<![CDATA[[MusicRatty] tag: memorable]]> http://musicratty.com/tag/memorable Tue, 19 Aug 2008 06:44:16 +0000 iRatty Engine http://blogs.law.harvard.edu/tech/rss <![CDATA[Ripping Vinyl, part 4]]> http://musicratty.com/article/f7f1db90514b2d98a380ad4bc97ee2f9 http://musicratty.com/article/f7f1db90514b2d98a380ad4bc97ee2f9 After many years of musical obsession completely removed from a record player, my pile of vinyl now grows incrementally, aided by the quality LP sellers of New York City. Baubles from the treasure chest will be posted here whenever it seems appropriate...

homo.jpg

The sharp-dressed man who appears to be sitting in Adrian Veidt's office* on the cover above is none other than revered Buzzcocks' frontman Pete Shelley. By end of the 70s, the Buzzcocks were straining a bit at the creative seams. 1979's A Different Kind of Tension was the end result of a dramatic creative growth that leaped from wanking lyrics to Burroughs quoting (I guess the scope of that leap depends on your literary tastes). Despite continued growth, the 'cocks weren't charting like they used to, and as such, weren't too flush with cash. Shelley had holed up with future Human League knob-twiddler Martin Rushent and fell deeply in love with the possibility of synthetic instrumentation. Seeing diminished need for his bandmates, he got his lawyer to fire off a quick letter disbanding the seminal Manchester punks. Goodwill all around, obviously. A cloud of bad feeling may have marred the 1981 release of his first solo record, Homosapien, but the sharp pop tunes in contains are ripe for re-examination.

Pete Shelley - "Homosapien"

The album's title cut preceded the album and became an underground hit despite facing a total ban by the BBC. Their grounds were that the song contained "explicit" references to gay sex, though the meaning of that term has clearly been tightened in the intervening years. Looking at the lyric sheet now-- with its coy boys, shy boys, and cruisers--it does seem very much a statement on Pete's up-'til-then quiet bisexuality. The way he stresses the "homo" in homosapien is a clever way of reclaiming a schoolyard taunt, while affirming the basic humanity of the stigmatized. It's also a pretty slammin' synth-pop number, confirming that Shelley could write memorable hooks in his sleep. I'm certainly not the first to make this observation, but try singing "North American Scum!" over "Homosapien Too!" for an easy demonstration of the song's continuing influence.

Pete Shelley - "Yesterday's Not Here"

Of all the painfully on-the-nose lyrics in rock history, "Looking back on life, is such a retrospective thing..." has to win some sort of a prize of infamy for attempting to sound deep while saying absolutely nothing. It's so clunky and obvious an opening line that it almost becomes charming again. The rest of the track needs no rationalizations. Again, Shelley can't help but write a huge anthemic chorus, which Rushent complements and improves with energetic Moroder-lite synths.

* It's interesting though probably coincidental to note that Watchmen's Veidt takes his alias from the works of another P. Shelley

Previously:

- the Raincoats, live @ the BBC

- Linear Movement play "the Game"

- A hole where the Romeo should be

]]> Wed, 20 Aug 2008 06:50:53 +0000 pete shelley pete frontman pete shelley shelley dramatic creative growth growth huge anthemic chorus musical obsession completely seminal manchester punks Ripping Vinyl, part 4 <![CDATA[Orisue + Mick + Terry = Fashawn]]> http://musicratty.com/article/3ec37ea0ce0188b815ec406f805449bd http://musicratty.com/article/3ec37ea0ce0188b815ec406f805449bd

First he was "The Phenom," and now Fresno emcee Fashawn is killin' the rap game with one shot.

What's in the holster is the 19-year-old's new mixtape titled "One Shot One Kill," dropping on Aug. 26. In addition to new music, the new project brings new collaborations -- namely DJs Mick Boogie and Terry Urban, as well as clothing company Orisue.

Having done mixtapes for artists such as Kanye West, Talib Kweli, Busta Rhymes, Little Brother and others, Mick Boogie and Terry Urban are a couple of the most-sought after DJs in the world right now.

“Fashawn is definitely one of hip-hop's next up and coming stars. Very talented and definitely understands the big picture” says Mick Boogie. “We were happy to be a part of his project.” “This kid definitely has some talent” states Terry Urban. “Look out.”

