#or robert quine on guitar...

[elektraflowers]

Here's my apocalyptic take on the beat generation. It's a cover of an old Rod McKuen song; I've changed the lyrics a little. I'm still working my way through the Ableton tutorials, so it might sound halfway professional someday—not today, though.

I like this one a lot. Lyrics, and a link to the original, below the cut.

I looked over the mountain and saw a lamb insane With seven eyes and seven horns and tongues of writhing flame The same old ancient story The same old ancient song The central holy fact is that the weak should fear the strong

Come alive in the regeneration brand new body and a troubled new mind Come alive in the regeneration, and everything is gonna be fine!

I cannot hear the music I cannot stand the smell As little baby's little souls fall screaming down to hell It does not have a moral It's never ever fair When babies cry forevermore while angels darn the air

Come apart in the degeneration soul on fire with a troubled new mind Come apart in the degeneration, and everything is gonna be fine!

a crowd came to the mountain it seemed to be the place they saw a stranger standing there, a mask upon his face The softness of a serpent The wisdom of a dove enthralled with holy terror at this great unholy love

And people fall like pebbles And people rise like smoke forever up to heaven like some great eternal joke The punchline leaves you gasping The rhythm's out of joint With God of this you can be sure the cruelty's the point

Come alive in the regeneration brand new body and a troubled new mind Come alive in the regeneration, and everything is gonna be fine!

You wonder what the game is it can't be just for fun As angels build a castle in the center of the sun A million stores deep A million stories tall And that's about the only thing they really dig at all

Burn in hell, call it heat generation brand new body and a troubled new mind Join the band, call it beat generation, and try to hit the right note on time…

Come alive in the regeneration brand new body and a troubled new mind Come alive in the regeneration, and everything's gonna be fine!

Original song: "The Beat Generation" by Bob McFadden and Dor (Rod McKuen--Dor is "Rod" spelled backwards)

[thatrickmcginnis]

ROWLAND S. HOWARD, Toronto, April Fool's Day, 1988.

Rowland S. Howard was one of a handful of my guitar heroes (a list that includes Andy Gill, Ricky Wilson, Keith Levene and Robert Quine.) This is probably why I made the effort to photograph Howard and his band when they came through town, despite not having an assignment or a venue where the photos would be published. I brought along my studio in a bag and found the same helpfully empty space behind the bar at the Silver Dollar Room, the same place where I'd photographed Lydia Lunch two months earlier. These three shoots I did early in 1988 were crucial and coincidentally connected as Howard worked with Lunch throughout his life (their collaborative "concept album" Honeymoon in Red had been released the year previous), as had Henry Rollins, the next subject in my ad hoc studio at the Silver Dollar, who would also work with Howard.

I found Rowland S. Howard to be polite and friendly, with impeccable manners - very different from the haunted-looking man who would stalk the stage chain-smoking in concert videos I'd seen of The Birthday Party of Crime & the City Solution. He was in town with These Immortal Souls, the band he'd formed with his brother Harry Howard, his girlfiend Genevieve McGuckin and drummer Epic Soundtracks (born Kevin Godfrey), but for some reason McGuckin didn't make the Toronto show, part of a tour supporting their first record, Get Lost (Don't Lie). I spent most of the three rolls of film I ran through my Mamiya C330 trying to get a decent portrait of Howard, but shot the band together on the last half of the third roll, where Epic is wearing a Black Flag t-shirt; These Immortal Souls were the first non-American band on the Flag's label, SST.

Rowland S. Howard smoked all through my shoot with him, which I spent trying to get something that captured his somewhat wasted elegance. My white backdrop, a painter's tarp, had taken on some impressive wrinkles while stuffed in the gym bag it lived in between shoots, and it's taken considerable skill and digital magic to get these shots to look as slick as I had imagined them while doing this shoot nearly forty years ago. In the end I think they capture a few different facets of Howard, who would be in poor health for many years after I met him, afflicted from Hepatitis C that would lead to cirrhosis and liver cancer and ultimately kill him in 2009, at just fifty. Epic Soundtracks would die suddenly in his London home in 1997, after recording several acclaimed solo albums. Autoluminescent, a documentary about Howard, would come out in 2011.

[doomandgloomfromthetomb]

Lou Reed - Showtime's Rock of the 80s, The Palace, Los Angeles, California, 1984

Since we mentioned Robert Quine and Fred Maher's 1984 LP Basic yesterday ... why not see what else Quine was up to 40 years ago? Apparently he was out on the road with some dude named Lou Reed?! Have you heard of him???

