DOCSLIB.ORG

MELODY MAKER, October 16 1993

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MELODY MAKER, October 16 1993 1 2 MELODY MAKER, October 16 1993 Brett Edited by Jim Arundel S U E D E /TH E got Vegas wrapped around CRANBERRIES her finger. Who knows: HUNTRIDGETHEATER, LAS VEGAS maybe Britain will wake "I LOVE YOU!!! I LOVE up next. YOU!!!" Backstage, the lovestruck The man behind m e - jock has found his way to shaven head, LA Raiders Dolores. He gulps, then speaks cap, flannel shirt, minimalist up. "Will you marry me?" beard, biceps like loaves of Suede are a popular British bread - resembles a alternative band whose particularly butch member Bowie/Morrissey musical of House Of Pain. Within melange has caused much two songs, it's all too much press attention and a Number for the poor soul. Tears One debut album over in streaking his cheeks, he England. I say this for the fights through 800 rapturous benefit of the 80 or so Las Vegans (?) to the stage, Cran-fans, bewildered ???s reaches into his pocket and almost visible above their holds aloft an engagement heads, who bother sticking ring. Dolores O'Riordan - around to see the "headline" marginally longer hair, act (if Suede have any sense, kick-fro-kill boots and they'll swallow their pride and maroon W ar On Want reverse the running order). minidress - is unimpressed. Suede's American tour has Pics: Pics: Phil Nicholls She's already been handed been a reminder of the days a big bunch of red roses and when no one gave a f*** who a crucifix, and anyway, this they were. This afternoon, a happensevery night. clueless radio interviewer Not for the last time, I asked Brett and Bernard wonder how many MM whether they play sports readers would believe what ("yeah, polo") or go dancing Vm seeing. Are these really ("the tango"). To be fair, a the same Cranberries (calf growing posse of Europhile 'em up on your personal girls with Mary Quant hairdos promised Suede's next single prejudice organiser: (shaved into a steep Brett would be an eight-minute epic Dolores "mild-mannered, wispy, wedge at the back) is incorporating a Brett Anderson ethereal post-Sundays types following Suede from city to rap!), but the old standards from Limerick circa 1991 city; this is a highly regional have rarely sounded better. The who wouldn't say Boo to a thing (they're huge on the weird thing is, I feel shamefully Radley")? Well,Kind of (I'll San Francisco gay scene, privileged to get so close. It's explain later), and once againmagazine front covers, like stumbling in on a private - see also Radiohead - it's academic analysis, the lot) and rehearsal. They're having a taken the Americans to tell things should really get going greaftime. us we're onto a good thing. as of tomorrow, when "The Meanwhile, down the front. Since the "breakthrough" Drowners" gets A-listed on The Kids Wanna Rawk. It's single "Dreams", The MTV (America still needs to be the only language they Cranberries have been spoon-fed). Their time will understand. They boaysurf, enormous here (over come. They'll stick like sick on stagedive, mosh or just plain 300,000 albums sold, the Stars And Stripes. fight. Even to the slow ones. proper Top 40 hits, eternal None of this seems to matter Which doesn't please Brett rotation on MTV and tonight. From the moment (when one human bison-burger Maaahdern Raaahk radio). skinny girl/boy Bernard Butler in a G N'R shirt leaps pitwards And deservedly so. While takes his piano stool and Brett during the intro to "Pantomime the Irish angle nas somethingAnderson - Dirk Bogarde Horse", he turns to Bernard to do with this (Sinead redesigned by Gerald Scarfe - and spits a disgusted "fack!"), comparisons follow Dolores puts his hands on his brown but the irony or watching all here as tenaciously as nylon waist to serenade us this male bonding going on Harriet/Liz/Bjork does at with "The Next Life", it's clear to a song about homosexuality home, but she can hardly Suede aren't changing is priceless. And the looks help her accent-"It's anything for the sake of of confusion when Brett neverrh quoite as it seems" Yank-friendliness. Brett orders does his now-traditional - so why should she, as The the stage lights way down low "Salome" dance ("He's Proclaimed put it, throw the (thus obscuring the empty Dead") are hysterical. V away?). Cranberries seats behind us), kicks off his An unforgettable 1993 are nothing like the shoes and surges into "Animal performance to an indifferent timid, naYve Virgin Marys Lover". Bernard struts, city. So let me get this straight: every subtly racist review hasduckwalks, swings his fringe, Cranberries are Gods and led you to expect. Two years pokes his tongue so far he's Suede