"One Shot One Kill" showcases 24 tracks from a young, multi-dimensional artist who isn’t afraid to combine his lyrical skill with his melodic talents to make memorable songs. Tracks like “F.A.S.H.A.W.N.” and “Our Way” (which features Evidence of Dilated Peoples) showcase his lyrical skill and dominance he possesses on the mic. Songs like “Same Ol’ Song” and “We Walk” showcase his songwriting ability to transform real-life situations into records.

“You only have one shot to make it, and I’m going to make sure my shot is heard” Fashawn says.

http://www.sendspace.com/file/oz8kg2

]]> Wed, 20 Aug 2008 05:52:00 +0000 fashawn djs djs mick boogie mick boogie terry urban shot fresno emcee fashawn lyrical skill walk showcase Orisue + Mick + Terry = Fashawn <![CDATA[WHO, THE - By Numbers (1975)]]> http://musicratty.com/article/1b9b1581d789830f61f4e46b3aa41644 http://musicratty.com/article/1b9b1581d789830f61f4e46b3aa41644

This seventh album by The Who is a solid one in terms of songwriting, performance as well as production. When I compare this production in 1975 compared to their first two albums in mid 60s, the sound production is totally different. This has made the music sounds better, overall. As an album this “By Numbers” charted no. 7 in UK. As far as my personal experience (in the past) with this album, “Success Story” is the most memorable song. It’s written by Entwistle and I salute him for the overall composition of this song especially on its simple riffs that serve as main rhythm section and played repeatedly throughout the singing of Daltrey. The riffs have in some way influenced Led Zeppelin’s fourth album as it sounds similar, even though the song melody is different.

All songs contained in this album are excellent including the acoustic-based “Imagine a Man” where the acoustic guitar works serves brilliantly throughout the song, accompanying wonderful singing by Daltrey. The song seems like a ballad but the flow is quite dynamic. “They Are All in Love” is also another great song where the band brought in a piano session player “Nicky Hopkins” whom the piano playing flows brilliantly throughout the song. This song has a logical connection with the next (and my favorite when I was teenager – even until now) “Blue, Red, and Grey”. It’s great enjoying powerful voice of Daltrey backed by only banjo instrument. “How Many Friends” is also a great composition with dynamic basslines by Entwistle and nice piano playing by Nicky Hopkins. The guitar fills are also stunning especially at the background or during transition pieces. “In a Hand or a Face” is a straight rocker with, again, great bass lines.

The bonus tracks are also great, especially with good communication to the crowd, just before the band’ single and hit “Squeeze Box”. Observe how Entwistle plays his bass guitar – it’s so dynamic and energetic! It includes Daltre’s nice “Behind Blue Eyes” which is performed better during live version here. The last track “Dreaming From The Waist” is also a nice and energetic song.

Overall, every home must have this excellent album by the Who!

Peace on earth and mercy mild – GW



by Gatot


WHO, THE Music Online:
recommended progarchives.com worldwide prog rock stores

  • GEMM, Vinyl Records & CDs Rare Albums (Out of Print and Imports)
  • AMAZON, find cheap, used and new stuff with the marketplace
  • eBay, used or new | bid or buy now
Progarchives.com Recommended Links More about WHO, THE at Progarchives.com


]]> Tue, 19 Aug 2008 22:32:17 +0000 song song melody energetic song amazon video games amazon memorable song excellent album excellent album WHO, THE - By Numbers (1975) <![CDATA[Another heads up...Check out who's coming for the Fall Exodus to Jazz series!]]> http://musicratty.com/article/ef8b8a8e0ddf9fad2dec740c72d2e9b5 http://musicratty.com/article/ef8b8a8e0ddf9fad2dec740c72d2e9b5 Exodus to Jazz logoJust wanted to give you a heads up that José DaCosta, who has been bringing us the excellent Exodus to Jazz series of gigs for the past two years is firming up his exciting third season. We've previewed it here before, but there have some changes since and may be more as artists own schedules firm up. So, instead putting the dates and times here, I'm going to suggest you head on over to Jose's Exodus to Jazz website where it will always be up-to-date. But first, check out the lineup which will be coming here in September through January ("teaser" lines provided by José):

