Showing posts with label Iggy Pop. Show all posts
Showing posts with label Iggy Pop. Show all posts

Sunday, 22 May 2016

The Video - Teddybears & Iggy Pop's “Punkrocker”



I'm bored with looking good ...


The Igster takes an intense and odd trek through nighttime Gotham here.

And he really can't bear it!

It's the excellent video for the major upgrade of a great track by idiosyncratic Swedish innovators Teddybears, which appeared on their fine 2007 LP "Soft Machine".

The original version of “Punkrocker” was released in 2000 on the band's Rock 'n' Roll Highschool LP.





















Monday, 11 January 2016

In Memoria - David Bowie Passes Away, Aged 69


David Bowie pictured with a fan in the 1970s, in his Ziggy Stardust phase.

David Bowie dies of cancer at 69 
The legendary musician known for musical innovation and experimentation with his image died 18 months after being diagnosed with cancer  
by Caroline Davies in London & Edward Helmore in New York 
Monday 11 January 2016 
www.theguardian.com 


David Bowie, the iconic rock star whose career spanned more than half a century and whose influence transcended music, fashion and sexuality, has died aged 69.

The singer’s death was confirmed in a Facebook post on his official page: 
“David Bowie died peacefully today surrounded by his family after a courageous 18-month battle with cancer. While many of you will share in this loss, we ask that you respect the family’s privacy during their time of grief.”
Writing on Twitter, Bowie’s son, the film director Duncan Jones, 44, said: “Very sorry and sad to say it’s true.” The news came as a shock to some, who were initially sceptical, but Bowie’s publicist, Steve Martin, told the Reuters news agency: “It’s not a hoax.”

Bowie’s 25 albums produced a string of hits including Changes, Life on Mars and Ashes to Ashes. He was known for experimenting across diverse musical genres, and for his alter egos Ziggy Stardust, Aladdin Sane and the Thin White Duke. He also had a notable acting career.

His latest album, Blackstar, was released last week to coincide with his 69th birthday, and had received widespread critical acclaim.

Blackstar was the first Bowie album not to feature a picture of him on the cover: instead, a stylised black star heralded a darker work. On re-examination, there is much in Blackstar to suggest Bowie was saying goodbye, particularly the track Lazarus and the video for the title track, which opens with the image of a dead spaceman.





Tributes were paid on social media. In a heartfelt Facebook post, Tony Visconti, who produced a series of Bowie’s albums, including Young Americans and his seminal Berlin trilogy, Low, Heroes and Lodger, wrote:
“He always did what he wanted to do. And he wanted to do it his way and he wanted to do it the best way. His death was no different from his life – a work of art. 
“He made Blackstar for us, his parting gift. I knew for a year this was the way it would be. I wasn’t, however, prepared for it. He was an extraordinary man, full of love and life. He will always be with us. For now, it is appropriate to cry.”
An hour after the news broke, fans began to gather near his apartment on Lafayette Street in the Soho district of New York. The first, Kate Corman, left a candle and flowers. “First Lou Reed, now David Bowie. It’s so sad. Unbelievable. New York is really over now,” she said.

‎At Puckfair, a bar across the street from Bowie’s apartment andfrequented by the singer, the barman played a string of his hits – Jean Genie, Let’s Dance and Heroes. “It’s hard to put into words what he gave us in his songs,” said late-night drinker Bill Marlborough. “If you don’t feel it, I can’t explain.”

Flowers and tributes were also laid at a wall mural in Brixton, south London, where the singer was born, and a candle was placed outside a property in Stansfield Road, thought to be his childhood home. 

Bowie had been absent from public view for a decade. After a heart attack while touring in 2004 there were only a few low-key live appearances – his last at a charity show in New York in 2006 when he performed alongside Alicia Keys – and an acting role in the film The Prestige the same year.

He was said to sit quietly in his apartment, or at the house upstate near Woodstock which he purchased with the supermodel Iman, whom he married in 1992 and with whom he had a daughter, Alexandria, 15. 

Paul Trynka, his biographer, told the Press Association the decade between his 23rd album Reality in 2003 and The Next Day in 2013 gave Bowie time to be “a family man”. “He walked Lexi (his daughter) to school every day – something he had missed with Duncan (his son) which was something he deeply regretted”.

Ricky Gervais, the comedian and actor who convinced the famously private Bowie to star as himself in an episode of the 2006 sitcom Extras, wrote: “I just lost a hero. RIP David Bowie”.