Famously, Quine was not invited to play guitar on Lou's New Sensations — but in an odd twist, he was invited to play guitar for the subsequent tour, which included this cable TV performance on Hollywood and Vine. A real time capsule, complete with a revolving stage (which Lou says makes him very nervous), awesomely 1980s editing/graphics and a somewhat overexcited crowd. Reed's Michelob Lite era, in all its glory!

But everyone has a real good time together; even Bob and Lou, though typically Quine doesn't crack a smile throughout. He does show off what he might've added to New Sensations, however, tossing off brilliant, wiry solos on "Turn To Me" and "My Red Joystick." But one can only imagine the guitarist's eyes rolling into the back of his head at the doof-tastic faux-sax keyboard excursion that closes "Walk On The Wild Side" (presented by Showtime's filmmakers in black-and-white for, you know, extra grittiness).

And hey, the great photo of Lou, Sylvia and Quine above is from (where else?) the always illuminating weaponsetc insta account, which any/all Reed maniacs should be following closely.

[dustedmagazine]

Listed: The Spatulas — Part 1

The Spatulas churn out uneasy jangle pop straight from the garage — or, more literally, the storage unit where the band met to play and beat back their pandemic frustrations. Their sound is built on blunt yet psychedelic melodies, chopping guitar, and rhythms that lurch then steady themselves. Assembled in various forms over the last several years, the Oregon-based quartet released March Chant, their first EP,in December of 2023. Alex Johnson found it “raw and charming…a full band record [that pairs] the relief at venting your anger and the goofy waywardness of distracting yourself with a joyful noise.”

Miranda's List: A bunch of songs that seem to make me me...

Mope Grooves — Look At The Time, 2018

Catchiest song ever. My friend Stevie made a bunch of wonderful music in her lifetime and was a beautiful person. Everything she put out on her label, See My Friends Records is great, and she included many of my fellow Oregonians on Mope Grooves albums. Our previous Spats drummer, Kyle closes out this song "Look At The Time" with that wave of nostalgic synth sound.

Pip Proud — De Dum De Dum, 1967

The original recording of this Pip Proud album is golden all the way through. I listened to this alone on a sheep farm in Oregon in the middle of rainy winter in 2021 and it influenced my writing a lot.

Nico — One More Chance, 1983

Nico at her most gothic rock. I love this echoey version — makes me wanna dance! The beat is great. Ambient synth sounds abound; her vocals incredible as ever... The origins of The Drama of Exile, her fifth album — so full of drug-addled dysfunction!

Pearls Before Swine — Playmate, 1967

One Nation Underground is one of my most listened-to records; the grooves are worn. I used to cover the opener song, “Another Time” pre-Spats, with my Partners, Buddies and Pals. “Playmate” is the upbeat, second song on the album, a cover of an old children’s song, which I think is perfect for me. “(Oh Dear) Miss Morse,” is another hit on side A, on side B it's “Uncle John” and “Surrealistic Waltz.”

Grace Slick & The Great Society — Often As I May, 1966

This song propels you along. It sounds so beautiful, like a traditional folk song, yet a Slick original. Great fun to sing along with this gal.

Lou Reed — Waves of Fear, 1981

Robert Quine’s guitar hits the spot, and with Lou’s voice and guitar, those lyrics — so hard!

Yoko Ono & Plastic Ono Band — Why, 1970

The most adventurous and exciting song ever. Yoko’s primal screaming, with John’s guitar wailing, and Klaus, and Ringo clipping along... WHYYYYYY????? A brilliant reminder to LET IT OUT.

The Bats — Made Up in Blue, 1986

Beloved. Great bass. The song that I think put this Flying Nun band on the map, leading up to another special full album, Daddy’s Highway from 1987, the year I was born. The accompanying music video is a treasure!

Broadcast — I Found The F, 2005

We’re so lucky to have the album Tender Buttons, and the band Broadcast. The album was made while singer Trish Keenan’s father was dying of cancer, six years before she herself died of pneumonia from swine flu. Knowing this makes it all the more eerily personal and sweet-sounding for me. Both my parents were dead by the time I was 32, so I’m familiar with making art as a response to grief.