  • Mel Henderson & Paradigm Shift @ The Clarion Riverside Hotel. "Led by Mel Henderson, Paradigm Shift reunites with Wycliffe Gordon, Marcus Printup and Gray Mayfield for an engagement that will feature tunes from their recent CD release entitled Street Expressionism.
  • Mulgrew Miller vs. Johnny O’Neal @ The Hyatt Regency Hotel. "The return match of premier pianists Mulgrew Miller and Johnny O’Neal promises to open at the same virtuosic level on which their initial face-off ended in a draw. Drummer Rodney Green and bassist Ivan Taylor comprise the rhythm section for this memorable rematch."
  • The Henderson/Owens Trio + 1 @ The Hyatt Regency Hotel. "The Mel Henderson/Ulysses Owens Trio will provide the musical backdrop for one of the jazz world’s fastest rising, internationally acclaimed vocalists."
  • Ulysses Owens & the USO Project @ The Clarion Riverside Hotel. "Ulysses Owens Jr. returns as leader of the talent rich quintet of emerging jazz artists comprised of pianist Sullivan Fortner, saxophonist Tim Green, bassist Ben Williams and vocalist Alicia Olatuja."
  • Seamus Blake Group @ The Clarion Riverside Hotel. "Seamus Blake returns as group leader after two previous appearances as a sideman in which he affirmed his recognition as one of the finest, most creative young players emerging in jazz."
  • "Exodus Weekend at the Clarion" A wild weekend with two separate monster acts:
    • Sylvia Cuenca Group with Joe Locke @ The Clarion Riverside Hotel. "Sylvia Cuenca, the hard driving drummer long associated with Clark Terry, returns again as group leader to mark the anniversary of the Exodus To Jazz series which she initiated in October 2006. This swinging quartet is comprised of guitarist David Gilmore, bassist Essiet Essiet and Rochester’s renowned native son, vibraphonist Joe Locke."
    • Jeff “Tain” Watts & Ebonix @ The Clarion Riverside Hotel. "Critically acclaimed as the foremost percussionist carrying forward the mantel of jazz drumming, “Tain” appears on every Grammy Award winning jazz record by both Wynton and Branford Marsalis."
  • Susan Pereira & Sabor Brasil @ The Clarion Riverside Hotel. "Sabor Brasil, one of the most popular Brazilian ensembles in the New York area, fuses traditional Brazilian styles with contemporary jazz."
  • Freddy Colón’s Jazz Quartet featuring the legendary Candido Camero @ The Clarion Riverside Hotel. "Recently recognized as a National Endowment for the Arts Jazz Master, legendary Cuban-American percussionist Candido Camero joins Rochester’s popular Freddy Colon Jazz Quartet to generate serious Latin-jazz heat."
  • Gabriel Alegria Sextet @ The Clarion Riverside Hotel. "With a fascinating polyrhythmic formula, Gabriel Alegria’s Afro-Peruvian Sextet continues to generate popular responses much like that achieved by Brazilian and Afro-Cuban musicians. This return engagement will keep you warm in January!"

As those who have been reading this blog for the past few years know, I went to many of the ETJ shows over the past couple of seasons and always come away with another "keeper" musical experience. So please on over to the Exodus to Jazz website, and check out the dates and times and get them into your calendar. There's going to be some terrific music again and I hope you get out and support the music so that they keep coming back.

]]> Tue, 19 Aug 2008 17:30:21 +0000 jazz jazz quartet clarion riverside hotel clarion jazz series jazz worlds jazz website arts jazz master jazz record Another heads up...Check out who's coming for the Fall Exodus to Jazz series! <![CDATA[Darwin Hobbs - Free (a tbgb review)]]> http://musicratty.com/article/7913b3c0b2ccbc71cbab6ffc4badeeb0 http://musicratty.com/article/7913b3c0b2ccbc71cbab6ffc4badeeb0
Darwin Hobbs
Free
Tyscot Records (release date: August 26, 2008)
http://www.tyscot.com/

Darwin Hobbs is referred to as the Luther Vandross of gospel, but to my ears, his husky, muscular voice is more akin to the blue-eyed soulster Michael McDonald, with whom the forty year-old singer once worked.

Regardless, the Darwin Hobbs sound is what one might label “power praise music”: a marriage of CCM melodies, praise and worship lyrics, black gospel vocal technique and speaker-blowing, gutsy soul accompaniment. On Free, Hobbs pushes the sacred subgenre a notch higher, delivering a high-octane, almost symphonic listening experience in its complexity, his wall of sound blistering with thundering bass, rolling drums, and dramatically intense vocals. Even if you can’t quite make out some of the lyrics in the musical swirl, you get the point: Hobbs and his singers are Alpha Praisers. They don’t just drive the devil away, they get up in his face with courageous vocal fist shaking.

