#classic rock./ shock rock./ glam rock./ rock n roll

[k-i-l-l-e-r-b-e-e-6-9]

[rock-and-romanticism]

Alice Cooper: An Overview

I’ve recently created three iTunes playlists covering Alice Cooper’s career from 1969 to the present. The playlist is based on his studio discography. I’ll be meditating on my impressions of him as a long time fan — since the 70s — and my recent listening of his work. I’ve divided up his career, and this playlist, into three rather uneven eras: The first playlist covers the Alice Cooper Band…

[fashionthroughtimewithlucy]

Blue Jeans.

Since the late-19th century, jeans have gone from rugged workwear to fashion apparel that we couldn't live without. During the 1970’s, demand grew for flared and bell bottom styles, the trend spread from the US to Europe and was no longer associated with the niche hippie movement. Denim jeans became the go-to style for youths in all areas of life. Decorated denim also rose in popularity as people chose to customise their jeans with sequin, embroidery, paint or beads.

Designer jeans were seen statues symbol and more expensive and more desirable. Calvin Klein and Gloria Vanderbilt were the first American designer jeans to hit the market in the mid-1970s. They both focused on the mass women’s market and found inspiration in existing designs. It’s important to make clear that in those days, designers didn’t have all the treatment technologies that we have today at their disposal. The jeans were raw, rinsed or stonewashed.

Calvin Klein meteoric rise in the 70s, to the aesthetic that defined the 80s and 90s, to today’s still chic. During the 70’s Calvin Klein is said to have investigated revolution in advertising when he launched his jeans range. Calvin Klein sold 200,000 pairs of denim jeans during its first week of sale in 1978 – a venture that arose after a stranger approached Klein on the dance floor at New York City’s most infamous party spot, Studio 54.

Gloria Vanderbilt.

Gloria Vanderbilt became famous early in life, she was an American artist, author, actress, heiress and socialite but most noted as an early developer of the blue jean. And thats when her fame came, venturing into theater, film and fashion, with her jeans becoming a staple of the 1970s designer scene.

Glitter Glam rock.

The Great Britain of the 70s could be a drab, monochrome place. The buzz of the Summer Of Love had long faded and in its place, it seemed, came the escalating tensions in Northern Ireland, economic and political crisis, and a sense that the nation’s moment had passed. Glam rock (or “glitter rock,” as it was better known in the US) added a rare splash of color and sparked a very different kind of cultural evolution, bringing a sense of flamboyance in lux fabrics such as satins, velvets, and lurex decorated with sequins and worn with super high stacked platforms.

It was Marc Bolan who was the real deal and glam rock’s first true star. He was the lead singer of T.Rex, which cemented his place as king of a new genre – glam rock. His pioneering style was underlined by his equally flamboyant TV appearances, he wore metallics and glitter make-up, a look that confirmed a new decade’s pop star had arrived.

Back in the 1970s, David Bowie envisioned key parts of our culture today. During the most crucial decade in Bowie’s career, his forward-thinking approach to sexual identity, celebrity image and musical presentation tipped off many. He made innovations in art pop, glam rock, German industrial music and more, along the way minting a dense discography of classics. While Bowie’s lithe figure and pretty face gave him an androgynous aura from the start, he didn’t use that role in so focused, and shocking, a way until the U.K. cover of his 1970 album The Man Who Sold the World. It found him draped over a chaise longue wearing a dress and sporting long tresses that seemed less like the hippie casual norm of the day than like something out of old Hollywood.

Suzie Quatro redefined the role of women in rock ‘n roll,, creating a style of leather suits inspired by Elvis 1968 leather suits. There were female singers and musicians before Suzi, but she was the first to break through as lead vocalist who was also just part of the band.

[wintbuffalo]

