The duo Body/Head consisting of Kim Gordon and Bill Nace will release their second album titled The Switch on July 13th.
The artwork, track listing and tour dates are below. The duo also released the first song from the album titled "You Don't Need". We reviewed their first album, Coming Apart, for Glide when it was released in 2013 and will hopefully do the same for this one as we are always interested in what Kim is up to. Upon first listen this is some noise spacious stuff, less concerned with form or structure.
The Switch tracklist:
1. Last Time
2. You Don’t Need
3. In The Dark Room
4. Change My Brain
5. Reverse Hard
Body/Head – 2018 Tour Dates: 6/21 – Cincinnati, OH – No Response Festival 7/13 – Los Angeles, CA – Masonic Lodge 7/14 – San Francisco, CA – The Lab 7/19 – Brooklyn, NY – Elsewhere * 7/20 – Kingston, NY – BSP * 7/21 – New Haven, CT – Statehouse * 7/22 – Greenfield, MA – Root Cellar * 7/24 – Boston, MA – Great Scott * 7/26 – Philadelphia, PA – PhilaMOCA * 9/6-8 – Raleigh, NC – Hopscotch Festival 9/15 – Austin, TX – Beerland * denotes w/ Gunn-Truscinski Duo
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Showing posts sorted by relevance for query Body/Head. Sort by date Show all posts
Showing posts sorted by relevance for query Body/Head. Sort by date Show all posts
Thursday, June 7, 2018
New Album from Body/Head Coming Soon, First Single "You Don't Need"
Labels:
album art,
Noiserock,
Sonic Youth,
tour dates,
Video
Tuesday, July 24, 2018
Album Review: Body/Head - The Switch
Hey all, got a new review up @glidemag which you can read Right C'here!!!
It is of Body/Head's newest release, The Switch.
We reviewed Body/Head's first release and liked it slightly better than this one. For some reason this one really didn't do it for RtBE. Growing up huge fans of Kim Gordon she seems a bit wasted here.
That said it is a mood record that can connect when the time/world is right so we will def keep it around and try again later in the year.
Support the band, buy the album, read the review and peep some video below:
That said it is a mood record that can connect when the time/world is right so we will def keep it around and try again later in the year.
Support the band, buy the album, read the review and peep some video below:
Thursday, September 5, 2013
Album Review: Body/Head - Coming Apart
Got a new review up on Glide.
You can Read it Right C'here!!!
It is of Body/Head's newest release Coming Apart. The group is Kim Gordon's first Sonic Youth outing as she whirls guitar noise with Bill Nace, trading six string scratches back and forth.
This is strictly arty noise rock, and not for those wanting easy soothing listens. It made me laugh when in the press release they said they were going more for songs, no verse-chorus-bridge here, but that is too strict of a definition for the duo.
I like this stuff and enjoyed reviewing it but I know it is not for everyone so giving it a star rating is always difficult for people to judge it. This isn't the best of it's kind, but it is pretty solid for this type of stuff also the more I spun it the more I dug it which is always a positive.
Hmm albums from Thurston, Kim, and one from Ranaldo and Shelley coming soon...Sonic's seem alive and kicking in various forms...that is a big time plus. As we have mentioned SY are one of our all time fav's.
Buy the album here, catch them live and peep some samples below:
"Actress"
Live:
Body / Head from Taping Policies on Vimeo.
Wednesday, December 23, 2015
10 Years With Glide Magazine: A Look Back Part 4
Wow, @glidemag, has it really been 10 years since I first contributed to the website?
That is hard to believe, time flies. In chatting with the sites
fantastic editor, Shane Handler, about this series it turns out I have
been the longest continual contributor to Glide,
that's a fun feat. It continues to be a great ride but since everyone
likes round numbers, I decided to take some time to look back at my
favorite writings for the site.
For this installment we will pick our favorite review that we have ever written for the site and we got one of the editors favorites of ours as well to talk about.
First up is our Editors pick as Shane really enjoyed this review of Body/Head's disk Coming Apart from '13. When he first read it he was impressed mentioning it reminded of a NY Times review. We have never really delved into the break up of Sonic Youth and specifically Kim and Thurston because of one main reason...we don't want to.