The rock guitarist Joel Madden, quoting Changes, wrote simply: “Turn and face the strange”.

The rapper Kanye West said: “David Bowie was one of my most important inspirations, so fearless, so creative, he gave us magic for a lifetime.”

Glastonbury festival founder Michael Eavis recalled the singer’s first appearance in the Somerset field in 1971. “He had lovely long flwing hair, a right hippie-looking lad. Fantastically beautiful he looked, actually,” Eavis told the BBC. “Nobody knew who he was, he played at 4 in the morning at sunrise, song’e we’d never heard before”.

David Bowie pictured in 1976.


He was born David Robert Jones on January 8 1947 in Brixton, south London, to mother Margaret “Peggy”, a waitnress, and charity worker Haywood “John” Jones. His older brother’s record collection introduced him to rock music at an early age.

The family moved to south-east London and he graduated from Bromley technical high school at 16, when he was busy forming a number of bands and leading a group. He called himself Davy Jones, later changing his name to David Bowie to avoid confusion with Davy Jones of The Monkees. The name was reportedly inspired by a knife developed by the 19th century American pioneer Jim Bowie.

He released three singles as a solo artist for Pye Records, and a debut album David Bowie, but did not achieve huge success and retreated to a Buddhist monastery in Scotland in 1967.

After returning to London he started the arts troupe Feathers in 1968, then helped create the Beckenham Arts Lab in 1969 before releasing Space Oddity later that year, which was his first UK No 1. The release the following year of The Rise and Fall of Ziggy Stardust and the Spiders From Mars made him an international star, and he conquered the US with his theatrical stage show.

He produced albums for Lou Reed and Iggy Pop, as well as writing All the Young Dudes, which he gave to Mott The Hoople who had a massive hit with it. In the late 1970s he produced a three-album collaboration with Brian Eno, known as the Berlin trilogy.

Bowie combined his rock career with appearances in films. His acting career took off with his performance in Nicolas Roeg’s The Man Who Fell to Earth, followed by roles in films such as Labyrinth, The Last Temptation of Christ and Absolute Beginners. More recently, he appeared as himself in the film Zoolander.

Bowie officially retired Ziggy Stardust in 1973, making the announcement during a London gig. But the hits kept coming, with albums including Aladdin Sane, Diamond Dogs and Pin Ups.

He continued to sell millions of albums and pack out stadiums with the rise of the New Romantic scene in 1980s Britain. He embraced pop, finding chart success with songs such as Let’s Dance and Queen collaboration Under Pressure.

Friend and collaborator Iggy Pop described him on social media as “the light of my life”, while singer Madonna tweeted: “Talented. Unique. Genius. Game Changer”.

The Rolling Stones hailed his as “an extraordinary artist and a true original”. The rock group Queen, with whom he collaborated on Under Pressure, tweeted a link to the video of the song, with the words: “This is our last dance....”

Prime minister David Cameron, speaking on an engagement in north London, said: “Musically, creatively, artistically David Bowie was a genius”.

Bowie once said that he was bisexual, although he later suggested that his sexual interactions with men should be seen in the context of his wider cultural experimentation. “I was always a closet heterosexual,” he told Rolling Stone magazine in 1993.

In 1970 he married Angie Bowie, and the couple had a son named Zowie Bowie, now known as Duncan Jones. They split in 1980. He settled in New York one year after marrying Iman.

Bowie continued to record and tour until 2003, when he released Reality, his 23rd album, which many assumed to be his last.

“My entire career, I’ve only really worked with the same subject matter,” Bowie said in a rare interview in 2002. “The trousers may change, but the actual words and subjects I’ve always chosen to write with are things to do with isolation, abandonment, fear and anxiety, all of the high points of one’s life.”

In the same interview he admitted: “I am not a natural performer. I don’t enjoy performing terribly much. Never have. I can do it and, if my mind’s on the situation, do it quite well. But, five or six shows in, I’m dying to get off the road and go back to the studio”.











Thursday, 15 October 2015

The Video - Spoon's "The Way We Get By"



you bought a new bag of pot, said 'let's make a new start'


A magnificent moment from the wonderful Kill the Moonlight LP from, erm .... 2002,

Two thousand and fucking two? ... I don't believe it!

Yap, it's Britt's beautiful bijou  "The Way We Get By". A thing as fresh sounding today as it was all those years back.