Def leppard 80s

Rex, Mott the Hoople and almost Queen," Collen said. "I'd done this song 'Kick,' which really kind of sounded like something from the early '70s, like Bowie, T. Collen and Elliott worked on pieces from their homes. The writing occurred organically as the COVID-19 pandemic began rolling and was not immediately earmarked for Def Leppard, Collen said, but rather as a celebration of songwriting in general. More: Mötley Crüe, All IN fest and more: 10 big late-summer shows around Indianapolis It's the lifeblood, I think, and so we've done that."ĭef Leppard's latest album, "Diamond Star Halos," was inspired by the '70s glam rock that motivated Collen and vocalist Joe Elliott to get into music. They keep going, and they always put new music out. Unfortunately, they'll still have to sit through Poison to get to it."But we're not a nostalgia act, obviously," he continued. The band's recent collaborations with Tim McGraw and Taylor Swift are simply inexcusable.įortunately, set lists from recent shows have stuck mostly to the band's early catalog, which should come as welcome news for longtime Def Leppard fans. "Let's Get Rocked," the first single from the band's 1992 album Adrenalize, featured lyrics as trite as the worst Poison song and marked the beginning of Def Leppard's decline. Some fans were put off but the pop sheen of 1987's Hysteria, even as it went on to sell more than 20 million copies worldwide. That's not to say that Def Leppard haven't had their musical missteps. The combination of Def Leppard's songwriting chops and Lange's layered, meticulous production spawned such classic hard-rock staples as "Photograph," "Foolin'," and "Bringin' On The Heartbreak." Def Leppard's 1980 debut, On Through the Night, fit nicely into the NWOBHM mold, but it was a partnership with producer Robert John "Mutt" Lange that produced a pair of bona fide masterpieces in 1981's High 'n' Dry and 1983's Pyromania. It may come as a shock to some younger fans who associate the band with the strip club staple "Pour Some Sugar on Me," but Def Leppard was once at the forefront (along with Iron Maiden and Judas Priest) of the "new wave of British heavy metal" during the late '70s and early '80s. Instead, the band's primary focus, at least for the first decade or so of its career, was solely on its music. Aside from a penchant for sleeveless T-shirts and short shorts emblazoned with the Union Jack, Def Leppard never appeared to put much thought into their image. Songs like "Talk Dirty to Me," "Nothin' but a Good Time," and "Unskinny Bop" set the bar so low that a host of similarly hackneyed, second-generation hair-metal bands inevitably followed in Poison's footsteps.ĭef Leppard, on the other hand, were really never a hair-metal band at all. While the androgynous cover photos from Poison's debut album, Look What the Cat Dragged In, might have inadvertently caused countless adolescent boys to confront uncomfortable questions about their own sexuality, the band's music posed no such deep, philosophical quandaries. From the moment they broke onto the national scene in 1986, Poison was the embodiment of everything that was wrong with heavy metal in the 1980s: simplistic, derivative song structures, inane lyrics, lipstick, eyeliner, and, of course, ridiculous hair. The two most common terms for the style of the pop-inflected metal that proliferated in the '80s are "hair metal" and "glam metal." It's significant that those terms specifically refer to the genre's image, whereas labels for other genres described (go figure) the actual sound of the music - such as "thrash metal," "speed metal," and even "grunge." The average hair-metal band's popularity was frequently defined by how much Aqua Net, spandex, and mascara they employed, as opposed to the music they produced.įew bands epitomize hair metal's reliance on style over substance as thoroughly as Poison. But upon closer examination, Def Leppard and Poison represent nearly opposite ends of the '80s metal spectrum. After all, they're two of the most successful bands of the 1980s and, no doubt, they probably share a significant number of fans, which should bode well for this tour. At first glance, a bill featuring Def Leppard and Poison seems a natural fit.

[adriheavymetal]

Listening These days .........................🎧🎼 🎸🥁🎤🎹🎷🎻🎧🎶👌☺💕🤘🤘❤💿

[biracy]

Alice Cooper is literally hot you guys are just cowards

[kukkahattumursu]

Alice Cooper🐍

My instagram

[sabbath-vol4]

Jake "The Snake" Roberts and Alice Cooper, 1987

There may not be a showman in rock as good as Alice Cooper. He loves the theatrics, the special effects, the stunts, everything. So it only makes sense that Cooper would show up at Wrestlemania.

The match was between Jake "The Snake" Roberts and Honky Tonk Man with over 93,000 people in attendance. Things weren't looking too good with Roberts, until Cooper decided to get in on the action with a little assitance from his 15-foot python Damien. (watch it here!)

Cooper admittedly wasn't a big wrestling fan at the time, but his attitude towards the sport completely changed after that night. “Everything about that was great. I’m a boxing fan … boxing is my favorite thing to watch. Wrestling was showbiz. These guys were bigger than life; they were Megatron. This was when you had Andre the Giant, you had the Junkyard Dog, you had all these great characters,” said Cooper. “I respected it a hundred times more after being backstage.”

source

[louistomlinsoncouk]

After tragedy, One Direction’s Louis Tomlinson is finally in a ‘good place in life’ — and ready to rock

While most boy bands only spawn one major solo superstar — think Justin Timberlake from *NSYNC, or Ricky Martin from Menudo — the men of One Direction have bucked those odds. Zayn Malik, Harry Styles, Niall Horan, and Liam Payne have all found success, in genres ranging from R&B and EDM to folk-pop and retro rock, since 1D went on indefinite hiatus in 2016. But one member, Louis Tomlinson, has kept a relatively lower profile. “I've tried to!” he laughs softly, speaking to Yahoo Entertainment about his much-anticipated new solo music.