In reviewing Gordon's and Moore's respective albums though it is impossible not to infer somethings into it as our Body/Head review did as well as our Chelsea Light Moving overflow review in 2013. SY shaped who we are as a music fan and person, so it is hard but we will always have the tunes, even if neither of those disks were particularly lasting.
RtBE's personal pick for our favorite review we've written for Glide is this one. It is of Kanye West's album Yeezus.
We don't particularly like the album , but feel it was/is important to hip-hop, so in turn, pop music in general. There are so few "hip-hop" beats here that it plays more as an art project then an album musically and that is incredibly interesting, if not always listenable/enjoyable. While the review may be a bit longer than I would have liked, it all needed to be said and this would be the one we showed to people who wanted to sample our writing.
As always, thanks to Glide for posting our pieces and thanks to everyone for reading.
In reviewing Gordon's and Moore's respective albums though it is impossible not to infer somethings into it as our Body/Head review did as well as our Chelsea Light Moving overflow review in 2013. SY shaped who we are as a music fan and person, so it is hard but we will always have the tunes, even if neither of those disks were particularly lasting.
RtBE's personal pick for our favorite review we've written for Glide is this one. It is of Kanye West's album Yeezus.
As always, thanks to Glide for posting our pieces and thanks to everyone for reading.
Labels:
10 Years of Glide Magazine,
glide,
hiphop,
Noiserock,
review,
RTBE Personal Favorites,
Video
Tuesday, May 22, 2012
Sazerwrap - Part 1: The Food
The Sazerwrap has been RtBE way of rounding up all the amazing things that happen down at our annual trip to Jazzfest in New Orleans. This year we spent a week in town so we will breaking the review up into a few parts. Only 11 Months until next years festival!
New Orleans means a lot to a ton of people, the culture, the art, the various music scene's and yet the one thing that seems to tie it all together is the amazing food on display at every turn in town.
Our Favorite Sazerac in town at The Carousel Bar in The Montelone |
Thursday, October 24, 2019
Album Review: Kim Gordon - No Home Record
Hey all, got a new review up @glidemag which you can read Right C'here!!!
It is of Kim Gordon's first solo release, No Home Record.
RtBE love Gordon, having followed her as the coolest lady back in the day with Sonic Youth, her work with Body/Head and are now happy to dig her first release.
It fits that she found a home in modern LA and can give her spin on the city, culture etc. through this album and hopefully beyond.
Support the artist, buy the record, read the review and peep some video below:
It is of Kim Gordon's first solo release, No Home Record.
RtBE love Gordon, having followed her as the coolest lady back in the day with Sonic Youth, her work with Body/Head and are now happy to dig her first release.
It fits that she found a home in modern LA and can give her spin on the city, culture etc. through this album and hopefully beyond.
Support the artist, buy the record, read the review and peep some video below:
Tuesday, December 11, 2018
Year In Review 2018- Top Ten Albums Part 1: The Just Misses and Let Downs
Another great year is finishing up for @RockBodElec and we wouldn't be a proper music site if we didn't end the year with a "Best Of" list, so RtBE Presents the Best of 2018 Top Ten Albums Part One: The Just Misses & Let Downs:
In the instance that RtBE has reviewed the album either on the site or somewhere else we will link to that review and just give a quick summation, just click on the name and title and you can read it. As always RtBE worked with the Glide Team to give input on the their Top 20, so expect some overlap.
Again the focus here is on full albums, not singles, but complete releases you can slap on and listen all the way through. We know these are a dying breed, but it still is the way we consume music, no shuffle or singles for RtBE.
Today we are going to focus on the "Just Misses" of our top ten and unfortunately the "Let Downs" released this year. Obviously these are just our personal preferences, feel free to voice your opinion in the comments. Expect installment 2 (#10-6) soon, but for now click on the green "Read More" below:
Again the focus here is on full albums, not singles, but complete releases you can slap on and listen all the way through. We know these are a dying breed, but it still is the way we consume music, no shuffle or singles for RtBE.