are a sideshow? Truly, back, Dolores may have almost licking his own nipples, this is Another Country. And complained about and lets out an appreciative, if this was one of tbe strangest, "all that heavy metal stuff, ironic "Wooh!" whenever real topsy-turviest nights of the Satanic music", but The applause isn't forthcoming. By year. Hey, I really ought to tell Cranberries have foun^l their now, Suede arein excelsis. the readers... but they just own w ay of kicking ass: a There's nothing new (shame- wouldn't believe me. voice which can soar and last time I saw Mat Osman, he SIMON PRICE swoop away like an Andean condor and come slamming the best music develops. and festival-goers - the crowd to meditate to in back in, semitone-perfect. Asian, Arabic, African, underground, if you like-who've boom-shak-a-lak stylee, The way she follows the line Australasian and European experienced TGU's exquisitely and then, perhaps the jewel in " You mystify me,.." with a influences collide. Even Eskimos geteclectic, inspir-bloody-ational their belly button, "Shimmer", sinfully casual "Aow!!!" is a name check and there's definitelyambience; 199 l's classic, 'Temple has Tuup checking more Head", with its nah-nah-nah oppressed indigenous peoples civilisation-shattering. She's some Egypt in there, too. But it's foolish to trainspot the origins of Tibetan prayer sample, for than a Survival International TGU's rich, category-transcending example. Tonight, that trancey vibepamphlet. is gradually interspersed with some TGU slink away too soon, Pic: Mark Benney Mark Pic: magnificence. Simply, they're reclaiming much-malignea thoughtful, unifying chat from leaving pronouncements like "W orld Music" from efitist, Ghanaian rapper. The "Smash the BNP' to more-ethnic-than-thou yuppies. Unprecedented Unorthodox labelmates, Fun-Da-Mental, The tribal poundings of "Army Preacher, Tuup, bringing it into but return for "Earth Tribe", a O f Forgotten Souls" could be the big city perspective. tabla-heavy slowiewith more soundtrack for communities coming For the blissful, Balearic shuffle celebratory chanting. together down Whitechapel Roadthat is "I, Voyager", belly-dancing Sue Lawley lets her guests TRANS-GLOBAL Morris-dancing, fox-hunting forweird, karma-purifying Natacha Atlas' beatific wailing choose just one album. TGU's UNDERGROUND bastard. Trans-Global exercises. O r a herd or elephants floats atop a tuneful Tarzan call, new "Dream O f 100 Nations" THE VENUE, LONDON Underground aretruly English, in lolloping across the plains towardswhile a Sinead-y lament begins theLP would have tothe be THINK the blinkered retro of that they reflect a multi-cultural a watering hole; insert your dubby, One Dovey "La Voix Du contender for that universal. Blur or Morrissey epitomises society which - get used to it! - preferred cultural fantasy/reality. Sang". "Slowfinger" is a housey Desert Island Disc. Englishness? Then you're a sad,is the way we now live and which To date it has been mainly clubbersworkout for tonight's mainly white CARLLOBEN.
Load more

Recommended publications
  • John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle
    THE YEARS 1970 -19 8 0 John Lennon From ‘Imagine’ to martyrdom Paul McCartney Wings – band on the run George Harrison All things must pass Ringo Starr The boogaloo Beatle The genuine article VOLUME 2 ISSUE 3 UK £5.99 Packed with classic interviews, reviews and photos from the archives of NME and Melody Maker www.jackdaniels.com ©2005 Jack Daniel’s. All Rights Reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks. A fine sippin’ whiskey is best enjoyed responsibly. by Billy Preston t’s hard to believe it’s been over sent word for me to come by, we got to – all I remember was we had a groove going and 40 years since I fi rst met The jamming and one thing led to another and someone said “take a solo”, then when the album Beatles in Hamburg in 1962. I ended up recording in the studio with came out my name was there on the song. Plenty I arrived to do a two-week them. The press called me the Fifth Beatle of other musicians worked with them at that time, residency at the Star Club with but I was just really happy to be there. people like Eric Clapton, but they chose to give me Little Richard. He was a hero of theirs Things were hard for them then, Brian a credit for which I’m very grateful. so they were in awe and I think they had died and there was a lot of politics I ended up signing to Apple and making were impressed with me too because and money hassles with Apple, but we a couple of albums with them and in turn had I was only 16 and holding down a job got on personality-wise and they grew to the opportunity to work on their solo albums.