Don Cherry and Organic Music Theater — Om Shanti Om, 1976

This is the full live performance at RAI Studios in Rome, Italy, for television broadcast. Listen to the ~47-minute album Om Shanti Om as much needed meditation. Imagine also all Moki Cherry’s tapestries in full color, as featured in the Blank Forms book I was so engrossed in last summer.

[nervoussystemmusicreverence]

Lloyd Cole - No Blue Skies

Music Video

Artist

Lloyd Cole

Composer

Lloyd Cole

Lyricist

Lloyd Cole

Produced

Lloyd Cole Fred Maher Paul Hardiman

Credit

Lloyd Cole - Vocals, guitar, piano harmonica and programming Robert Quine - Guitars Blair Cowan - keyboards Matthew Sweet - Bass Guitar, backing vocals Fred Maher - Drums and Programming Nicky Holland - Backing vocals

Released

February 21 1990

Streaming

[favemusiclessons]

Love Comes In Spurts by Richard Hell & The Voidoids | Guitar Lesson

I wanted some help to figure out Robert Quine's weird lick at the beginning...

[serpentinesheldonserpentine]

Report Card: Class of 1977

The Sex Pistols.

British rock historians opinions aside, I doubt the guys read a bunch of Guy Debord Situationist agitprop. More likely when he wasn’t hanging at Malcom and Vivian’s Sex store Steve Jones was busy stealing guitars from the Stones, among others.

So, how does the music stack up? The Pistols played Iike the bastard sons of Eddie Cochran, hard, tight, and badass. Lydon/Rotten provided extra attitude, not that they needed it. Their one record is extraordinary and belongs in your collection. I think Robert Mitchum would have enjoyed Matlock, Jones, and Cook’s playing. He woulda punched Lydon.

Blondie.

Smart, hip, and essential. Whether they were mining old Girl Group sounds, playing tight pop numbers like Look Good In Blue, or hipping the squares to rap, they were the among the coolest cats around. Tell the truth, Call Me made you look in your mirror before you went clubbing, didn’t it?

The Heartbreakers.

Like the Beatles never happened. The best dressed, coolest band around. The music? LAMF (like a mother fucker), when all their vices lined up on the same night the Heartbreakers played like the last gang in town. Baddest of the bad asses, like their compatriots in Blondie, the Heartbreakers were older and cooler than any of the “kids”. They’d have been Dion’s ideal backing band. If you could bottle attitude, the Heartbreakers were 150 Proof. Hell was briefly a member which is better for his cred than theirs.

Television.

Upon hearing the Television demo tapes, Ahmet Ertegun turned the band down saying “this is not earth music.” They coulda been contenders had they played more melodically instead of like a punkish Phish. The second album reveals the limitations of the plan and the rhythm section was, to be kind, inept. Hell was briefly a member which is better for his cred than theirs. Think of Talking Heads with shittier songs and lots of guitar solos.

Talking Heads.

A great band from jump, Talking Heads improved each year. RISD grads welcome a former Modern Lover to create a band that was unique among the leather jacket three chord crowd. Concise songwriting, memorable melodies,and a sense that while you could never be friends with any of them you could easily lie and say you prepped with their drummer. They sound better with each listen. Hell was never a member, a boost in cred for both parties.

Ramones.

The sonic equivalent of a White Castle burger consumed with a warm Pabst at a Russ Meyer film festival, Ramones sounded like a return to AM top 40 radio of the sixties was just around the corner. It wasn’t, but that didn’t bother Da Brudders. I listen to the first three records to this day.

Suicide.

Brit synth pop bands like Heaven 17, Human League, D’ran-D’ran and others owe their careers to Alan and Marty of Suicide. If that’s good or bad is your call, but even Springsteen appreciated the duo. The first two releases ( both called Suicide) are far more disturbing and intense than any British MTV oriented followers and are well worth your time. Springsteen’s State Trooper is his loving tribute to the duo’s sound.

The Cramps.

Buncha weirdos who played primal rockabilly like their lives depended on it. Attending Cramps concert in the 70’s allowed and encouraged more personal freedom than most people can handle. Stick with the earlier recordings while Lux and Ivy were still unearthing obscure early rock and roll songs to cover. I loved this band as much as I loved the Heartbreakers. Which is a lot.

Richard Hell and the Voidoids.

Hell was briefly a member of this band which helped his cred quite a bit. Hell’s herky-jerky songs are brought to life by a band that featured the playing of two extraordinary guitarists, Ivan Julian and Robert Quine. Worth your time and money.

