JOVM celebrates Keith Richards’ 78th birthday.
Tag: Rolling Stones
Throwback: Happy 78th Birthday, Mick Jagger!
JOVM celebrates Mick Jagger’s 78th birthday.
New Audio: Introducing the Scuzzy Classic Rock Sounds of New York’s Mick’s Jaguar
Mick’s Jaguar is a New York-based rock septet that initially formed as a drunken Rolling Stones cover band, and after a few years of mainlining Stones songs and playing sporadic shows marred by violence and beer showers, they started writing original material that attracted the attention of RidingEasy Records; in fact, the material on their full-length debut Fame and Fortune, which is slated for a June 22, 2018 release is a much more primal affair, that sounds more like Highway to Hell-era AC/DC, T. Rex, Thin Lizzy and New York Dolls than the Stones, as the album’s songs are centered around 12 bar blues power chords and tight grooves that focus on life, death, cars, blood, murder, sex, drugs and booze — it’s all the classic rock tropes you desperately need in your life. And unsurprisingly, Fame and Fortune’s latest single “The Real Boss” is a scuzzy and gritty, hook-driven anthem that’s perfect for raising beers aloft to shout along the hook, for excessive speeding down a freeway, and for gearing yourself up for a night kicking ass and causing trouble. Let it be a reminder that primal and scuzzy rock is still alive, and absolutely necessary.
The Portland, OR-based multi-instrumentalist and singer/songwriter Jenny Logan may arguably be one of her hometown’s quietly kept and most talented secrets as Logan is a member of grunge of pop trio Loveboys, post-punk act Miss Rayon and guitar pop act Sunbathe, who I recently saw open for Typhoon at Music Hall of Williamsburg (more on that later). Along with that, Logan had a stint playing bass for Summer Cannibals and keyboards for a Seattle-based Rolling Stones cover band. Amazingly, the incredibly busy Logan managed to squeeze in the time to pursue her own singular musical vision with her solo recording project Deathlist, releasing her attention grabbing Deathlist debut last year, an effort which found Logan playing almost every instrument.
Slated for a March 9, 2018 release, Fun, the follow up to her Deathlist debut was written and recorded in the aftermath of the death of her best friend, and as a result, the material focuses on the grief and despair of a seemingly solitary mourner, with its narrator finding herself contending with a harrowing and impossible to answer question: how does one continue a conversation with someone, who will never be there again? And while the ironically titled Fun may feature some of the most achingly personal material that Logan may have arguably ever released, it points to one of the most universal experiences any of us will ever know: someone we love, respect and cherish will die, and we’ll brokenheartedly fumble through some portion of our lives, desperately trying to find some larger meaning to all the lingering ghosts of our pasts — or some convenient closure, when there never really is. Yet, we find a way to push on, to find some beauty and occasionally even acceptance within chaos.
Unsurprisingly with the material focusing on death and loss, Logan’s cites Christian Death, Sisters of Mercy and Suicide as inspiring aspects of the album’s sound, and while you’ll hear hints of that on album single “Charm School,” as Logan pairs buzzing and slashing guitars with throbbing, propulsive bass, forceful, industrial-like drum machines and razor sharp hooks; but I also hear hints of Sixousie and the Banshees, The Cure and Dirty Ghosts as the song manages to channel confusion, sorrow and anger — simultaneously and within a turn of a phrase.
New Audio: Franz Ferdinand’s Emotional Rescue-Era Stones-like New Single
Currently comprised of founding trio Alex Kapranos (lead vocals, guitar), Bob Hardy (bass) and Paul Thomson (drums, percussion and backing vocals), along with newest members Julian Corrie (keys, synths, guitar and backing band), who joined last year, replacing founding member Nick McCarthy and recently added Dino Bardot (guitar), the Glasgow, Scotland, UK-based indie rock/post punk act Franz Ferdinand formed back in 2002. And with the release of their first two singles “Darts of Pleasure” and “Take Me Out” the members of the Glasgow-based indie rock act quickly saw commercial and critical success — with “Take Me Out,” becoming the band’s signature song, as it eventually peaked at #1 the UK Singles Chart, and earning a Grammy nomination for Best Rock Performance by Duo or Group with Vocal. Additionally, not only did their eponymous, 2004 full-length debut received a Grammy nomination for Best Alternative Album and won the Mercury Prize, the band established themselves at the forefront of the early 2000s post punk revival movement. Along with that, the band has won two Brit Awards — one for Best British Group, as well as one NME Award.
Their 2005 Rich Costey-produced sophomore effort, You Could Have It So Much Better was released to critical and commercial success with the album peaking within the Top Ten Charts in multiple countries, and as a result, the album received a Grammy nomination for Best Alternative Album and “Do You Want To” receiving a Grammy nomination for Best Performance by Duo or Group with Vocal. However, with 2009’s Tonight: Franz Ferdinand, the members of the Scottish indie act moved away from the post-punk sound that first won them international attention to a much more dance floor oriented sound — all while continuing an impressive run of commercial and critical success. They promptly followed that up with a remix album of Tonight, titled Blood, which was released that summer.