    [Show full text]
  • Melody-Maker-1969-0301.Pdf
    I / . THE MAGIC OF JIMI HENDRIX part two of the MM's great series on page 14 WOODS: for Ronnie's EUROPEAN BY LAURIE HENSHAW RHYTHM TOP American stars are being lined up for British appen­ MACHINE ances later in rhe year. Current Pop 30 art­ COMING ists Martha and the AMERICAN altoist Phil Vandellas and Canned Woods has been booked Heat will be back in into London's Ronnie Britain in 1969. Scott Club for a two­ CANNED HEAT MARTHA AND VANDELLAS week season commen­ DATES tour later this year three-week tour plus TV dates cing March 31. He will appear with h11 European Rhythm Muh,ne, Martha, whose cur­ joins forces with the 1;omprilin1 Daniel Hu,nair rent chart hit " Dancing Count Basie Orchestra (drs), C.Or1e Grunts (pno) In The Street'' is a Canned Heat again for a package u1d Henri T .. ier (lta•t) . " revived 45 ", will which kicks off at the start a three-week tour Hammersmith Odeon this month. later in year on April 19. Dates are being set in London and through­ Howes also has high European tour later this TREK out the country between hopes that Aretha month. Full details of March 17 and April 12. Franklin will top a dates are on pace 2. The Basie band has The tour will also mammoth concert bill take in TV appearances On the iazz front, four dates on its own, at London's Royal Al ­ the Harold Davison beginnin1 at the Wake­ on ATV's This Is Tom bert Hall in November.
    [Show full text]
  • 'I Spy': Mike Leigh in the Age of Britpop (A Critical Memoir)
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Glasgow School of Art: RADAR 'I Spy': Mike Leigh in the Age of Britpop (A Critical Memoir) David Sweeney During the Britpop era of the 1990s, the name of Mike Leigh was invoked regularly both by musicians and the journalists who wrote about them. To compare a band or a record to Mike Leigh was to use a form of cultural shorthand that established a shared aesthetic between musician and filmmaker. Often this aesthetic similarity went undiscussed beyond a vague acknowledgement that both parties were interested in 'real life' rather than the escapist fantasies usually associated with popular entertainment. This focus on 'real life' involved exposing the ugly truth of British existence concealed behind drawing room curtains and beneath prim good manners, its 'secrets and lies' as Leigh would later title one of his films. I know this because I was there. Here's how I remember it all: Jarvis Cocker and Abigail's Party To achieve this exposure, both Leigh and the Britpop bands he influenced used a form of 'real world' observation that some critics found intrusive to the extent of voyeurism, particularly when their gaze was directed, as it so often was, at the working class. Jarvis Cocker, lead singer and lyricist of the band Pulp -exemplars, along with Suede and Blur, of Leigh-esque Britpop - described the band's biggest hit, and one of the definitive Britpop songs, 'Common People', as dealing with "a certain voyeurism on the part of the middle classes, a certain romanticism of working class culture and a desire to slum it a bit".
