border Patrol agent said 6 ounces of marijuana were found on Nelson's tour bus.
Judge Becky Dean-Walker told The Associated Press on Wednesday that she rejected prosecutor Kit Bramblett's suggestion that Nelson resolve the case by pleading guilty and paying a $500 fine for possession of drug paraphernalia.
Dean-Walker claims the prosecutor "doesn't do that for anybody else."
The judge says Nelson should be charged with the misdemeanor marijuana possession, which carries up to a year in jail.
Basically, Judge - and with all due respect afforded the Law and its Constitution: This sucks.
I'm posting this video for Willie... Because people of integrity and value are not - have never been - measured by their vices, but by their message, courage and yes, what they give the world.
Sending a 78 year-old man to jail for a personal choice that harms no-one else is not justice. Even the prosecutor says to let it ride FFS!
Wednesday, June 29, 2011
My own little production series gets a kickoff - Elvis Blue
Image via WikipediaWho would you invite to your office for a coffee and an impromptu performance?In this series, we invite SA's top musicians to join us for coffee at the Channel24 offices. We also ask them to perform a song completely unplugged for the '24' staffers.
In this first episode, Idols winner Elvis Blue took some time to visit some of the departments at the 24 building – where he has many fans!
His performance of his new single Save Me was impressive, given that he accepted the challenge posed: No amps, no mics... just one acoustic guitar and a voice.
Click here to see the performance.
Elvis posed for pics and signed autographs before and after his performance.
Who will take up the Channel24 Coffee Break challenge next?
Music - or the player? Chris Roper, Steve Hofmeyr and Me - an exchange.
Image via WikipediaJust had a very interesting exchange with Chris Roper and Steve Hofmeyr (no, really), about a seemingly random thing...To contextualise, here's a brief summary:
CHRIS ROPER: Always fun funding the limited edition stuff. VOD minidisc and steel cover VOD side project.
STEVE HOFMEYR: Just bought Ion's 'tape&record to Ipod' for my 2 suitcases worth of casettes&records.
CR: But some stuff I can't let go of. And some stuff doesn't translate to digital eg Coltrane. Or iggy Pop.
ME (totally conversation-bombing): But maybe music as an artefact is declined anyway. You all have ipods now. Isn;t technology the artefact now?
CR: You can never have too many artefacts. And all give different pleasure. Ok, I. do have too many. Grr.
SH: I dunno if music can be an artefact. Old tech can.
SH: I've always seen artefacts as something old, passé & tangible. Music is still huge. Old format is declining.
CR: the format is the artefact. Eg.Just found this Ella Mental seven single." Gosh.I was about 22.
Interesting perspective. I was thinking that music was the artefact in the sense that it imprints on memory very vividly. It represents more than itself in that sense... it actually may come to represent a time and space for people.
But of course I agree with Steve, too. Music before the digital era came with very specific "items" like a vinyl record (and to a degree CDs for a short while). This involved the physical action of "putting something on" to listen to, within a very specific space (your home, your office, your party) using technology or devices that for all intents and purposes were social and not "portable"...
... At least not in the sense that MP3 players, iPods and such are. The "personal listening experience" as first imagined by Sony's Walkman, effectively took music out of the realm of "social". And now, the likes of the iPod, etc, the music doesn't even have a physical representation – not a visual one, or a social one. It is effectively a stream of consumable data, which for me diminishes it as representational artefact.
It doesn't in itself mean a moment or a place for you anymore, because you take it everywhere. Or you CAN take it everywhere. Without sharing it. It's a personal listening experience.
As a musician myself I find that both comforting and ironic. For me, music was once shared. Not in the data sense, but in the social sense. Now, with the ease of actual 'sharing' of digital data, music seems more widely distributed, but less shared... funny.