“I had a couple of things in my personal life which made momentum a little bit more difficult, naturally,” says Tomlinson, now age 27. He is referring to the loss of his mother, Johannah Deakin (who died from leukemia at age 43, the same year of 1D’s split), followed by the fatal overdose of his 18-year-old sister, Félicité, earlier this year. Only one week before Félicité’s death, Tomlinson had released the single “Two of Us,” a heartbreaking ballad dedicated to his mother. He once described this “darkest s***” period in his life as his “rock bottom” during an interview with The Guardian. But as he readies his debut solo album, out in January 31 next year with a world tour to follow, Tomlinson says he’s no longer writing from a place of mourning. While the album, WALLS, will contain “light and shade,” fans can mostly expect anthemic rockers with “plenty of guitars,” like the ‘90s-style Britpop banger “Kill My Mind” and the just-released buoyant terrace-chant “We Made It.”

“I touched on [grief] with ‘Two of Us,’ but I definitely kind of told that story with that,” Tomlinson explains. “I felt like I needed to get that off my chest creatively in my songwriting because around that time, it was hard for anything to feel more important, obviously, than that. ‘Two of Us’ is an important song for me, but I understand how heavy it is — emotionally, for me to sing, and for some people to listen to. … I don't think for a while I'll be going near anything else too heavy emotionally; I'm not really that way inclined. I want to make songs that make people feel good, you know what I mean? I'm conscious of trying to make happier songs, definitely. What I've learned about the writing process is you can't write a happy song if you don't feel happy. And I feel like I'm in a good place in my life, and naturally with that comes happier songs. So I think it all depends on what headspace you're in, really, at the time.”

Tomlinson is clearly in a rock ‘n’ roll headspace at the moment. To tease the release of “Kill My Mind” last month, the proud Northerner made a Spotify playlist of his influences that included Oasis (“probably forever my favorite band”), the La’s, James, the Verve, Arctic Monkeys, the Smiths, “Tomorrow Never Knows” by the Beatles, and newer artists like Sam Fender, the Courteneers, and Catfish & the Bottlemen — and “Kill My Mind” and “We Made It” wouldn’t sound at all out of place on a playlist alongside those Britrock luminaries.

Tomlinson is well aware that going in a rock direction is a risk, though he believes “music definitely works in cycles” and rock ‘n’ roll will “definitely be back.” In terms of speculating why the type of music he heard on mainstream radio as a kid — like Oasis and Amy Winehouse — has fallen out of favor commercially, he speculates, “Well, we're in a in a very, very PC era, and some of those bands were a little bit reckless, a little bit crazy.” Regardless, it’s possible that Tomlinson could educate the “super-f***ing-dedicated” One Direction fans about ‘90s/early-2000s indie the same way Styles’s debut album was a gateway to ‘70s glam and classic rock, or Horan’s was an introduction to more mature singer-songwriter sounds.

“That's why it's important for me to make those playlists, because I do often get messages from my fans saying they hadn't heard of this band or this artist before,” he says. “And I think that's really important. That's really cool. That helps them get to know me even better. … Harry, I think in terms of the music he's making, I think that's incredible and I'm sure the fans have then gone to look at other bands that have influenced him on his album. And I actually saw it firsthand when I went to watch Niall live — it must have been like maybe over a year ago now. There were some really great musical moments in that show, and I was thinking about the contrast of that show with a One Direction show. I was watching the girls at the front just absorbing this musical moment, and I thought that was really cool, really interesting. I think that is important, for all of us.”

Tomlinson knows “there is definitely a bit of music snobbery” when it comes to a former boy band star doing rock ‘n’ roll — he once joked to the BBC that Alex Turner of Arctic Monkeys would be mortified would be mortified to be cited as one of Tomlinson’s core influences — but he says, “I think you've just got to kind of earn your stripes as an artist, and be honest and be real — and whoever likes you, great. Whoever doesn't, well, it is what it is, I suppose.”

Tomlinson has been pleased by the initial response to his new sound. “I was feeling really, really f***ing proud about ‘Kill My Mind’ and the reaction on that. It makes me feel really good to do something that is true to my influences and get a good reaction. Some people were a little bit shocked, but that's exciting, you know what I mean? That's the way it should be with music.” Still, he doesn’t seem too concerned if his music doesn’t reach the commercial level of One Direction in their post-X Factor heyday.

“In terms of kind of chasing radio, I feel like I've done a lot of that. To be honest, out of all the songs I've got on the [forthcoming solo] album, ‘We Made It’ probably is the best equipped melodically for radio, so we'll see how that goes. But I'm not as precious as I used to be about all that,” he says. “To be fair, I fell out of love with music a little bit, and I actually kind of come back ‘round to finding bands that I used to love, and finding new bands. And I had a bit of an epiphany with music and with my music. I thought, instead of making music for other people, I should start making music for myself and what I really love. So it feels really refreshing to be able to do that.”