    [Show full text]
  • Editorial MILENIO
    Índice onomástico 10cc, 96, 153, 154, 155, 156, 157, 171 Alice Cooper, 82, 92, 93, 94, 95, 96, Archiduque Luis Salvador de Aus- Bee Gees, 110 2 Chainz, 285 107 tria, 69 Ben Vaughn, 20 2D, 281 Alicia Keys, 287 Aretha Franklin, 23 Benjamin Disraeli, 33 A Certain Ratio, 258 Alien Lanier, 144 Arthur ‘Big Boy’ Crudup, 13 Bernard Butler, 251, 252 A Tribe Called Quest, 285 All You Can Eat, 25 Artie Shaw, 23 Bernard Edwards, 191 Aaron Rapoport, 175, 179 Allan Clarke, 218 Arturo Vega, 147, 149, 150 Bernard Pierre Wolff, 185, 187, 188, Abba, 65 Allan Tannenbaum, 50 Athena Demos, 228 189 Abbie Rose, 203 Allen Ginsberg, 202 Athlete, 289 Bernard Shaw, 27 Acy R. Lehman, 24, 129 Alton Kelley, 52 Atomic Rooster, 62 Bernard Sumner, 275 Ad lnfinitum, 258 AM, 19 Atrocity, 195 Bernie Karlin, 129 Adam Again, 207 Amanda Lear, 115, 123 Aubrey Powell, 97, 99, 153, 170 Bernie Taupin, 109, 112 Augusto Rivalta, 187 Adam Clayton, 236, 238, 240 Amber Rose, 212 Beth Orton, 253 Ava Cherry, 115 Adam Faith, 115 Amy Winehouse, 105 Betty Blue, 242 Aelbert Cuyp, 199 Awesome Snakes, 84 Beverly, 268 Ana Johnson, 224 Ahmed Abdul Malik, 76 Axxe, 125 Beyoncé, 286 André C. Le Breton, 91 Aida Griffin, 54 B.P. Fallen, 127, 130 Big Audio Dynamite, 15 André Malraux, 69 MILENIO Al Green, 286 Bad Company, 278 Big Boi, 286 Andrew Boloton, 28 Al Stewart, 65 Baden-Powell, 216 Big Brother & the Holding Com- Andrew Loog Oldham, 37, 38, 40 Alain Delon, 215, 216, 219 Ban Ban Bazar, 25 pany, 42, 43, 53 Andy Fletcher, 201 Alan Erasmus, 186 Banana Splits, 279 Bill Graham, 43, 53 Andy Griffith,
    [Show full text]
  • Inside the Cages of the Zoo
    The Library of America • Story of the Week From Shake It Up: Great American Writing on Rock and Pop from Elvis to Jay Z (Library of America, 2017), pages 151–65. Originally published in Trips: Rock Life in the Sixties (1973). Copyright © by Ellen Sander. ▼ Ellen Sander Ellen Sander (b. 1944) was The Saturday Review’s rock critic in the mid- to late sixties and also wrote on rock for Vogue, The Realist, Cavalier, The L.A. Free Press, the Sunday New York Times Arts & Leisure section, and many other venues. She is the author of Trips: Rock Life in the Sixties (1973), an important source for those seeking to understand the texture and allure of 1960s rock culture. A unique aspect of that culture was captured in Sander’s piece “The Case of the Cock- Sure Groupies” (1968), a remarkably clear- eyed and nonjudgmental account of one of rock’s less celebrated scenes. After her years of rock writing, Sander worked in various capacities in the software industry, from tech writing to computational linguistics. She then returned to her first love, poetry; most recently she served as the Poet Laure- ate of Belfast, Maine (2013–2014). Several collections of her rock journalism are available as Kindle ebooks. ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ ▼ Inside the Cages of the Zoo Some years later, a group called Led Zeppelin came to America to make it, taking a highly calculated risk. The group had been put together around Jimmy Page, who had a heavy personal following from his previous work with the Yardbirds, an immensely popular British group that generated a great deal of charisma in the States.
