Showing posts with label the smiths. Show all posts
Showing posts with label the smiths. Show all posts


$20 Concerts (Other Than Kid Rock) I'd Like To See


About a month ago, Kid Rock made an announcement that made shockwaves throughout the music world. He announced that on his upcoming tour, he’d be charging just $20 per ticket, so that his less wealthy fans could attend the shows.

This was a nice gesture, but what about all the people who aren’t Kid Rock fans? What kind of major acts can they see for just 20 bucks. They might not have a whole lot of options this summer, but I’m here to save the day with a list of popular acts who would do well to charge to just 20 bucks for a show. Most of them are more than rich enough that they can afford it.


U2
Look, it’s easy to make fun of U2. They’re recent albums are a transparent attempt to capture past glories, and Bono is the best example of the White Savior Industrial Complex around. But still, there 80s work, was pretty damn good, and to hear “Sunday Bloody Sunday” and “Bad” performed live in 2013 would be pretty damn awesome. That’s why Bono and company need to get rid of the pretentiousness for a few nights, get back to doing what they doing best, and let fans in on the cheap. It just might remind them of what made them great to begin with.


Foo Fighters
Dave Grohl wants everyone to know that he’s the last bastion of real rock n roll maaaaan! Well, if that’s the case, he shouldn’t care how much dough he rakes in on his next tour with the Foos. They’ve become popular enough that they can charge whatever the hell they want, and people will stay buy tickets, but if Grohl wants to let us know that he still works for the working class music fan, the smartest thing he can do is slash ticket prices severely, so that he average Joe 6-pack, who still plays his well worn copy of The Colour And The Shape can check things out. If the Foos played a series of cheap gigs, it would let the fans know that Grohl truly does care about the little guy and give them a lot of credibility when they claim to rail against the mainstream.


Metallica
Some free advice for James Hetfield and co.: if you want to let the fans you alienated after they downloaded your songs from Napster know you still care about them, give them some cheap gigs that they can actually afford to attend. Metallica is big enough that they can charge whatever they want for tickets, and they’ll still sell, but if they want to prove that they’re still a “real” band, and that fame hasn’t left them separated for the true metalheads, they should give the fans a show that they can actually afford to go to.


Green Day
The rare punk band who lucks out and becomes a mainstream phenomenon, Green Day have made an obscene amount of money over the years, far more than any 3-chord punk band can hope for. Billie Joe Armstrong claims to speak for the working class, but if he wants to prove himself, he ought to put his money where his mouth is and give his actual working-class fans a chance to attend his concert. Who gets to go to Green Day shows now? Upper-middle class kids who may understand what he’s saying in theory, but haven’t actually lived it, and can’t actually relate to the concept of not knowing where you’re next meal is going to come from. how about throwing a bone to the folks who actually have to live that experience day-in, day-out?


The Smiths
I know it’s a long shot, but I’m going to keep bringing it up until it happens. Come on, Morrissey, swallow your pride, and hook with Johnny, Mike, and Andy for a few gigs. And charge a low price for it, so the old school fans can actually make it. If it’ll motivate you, I..um....have a cow in my basement in right now, see. Yeah, see, and if you don’t play few Smiths gigs, I’m gonna force it to listen to Theory of A Deadman, yeah, that’s the ticket.....




John Hugar


Album Review: Johnny Marr - The Messenger


Having helped define The Smiths and bolster the sound of Modest Mouse, legendary English guitarist Johnny Marr is finally releasing his first solo album. On The Messenger, a Britpoppy-garage-rocking-impossibly-cool debut, the 49 year old grooves with defiant youthfulness as he displays talents honed to perfection during decades of stellar work. The album provides Marr with the focus he deserves and in turn Marr provides listeners with a fun collection of songs as solid and straightforward as any artist could hope to release.

Everything The Messenger delivers is unapologetically familiar. Lovers of late seventies to mid-eighties New Wave or bands like The Stone Roses, Echo & the Bunnymen, The Cure, Simple Minds, INXS, and The Cult will find plenty to adore. The record’s derivative ear candy, as addictive as it is unoriginal, is nostalgically evocative of just-plain-good music from eras and scenes Marr contributed to. The Messenger finds a great instrumentalist doing what he has always done, adding slick personal vocals into the mix for extra effect.

Though Marr’s voice is more relaxed and less rich than his former bandmate, Morrissey, it contains its own streetwise assurance. The lyrics on The Messenger are intelligently composed, largely concerned with communication breakdown, even if they are not as strange and urgent as those found on a Smiths album. The songs themselves, however, often thrust forward in sensual lunges with an unrestrained vivacity The Smiths never had much interest in, topping the classic band in terms of sheer energy level.

On “Word Starts Attack,” Marr sings, “All the things that the new are promised has made things that are not for us.” If this is a statement on popular trends in the music industry, The Messenger itself may be an ideal antidote for those seeking an escape from the Top 40. It is not a Smiths record. It is not high art. But it does return rock n’ roll to a much much better place.

Grade: B+






Tonight: The Cure vs. The Smiths Dance Party


The Smiths or The Cure, who do you prefer? I have a serious appreciation for both. But in my beloved collection of music The Smiths definitely outweighs The Cure, by a long-shot. "There Is A Light That Never Goes Out" will forever be my devoted romance anthem and "How Soon Is Now?" is one of those songs that is so good I can't quite focus on my surroundings because I'm that enraptured. And although both bands are known for their melancholic nature, there's just something about The Smiths for me. I digress, tonight your opinion is the one that matters.




Each year Transmission has held the event at Mohawk Place. With the closing of Mohawk, the 10th annual Smiths vs. Cure dance party will be held at Soundlab. Dress themed and spend a night in a time warp, dancing, and undoubtedly having the great debate: The Smiths or The Cure. 

10th Annual The Smiths vs. The Cure
Tonight - Saturday March 9, 2013
Soundlab (110 Pearl St.)
Doors @ 10:30 p.m.
$5 cover
18+

Check out the Facebook event page.

Alicia Greco


Uncovered Covers: The Flaming Lips and New Fumes Cover King Crimson


The Flaming Lips have reemerged in recent years as a denser and somewhat weirder band, and this transformation has been consistently great. On this week's edition of "Uncovered Covers," I wish to cover (sorry, I really could not resist) their most recent cover of King Crimson's 1969 song, "Moonchild," done as a collaboration with New Fumes. The cover is a 12 minute track opening with a melancholic dirge which transforms into ten minutes of an ominous and ambient mix of feedback and synths. The overall effect is slowly building tension without any sort of a release. Great stuff! 

Also, while I am on the subject of covers done by the Flaming Lips, their special reimagining of Pink Floyd's Dark Side of the Moon, released especially for Record Store Day a few years ago, is another great listen. 




Finally, while I am here, I dug through the crates to leave you with a bonus cover, this one a little older (2009, which is maybe 10 in blog years). Off a 7" split with Xiu Xiu, Parenthetical Girls' cover of The Smiths' "Handsome Devil" is a great cover that elevates the twitchy neurosis of the song, originally hidden under Johnny Marr's pop rock sensibilities. 

Michael Torsell