2013 saw the release of Right Thoughts, Right Words, Right Action but they managed to follow that effort up by teaming up with Sparks to form indie supergroup FFS, which released their self-tiltled album in 2015. Now, for the sake of this site, you may recall that Franz Ferdinand’s fifth, full-length album Always Ascending is slated for a February 9, 2018 release and from album single “Feel The Love Go,” the band continues with a disco-leaning take on the Gang of Four-like post punk that first won them international attention — but with warm blasts of Hall and Oates/blue-eyed soul era saxophone that gives the song a quirky quality. “Lazy Boy,” Always Ascending’s latest single, much like its predecessor is a sleek, dance floor friendly track with a funky, disco-inspired bass line, four-on-the-floor drumming and a slick hook; but interestingly enough, the song finds the quintet at their most adventurous and mischievous, as the song also features twinkling synths while giving off a loose, Rolling Stones “Emotional Rescue”-like vibe.
New Audio: The Afghan Whigs Return with a Tribal and Darkly Seductive New Single
Now, if you’ve been frequenting this site over the past few years, you’d likely be familiar with the Cincinnati, OH-based indie rock act, The Afghan Whigs. Currently comprised of founding members Greg Dulli (guitar, vocals) and John Curley (bass) along with Dave Rosser (guitar), Jon Skibic (guitar), multi-instrumentalist Rick Nelson and Patrick Keeler (drums), the Cincinnati-based outfit can trace its origins to when its founding members — Dulli, Curley and Steve Earle (drums) founded the back in 1986, after the breakup of Dulli’s previous band The Black Republicans. As the story goes, Curley introduced Dulli to Rick McCollum (guitar), a frequent jam partner of Curley’s, who had developed a reputation within the Cincinnati scene for his use of effects pedals. With their initial lineup complete, the band went on to write material that Dulli has publicly described as being a cross between a cross between The Band, The Temptations and Neil Young and Crazy Horse.
Although the band has since gone through several lineup changes, a lengthy breakup and a recent and very fruitful reunion, the Cincinnati-based band has the distinction of being within the first batch of bands that Sub Pop Records ever signed outside of the Pacific Northwest, and one of the more highly-regarded and critically applauded bands of the early 90s with 1993’s Gentlemen landing at number 17 on The Village Voice‘s Pazz and Jop critics list and 1996’s Black Love, arguably their most commercially successful effort landed at number 79 on the Billboard Top 200. Interestingly, while being their most commercially successful effort, Black Love was praised for sound that reportedly drew from 1970s Rolling Stones while setting themselves apart from the rock music being released that year.
After their breakup in 2001, the members of the band went on towards other creative pursuits — with Dulli frequently and famously collaborating with Mark Lanegan and others; but after reuniting for a series of festival tours, the band released 2014’s Do To The Beast, which marked both the band’s first proper release in over 16 years and the band’s return to Sub Pop Records. And while being one of that year’s most forceful and seductive albums, the album continued Dulli’s long-held reputation for writing angst and bile-filled lyrics, focusing on bitter, lingering memories of relationships gone sour and on his own long-held obsessions with drug addiction, sexual deviancy, suicidal ideation and bleak, gallows humor. And because most of the lyrics are written and sun from the first person, it gives the material a disturbing and deeply personal air, as though the song’s narrators are confession their darkest, most fucked up secrets, desires and fantasies.
In Spades, the band’s forthcoming album is slated for a May 5, 2017 release through Sub Pop Records and the album, which was produced by the band’s Greg Dulli reportedly finds the band at their most soulful and urgent and while being darkly seductive, emphasizing a pop leaning sensibility. And much like their previously recorded work, the material manages to be veiled. “It’s a spooky record,” notes Dulli. “I like that it’s veiled. It’s not a concept album per se, but as I began to assemble it, I saw an arc and followed it. To me, it’s about memory — in particular, how quickly life and memory can blur together.” Last month, I wrote about In Spades’ first single “Demon In Profile,” a single that evoked life’s uneasily lingering ghosts — the electric tough of a lover’s skin, their smell, their very physical presence, and the sense of loss and confusion that permeates everything once that person is no longer in your life; that hurt and ache are inescapable parts of our lives that makes the necessary process of letting go and moving forward seem ridiculous and impossible; and that worse yet, even when you’ve moved forward, you can’t possibly forget. Drawing more directly from soul — thanks in part to a horn section — the song manages to be evoke Quiet Storm soul-like sexiness with a bold, arena rock friendliness. In Spades’ second and latest single “Arabian Nights” is an enormous, arena rock-friendly song that indirectly nods at Led Zeppelin’s Houses of the Holy and The Who’s Who’s Next and Who Are You — thanks in part to Keeler’s swaggering, tribal-like stomp drum work, propulsive synths and blistering guitar work; but just underneath the stormy and swaggering surface is a vulnerability and sensuality that Dulli evokes through crooned vocals.
Rishi Dihr is a renowned sitar player who has played with the likes of the Black Angels on their drone and doom-filled opus Directions To See A Ghost. And almost unsurprisingly, Dihr’s band Elephant Stone quickly won over fans […]
Elephant Stone, led by Rishi Dihr, a renowned sitar player, released their self-titled, sophomore effort through Hidden Pony Records last year, and the material on the album used elements of traditional Eastern instrumentation with Western songwriting and instrumentation […]