But the raw power behind Hobbs' fifth CD, Free, is not surprising if you know the album’s backstory. For Hobbs, the devil on earth was the sexual abuse he suffered as a child at the hands of his mother’s now deceased husband. Now that he has gone public with his story, Hobbs has fashioned Free as a work of personal catharsis, his escape from the darkness, a bat out of the private hell of silence that suffocated his spirit for many years.

While the opening track, “Heal the Land,” is the critical highpoint of the album because of its psychedelic late ‘60s flavor, “Free” is the radio favorite for its austere, memorable melody and potent expression of Hobbs’ liberation from the abuse. The metaphors in “Crosswalk” are rife, but the song is also a good example of Hobbs’ serious, “no turning back” lyricism. You’re a player on God’s team or you’re out. Period.

A bonus track, “He’s Able,” is a super-sized production number, effective as the album’s concluding moments, the choir singing with a gravitas rarely heard this side of Orff’s Carmina Burana. "He's Able" is a redemptive resolution, the album's grand denouement, signifying Hobbs’ release from the grip of his haunting past.

The production quality of Free, thanks to producers Hobbs and Aaron Pearce, is clear and precise; the multi-tracked layered sound never devolves into muddiness. Sacred music to be played at maximum volume for maximum impact.

Three of Four Stars
]]> Tue, 19 Aug 2008 16:56:00 +0000 darwin hobbs hobbs darwin hobbs sound release hobbs release producers hobbs hobbs pushes free hobbs liberation Darwin Hobbs - Free (a tbgb review) <![CDATA[Melody?]]> http://musicratty.com/article/e850a135fdb3493e368c034b54ab1870 http://musicratty.com/article/e850a135fdb3493e368c034b54ab1870 Here's a question: is the melodicism (is that a word?) of a given track an absolute value or is it somewhat subjective? Obviously you can't argue about the actual notes that are being played, but there seem to be differing opinions about what constitutes a "proper" melody (ever try to discuss rock and roll with your stereotypical classical music buff? Good luck).

Example: I've heard countless people talk about how melodic Pretty Vacant is. Huh? It sounds like your average tuneless punk song to me (not that I don't love it, but that's besides the point). On the other hand, a lot of critics dismiss Holidays In The Sun because it's not melodic enough. I think that's interesting because all of the people I've talked to about the Pistols seem to think that Holidays is actually more memorable and "melodic."

Another example; most blues songs. You'll hear people go on and on about how musically rich those songs are. To me it's just the same chords, rhythm, and three notes for every !@#$ blues song out there.

Thoughts? ]]> Tue, 19 Aug 2008 14:36:08 +0000 countless people talk melodic pretty vacant people melodic holidays critics dismiss holidays songs blues songs actual notes Melody? <![CDATA[STANDARTE - Stimmung (1999)]]> http://musicratty.com/article/c7b912bec7603b63152ca1f9eb7cc49e http://musicratty.com/article/c7b912bec7603b63152ca1f9eb7cc49e

There is actually not a lot to say about this album. Same recipe than their two previous works: weak vocals, average production and song writing. In a word: nothing extraordinary and probably the reason why the band put an end to their work after this album.

Only twenty minutes of original studio work, that’s not much! Short of inspiration I guess; although “Stimmung” was released more than two years after their prior “Curses And Invocations”.

Actually, this album could suit your taste if you are deeply stuck into the heavy rock of the early seventies, combined with a natural love for keyboards. But their first two albums were just better (even if not memorable).

From their new material, only Kankweezler and the title track which features excellent keys passages and rocks like hell could draw my attention. The last studio number “Sonnermensch” is also a solid piece of rock, but without inspiration and repetitive. Maybe a showcase for their new guitar player (they used to be a trio).

The major part of this album is made up of five live tracks. They are good for half an hour of heavy- rock jamming and straight-forward but not always boring music. From which the psychedelic and instrumental Moon In Cancer is my favourite.

The last song of their set during that concert (if I’m referring to the announcement) is a live version of “In My Time Of Dying” which was available on their first album: it is only remarkable during its instrumental middle-part. The intro and closing sections being average heavy-blues music which I don’t fancy very much.