Today we are going to focus on the "Just Misses" of our top ten and unfortunately the "Let Downs" released this year. Obviously these are just our personal preferences, feel free to voice your opinion in the comments. Expect installment 2 (#10-6) soon, but for now click on the green "Read More" below:
Labels:
2018,
acoustic,
Arctic Monkeys,
Best of,
Best of 2018,
Dinosaur Jr,
Funky Stuff,
jazz,
Metal,
Noiserock,
Punk,
Screaming Females,
Soul,
year in review
Tuesday, October 1, 2019
Album Review: Burna Boy - African Giant
Burna Boy
African Giant
**** out of *****
The newest release from Nigerian singer Burna Boy (aka Damini Ogulu) is an intoxicating mix of styles, substance and sounds as all of his many influences get air time over the hour long African Giant. The Afro-Fusion artist incorporates many genres and even as things hop around from song to song the overall cohesion of the record is rewarding.
The easy flow from Burna Boy is accentuated by various focal points, the opening title track announces it's presence with an easy beat and flamenco guitar line while "Anybody" blows a saxophone with yacht rock lightness and ease, but these are not light and airy tunes. The song "Dangote" uses an odd spastic beat, trumpets and strong singing, threatening to break big, but instead stays even to describe the poverty and financial injustice. The title is the last name of the richest African Aliko Dangote who is Nigerian. The state of his country is firmly on Ogulu's mind as Nigeria history is the backbone on the soulful "Another Story" as he speaks to and for his people
The groove is central to everything here as well, tracks like on the hypnotic "Wetin Man Go Do" or the plucking/rolling ease found on "Pull Up" as these songs (and the majority of the record) were produced by Kel P while "Collateral Damage" deliver a seventies funk vibe. Damian Marley and Angelique Kidjo support on the slapping "Different" which announces the times they are a changing while there is no need to say it during the bumping "This Side" with YG.
Modern day hip-hop and R&B grooves play central roles on the get down club track "Gum Body" featuring killer lines from Jorja Smith in a frothy duet while "Omo" kicks up the dance beats and rhymes while "Killin Dem" uses minimalist warbling beats and percussion to interesting effect as Zlatan arrives rhyming with power. "Show and Tell"brings Future to help out on the Skillrex/Dre Skull produced track which pumps up the bass but both Future and Burna Boy's more aggressive style of rhyming on this effort isn't the best on the album.
Successful tracks like "Destiny", "Gbona", "On The Low" and "Spiritual" manage to infuse all of the influences into a winning mix of guitar lines, vibrant percussion, personal singing and smooth head bopping grooves never breaking loose into full on raves, more like a cool late night lounge vibes in the hippest club in the world.
While the term "world" is a shitty way to describe "non-American" music, Burna Boy has truly incorporated many modern world sounds into a common cool thread and structure. While his previously release Outside may have announced his talent to the world African Giant is leaps ahead, living up to his boastful title with aplomb.
_________________________________________________
Support the artist, buy the album and peep some video below:
Labels:
Africa,
hiphop,
Overflow Review,
reggae,
Video
Thursday, December 27, 2012
Year In Review 2012 - Top Ten Albums - Part 3 (5-1)
Another great year is finishing up for Rock The Body Electric and we wouldn't be a proper music blog if we didn't end the year with a "Best Of" list, so without further verbiage RtBE Presents it's third part of the Best of 2012 Top Ten Albums (5-1):
In the instance that RtBE has reviewed the album either on the site or somewhere else we will link to that review and just give a quick summation, just click on the name and title and you can read it. RtBE worked with the Glide Team to give input on the their Top 20 so expect some overlap. Again the focus here is on full albums, not singles, but full releases you can slap on and listen to the all the way through.
2012 was an great year, this top 5 is rock solid (as is all the ones we have mentioned so far) and worth plunking down the cheese to own the full length releases from all of these artists, some you will def know and maybe 1 or 2 you haven't heard of yet.
Without further hubbub click the read more link down there to see #5-#1 of the Top Ten Albums of 2012:
In the instance that RtBE has reviewed the album either on the site or somewhere else we will link to that review and just give a quick summation, just click on the name and title and you can read it. RtBE worked with the Glide Team to give input on the their Top 20 so expect some overlap. Again the focus here is on full albums, not singles, but full releases you can slap on and listen to the all the way through.
2012 was an great year, this top 5 is rock solid (as is all the ones we have mentioned so far) and worth plunking down the cheese to own the full length releases from all of these artists, some you will def know and maybe 1 or 2 you haven't heard of yet.