Tomlinson’s album will feature production from both longtime 1D collaborator Julian Bunetta and Ben’s Brother frontman Jamie Hartman, who has worked with Lewis Capaldi, Rag ‘n’ Bone Man, Rachel Yamagata, James Bay, Andy Grammer, Joss Stone, and Parachute). “Jamie is just an amazing producer, and I think he really understood me musically,” Tomlinson gushes. As for what to expect from the record, he says, “I'm always trying to be as honest and as relatable as possible, and sonically, I always want it to feel as live and as authentic as possible. It's been a long time in the making now, but I'm really happy with it as a body of work.

“I'd been used to releasing an album a year with [One Direction], and I didn't realize until I got into it just how much of a perfectionist I was going to be about my first album, and what it says about me and what it represents. I've been maybe at times too much of a perfectionist, and it's taken a little bit longer than it should have. But I'm kind of all right with that, because I'm really, really proud of where it is now. I never want the feeling of releasing an album and feeling like there's two or three fillers on there. I'm really happy with every track on the album now. So I think it was hopefully worth the wait.”

[natromanxoff]

Queen live at Victoria Hall in Hanley, UK - October 31, 1974

The setlist is apparently the same as last night's.

The sound in Victoria Hall was not up to par for plenty of people who witnessed concerts there, as the acoustics were more suited for classical music than rock music. (x)

Fan Stories

The 70's, what a decade, Glam Rock, flares, platform heeled shoes, being a teenager then was one of the most exciting periods of my life. Having just left school in the summer of 73 and having just started working a few months earlier, like most kids I saved most of my wages to purchase my first record player, which eventually bought and was a 'top of the range' Ferguson stereogram, one of those teak coloured sideboard looking affairs, laughable now really! This period was the defining moment of my young life; musically I was mainly into two bands, the first one being 'Queen', and the second 'The Sweet', in that order! Queen sang and played songs about Fairy Feller's, Ogre Battle's and Great King Rats etc. Whereby Sweet sung about Hellraising, fighting, and stealing your girlfriend! Both bands had a profound affect on my musical upbringing. They both had a great visual image, superb vocal harmonies and in my opinion two of the best lead guitarists of all time in Brian May & Andy Scott, which incidentally was always the main factor that got me into Rock music in general. Having first heard Queen's second British single, the monumental 'Seven Seas Of Rhye' in my local Woolworth's music department of all places, I handed over my 45p and rushed home to play it. The 'A' track and its (vastly underrated) 'B' side 'See What a Fool I've Been' is still one of my all time favorite Queen tracks even after all these years! It wasn't long before the classic 'Queen II' album came out and became part of my regular record deck playlist. The album also confirmed what I had believed all along that the band were hard edged rockers, that used grandiose, interesting lyrics, but more importantly melodies in conjunction with guitar riffs to spread their message. Having now been converted 100% to the Queen cause and with both single and album gatecrashing the mainly Soul music dominated record charts, it wasn't long before I heard that the band were aiming to tour Britain to support their recently released vinyl offerings, along with their 3rd album Sheer Heart Attack, that was just around the corner. Stoke-on-Trent was not, and still is not the Rock 'n' Roll capital of the world, although we did have a couple of decent music venues in the town, (and a reputation for giving visiting bands a hard time if they couldn't cut it live.) The main one was the Victoria Hall a large, cold and cavernous place, one that was more commonly used to promoting orchestral concerts, although bands like UFO, Budgie and the like had played here. It was also here that Queen were booked to perform a show (supported by Firefly/A&M records recording artists 'Hustler'.). Unbeknown to me at the time, but this was Queen's second visit to my hometown. Apparently the band's first trip was when they supported 'Mott The Hoople', in November a year earlier, where it was also reported by colleagues of mine who had attended that particular gig that "Queen had simply blown Mott off the stage, they were so good!"