The sound of the last live songs is rather weak, and none of them are of high interest IMO. Again, I can’t be very enthusiast for the vocals from “I Won’t Start Another Song”. Actually, they couldn’t have said better…

Two stars for this average album.

by ZowieZiggy


STANDARTE Music Online:
recommended progarchives.com worldwide prog rock stores

  • GEMM, Vinyl Records & CDs Rare Albums (Out of Print and Imports)
  • AMAZON, find cheap, used and new stuff with the marketplace
  • eBay, used or new | bid or buy now
Progarchives.com Recommended Links More about STANDARTE at Progarchives.com


]]> Tue, 19 Aug 2008 14:08:52 +0000 standarte amazon average heavy-blues music video games amazon music album average album movies online amazon sheet music STANDARTE - Stimmung (1999) <![CDATA[Black Sabbath: The Rules of Hell Box Set Reviewed]]> http://musicratty.com/article/2ef947eed0669641356693a12ac24b2f http://musicratty.com/article/2ef947eed0669641356693a12ac24b2f HeavennHell_1567.jpg

Fairly or not, when a band loses a charismatic frontman, they’re left with a hole that’s both more obvious and difficult to fill than, say, keyboardist or drummer. Rock history has shown that bands can actually become more popular (AC/DC, Van Halen) or spend the rest of their careers hoping audiences will forget the old guy… at least until the eventual “reunion” tour (Judas Priest, Journey, Deep Purple, Styx).

So when a drug-addled Ozzy Osbourne was ejected from Black Sabbath in 1979, remaining members Tony Iommi (guitar), Geezer Butler (bass) and Bill Ward (drums) tapped a guy who already came with built-in name recognition - lead Rainbow belter Ronnie James Dio.

What Dio brought to Sabbath's pentagram-shaped table was a fiery new energy, a strong work ethic, solid songwriting and, with Iommi, a faster overall sound that was more shredding than sludgy.

Though this version of the band was relatively short, interest in this Black Sabbath 3.0 (now with Vinny Appice on drums) has never been higher. The four regrouped as “Heaven and Hell” in 2006 - partly to free themselves from playing Ozzy-era material, partly to avoid the wrath of the proprietary Sharon Osbourne - for a tour to support a compilation featuring surprisingly strong new tracks.

That popularity has extended into a live CD and DVD, more touring and even a new studio album set for release early next year. The reissue masters at Rhino have also just released Black Sabbath: The Rules of Hell, a box set compiling the Dio-fronted Sabbath’s canon, remastered with new liner notes (though, sadly, no bonus tracks or alternate takes). Here’s a rundown:

Heaven and Hell (1980): The first effort is still the gold standard for Sabbath 2.0 and 3.0, and is considered one of the best from any lineup. The title track features one of Iommi’s most memorable riffs, and songs like “Neon Knights,” “Die Young” “Lady Evil” and the soft/loud contrast in “Children of the Sea” are Dio at his most powerful.

A couple of lesser numbers (“Wishing Well,” “Walk Away”) notwithstanding, this is one of metal’s all-time classics. Original Sabbath drummer Bill Ward plays on the album, but leaves shortly into the susequent tour and is replaced by Appice.

Fact: During recording, the band would take cassettes of the new material to a nearby strip club and gauge the reactions (and movements) of the dancers to the tunes. No doubt Butler’s fine bass work here gave them a lot of “bottom” to work with.

Mob Rules (1981): Darker and heavier that its predecessor (including a genuinely scary cover by Greg Hildebrandt), Mob Rules isn't as high-quality as H&H, but is still a solid, formidable release. The title track - actually called “The Mob Rules” - is perhaps the band’s most frenetic song ever, the soundtrack to a barbarian invasion.

“Turn Up the Night” showcases Iommi’s guitar, “The Sign of the Southern Cross” is a genuine epic, and “Country Girl” is one of this lineup’s lost classics. However, “Slipping Away,” “Over and Over” and “Falling Off the Edge of the World” seem like filler.

Fact: Appice’s older brother, drummer Carmine, was working with Rod Stewart at the time during his disco phase. When the pair visited Sabbath in the studio, they were freaked out by all the upside-down crosses and religious icons the band had decorated the studio with for inspiration.

Live Evil (1982): Long disparaged by fans, critics and the band itself, this is a live document of a group already falling apart due to burnt-out bodies, egos and creative-control issues. It gains nothing from remastering, and is The Rules of Hell's weak link.