A tale of outsiders who get high in back seats of cars and break into mobile homes, it's a humorous witty slice of existential angst with lots of Elvis Costello echoes. 

And lots of wonderful ivory tinkling!

And a nice nod to a seminal Stooges song in the line "fall in love to Down on the Street" !

Delectable!

























Wednesday, 14 October 2015

Art of the Book - Peaches & Holger Talinski's "What Else Is In the Teaches of Peaches" (2015)




"[Peaches] has teamed up with her longtime tour photographer Holger Talinski to look back at a brazen career that has captured the attention of outsider artists and massive pop stars alike, ranging from Michael Stipe to PJ Harvey to Iggy Pop ... Along with Holger's uncompromising, often raw imagery, the book includes stories from artists who have championed Peaches's work over the years." 
--New York Times T Magazine

"One flip through the glossy new monograph What Else Is In the Teaches of Peaches is all it takes to get absorbed into the post-punk wonderland of pop culture icon Peaches." 
--W Magazine



Photographer Holger Talinski collaborated with Peaches on the book of photographs, What Else Is In the Teaches of Peaches, released on June 2, 2015. 

As well as text by Peaches, What Else Is In the Teaches of Peaches also includes text written by Peaches, R.E.M's irritating singer Michael Stipe, artist, singer and band-destroyer Yoko Ono and irritating actress Ellen Page.

What Else Is In the Teaches of Peaches is published by Akashic Books.












Peaches, born Merrill Nisker in Toronto, is a musician, singer, performance artist, producer, filmmaker, actor, and writer, who has lived and worked in Berlin since 2000. She has released five albums -- The Teaches of Peaches, Fatherfucker, Impeach My Bush, I Feel Cream -- plus the brand new LP RUB . She has collaborated and appeared as a guest vocalist on albums by P!nk, R.E.M., Iggy Pop, Major Lazer, and Christina Aguilera, to mention a few. Her songs have been featured in dozens of films and TV shows including Mean Girls, Lost in Translation, Whip It, 30 Rock, Ugly Betty, South Park, and True Blood

Peaches has performed in more than fifty countries and has constantly toured the world for the past fourteen years. She created Peaches Christ Superstar, where she performed the entire rock opera Jesus Christ Superstar as a one-woman show; and she sang the lead role of L’Orfeo in a production of Monteverdi’s seventeenth-century Italian opera. Peaches’s most ambitious work to date was the mythical autobiographical electrorock stage-show-turned-film called Peaches Does Herself. The feature film debuted at the 2012 Toronto Film Festival and was warmly received at over seventy film festivals around the world.  

Holger Talinski (b. 1981) is a Berlin-based photographer focusing on portrait and documentary photography. He is also passionate about skateboarding, which was the reason he started taking photos in the first place--to document his and his friends’ lifestyle. He studied photography in Bielefeld, Germany, and interned in New York with Benedict F. Fernandez, most well-known for photographing Martin Luther King Jr. Holger’s work has also been commissioned in Europe, the United States, Thailand, and India.  

















Monday, 1 December 2014

Art of the Book - Chris Stein's "Negative: Me, Blondie, and the Advent of Punk" (2014)





On the occasion of Blondie’s fortieth anniversary, Chris Stein shares his iconic and mostly unpublished photographs of Debbie Harry and the cool creatures of the ’70s and ’80s New York rock scene.

While a student at the School of Visual Arts, Chris Stein photographed the downtown New York scene of the early ’70s, where he met Deborah Harry and cofounded Blondie. Their blend of punk, dance, and hip-hop spawned a totally new sound, and Stein’s photographs helped establish Harry as an international fashion and music icon.

In photos and stories direct from Stein, brilliant writer of hits like "Rapture" and "Heart of Glass," this book provides a fascinating snapshot of the period before and during Blondie’s huge rise, by someone who was part of and who helped to shape the early punk music scene - at CBGB, Andy Warhol’s Factory, and early Bowery.

Stars such as David Bowie, the Ramones, Joan Jett, and Iggy Pop were part of Stein’s world, as were fascinating downtown characters like Jean-Michel Basquiat, Richard Hell, Stephen Sprouse, Anya Phillips, Divine, and many others.

As captured by one of its greatest artists and instigators, and designed by Shepard Fairey, this book is a must-have celebration of the new-wave and punk scene, whose influence on music and fashion is just as relevant today as it was four decades ago.