Proceeding to convince a couple of 'none Queen believer' friends of mine to also attend the show I purchased three 80p tickets (if only ticket prices were still this reasonable!) and waited. It wasn't long, before the show date arrived. The concert hall building being a major landmark was on my way home, (I used to pass it on the way from doing part time college studies), imagine how shocked I was one afternoon to see in its main reception area a large colour poster advertising the Queen show. Being a bit brave and with no one looking, I carefully prized the poster away from the wall, rolled it up and proceeded to walk off with it. The poster printed in gold and purple (see inset) is still one of the best posters I have ever seen. It still has pride of place on my landing wall and is the envy of many of my friends. As evening approached I collected my friends and made our way to a pub that adjoined the venue. On entering the hall and considering this was a quiet Thursday night, the place seemed pretty full. We entered midway through support band Hustler's set, but they were very entertaining and played some really good songs, I remember being impressed by one particular tune called 'Little People' which I think was released as their first single? After they had ended there was the usual delay whilst the stage gear was removed, but then at around 9.30 the house lights went off and silhouettes of the various Queen band members could be seen entering the stage to the instrumental fanfare intro of 'Procession'. The band were wearing superb white and black 'Angel type winged costumes' designed and made for them by Zandra Rhodes I believe (similar to the stage costumes that they wore a year later for the televised BBC London Hammersmith Odeon concert). The stage lighting was quite dark at times but Freddie, Brian, Roger & John opened proceedings with the excellent Now I'm Here. Soon they broke into Ogre Battle and then White Queen, before launching into a brand new song, Flick of the Wrist. I believe we then had an excellent medley of, In The Lap Of The Gods, Killer Queen, The March Of The Black Queen and Bring Back That Leroy Brown before they proceeded with a couple of Queen I songs, with Son & Daughter and Keep Yourself Alive. I seem to remember we then had two more brand new songs, with the superb Stone Cold Crazy, followed by Lap of the Gods Revisited which went down really well with lots of people now rammed up close to the front of the high hall stage. They finished with Son and Daughter I believe. Freddie thanked everyone for attending and said a few words about the new album coming out soon. As they left the stage the crowd were going mad and demanding more, and eventually, the band returned for the encore, which I seem to remember was Big Spender, and Jailhouse Rock. The sound quality of the show wasn't perfect, but this was normal at this venue, a criticism that affected many bands that visited the Victoria Hall. Nevertheless the band went down extremely well with the a very enthusiastic audience, in fact there was a broad mixed age range which was good to see. On this performance you can understand why they went on to achieve the fame and success they did, it was impossible not to think that they wouldn't as the fan base just had to increase especially with the 'Killer Queen' single having been released about a month earlier. I saw Queen perform on a few other occasions (maybe I'll report on these other shows in a future issue) but none of them impressed me as much as this show, they were quite sensational. My only regret of the night was not going backstage and hunting down some band autographs, never mind it was still a great, not to be missed performance. - Chris Wood

[k-i-l-l-e-r-b-e-e-6-9]

[doomedandstoned]

JC Autobody’s “Here We Come” Will Jump Start Your Weekend

~Doomed & Stoned Debuts~

Rock 'n' roll has had a long love affair with hot rods, going back it its earliest days, with Chuck Berry, The Beach Boys, and The Beatles laying down precedent for later classics by Deep Purple, Queen, Led Zeppelin, and Metallica. Stoner rock revived this love for the rumbling sounds of a big block engine with the likes of Kyuss, Dozer, and Fu Manchu each contributing bouncing rhythms and ripping low-end to the cause.

Now JC AUTOBODY has revved up a roaring road hog of their own in 'Turbo' (2019). The album released on Halloween, but the extended edition comes out digitally and on vinyl November 22nd. At times rambunctious, as others as smooth and serene as a desert stretch at sunrise, this is a record that will keep your head bobbing throughout the workday as you look forward to braving the open road this weekend.

Today, Doomed & Stoned is pleased to bring you a bonus track from the new album ahead of its vinyl release on Young Tobacco Records. "Here We Go" reminds me a lot of Jane's Addiction in all the best ways and will give you a taste of the kind of surprises in store for you as you jump into Turbo. Call it death 'n' roll, call it dirty rock, one thing's for certain -- this beast fires on all cylinders.

Give ear...

TURBO [Doomsday Radio Edition by JC Autobody

Some Buzz

JC Autobody is an autocult enthusiast and Rust Belt native from Indiana whose sixth release, 'Turbo' (2019). The 10-song album will be released in limited edition vinyl and will appeal to fans at the intersection of shock rock, glam rock, heavy rock, and gentle doom.

Songs like the title track "Turbo" will conjure up the emaciated ghost of Marc Bolan, while others like "Dark Passenger" and "Horsepower" bring to mind sounds akin to Sabbath’s 'Master of Reality' and The Osmond’s early '70s 'Crazy Horses' swan dive into heavy metal. Still, others like "Analog Scum" serve to rattle listeners with the unsettling sounds of a face-melt scene taken straight from the world of VHS trash cinema.

The album ends with a late night rager at "Bigg’s Arcade," a fictitious Asteroids-n-pinball rat’s nest in blighted East Central Indiana, with pounding New York Dolls-style piano to finish out a night of hedonistic Hoosier gloom, known only to those of us from the Rust Belt.