    [Show full text]
  • Mediated Music Makers. Constructing Author Images in Popular Music
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto Laura Ahonen Mediated music makers Constructing author images in popular music Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XII, on the 10th of November, 2007 at 10 o’clock. Laura Ahonen Mediated music makers Constructing author images in popular music Finnish Society for Ethnomusicology Publ. 16. © Laura Ahonen Layout: Tiina Kaarela, Federation of Finnish Learned Societies ISBN 978-952-99945-0-2 (paperback) ISBN 978-952-10-4117-4 (PDF) Finnish Society for Ethnomusicology Publ. 16. ISSN 0785-2746. Contents Acknowledgements. 9 INTRODUCTION – UNRAVELLING MUSICAL AUTHORSHIP. 11 Background – On authorship in popular music. 13 Underlying themes and leading ideas – The author and the work. 15 Theoretical framework – Constructing the image. 17 Specifying the image types – Presented, mediated, compiled. 18 Research material – Media texts and online sources . 22 Methodology – Social constructions and discursive readings. 24 Context and focus – Defining the object of study. 26 Research questions, aims and execution – On the work at hand. 28 I STARRING THE AUTHOR – IN THE SPOTLIGHT AND UNDERGROUND . 31 1. The author effect – Tracking down the source. .32 The author as the point of origin. 32 Authoring identities and celebrity signs. 33 Tracing back the Romantic impact . 35 Leading the way – The case of Björk . 37 Media texts and present-day myths. .39 Pieces of stardom. .40 Single authors with distinct features . 42 Between nature and technology . 45 The taskmaster and her crew.
    [Show full text]
  • Am. Singer/Songwriter,Flott.Covret Av Bl.A Spooky.Tooth,J.Driscoll. Utgitt I 1993
    ARTIST / BANDNAVN ALBUM TITTEL UTG.ÅR LABEL/ KATAL.NR. LAND LP A ATCO REC7567- AC/DC BACK IN BLACK 1995 EUR CD 92418-2 ACKLES, DAVID FIVE & DIME 2004 RAVENREC. AUST. CD Am. singer/songwriter,flott.Covret av bl.a Spooky.Tooth,J.Driscoll. Utgitt i 1993. Cd utg. fra 2004 XL RECORDINGS ADELE 21 2011 EUR CD XLLP 520 ADELE 25 2015 XLCD 740 EUR CD ADIEMUS SONGS OF SANCTUARY 1995 CDVE 925 HOL CD Prosjektet til ex Soft Machine medlem Karl Jenkins. Middelalderstemnig og mye flott koring. AEROSMITH PUMP 1989 GEFFEN RECORDS USA CD Med Linda Hoyle på flott vocal, Mo Foster, Mike Jupp.Cover av Keef. Høy verdi på original vinyl AFFINITY AFFINITY 1970 VERTIGO UK CD Vertigo swirl. AFTER CRYING OVERGROUND MUSIC 1990 ROCK SYMPHONY EUR CD Bulgarsk progband, veldig bra. Tysk eksperimentell /elektronisk /prog musikk. Østen insirert album etter Egyptbesøk. Lp utgitt AGITATION FREE MALESCH 2008 SPV 42782 GER CD 1972. AIR MOON SAFARI 1998 CDV 2848 EUR CD Frank duo, mye keyboard og synthes. VIRGIN 72435 966002 AIR TALKIE WALKIE 2004 EUR CD 8 ALBION BAND ALBION SUNRISE 1994-1999 2004 CASTLE MUSIC UK CDX2 Britisk folkrock med bl.a A.Hutchings,S.Nicol ex.Fairport Convention ALBION BAND M/ S.COLLINS NO ROSES 2004 CASTLE MUSIC UK CD Britisk folk rock. Opprinnelig på Pegasus Rec. I 1971. CD utg fra 2004. Shirley Collins på vocal. ALICE IN CHAINS DIRT 1992 COLOMBIA USA CD Godt album, flere gode låter, bl.a Down in a hole. ALICE IN CHAINS SAP 1992 COLOMBIA USA CD Ep utgivelse med 4 sterke låter, Brother, Got me wrong, Right turn og I am inside ALICE IN CHAINS ALICE IN CHAINS 1995 COLOMBIA USA CD Tungt, smådystert og bra.