Without further hubbub click the read more link down there to see #5-#1 of the Top Ten Albums of 2012:
Labels:
Best of,
best of 2012,
Boosh,
Jack White,
NOLA,
Punk,
RTBE Personal Favorites,
Video
Wednesday, April 21, 2010
RTBE Interview with: The Loose Marbles
This will be an on going project of interviews with various artists. Today's guest: Ben Polcer, Trumpeter in The Loose Marbles.
Rock The Body Electric: When and how did The Loose Marbles get started?
Ben Polcer: The Loose Marbles band technically started in Providence, Rhode Island in 2000.. it was inactive from 2001--2006, then was reborn in NYC under the leadership of Michael Magro (clarinet) and Ben Polcer (trumpet), which it remains today. It was developed as a street band in Washington Square Park in NYC for a few months in 2006 with Peter Beirhorst (banjo), Jake Sanders (guitar), Peter Ford (box bass), and Rich Levinson (washboard). In 2007 Michael Magro and Ben Polcer relocated to New Orleans, to play on the streets through the winter. There we met up with other musicians and dancers (Kiowa Wells-- guitar, Barnabus Jones-- trombone, Jason Jurzak-- tuba/bass, Meschiya Lake-- vocals, Shaye Cohn-- piano, trumpet, Blu Beverage--tuba, Jessie Juice Man-- bass drum, Jon Gross-- tuba, Chance Bushman and Amy Johnson-- dancers, and some others)...
RTBE: Are there set members or more like a rotating cast of characters?
BP: The only real set members are Michael Magro and myself. It is a constant rotating cast of musicians, different on almost every gig.. There are members who play a good majority of the time now though. They are: John Rodli-- guitar, Robert Snow-- bass, Shaye Cohn-- piano, trumpet, Barnabus Jones--trombone, Jason Jurzak-- bass, Jon Gross-- tuba.
(Ben playing Trumpet, Piano and Percussion at the same time... not bad)
RTBE: The band has such a pure Old-time Jazz sound, yet the group is young, how did the authentic tone and sound come about?
BP: The authentic sound came from various sources. Michael studied many old New Orleans recordings of George Lewis, Albert Burbank, Bunk Johnson, Jim Robinson, etc, and molded his clarinet playing around that style, and spent some time in New Orleans. My father is a traditional jazz trumpet player, so I grew up hearing this kind of music at an early age. We decided to play this 'style' of music, and sought out other musicians who played in that vein...
RTBE: How much does the city of New Orleans influence you?
BP: The city of New Orleans has had a huge influence on the band. This kind of music is very much a part of the culture here in New Orleans, and has offered countless opportunities and inspirations that no other place could have offered. Even before we came here the music of New Orleans had affected us, through recordings, and live musicians.
RTBE: You guys seem to have two homes, NOLA and NYC, do you feel there is some sort of connection between the two cities?
BP: I think that there is a connection between NYC and NOLA, mostly because they are two places where music and more specifically, jazz music are a big part of the culture. More in NOLA nowadays. For us, they just happened to be the 2 places where we did a lot of playing, met a lot of musicians, and made many contacts. Though we live in NOLA, I was raised in NYC, and Michael in Philadelphia.
RTBE: Is it true you guys try to never charge a cover for your shows? If so how did this come about and why?
BP: It is true that we very rarely charge a cover for our shows. I think it came about because we are at heart a street band, where the music is free. Though we were not being paid by anyone, we found that if we made music for music's sake, people would give generously to us, and we could make a living off of tips and cd sales alone. Learning this lesson on the street taught us a lot about not forcing music down people's throats, and not pushing too hard for their money. We found that the more passive we were in seeking money, the more generous people would be--- and most of the clubs we play at are free to the public, just have to buy a drink. we like it that way, because music should be for everybody, not just those that can pay a cover charge.
Thanks to Ben for his time. The Loose Marbles will be playing 3 shows in and around town during Jazzfest, if you are in New Orleans be sure to catch them:
(Also be sure to just cruise around as you may catch them playing in the streets...their natural habitat)
I gotta say I was blown away when friends of mine (Ben and KP) brought me to check this group out, it was stunning, they sound like they have been playing this music together for decades and to find that they are a loose knit fellowship of like minded street musicians was shocking. Just check out my favorite YouTube Clip of the group and try NOT to be blown away...
