The News Review:
- Minding Your Business: Finger-picking made easy for mad listeners
- Teenage misery to a Broadway beat
- ckham’s Razor evokes Celtic spirit at Doyle’s
- What is the light fandango?
- Motörhead live reviews | Music | Arts & Entertainment – Times…
Minding Your Business: Finger-picking made easy for mad listeners
Temple News – Nov 14, 2006
It’s the only thing I can do with a guitar and I’m musically challenged. So I know you can do it as well. r play some punk music. Maybe just a few chords of a Clash song or some NFX or 30footFALL. In other words anything other than what you’re currently playing. Actually allow me to clarify that. Don’t play “punk” music.
Teenage misery to a Broadway beat
Telegraph.co.uk – Nov 14, 2006
Following the success of Panic! At The Disco My Chemical Romance’s third album The Black Parade has not only proved bankable but has evolved the generic “emo” sound – fast twisty-turny punk music with emotionally yelping vocals – into something far more grandiose and melodramatic like Queen or early Alice Cooper gone gothic. It’s a concept piece about a young man dying in a cancer ward with an overblown preposterousness that is confirmed when Liza Minelli makes an appearance as the Patient’s mother. How unusual this phenomenon is was visible at the Brixton Academy when just minutes before stage time the bars were completely deserted. The predominantly mid-teenage fans – more girls than boys some kohl-eyed all at least partially black-clad – were pressed into the auditorium’s front half chanting “MCR” in a dog-worryingly high-pitched squeal. Numerous dads patrolled behind exchanging exasperated looks.
ckham’s Razor evokes Celtic spirit at Doyle’s
Ledger (subscription) – Nov 14, 2006
But there’s also a lot of patriotic songs; it’s rebellion it’s ‘we will stand up for what we believe in’ which is very important. "Interestingly enough Clements believes the rebellion theme inspired punk rock’s roots. "[Punk rock] was a response to disco but it came out of Celtic music. A lot of the lyrics of Irish and Scottish songs are ‘up yours’ to the establishment very much in the same vein of punk music. "For Clements who grew up in the UK listening to Celtic music the songs are a reflection of his culture. The tradition of these songs some of which were written hundreds of years ago is what most impresses him. "The thing that’s always inspired about me about these songs is that people tend to forget that someone had to write them" Clements said.
What is the light fandango?
BBC News – Nov 14, 2006
In 1967 lyricist Keith Reid told the Melody Maker that he was at a “gathering” where “some guy looked at a chick and said to her ‘you’ve gone a whiter shade of pale’. That phrase stuck in my mind. ” That’s fantastickPop music is full of such snappy malapropisms: Ringo’s back-to-front phrases were known as “Ringoisms” by his fellow Beatles and resulted in songs including A Hard Day’s Night and Eight Days A Week. PALE SIGNIFICANCE Released 1967No. 1 in UK chartsNo. 5 in the USCovered by Willie Nelson Annie Lennox and Sarah Brightman… The combination of dense allusion and Hammond organ had already been patented by Bob Dylan but he was no chart-topper. While A Whiter Shade f Pale was the number one single Sgt Pepper was the number one album – a psychedelic commercial victory for hearts and minds. By some accounts this is the point where pomposity set in to pop legitimising classical motifs and impenetrable lyrics until the Year Zero of punk. But is the song as incomprehensible as they say?Bawdy punIf you stop decoding the references a clear if woozy tale emerges: there’s dancing a waiter brings drinks their effects are felt and a woman is approached. Could it be that A Whiter Shade f Pale is about a boozy one night stand?.
Motörhead live reviews | Music | Arts & Entertainment – Times…
Times nline – Nov 14, 2006
Recenttracks including Sword of Glory and ne Night Standstood out in xford as more melodic and dynamic perhaps the influence ofKilmister’s acolyte and collaborator the Foo Fighters frontman Dave Grohl. therwise it was business as usual. Barking his perennially adolescentfantasies of sex and death in a voice like a rusty chainsaw Kilmister’sprimeval three-chord punk-metal racket sounded as brilliantly stupid andcritic-proof as ever. Every track arrived caked in grime and fossilisedbad-boy attitude. nly the acoustic Whorehouse Blues and a raggedcover version of Thin Lizzy’s Rosalee offered minordigressions from this unreconstructed head-banging formula.