    [Show full text]
  • A Rocker Finds Freedom in Quieter Simplicity
    FRIDAY, DECEMBER 5 , 2 0 0 8 PAGE 1 3 FESTIVAL NOTES: (簡單生活節) WHAT: 2008 Urban Simple Life WHEN: Tomorrow and Sunday from noon to 10pm (華山文化園區), 1, Bade Rd Sec 1, Taipei City WHERE: Huashan Culture Park 號). Call 0800-612-168 for more information Sky Stage (天空舞台) (台北市八德路一段1 TICKETS: NT$1,500 a two-day pass or NT$900 for a one-day pass when Day 1 (Saturday) purchased in advance online at tickets.books.com.tw or at 7-Eleven stores; 2:20pm 1976 NT$1,200 for one-day passes purchased the day of the show 3:50pm Crowd Lu (盧廣仲) simplelife.tw.streetvoice.com 5:20pm Khalil Fong (方大同) ON THE NET: 7:00pm Jarvis Cocker with special guest Faith Yang (楊乃文) 8:50pm Cheer Chen (陳綺貞) ritpop icons Jarvis Cocker and Brett Anderson headline the 2008 Day 2 (Sunday) Crowd Lu, left, and 1976 perform at the 2008 Urban Simple Life festival. PHOTOS: TAIPEI TIMES Urban Simple Life (簡單生活節) festival, a combination outdoor 2:20pm Tizzy Bac concert/street fair that takes place this weekend at Taipei’s 3:50pm Tanya Chua (蔡健雅) Huashan Culture Park (華山文化園區). 5:20pm Atari Kousuke (中孝介) On the musical side, Simple Life features popular local acts 7:00pm Brett Anderson Bincluding 1976, Sodagreen (蘇打綠), Chang Chen-yue (張震嶽) and Free 9, Tizzy 8:50pm Sodagreen (蘇打綠) Bac, and Lin Sheng-xiang (林生祥), as well as guitar-playing and composition competitions. Street fair-style attractions include a “street market” for vendors 微風舞台 selling original designs and handicrafts, a T-shirt market and a market for Breeze Stage ( ) organic products.
    [Show full text]
  • How Joy Division Came to Sound Like Manchester: Myth and Ways of Listening in the Neoliberal City
    Journal of Popular Music Studies, Volume 25, Issue 1, Pages 56–76 How Joy Division Came to Sound Like Manchester: Myth and Ways of Listening in the Neoliberal City Leonard Nevarez Vassar College Manchester, England, is among the most well-known cities today for the creation and celebration of popular music, thanks in no small part to the group Joy Division. Among the first bands to be associated with a postpunk aesthetic, Joy Division eschewed punk’syouthful rage and unrelenting din for an expansive, anthemic sound distinguished by its dynamic scope, machinic pulses, and by singer Ian Curtis’ssonorous baritone and existential lyrics. As the first significant band to sustain a career in Manchester, thus bypassing the music industry headquartered in London, Joy Division is also recognized as pioneering the DIY tradition that has famously characterized Manchester’s musical economy over the last four decades. The group didn’t achieve this alone; the role of Manchester label Factory Records is well documented, as, increasingly, is the foundation laid by the city’s networks of musicians, scene participants, and cultural institutions (see Crossley; Botta).´ Yet these local facts don’t quite explain the contemporary resonance of Joy Division’s Manchester roots for music fans and city boosters today. Perhaps more than any other Mancunian band, Joy Division are claimed to sound like Manchester, at least the Manchester of a certain era. That is, the group did not just originate from the late 1970s Manchester of deindustrialization, carceral housing estates, Thatcherism, and punk’s youthful refusal; nor do they simply illustrate a recurring Mancunian ethos of creative pluck and insouciant disregard for London’s cultural hegemony (Haslam, Manchester, England).
    [Show full text]
  • Lush - Miki Berenyi and Emma Anderson on 1996 Album “Lovelife” and the Last Days of the Band
    Lush - Miki Berenyi and Emma Anderson on 1996 Album “Lovelife” and the Last Days of the Band undertheradarmag.com /interviews/lush_- _miki_berenyi_and_emma_anderson_on_1996_album_lovelife_and_the_last_d/ "Lush was so tied up with Chris, and without him, it's just really, really difficult to consider [a reunion]." - Miki Berenyi Apr 28, 2015 By Frank Valish Issue #51 - September/October 2014 - alt-J The year was 1996. Lush had released its third full-length album, Lovelife. Although their shoegaze-crossed-with- pop songwriting never truly fit into Britain's chart-centric musical atmosphere, the band was finally getting its due, with Lovelife cracking the Top 10 on Britain's album charts and spawning three charting singles, "Single Girl," "Ladykiller," and "500 (Shake Baby Shake)." The band was in demand for concerts across the U.S. and Europe. On the surface, it seemed like things couldn't get any better. But within a year, it would all be over. 1/4 Lush formed in London in 1988, fronted by school friends Emma Anderson (guitars/vocals) and Miki Berenyi (vocals/guitars), along with Chris Acland (drums) and Steve Rippon (bass). After releasing a series of EPs that garnered Lush attention in the U.K., including 1990 cover stories for both Melody Maker and NME, Rippon left and was replaced by Philip King just prior to the release of the band's full-length debut. Spooky, released in 1992, was an album that showcased the dream-pop soundscapes and ethereal melodies of the band's two frontwomen and propelled Lush to recognition in America with a gig on 1992's Lollapalooza festival.