I rest my case!
Become a fan of theirs on Facebook and try to catch them when they come to your town...or better yet head down to theirs.
All pictures were taken by RTBE (Thanks Kelli!) at The Loose Marbles 9-17-09 Show at Radegast Biergarten Williamsburg, Brooklyn
Rock The Body Electric: When and how did The Loose Marbles get started?
Ben Polcer: The Loose Marbles band technically started in Providence, Rhode Island in 2000.. it was inactive from 2001--2006, then was reborn in NYC under the leadership of Michael Magro (clarinet) and Ben Polcer (trumpet), which it remains today. It was developed as a street band in Washington Square Park in NYC for a few months in 2006 with Peter Beirhorst (banjo), Jake Sanders (guitar), Peter Ford (box bass), and Rich Levinson (washboard). In 2007 Michael Magro and Ben Polcer relocated to New Orleans, to play on the streets through the winter. There we met up with other musicians and dancers (Kiowa Wells-- guitar, Barnabus Jones-- trombone, Jason Jurzak-- tuba/bass, Meschiya Lake-- vocals, Shaye Cohn-- piano, trumpet, Blu Beverage--tuba, Jessie Juice Man-- bass drum, Jon Gross-- tuba, Chance Bushman and Amy Johnson-- dancers, and some others)...
RTBE: Are there set members or more like a rotating cast of characters?
BP: The only real set members are Michael Magro and myself. It is a constant rotating cast of musicians, different on almost every gig.. There are members who play a good majority of the time now though. They are: John Rodli-- guitar, Robert Snow-- bass, Shaye Cohn-- piano, trumpet, Barnabus Jones--trombone, Jason Jurzak-- bass, Jon Gross-- tuba.
(Ben playing Trumpet, Piano and Percussion at the same time... not bad)
RTBE: The band has such a pure Old-time Jazz sound, yet the group is young, how did the authentic tone and sound come about?
BP: The authentic sound came from various sources. Michael studied many old New Orleans recordings of George Lewis, Albert Burbank, Bunk Johnson, Jim Robinson, etc, and molded his clarinet playing around that style, and spent some time in New Orleans. My father is a traditional jazz trumpet player, so I grew up hearing this kind of music at an early age. We decided to play this 'style' of music, and sought out other musicians who played in that vein...
RTBE: How much does the city of New Orleans influence you?
BP: The city of New Orleans has had a huge influence on the band. This kind of music is very much a part of the culture here in New Orleans, and has offered countless opportunities and inspirations that no other place could have offered. Even before we came here the music of New Orleans had affected us, through recordings, and live musicians.
RTBE: You guys seem to have two homes, NOLA and NYC, do you feel there is some sort of connection between the two cities?
BP: I think that there is a connection between NYC and NOLA, mostly because they are two places where music and more specifically, jazz music are a big part of the culture. More in NOLA nowadays. For us, they just happened to be the 2 places where we did a lot of playing, met a lot of musicians, and made many contacts. Though we live in NOLA, I was raised in NYC, and Michael in Philadelphia.
RTBE: Is it true you guys try to never charge a cover for your shows? If so how did this come about and why?
BP: It is true that we very rarely charge a cover for our shows. I think it came about because we are at heart a street band, where the music is free. Though we were not being paid by anyone, we found that if we made music for music's sake, people would give generously to us, and we could make a living off of tips and cd sales alone. Learning this lesson on the street taught us a lot about not forcing music down people's throats, and not pushing too hard for their money. We found that the more passive we were in seeking money, the more generous people would be--- and most of the clubs we play at are free to the public, just have to buy a drink. we like it that way, because music should be for everybody, not just those that can pay a cover charge.
Thanks to Ben for his time. The Loose Marbles will be playing 3 shows in and around town during Jazzfest, if you are in New Orleans be sure to catch them:
- preservation hall
st.peter (french quarter)
Friday, April 23 at 11:30pm - new orleans jazz fest
economy hall
Thursday, April 29 at 12:25pm - Marbles at the WWII museum
945 magazine (new orleans)
Saturday, May 8 at 9:00pm
I gotta say I was blown away when friends of mine (Ben and KP) brought me to check this group out, it was stunning, they sound like they have been playing this music together for decades and to find that they are a loose knit fellowship of like minded street musicians was shocking. Just check out my favorite YouTube Clip of the group and try NOT to be blown away...