An awesome book from an artist in the full sense of the word. Unlike other books in the same genre, Chris Stein gets to the essence of his surroundings and people he comes in contact with. Obviously, Debbie Harry is the main model and why not; it is her persona that gave Blondie its fame with her looks and voice. Being a famous celebrity does open doors that are not accessible to regular people and his pictures make you share his perspective about art and music. 
The title is perfect: the negative. That is exactly what he does in his compositions, for example; the one with Jennifer of the group the Nuns. Half the picture is a rock sculpture of some kind and it adds to the personality of the person. Stein captures the everydayness of his existence, and oh Lord, it is interesting! He writes the same way no need to add his philosophies just glimpses of his thoughts and Debbie's as well. Another one is Eric Emerson and girls from the band Teenage Lust backstage. It looks like a painting - like one of Degas' wonderfully composed ballerina portraits. 
Worth every penny!
by Gavifrancoise  












Monday, 1 September 2014

The Music - The unadulterated joy of Ty Segall's "Manipulator"


Ty Segall

Ty Segall: Manipulator review – an unadulterated joy from start to finish  
4 out of 5  
by Michael Hann 
The Guardian,  
20 August 2014


Rock is replete with musicians who toil away in multiple guises, releasing album after album with confounding frequency. If, every so often, a Jack White might leap from regional obscurity to international superstardom and friend of the legends, seemingly despite not altering his modus operandi from that which made him a staple of Detroit bars for several years, it's more common for these musicians to remain no more than beloved cults.

Many, too, seem to share a dogged devotion to a form of musical conservation: think of Nick Salomon, who as the Bevis Frond has devoted decades to psychedelia and its variants, or Robert Pollard, who, whether with Guided by Voices, as a solo artist or with enough other bands to fill a substantial festival bill, has released what appears to be a total of 82 albums of what he calls "the four Ps" – pop, punk, prog and psychedelia. By way of contrast, it's rare to find a cult artist on an indie label releasing half a dozen albums a year, under assorted names, dedicated to their love of, say, contemporary Scandinavian cosmic disco.

The latest in this lineage is California's Ty Segall. Manipulator is merely his seventh official solo studio album since 2008, which seems positively parsimonious until you consider the 17 other albums released in various guises, as well as countless singles and EPs with the likes of Epsilons, Party Fowl, the Traditional Fools, the Perverts, Sic Alps and Fuzz. Whatever else one might say about Segall, there's no doubting his work ethic. And, like Pollard, the four Ps loom large in his life – this is a man, Wikipedia tells us, whose "main and sometimes only pedal is a Death by Audio Fuzz War pedal". With Fuzz, for whom he drummed, he took care of the prog by covering King Crimson; the punk has tended to be of the garage variety; the pop takes a definition from the mid-60s rather than the mid-noughties, and the psychedelia is all over the discography. If you were being unkind, you might suggest his music runs the gamut of styles from the Yardbirds to Led Zeppelin, but he's managed to prove there's a lot of ground between those two points to be farmed before the fields fall fallow.




With such profligacy comes the issue of quality control. Even the most committed Robert Pollard fan might concede their hero appeared to be releasing records for the sake of it when he put out an album of his stage banter entitled Relaxation of the Asshole, and the very best GBV albums contained songs it was a struggle to listen to twice. Which brings us to Ty Segall. One might suspect that an album nearly an hour long from a musician who views a day without a new release to be wasted could well contain longueurs, but Manipulator is an unadulterated joy from start to finish, perhaps because, rather than bashing it out in a couple of weeks, he took a year writing its 17 songs and then a month – nothing to Coldplay, but an eternity in the garage punk underground – recording it, with the aim of producing what he has called "a Tony Visconti kind of record".

 


Visconti, who produced David Bowie's great 70s records, as well as T Rex, Iggy Pop and others, is a good reference point. Not only because of the glam stomp that appears on tracks such as The Faker, or because of the twin guitar lines, reminiscent of Thin Lizzy– another Visconti client – that occur throughout the record, but also because of the cleanliness of the production: Manipulator sounds like a 70s record in that every element is always audible; there's no mastering everything louder than everything else. Every instrument has its place, and every instrument does its job: there's nothing sloppy about Manipulator; it's precise.