Tuesday, June 28, 2011
The Wrong Rock Show episode 60
Image via CrunchBaseWas my privilege to be back on The Wrong Rock Show again yesterday. here is a COMPLETE show (2hrs) which you can stream while you're working. I decided to bring some old classic rock and mix it up with host Botha Kruger's left of centre entries. makes for an interesting, multi-perspective show.The Wrong Rock Show is broadcast on Bush 89.5 in Cape Town. Bush is a community station that has a varied and interesting programming lineup, particularly in the evenings. Listen out on Sundays for the The Unhappy Hour as well.
Full playlist in the player... also if you let the player load up, you'll be able to skip ahead - just like YouTube... narf!
Thursday, June 23, 2011
Will Smith – Wild Wild West
Image via WikipediaSlick Willy is the consummate showbusiness all-rounder. Actor, rapper, presenter... he's a fine example of how charisma and likeabilty will take you far far beyond your small beginnings. He had a fair crop of hits in the early 90s ("Girls of the World Ain't Nuthin but Trouble!", even though he's kept his brand of rap fairly innocuous, pushing fun and light over hard and mean.
While the movie Wild Wild West turned out to be a bit of a dog - or giant spider, whatever - the accompanying single is a killer of note.
Sampling and referencing solidly from Stevie Wonder and hip-hop icon Kool Moe Dee, the groove that's produced is as good as anything in the preceding decade.
In fact, so good is the arrangement, even Sisqó's, slightly overcooked delivery of the chorus hook works deliciously!
It's a perfect flatbead for Smith's ever-the-wise-ass lyrics and posturing, and as a result the whole thing comes off like it should: Fun under a very VERY slick delivery.
Along with "Boom Shake the Room", this is Slick Willy's finest moment, despite criticism from the gallery at the time of its release.
Note a hilariously stiff dance segment in the video (which is actually pretty funtastic as well) actually seems to add to the charm of the whole shebang. If you don'f feel your feet tapping to this, you're dead from the ears down.
Audio interview: The Script
Image by alterna2 via FlickMark Sheehan turns out to be an honest man. He openly admits that the moments that made the band successful were scary as hell, and that the rise to fame was as much of a surprise to them as anyone else. Mark talks about the legacy of being an Irish band in a world that's known U2 and Van Morrison, how success came about for the band, and what playing for 70 000 (20 000 more than Oasis the night before) felt like.
Click here to hear the Interview in full (7 mins).
Tour Itinerary
Johannesburg
Friday June 24 2011
Coca-Cola Dome
Tickets from R246 –R399
Cape Town
Sunday June 26 2011
Grand Arena, Grandwest Casino and Entertainment World.
Tickets from R246 –R374
Tickets available from computicket, or phone 0839158000.
Originally published on Channel24
Friday, June 17, 2011
Destiny's Child - Independent Women
Some time around the third album, team Destiny came up with this killer pop track, driven not so much by its "slammin' beat", but actually by a huge basket full of vocal hooks, which didn't rely on the hystrionics so evident in modern RnB.
The production (kudos to Beyoncé Knowles, Sam Barnes, Jean-Claude Olivier and Cory Rooney) rightly saves any vocal improvisations only for weak musical moments - the bridge is a low point in the song to be over-critical.
But be honest now: Can you truly resist lip-synching that opening word:"Question..."? Or even being a backup singer later on in the prechorus and chorus ("I bought it!", "Throw your hands up at me!")
By the time the link ("The shoes on my feet...") arrives in the song you're sold. It's strange but true to assert that the actual chorus hardly matters in this one, because the entire track is basically a neverending series of utterly singable melodic lines, which the understated beat does well to colour by being almost by-the-way.
Despite a video that looks a bit random due to the Charlie's Angels movie attachment, it's an object lesson in how to put together a dance tune with credibility. And if, by chance, you've ever heard Elbow's skiffle version, you'll agree that a great pop song's acid test is to be overhauled in a completely different style... and still work.In this case... Oh yes. Oh yes indeed. Winner.