The Clash.

There were a couple of years when you were tempted to believe all the righteous propaganda that emanated from Clash HQ. They really were an amazing band, at least until Topper Headon departed. London Calling is Exile on Main Street for the late 70’s and I guarantee you find worthy songs in the rambling Sandinista. I loved this band.

[sinceileftyoublog]

Matthew Sweet Live Preview: 4/5, Metro, Chicago

Photo by Evan Carter

BY JORDAN MAINZER

Tonight, at Metro, power pop aficionado Matthew Sweet returns to Chicago after over 5 years away. Though his most recent album was 2021's underrated Catspaw, and he is purportedly at work on a new studio record, it's actually a different recent item he shared that has me excited. Earlier this year, Sweet released his July 4, 1993 show from Grant Park, recorded by Metro Mobile Recording for WXRT. The show consisted of songs from his 1991 breakout Girlfriend, yes, but also much of Altered Beast, which would come out weeks later.

You can tell from the recording why it's considered one of Sweet's best-ever shows. Though you can imagine the crowd melting on a hot day as two of the first four songs played were slower in tempo and likely unfamiliar, yet to have their studio versions drop, it's clear concertgoers ate up the band. Television's Richard Lloyd, who lent his axe to Girlfriend, plays lead guitar, while Tony Marsico's (Cruzados, Bob Dylan) on bass and Will Rigby's (the dB's) on drums. They add dynamic riffs and meaty fills on "The Ugly Truth", and their mammoth breakdown on "Evangeline" generates applause from an audience charmed by the song's otherwise bright, buoyant melodies. And even the slinkier, more psychedelic tunes like "Do It Again" and "Reaching Out" are crystal clear. The whole collection was remixed and remastered from the original DAT source by engineer Brian Kehew, and you can hear not just Sweet's banter but even moments of crowd chatter. At one point, someone says, "Nice to see you, bro, let's get lunch," like it's an outtake from "Undone (The Sweater Song)".

Of course, though devoted fans were probably foaming at the mouth hearing so much new material, the Girlfriend songs were the unabashed highlights of the set, from the Rolling Stones strut of "Does She Talk?" to the epic, cascading "Divine Intervention". When Sweet introduces the title track, he says, "If there's any song of mine you know, this might be the one," and for good reason: He never wrote another earworm quite like it. Funny enough, Lloyd did not play lead guitar on the album version (it was Robert Quine), but his distorted solo here absolutely rips. By the time Sweet plays the final two songs of the afternoon, covers of John Lennon's "Crippled Inside" and The Troggs' "I Want You", you get a true sense of his appreciation for pop music and songwriting, and at the moment he was on stage, he was the one on top.

Not to say he won't be great tonight! Sweet should deliver an excellent set. Singer-songwriter Abe Partridge opens. Doors at 7:00 PM, show at 8.

[maddiejquinofficial1]

my album went out on September 21st, 2023

Cult Of Ana mixed and mastered by Ramon Velarde

all song written & composed by Maddie J. Quin

Daryl and Cult of Ana mixed and mastered by Ramon Velarde

Forget Me mixed and mastered by Robert Preston

Steve Moriarty on drums and bass for Forget Me

Maddie J. Quin on vocals and guitar

all songs mixed mastered, written performed and composed by Maddie J. Quin

[rockmusicassoc]

In The Rock 10/22/1991: Matthew Sweet releases ‘Girlfriend’, his masterpiece of 90s power pop altrock, featuring great tunes, and the incredible guitar work of Richard Lloyd and Robert Quine. #MatthewSweet #RockHonorRoll

[ropeadope]

New Music | Nick MIllevoi

Guitarist and composer Nick Millevoi teams up with Ropeadope for the release of his new full-length album, Digital Reaction. Arresting experimental sound is to be expected, as Millevoi’s extensive body of work includes collaborations with the likes of Chris Forsyth, John Zorn, Nels Cline, and Fugazi’s Joe Lally. Millevoi’s work has explored the full range of guitar history, from early rock & roll and surf music through noise and the avant-garde. On his newest, he forges explosive new ground into heavy beats and high-voltage sonics, inspired by Herbie Hancock’s ground-breaking work in the 1980s; Downtown New York figures such as Robert Quine, Bill Laswell, and the Golden Palominos; German visionaries Kraftwerk; and more.