    [Show full text]
  • Grade 4 Performance Pieces, Technical Exercises and In-Depth Guidance for Rockschool Examinations
    Introductions & Information Title Page Female Vocals Grade 4 Performance pieces, technical exercises and in-depth guidance for Rockschool examinations www.rslawards.com Acknowledgements Acknowledgements Published by Rockschool Ltd. © 2014 under license from Music Sales Ltd. Catalogue Number RSK091404R ISBN: 978-1-912352-26-5 This edition published July 2017 | Errata details can be found at www.rslawards.com AUDIO Backing tracks produced by Music Sales Limited Supporting test backing tracks recorded by Jon Musgrave, Jon Bishop and Duncan Jordan Supporting test vocals recorded by Duncan Jordan Supporting tests mixed at Langlei Studios by Duncan Jordan Mastered by Duncan Jordan MUSICIANS Neal Andrews, Lucie Burns (Lazy Hammock), Jodie Davies,Tenisha Edwards, Noam Lederman, Beth Loates-Taylor, Dave Marks, Salena Mastroianni, Paul Miro, Ryan Moore, Jon Musgrave, Chris Smart, Ross Stanley, T-Jay, Stacy Taylor, Daniel Walker PUBLISHING Compiled and edited by James Uings, Simon Troup, Stephen Lawson and Stuart Slater Internal design and layout by Simon and Jennie Troup, Digital Music Art Cover designed by Philip Millard, Philip Millard Design Fact Files written by Stephen Lawson, Owen Bailey and Michael Leonard Additional proofing by Chris Bird, Ronan Macdonald, Jonathan Preiss and Becky Baldwin Cover photography © Jason Squires / WireImage / Getty Images Full transcriptions by Music Sales Ltd. SYLLABUS Vocal specialists: Martin Hibbert and Eva Brandt Additional Consultation: Emily Nash, Stuart Slater and Sarah Page Supporting Tests Composition:
    [Show full text]
  • RC RSD Masterlist 2021.Xlsx
    Artist Title Description Cat No Price Limited edition coloured vinyl edition of a collection of Amy Winehouse remixes from Frank and Back To Black, for Record Store Day 2021. This 2LP set is pressed on 180 gram coloured vinyl – one LP blue, one yellow – and Amy Winehouse Remixes 3542750 £31.99 includes a digital download card. Side A k bye for now' is Ariana Grande's first live album, recorded during her Sweetener tour. The Sweetener tour Ariana Grande k bye for now (swt live) 3522032 £31.99 featured over 80 shows across three continents. This was also the first time Ariana produced her own project. One Little Independent Records is proud to present a limited-edition marble-effect coloured vinyl pressing of BC BC Camplight Hide, Run Away / Blink Of A Nihilist Camplight’s first two albums ‘Hide, Run Away’ and ‘Blink Of A Nihilist’. Featuring brand new artwork, it’s the TPLP1641 £25.99 first time these two records have been available on vinyl. Available exclusively for Record Store Day; a limited edition numbered, hand pressed, coloured double LP with Bernard Butler People Move On (Clear Vinyl) DEMREC879 £25.99 exclusive art print. Special ltd edition picture disc variant of the critically acclaimed Billy Nomates debut album available for RSD. After huge support from record stores and BBC 6 music alike, the original variant was a big seller for stores and sold out fast. This exclusive variant will be a popular one. Housed in a deluxe spined sleeve including printed insert with hand written lyrics and digital download card.
    [Show full text]