Tuesday, June 14, 2011
Six great child pop acts
Image via WikipediaOriginally published by Channel24.co.za/musicBy Anton Marshall, Carli McAdorey, Dani McAdorey, Art Pereira, Lauren Hess, and Syminn Tamblyn
Many names go on the brainstorming page when you embark on a quest to mention great child pop stars. But add a few criteria and seemingly obvious choices are eliminated off the bat.
For example, specify that the child-star in question cannot be simply young. Being young but being sold as an adult eliminates the likes of Britney Spears, in this case. She was around 17 when her debut album arrived. Certainly her schoolgirl outfit in her debut video was not to allude to playtime – at least not for kids.
So we decided to keep this short list to the acts that were obviously children and meant to be seen as such. Here are six we felt deserved a mention:
Bad 4 Good
A heavy metal band formed in 1991 by guitarist Steve Vai, the band featured a quartet of teenagers, none older than 16. Of the four, drummer Brooks Wackerman had arguably the most post-Bad success, playing for Bad Religion.
Jackson 5
It's hard to argue that there was ever any other vocal or pop child group with more pure talent and appeal than the Jacksons. And it's even more scary when you observe that even amongst that lot, Michael was a standout performer by a long, long stretch.
New Edition
In the early eighties, Robert Bell of Kool and the Gang helped put together a group of talented kids and a pop sensation was born. Testimony to their enduring talent is what became of their respective careers immediately after New Edition split up, especially one Mr Bobby Brown.
Hanson
These days they're written off as a cheesy 90s schlock. But bear in mind that the brothers Hanson actually performed their own instrumentation in studio and live, and that "Mmmbop" track is pretty catchy.. for cheesy 90s schlock. Oddly, some people think they're related to Beck Hansen. Weird.
Musical Youth
In an unusual twist, UK band Musical Youth brought a reggae bent to proceedings and were nominated for a Grammy! Their wildly misinterpreted hit "Pass the Duchie" is still an anthem for stoners, and a source of outrage for concerned parent groups everywhere. Naturally, the duchie in question has nothing to do with either drugs or sports dexterity.
Willow
Precocious and born to Hollywood royalty she may be, but on the strength of her debut song – the gratingly inspired "Whip My Hair" – Willow Smith has star quality. If she remains focused into her teens, she may even buy some credibility in the music scene.
Justin Bieber
Bieber wins everything. Grammys, MTV Awards, BET (Black Entertainment) Awards, CMT (Country Music) Awards...we expect him to take home the Oscar for best supporting actress next year. So... yeah, Bieber's in. Here he collaborates with another spawn of Smith and Pinkett, Jaden.
Any more to add? Let us know in the comments below.
Taxi Violence - Long Way From Home
The band's strongest claim to stardom has always been an electric live set – electric in the sense that it is high-voltage energy on a stick of short-fused dynamite – and though the album work hasn't been bad per se, it gave a muted impression of a band that's actually a lot better under lights than in a CD player.
Not so with Long Way from Home, which almost reverses the image completely. It's easily their best complete album to date, bound together more holistically than the harder singles-generating efforts from before.
If there is a track that rises out from the rest, it's the new "Devil & Pistol" and the title track "Long Way from Home", though very marginally. This is an album more about performances and effect within songs.
The rearrangements have exposed vocalist George vd Spuy to be a singer very aware of and in control of his intentions; his delivery and especially harmony constructions are a superb example for young vocalists to follow.
Rearranging the songs so strongly has also had the knock-on effect of separating them from their observable influences, most obviously for me the likes of Queens of the Stone Age, Zeppelin and so forth.
If rock n' roll's associations with whiskey are really that ingrained, perhaps it's time a band tapped Southern Comfort as its calling card. It's sweeter, smoother, and has its own sense of history. A lot like Long Way From Home, which offers hope for all SA bands attempting a third album, even if mostly as a set rearrangements.