On this double CD, live versions of this lineup’s output compare unfavorably to the studio versions (“Voodoo,” “Neon Knights,” “The Mob Rules”), and the band mars a “Heaven and Hell/The Sign of the Southern Cross/Heaven and Hell” extended sequence with Dio’s attempts to get the crowd to sing along and Iommi’s meandering solo.

As the audience would have expected, the group also performed some Ozzy-era material, but Dio’s vocals just don’t fit with tracks like “Iron Man,” “War Pigs” and “Paranoid.” The reason Ozzy made his "Black Sabbath" work is because he sounds scared shitless of the demon he’s facing. In Dio’s version, he is the demon. Luckily, this lineup eventually got another chance at a live record, last year’s excellent Live at Radio City Music Hall.

Fact: Dio adamantly denies that he snuck into the control room at night to change up Iommi and Buter’s daytime mixing work, which Sabbath mythology holds as a key factor in this version's eventual break-up.

Dehumanizer (1992): The first regrouping of Dio, Iommi, Butler and Appice produced a surprising record packed with memorable songs and meaty riffs. However, released as grunge was in its ascendancy, this record by a group of “metal dinosaurs” - as influential as they were on bands like Soundgarden and Alice in Chains - was largely overlooked.

A pity, as Dehumanizer remains perhaps Sabbath’s most underrated record. Coming off his massive solo success, Dio felt more assured both in voice and as lyricist, and leaves the dungeons and dragons behind for now-prescient material about creeping technology (“Computer God”), right-wing Christianity (“TV Crimes”) and even himself (the epic “I”).

But the graveyard is still on the Sabs’ mind, with “After All (The Dead)” going down as one of their creepiest numbers ever. Throughout, Appice’s drumming is at its most powerful. A few weak links (“Master of Insanity,” “Sins of the Father”) notwithstanding, Dehumanizer deserves another listen.

Fact: The track “Time Machine” became an unexpected hit when it was included in the soundtrack to Wayne’s World. The CD includes both the original and film version. - Bob Ruggiero

Black Sabbath 3.0 performs, as Heaven and Hell, with Judas Priest, Motorhead and Testament 5:30 p.m. Saturday, August 23, at the Cynthia Woods Mitchell Pavilion.

]]> Tue, 19 Aug 2008 12:22:20 +0000 sabbath black sabbath rules hell mob rules studio band studio versions band mars Black Sabbath: The Rules of Hell Box Set Reviewed <![CDATA[BMI Presents Producer/Songwriter Panel During 2008 Atlantis Music Conference in Atlanta]]> http://musicratty.com/article/c9d7443578ec3ff724c5777f3269db95 http://musicratty.com/article/c9d7443578ec3ff724c5777f3269db95 Discussion Slated for September 18 in Midtown

Atlantis LogoBMI will take part in the 2008 Atlantis Music Conference and Festival by presenting a Producer/Songwriter panel Thursday, September 18 at Atlanta’s Center Stage in Midtown (1374 West Peachtree St) from 4 until 5:30 p.m. A diverse cross-section of the elite producers, managers and songwriters who happen to share a passion for working with up-and-comers will discuss current issues facing independent artists, including creating memorable music on a shoe-string budget; taking advantage of digital recording technology indies can use at home; and the dynamics behind an electrifying producer/artist relationship.

Established hit-makers including Cri$tyle (Mariah Carey, Brandy, Teyana Taylor), DJ Montay (DJ Unk, Flo Rida, Three 6 Mafia), DJ Toomp (Mariah Carey, Kanye West, TI), Eric Hudson (John Legend, Kanye West, Omarion), Jasper Cameron (Ciara, Lloyd, Nelly) and Jeffrey Steele (Rascal Flatts, Tim McGraw, Montgomery/Gentry), with Zack Odom and Kenneth Mount (Cartel, Mayday Parade) will provide invaluable insight during an intimate discussion.

About the Atlantis Music Conference & Festival Now in its 10th year, Atlantis is a three-day and four-night musical extravaganza held September 17-20 in Atlanta, Georgia. Atlantis’ goals are to provide independent artists unparalleled access to educational and networking opportunities including professional demo critiques, insightful panels featuring industry insiders and exposure to a&r executives and music fans through nightly showcases. The mercurial state of the contemporary music industry has opened new avenues for independent artist development and success, all thoroughly explored and explained during the unique Atlantis Music Conference & Festival.