I rest my case!
Become a fan of theirs on Facebook and try to catch them when they come to your town...or better yet head down to theirs.
All pictures were taken by RTBE (Thanks Kelli!) at The Loose Marbles 9-17-09 Show at Radegast Biergarten Williamsburg, Brooklyn
Wednesday, November 27, 2024
Album Review: Kim Deal - Nobody Loves You More
Hey all, got a new review up @glidemag which you can read Right C'Here!!!
A solid album of various styles that seemed to live in Deal's head for a while. Amazing album art.
Thursday, July 12, 2012
RtBE Interview: The Wait Part 1
It is our pleasure to have had the recent opportunity to connect with a band who we saw years ago and who are strapping it on again for a reunion show this summer, The Wait.
A "must catch live" in the Capital District music scene while they were active, The Wait bring an earthy sense of groove to rock and roll but are never afraid to experiment with electronics or get loud and noisy when the mood calls for it.
Frontman Brendan Pendergast was kind enough to give us some time and partake in a RTBE Interview which we have broken into 2 parts, part 1 is below...and don't forget to check out The Wait, July 21st at Putnam Den in Saratoga Springs for their reunion show.
Rock The Body Electric: For those unfamiliar with The Wait can you tell us about the bands history?
Brendan Pendergast, Lead Singer: The band formed (sort of unofficially) back in the early 90's during Junior High School. Art (drums) and Scott (guitar) were close friends and lived across the street from each other. They were messing around with the idea of forming a band, when a friend recommended they give me a shot at being the singer. We got together in Art's parents basement and rehearsed a handful of Top 40 Alternative type covers. Almost immediately we embraced the idea of writing and recording our own music - pretty ambitious for a bunch kids, but we really liked playing together and sensed a lot of potential. Within a year or two we were playing high school talent shows and dances, and after a few lineup changes, we entered the club scene in Albany, NY.
RTBE: What prompted this summers show?
Brendan Pendergast: The Wait have only played together one time since we called it quits back in 2005. There was a reunion gig planned a couple years ago, but the plans fell through. When Keith (guitar) approached us a few months ago about opening a show for another one of his bands this summer, I think we all pretty much jumped at the opportunity. It's an added bonus that we're on a bill with our friends, Five Alpha Beatdown, and that we get to play in Saratoga Springs during the opening weekend of the harness track. There should be a lot of friendly, familiar faces in the crowd.
RTBE: You developed a respectable fanbase while active, and were known as a Capitol Area "must see", what is it that draws fans and you guys to the live playing experience?
BP: In my estimation, there were a few factors to our "success". First, we rehearsed a ton. In the end, I think excessive rehearsal drove us all a little crazy. But, we were a very tight band and could play the shit out of our songs. We weren't exactly reinventing the wheel with any of our music, but what we did we did well and took pride in it.
Secondly, we were supported and championed by some important people in Albany's music scene. Dominick Campana, our friend and producer, had run an indie label prior to recording our debut album. He'd made a lot of connections and knew what it took to get recognized. He pitched the album to the program director of 102.7 WEQX and talked us up amongst his musician friends.
As a result, we received some heavy radio rotation and landed the opening slot on a few great bills with local favorites and national bands stopping to gig in Albany. Thirdly, we had the support of great friends and family who always turned out for shows. There's a line from a Soul Asylum song that goes, "Nothing attracts a crow like a crowd." I personally think that was true in our case. There was a small, devoted, core following of folks who would drag their friends to our shows and encourage people to listen to our music. Their passion and patience made us seem cooler and more legitimate than we probably were. As a result, I think people got behind us and maybe rooted for us more than they typically would have for an unsigned band. Just a theory, though - I could be completely wrong. Ask the other guys and they'll probably tell you a different story.
RTBE: You guys got together and played Lark Fest in 2005 which must have been a high point, were there any other shows that stand out?