Recorded in a garage and mixed and mastered by the area’s top-rated mechanics, JC Autobody’s 'Turbo' will sleep on your couch, drink all your dad’s beer, and take you on a thrill ride through a heavy metal parking lot that you’ll never want to end.

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[wildwaxshows]

TV CRIME (UK) & FRIGHT EYE (DK) LIVE!! im KOMET!! am 04.10. - präsentiert von WILDWAX SHOWS!!! BE THERE!!!

https://www.facebook.com/events/2474080649279462/ https://www.facebook.com/TELEVISIONCRIME/ NEW LP is coming out soon on: https://www.facebook.com/ALIEN.SNATCH.RECORDS/ Debut Single from TV Crime who are a new garage punk / power pop band from Nottingham who come fully formed. 'Hooligans' is a total stomper of a power pop song that starts like a classic Good Vibrations Records 7" with The Moondogs esque guitar work and the energy of 90's legends New Bomb Turks or Gaunt. Flip 'Wild One' is another pounder but with a more rock 'n' roll twist. As the band say "Killer Tunes - Shitty Attitude". SEAN FORBES – Rough Trade The Automated Punk Band Name Generator never gets a break, this time coming up with “TV Crime” (I suppose you could relate it to Black Sabbath’s forgotten 1992 tune “TV Crimes”, but I’m not sure that’s what happened here). The hell’s a “TV crime” otherwise?? Regardless of moniker, TV Crime are a sturdy and upbeat punk group out of Nottingham, offering two succinct and dirty gems for our enjoyment. “Hooligans” comes storming in somewhere between Protex and Dillinger Four, a nice non-wimpy form of power-pop that’s simultaneously inebriated and optimistic (the vocalist really gets a lot of mileage out of his vowels). Same pretty much goes for “Wild One”, which takes a slightly more pop-punk route (check the boppy guitar lead), not far from Exploding Hearts and nearly on their same holy level. I can’t imagine there will ever not be an audience for music like this: energetic songs with easily recognizable melodies and changes, roughed up by a band of people who probably know the words to at least a couple Discharge songs. Next time I’m in Nottingham, I’m going to drunkenly skank down Robin Hood’s wooded lane in honor of TV Crime. Matt Korvette – Pissed Jeans TV Crime released one of the best 7"s of 2016 last year on Static Shock, they are back and we are excited to release their brand new double A side 7". If you were to walk past TV Crime’s rehearsal room, seventh beer of the evening in one hand and ears still blown out from standing in front of a moshpit-aimed speaker stack the night before, you could be forgiven for thinking, ‘Hey, not bad, kinda like Royal Headache’n’stuff.’ Ok yeah, they’re not worlds away from Shogun’s band of garage-centric Sydneysiders – but there’s way more to it than just stripped-back rock’n’roll. This Nottingham band is very much its own entity. In TV Crime you’ll find glam rock. Pub rock. Detroit soul. London punk. The hip-shaking sway of The Dirtbombs colliding head-on with the yob-fop powerpop of The Boys, only smarter and dumber and WAY MORE FUN than that sounds. In Clocking In and Clocking Out, the two tracks from this good old-fashioned double A-side 7”, you’ll find songs about the best and worst parts of the day (c’mon, we all know which is which), each delivered with the same amount of exuberance and just itching to transmit themselves from your turntable to your ears. They're the sound of pool cues ripping felt from the table as a deliberate part of the most audacious trick shot of all time, with ashtrays being emptied into pint glasses as part of a nutritious breakfast. For fuck’s sake, just listen to ‘em. Will Fitzpatrick – Drunken Sailor Records That moment when urgent punk and ragged pop melody meet is a beautiful thing. Like the flavour explosion of a Trident Splash it's sweet but often fleeting sensation and though a lot bands try to find it, not many get it right. Texan punk Mark Ryan has made a career out if with his various outfits including The Marked Men and Radioactivity, Royal Headache and Sheer Mag are masters of it and now TV Crime are giving a red hot shot. The Nottingham four-piece rip hard and fast and "Clocking In" and Clocking Out", the two songs on their new 7" are good examples of their 'get in and get out' approach. Following a release on Static Shock, the new record continues their exuberant pub/punk rock and is best enjoyed over a couple of pints after clocking out. Tim Scott – Vice FRIGHT EYE (DK) AMAZING , YOUNG , FRESH GARAGEPUNK FROM AARHUS!! https://www.facebook.com/FrightEye/

[arg-machine]

Books read recently: arts & culture

After a lengthy hiatus of over a year, the Books read recently post is back – in a new format, and sporting a different look [that reflects how books are read at machine HQ]. From this point on, instead of compiling a single monolithic list of books annually, arg will publish shorter posts – each focusing on a separate area of interest – every few months.