For more information on the Atlantis Music Conference & Festival, please visit www.atlantismusic.com.

]]> Tue, 19 Aug 2008 10:54:00 +0000 atlantis music conference atlantis provide independent artists independent artists mariah carey kanye west festival provide invaluable insight atlantas center stage BMI Presents Producer/Songwriter Panel During 2008 Atlantis Music Conference in Atlanta <![CDATA[Last Night: Nine Inch Nails at American Airlines Center]]> http://musicratty.com/article/b012bbf9ed8b3dbafbada065e6c68408 http://musicratty.com/article/b012bbf9ed8b3dbafbada065e6c68408 Nine Inch Nails, A Place To Bury Strangers
American Airlines Center
August 18, 2008

Better than: Watching all three Matrix movies on blu-ray.

NINconcert.jpg
Trent Reznor and...The Pips? (Derrick Miller)

More of a multimedia event than a concert, the performance last night of Trent Reznor and his latest incarnation of Nine Inch Nails was nothing short of breathtaking. Packed with enough emotional anguish and visual dynamics to fuel a season of prime time television dramas, the music was nearly dwarfed by an array of stage manipulations and large scale computer effects that cast an eerie Orwellian effect over the proceedings for most of the evening.

Beginning with three cuts from The Slip, Nine Inch Nails’ most recent effort, the band rarely took the foot off the gas pedal. When a more familiar track like “March of the Pigs” surfaced, the 80 percent-filled arena roared like an addict receiving a much-needed fix. While the music pounded like a forbearer of Armageddon, the stage crew went about turning the AAC into a high tech freak show. Metal curtains that surrounded the band turned into giant LED screens that pulsed with static and shadowy images. At one point the placement of the screens forced Reznor and three bandmates to perform a mini-set at the very front of the stage, creating a claustrophobic feel that suited the mood of songs such as “The Warning” perfectly.

About midway through the two-hour angst fest, Reznor retreated to center stage where he played xylophone (!) on several instrumental numbers from the moody Ghosts releases. Beautiful and not the least bit techno, this portion of the show was an amazing example of how well Reznor’s audience understands the mercurial artist. While the instrumental tracks are undeniably gorgeous (coming across like the Butthole Surfers covering Calexico), they are also short on the kind of drive most folks are looking for at typical rock shows. Yet, here were scantily clad goth girls and beer soaked frat boys all swaying to music that could easily serve as the soundtrack to a PBS special on long lost undersea creatures.

Shortly thereafter, Reznor unleashed “Head Like a Hole” and even three shirtless (and unconsciously loaded) youngsters in front of me raised from near death to bounce along in uninhibited glee. The second to last song of the encore was “Hurt” and the crowd sang along to the power ballad with an adulation that bordered on religious fanaticism. When Reznor finally left the stage and the house lights came on, fans cheered as if Obama himself had just spoken.

Critic’s Notebook
Personal Bias: I knew the night was going to be an odd one when the ticket lady said to my photo pass request, “The artist is having a bad day so no pictures will be allowed.” Luckily, my friend Derrick Miller brought in his digital camera and did manage to take a few long ranges shots (as did about 10,000 others). Also at the door, security was taking all spiked dog collars, wristbands, etc. and tagging them for pick up after the show. I could envision the chaos as fans elbowed one another, proclaiming, “Hey, that’s my sadomasochistic paraphernalia.”

Random Note: As they approach 40, many of these original, leather-clad goth girl, Nine Inch Nail fans are gaining some weight. Perhaps these gals need to work in a salad along with the human flesh. And believe me, all of that tight fitting bikini wear needs to be retired post haste! Reznor, too, was a rather stocky fellow, looking more like a late night plumber than the sleek frontman of days past.

By The Way: Brooklyn’s A Place to Bury Strangers opened the show impressively with a quick eight songs of doomy post-punk that recalled The Jesus and Mary Chain along with Echo and the Bunnymen. Although the band’s strobe light backdrop did not do the epileptics in the house any favors, the music was dense and almost memorable. The crowd, which, at 7:30 p.m., was more of a polite gathering, treated the trio respectfully, warming up the mosh pit for the frenzy that was to come. --Darryl Smyers

]]> Tue, 19 Aug 2008 06:44:16 +0000 inch nails reznor trent reznor night stage stage manipulations american airlines center center stage fans Last Night: Nine Inch Nails at American Airlines Center