Digital Reaction pushes ahead with absolutely no trepidation as Millevoi brings in a fascinating cast of players, each figuring into different cuts on the record. Perhaps most prominent is bassist Jamaaladeen Tacuma—whose own recordings were a major influence upon the album—and his seasoned groove and signature instrumental voice are evident. Rapper and producer Lushlife brings cosmic verse to the heavy industrial rap track, ‘Spins of the Axis.’ Other bandmembers & guests include Jason Nazary (Anteloper), Ron Stabinsky (Meat Puppets), Johnny DeBlase (Desertion Trio), Elizabeth Pupo-Walker (Sharon Jones), and Bryan Murray (Bryan and the Haggards), as the album moves through a range of styles with a steady, driving beat. Throughout is the deep intent and energy that marks Nick Millevoi’s style — driving forward at warp speed with no rear-view mirror, the music is powerful and provocative.

from ropeadope https://ift.tt/Q7Iu6xs via IFTTT

[jshatan]

It’s day 2 of the #smarchvinylchallenge by @brandudesrecordvault: Flawless Victory: A Perfect Album. Lou Reed - The Blue Mask (RCA, 1972) Happy birthday, Lou Reed, born this day 81 years ago. Part of the fascination and charm of his solo career is that he was so willing to push his own process that is albums often have songs that don’t quite land. So finding a perfect album amongst his impressive discography is a bit of a challenge. But this one, which stunned me from first listen, is absolutely flawless. From the interplay between his and Robert Quine’s guitars to the creative rhythm section of Doane Perry and Fernando Saunders to the lyrics, which are poetic, funny, dark, and heartfelt. Reed conjures the ghost of his mentor, Delmore Schwartz, elegiacally describes the day John Kennedy died, enters the mind of a killer, and more. What a masterpiece! #vinyl #vinylcollection #vinylgram #vinylgeek #vinylcollector #marchvinylchallenge #records #smarch https://www.instagram.com/p/CpTsu9YryRw/?igshid=NGJjMDIxMWI=

[libertineangel]

Intended to go to bed nearly an hour ago but instead I have simply listened to Blank Generation over and over again because how does Robert Quine do that with his fucking hands what guitar wizardry is this

[doomandgloomfromthetomb]

Basic - Union Transfer, Philadelphia, Pennsylviania, November 6, 2023

The trio known as Basic — Nick Millevoi, Mikel Patrick Avery and Chris Forsyth — has been playing sporadic shows for about a year now I think; they just finished up a quick east coast run with White Denim last week. No official releases yet, but knowing how awesome these three musicians are, I had to check out some of the live stuff. It does not disappoint!

Basic is lean and mean, with Millevoi providing menacing baritone guitar hooks, Avery laying down immoveable beats (accompanied by metronomic drum machine rhythms) and Forsyth locking in/freaking out over the top. There's a little 75 Dollar Bill in the band's DNA, mixed in with the Robert Quine / Fred Maher LP from whence Basic got its name. In other words, it rules.

At Union Transfer, Millevoi, Avery and Forsyth (I'd hire that law firm) were opening for the ever-mighty Tortoise — so let's check out the Tortoise tape, too! Why the fuck not! It's been a little while since we've heard any new material from the legendary Chicago band (they'll always be a Chicago band, no matter where they all live), but that's OK. They have a deep/wide catalog to draw from, and quite honestly, they may sound better than ever in 2023. Just check out the set-closing "Crest" here and revel in the pure majesty of Tortoise!

[peter-tschirky]

Lou Reed - Live at the Roskilde Festival

Lou Reed - Guitar and Vocals

Robert Quine - Guitar

Fernando Saunders - Bass

Fred Maher - Drums

Peter Wood - Keyboards

[nervoussystemmusicreverence]

Lloyd Cole - Like Lovers Do

Music

Music Video

Artist

Lloyd Cole

Composer

Lloyd Cole

Lyricist

Lloyd Cole

Produced

Lloyd Cole Stephen Street

Credit

Lloyd Cole - Acoustic guitar, electric guitar, bass guitar, keyboards, programming, percussion, string arrangements John Metcalfe - String arrangements, strings Robert Quine - Electric guitar, acoustic guitar Neil Clark - Electric guitar, guitar Mark Nevin - Performer, guitar, music Bashiri Johnson - Performer, percussion Fred Maher - Programming, percussion

Released

September 18 1995

Streaming