Originally published by Channel24.co.za/music
Friday, June 10, 2011
Hunters & Collectors - True Tears of Joy
And then you get those moments where every box gets ticked. And in many cases it's not by the top-selling or most-played artists on tv or radio. In this regard, Australian artists really hit the ball out of the park when you least expect it.
The first time heard Hunters & Collectors was on one of Donna's radio mixtapes. Must have been around 91 or 92. Back then radio was a platform for discovery (much like the Interwebnets is for some these days, but in a different way).
When I eventually caught a glimpse of the band in press photo, I remember thinking that it was a side project for Crowded House. Of course it was Mark Seymour's resemblance to House bass player Nick Seymour that confused me – and given that they're brothers, well... you understand my mistake.
ANYWAY... they had a handful of hits in the Aus, couple of good albums, a reputation for being a top live band – Seymour even scored a few ARIA awards.
But True Tears of Joy is a gem of a tune, partly because it features all the ingredients of a great pop song: Strong opening motives, prechorus and hook; excellent vocal performance, quietly confident musical arrangement...
And when it came to the video they chose to go simple and unsophisticated. This is still one of my favourite songs to play at home when I'm thinking about where to take life to next... and if I ever open a songwriting and performance school, this will feature in the curriculum.
Wednesday, June 8, 2011
Sigue Sigue Sputnik - Love Missile F1-11
If Johnny Mnemonic was the archetypal cyberpunk terrorist, Sigue Sigue Sputnik was on his iPod (or whatever they had in Sputnik City, 1990).
In trying to retro-engineer the original versions of the songs that became the first album (I have a copy of The First Generation), you get the impression that this was the foundation of what was to become the automated mix era of music.... a combination of samples, dropout, four-track cassettes, voxpops ripped from TV, radio, and all manner of guerrilla-styled audio adventures.
That Sputnik carried that mentality into its video presentations must have seemed like sheer lunacy at the time. But you have to concede in retrospect that it acerbically and accurately predicts the plasticity of pop culture to come, not to mention the total artificiality of its soundtrack.
Seriously, how far removed is the preening and posing of Neal X from a modern day Heidi Montag or Kim Kardashian? X probably had less plastic in his bodysuit than Montag does.
Yet Sputnik has more social relevance – intended or not - than many "smart" bands have had since. Added to this mix of crazy subterfuge is the context of global annihilation anxiety (1986!) and the hysterical excess and aspiration of the 80s (1986!).
The culmination – probably the zenith – of which is the iconic song and video "Love Missile F1-11".
Monday, June 6, 2011
Backstreet Boys – As Long as You Love Me
Those who know me do understand that I've never been one to follow the candypop bands – especially those who require dance routines to sell their music.
BUT I do give credit where it's due, and sometimes even a boy band from the nineties deserves a mention for getting a single right.
Backstreet Boys were never really on my radar – I kind of regarded them as an American phenomenon, neither unimportant nor particularly critical to music and its legacy. Their second album, Backstreet's Back, did contain at least one little gem of a song.
The official music video is rather predictable, but this live performance for Disney appropriately captures the band's appeal for that intended audience; they were good performers who never really felt they needed to take things over the top (looking at you, Gaga), but managed to come across as friendly, fun, and just smart and respectable enough to be acceptable at your Dad's dinner table.
In this case, a great pop song, complemented by a great live performance. Respect.
BUT I do give credit where it's due, and sometimes even a boy band from the nineties deserves a mention for getting a single right.
Backstreet Boys were never really on my radar – I kind of regarded them as an American phenomenon, neither unimportant nor particularly critical to music and its legacy. Their second album, Backstreet's Back, did contain at least one little gem of a song.
The official music video is rather predictable, but this live performance for Disney appropriately captures the band's appeal for that intended audience; they were good performers who never really felt they needed to take things over the top (looking at you, Gaga), but managed to come across as friendly, fun, and just smart and respectable enough to be acceptable at your Dad's dinner table.
In this case, a great pop song, complemented by a great live performance. Respect.
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