This new format will not only make these posts more palatable, but will also help arg maintain his blogging schedule even when original content from machine HQ isn’t available for release/publishing. Funky!

The books… For the first of the “rebooted” Books read recently posts, arg has decided to focus on books on arts and culture that he has read since the publication of the previous installment. Of course, he has put in a few that were read earlier, and is also including some that he hasn’t read yet, but has shortlisted for future reading. The books are listed below, in alphabetical order.

The Birth of the Loud: Leo Fender, Les Paul and the Guitar-Pioneering Rivalry that Shaped Rock ‘N’ Roll chronicles one of the most “riveting sagas in the history of rock ‘n’ roll: the decades-long rivalry between the two men who innovated the electric guitar’s amplified sound – Leo Fender and Les Paul – and their intense competition to convince rock stars like the Beatles, Jimi Hendrix, and Eric Clapton to play the instruments they built. In the years after World War II, music was evolving from big-band jazz into the primordial elements of rock ’n’ roll – and these louder styles demanded revolutionary instruments. When Leo Fender’s tiny firm marketed the first solid-body electric guitar, the Esquire, musicians immediately saw its appeal. Not to be out-maneuvered, Gibson, the largest guitar manufacturer, raced to build a competitive product. The company designed an “axe” that would make Fender’s Esquire look cheap and convinced Les Paul – whose endorsement Leo Fender had sought – to put his name on it. Thus was born the guitar world’s most heated rivalry: Gibson versus Fender…”

Also recommended: Twilight of the Gods: A Journey to the End of Classic Rock by Steven Hyden, Revolver: How The Beatles Reimagined Rock ‘N’ Roll by Robert Rodriguez, Pink Floyd: Album by Album by Martin Popoff, Black Sabbath: Symptom of the Universe by Mick Wall, Heavy Duty: Days and Nights in Judas Priest by K. K. Downing, Rock-and-Roll Woman: 50 Fiercest Female Rockers by Meredith Ochs, Running with the Devil: Power, Gender and Madness in Heavy Metal Music by Robert Walser, Shock and Awe: Glam Rock and its Legacy by Simon Reynolds, Heroes: David Bowie and Berlin by Tobias Ruther, Burning Down the Haus: Punk Rock, Revolution and the Fall of the Berlin Wall by Tim Mohr, Bedsit Disco Queen: How I Grew Up and Tried to be a Popstar by Tracey Thorn and The History of the NME: High Times and Low Lives at the World’s Most Famous Music Magazine by Pat Long.

“This vivid celebration of blues and early rock 'n' roll includes some of the first and most illuminating profiles of some of the greatest blues masters, excursions into the blues-based Memphis rock 'n' roll, as well as a brilliant depiction of the bustling Chicago blues scene and the legendary Chess record label in its final days. With unique insight and unparalleled access, Peter Guralnick brings to life the people, the songs, and the performances that forever changed not only the American music scene but America itself.”

Also recommended: Blues Unlimited: Essential Interviews from the Original Blues Magazine edited by Bill Greensmith, Mike Rowe and Mark Camarigg, Delta Blues by Ted Gioia, Jimi Hendrix: Soundscapes by Marie-Paule MacDonald, The Record Men: The Chess Brothers and the Birth of Rock & Roll by Rich Cohen, Words & Music: The History of Pop in the Shape of a City by Paul Morley, Rockin’ the Free World: How the Rock & Roll Revolution Changed America and the World by Sean Kay and The Rhino Records Story: Revenge of the Music Nerds by Harold Bronson.

“In Films from the Future: The Technology and Morality of Sci-Fi Movies, former physicist Andrew Maynard threads together his love of science fiction movies with his expertise on emerging technologies to engage, entertain and make readers think about the relationship between technology, and society as they discover astounding, transformative advances in science. Through the imagination and creativity of science fiction movies, Maynard introduces the profound capabilities presented by new and emerging technologies, and the complex personal and societal challenges they present…”

Also recommended: Conversations with Woody Allen: His Films, the Movies, and Moviemaking by Eric Lax, The Big Screen: The Story of the Movies by David Thomson, Pictures at a Revolution: Five Movies and the Birth of the New Hollywood by Mark Harris, Room to Dream by David Lynch, Kurosawa: Film Studies and Japanese Cinema by Mitsuhiro Yoshimoto, Hong Kong New Wave Cinema: 1978-2000 by Pak Tong Cheuk, Italian Horror Film Directors by Louis Paul, Space Odyssey: Stanley Kubrick, Arthur C. Clarke, and the Making of a Masterpiece by Michael Benson, My Autobiography by Charlie Chaplin, I Find Your Lack of Faith Disturbing: Star Wars and the Triumph of Geek Culture by A. D. Jameson and Screen Ages: A Survey of American Cinema by John Alberti.