Best of all, the songs are almost uniformly fantastic, and extraordinarily well sequenced. The Clock has an intricate, spiralling acoustic lead guitar line and a string-drenched chorus, but still has a feeling of aggression and attack: it might have fitted comfortably on Love's Forever Changes. That cuts straight into Green Belly, with a lazy, loping, spacious, Stonesy riff, which in turn gives way to The Connection Man, on which Segall revisits the garage, with a fuzztoned bassline and wailing guitar solos. It's a limited stylistic span, but the order emphasises the differences between the songs, not their similarities.



From its title track onwards – a delicious descending organ riff, joined by a perfectly constructed guitar line that doubles up on itself – Manipulator feels like a statement album, as if Segall has had enough of being hailed as a god by three dozen people in tiny clubs with extensive record collections drawn entirely from labels like In the Red and Sympathy for the Record Industry. It feels like the work of a man who's looked at his predecessors and decided he'd rather be Jack White than Robert Pollard.











Wednesday, 6 August 2014

The Word - Walk like a ghost




Nightclubbing; we're nightclubbing, we're an ice machine. We see people; brand new people. They're something to see. Nightclubbing; we're nightclubbing, bright-white clubbing. Oh isn't it wild? Nightclubbing; we're nightclubbing, we're walking through town. Nightclubbing; we're nightclubbing, we walk like a ghost. We learn dances - brand new dances, like the nuclear bomb














Wednesday, 25 June 2014

The Music - David Bowie's "Panic in Detroit"




He looked a lot like Che Guevara, drove a diesel van



From the Aladdin Sane LP in 1973 (a live version would soon after appear as B-side to the 1974 UK single release of the Eddie Floyd cover Knock on Wood), this dark ditty features some blistering guitar work - based on a mutated Bo Diddley beat - from the late Mick Ronson.

Obliquely referencing the 1967 Detroit riots and namechecking Che and left-wing collective the White Panther Party, the paranoid "Panic in Detroit" was inspired by Iggy Pop's descriptions of activists and revolutionaries he had known as a kid in Michigan.

Bowie played the song live on tour in 1973, 1974, 1976, 1990, 1997 and 2003-4.

Here's a live performance form the Diamond Dogs tour in '74.



















Monday, 5 May 2014

Art of the Cover - Teddybears' "Soft Machine" (2007)






A real buttaface chick adorns the cover of this one! ... Reminds me of a gal I banged one very very drunken Friday night in 2012!

This continues the 'bear head'  theme seen on the covers of a number of the band's albums.

Art Direction was by Sakari Paananenm with photography by Aorta.






On this 2007 opus, Teddybears continue to whip together a giddy mixed-up sonic mash of international styles, resulting in their own indescribably delectable sound.

This fine collection sees the Swedes joined in studio by a number of unique collaborators, including Iggy Pop, Neneh Cherry, Elephant Man, Annie, and the Soundtrack Of Our Lives' Ebbot Lundberg.







The result in an awe-inspiring collection of genre-hopping modern pop that is inventive, irresistable, and impossible to pin down.

This one really put the Stockholm-based trio's effervescent idiosyncratic music on the world map.









Tracklisting
1. Intro
2. Different Sound
3. Cobrastyle
4. Yours To Keep
5. Throw Your Hands Up
6. Black Belt
7. Punkrocker
8. Ahead Of My Time
9. Automatic Lover
10. Magic Kraut
11. Little Stereo
12. Riot Going On
13. Alma











Thursday, 17 April 2014

Moments In Time - The Girls Are Back In Town: Lou, Bowie & Iggy (1972)






A great shot by Mick Rock

Yap, legendary lovelies Ziggy Stardust, James Osterberg and Lou in NYC back in '72, on the way to the nearest tranny bar.












Monday, 17 March 2014

The Music - The Stooges Live in Cincinatti (1970)



" That's ... peanut butter!! "


Let's remember the late Scott “Rock Action” Asheton in his prime with the seminal Stooges.

This is a wonderful TV clip (kindly posted by Peymon Maskan) from a gig in Cincinatti, back in 1970 featuring amazing live footage intermingled with some bizarre / surreal announcer commentary from some older guy in a suit and tie!

Iggy - unsurprisingly! -  is on another planet. He keeps jumping into the audience before finally collapsing into the crowd.

You can hear a concerned chick frantically asking "are you alright?" and he starts singing back "I'm Alright!" over and over again. Then suddenly he's being raised aloft and then stands atop the crowd.

What else?? .. Oh yeah, he somehow gets a jar of peanut butter and smears it all over himself, while also flinging chunks at the crowd.
















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