Camille Paglia’s Glittering Images: A Journey Through Art from Egypt to Star Wars is an enthralling journey through Western art's defining moments, from the ancient Egyptian tomb of Queen Nefertari to George Lucas's volcano planet duel in Revenge of the Sith. “Passionately argued, brilliantly written, and filled with Paglia's trademark audacity, Glittering Images takes us on a tour through seminal images, some famous and some obscure or unknown – paintings, sculptures, architectural styles, performance pieces, and digital art that have defined and transformed our visual world…”

Also recommended: Soviet Women and Their Art by Rena Lavery and Ivan Lindsay, Noa Noa: The Tahitian Journal by Paul Gauguin, Routledge Handbook of Graffiti and Street Art edited by Jeffrey Ian Ross, A History of Architecture in 100 Buildings by Dan Cruickshank, Contemporary Art: 1989 to the Present edited by Alexander Dumbadze and Suzanne Hudson, Mona Lisa: The People and the Painting by Martin Kemp, Da Vinci's Last Commission by Fiona McLaren, The Art Detective by Philip Mould, The Lost Michelangelos by Antonio Forcellino, Modern Japanese Prints: An Art Reborn by Oliver Statler, Rogues' Gallery: A History of Art and its Dealers by Philip Hook, The Swerve: How the Renaissance Began by Stephen Greenblatt, The History of Loot and Stolen Art from Antiquity to Present Day by Ivan Lindsay, Bauhaus: 1919-1933 by Michael Siebenbrodt and But is it Art? An Introduction to Art Theory by Cynthia Freeland.

Few albums in the canon of popular music have had the influence, resonance, and endurance of John Coltrane's 1965 classic A Love Supreme – a record that proved jazz was a fitting medium for spiritual exploration and for the expression of the sublime. “Ashley Kahn tells the story of the genesis, creation, and aftermath of this classic recording. Featuring interviews with more than one hundred musicians, producers, friends, and family members; unpublished interviews with Coltrane and bassist Jimmy Garrison; and scores of never-before-seen photographs, A Love Supreme balances biography, cultural context, and musical analysis in a passionate and revealing portrait.”

Also recommended: Miles Davis' Bitches Brew by George Grella, Cookin': Hard Bop and Soul Jazz 1954-1965 by Kenny Mathieson, Jazz on My Mind: Liner Notes, Anecdotes and Conversations from the 1940s to the 2000s by Herb Wong, Talking Jazz with Ben Sidran [Volumes 1 & 2] by Ben Sidran and The Hearing Eye: Jazz & Blues Influences in American Visual Art edited by Graham Lock and David Murray.

And now, here are a few more books that could not be grouped together with those above – think of this final entry as a bonus of sorts…

This volume brings together an international roster of scholars to examine many facets of comics and graphic novels. “Contributor essays provide authoritative, up-to-date overviews of the major topics and questions within comic studies, offering readers a truly global approach to understanding the field. “It expertly organizes representative work from a range of disciplines, including media and cultural studies, literature, philosophy, and linguistics. More than an introduction to the study of comics, this book will serve as a crucial reference for anyone interested in comics and graphic novels.”

Also recommended: The Graphic Novel: An Introduction by Jan Baetens and Hugo Frey, The Other Middle East: An Anthology of Modern Levantine Literature edited by Franck Salameh, Violins of Hope: Violins of the Holocaust – Instruments of Hope and Liberation in Mankind’s Darkest Hour by James A. Grymes, Dead Precedents: How Hip Hop Defines the Future by Roy Christopher, The Cambridge Companion to Electronic Music edited by Nick Collins and Julio d’Escrivan, Hip Hop & Philosophy edited by Derrick Darby and Tommie Shelby, Inner City Pressure: The Story of Grime by Dan Hancox, The Hippest Trip in America: Soul Train and the Evolution of Culture and Style by Nelson George, The Vinyl Frontier: The Story of Voyager’s Golden Record by Jonathan Scott, How Shakespeare Changed Everything by Stephen Marche, Springfield Confidential: Jokes, Secrets and Outright Lies from a Lifetime Writing for The Simpsons by Mike Reiss, Video Gaming in Science Fiction by Jason Barr and Spoken Here: Travels Among Threatened Languages by Mark Abley.

Well, that’s seems to be it for this edition of Books read recently; check out The Apocalypse Project on twitter and on tumblr, and, as always, stay tuned to machine HQ blog…

Note: As mentioned earlier, the new header image [top] reflects how eBooks are read at machine HQ. Typically, arg uses an eBook reader app on his smartphone – and similar software on his computer – to read books. There are many excellent e-reader apps for smartphones, and arg uses this one. On his computer, he uses this software.

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