BP: Actually, that Lark Fest experience was bitter sweet. It was our last show together before splitting up. Prior to the festival, we had some unintentional friction with the radio station sponsoring the event, so we were given the very, um....dubious honor...of opening show at 10:30in the morning. It was great to have both Ryan and Keith, who'd stepped for Ryan when he left the band a few years prior, on stage at the same time, but sad that we went out with such a whimper. In a way, that Lark Fest show was poetic or symbolic of our experience as a band - we played great, looked odd, and performed to fewer people than we would have liked. A fitting end, I suppose.
Other than that, there are a few great shows that come to mind. We once opened for Superdrag on Halloween in Albany. We dressed in drag, except Mark, who dressed up like our pimp. Halloween is Mark's birthday. Art had purchased him a bottle of JD to celebrate. Before the show, John Davis of Superdrag, who hailed from Memphis, proudly announced, "back home [we] call this 'Tennessee tap water'", and proceeded to take a few huge swills off the bottle with no hesitation or pain. It was simultaneously so rock 'n roll cliche, astonishing, and kinda scary. Not surprisingly, a few years later Mr. Davis hit up rehab and found Jesus.
Another fun one was a battle of the bands type thing outside of Poughkeepsie back in 2000. Attached to the front of the stage was a giant, inflatable Budweiser bottle. We all were a bit put off by this massive obstruction fastened to the stage by a corporate sponsor, blocking the view of the bands from the crowd. During our set I started to get more and more annoyed by this massive blow-up bottle positioned directly in front of Scott. As you can imagine, it's hard enough to feel like a rock star at a battle of the bands in Poughkeepsie. Throw in a giant, distracting bottle of Bud in front of the band and it's even more soul crushing. Toward the end of the set we launched in to Iggy and The Stooges' "Search and Destroy".
In what I thought would be a really apropos fit of punk rage, I decided the bottle had to go, and jumped on it. Little did I know that the only thing keeping it inflated was a shitty little fan. Needless to say, it was not prepared to support the impact of an angry front man jumping on it. The thing instantly collapsed, as did the jackass atop it. I tumbled probably 10 feet to the ground and busted my elbow on impact. Whoops. Silver lining: I learned a couple valuable lessons that day. First, I'm not even remotely punk. Second, it doesn't pay to take on a corporate titan, even in the form of an inflated bottle. And three, never agree to play a battle of the bands. In case you're curious, a rap-metal band finished ahead of us in the voting, then got a mob of their genuinely irate and under-educated knuckle head fans to nearly start a riot when they didn't take home the trophy. Good times.
We opened for Fuel at the Palace Theater in Albany around Christmas one year. It should have been a thrill to play for a couple thousand people in a really cool old venue. Unfortunately someone told Fuel that they were important or something, and it went to their heads. First, they demanded absolutely no one outside of their crew be allowed in the theater during their sound check, because, you know, some rock 'n roll super sleuth may have been hanging around waiting for an ultimately forgettable band like Fuel to accidentally surrender the formula to becoming a modest commercial success. Consequently, we stood outside in the freezing cold with all of our gear for a ridiculously long time. Later, they had one of their bodyguards (cousins?) threaten to break a friend's camera if he took pictures of the band without their permission. Finally, their lead singer took the stage in...I shit you not...a Brett Michaels inspired cowboy hat, leather trench coat, and pink boa. So, yeah, that happened. Surprisingly, the look never became as iconic as Bono's shades or the Beatles' mop tops.
Stay Tuned for Part 2 and remember to catch The Wait live on July 21st at Putnam Den in Saratoga Springs....
A "must catch live" in the Capital District music scene while they were active, The Wait bring an earthy sense of groove to rock and roll but are never afraid to experiment with electronics or get loud and noisy when the mood calls for it.
Frontman Brendan Pendergast was kind enough to give us some time and partake in a RTBE Interview which we have broken into 2 parts, part 1 is below...and don't forget to check out The Wait, July 21st at Putnam Den in Saratoga Springs for their reunion show.
Rock The Body Electric: For those unfamiliar with The Wait can you tell us about the bands history?
Brendan Pendergast, Lead Singer: The band formed (sort of unofficially) back in the early 90's during Junior High School. Art (drums) and Scott (guitar) were close friends and lived across the street from each other. They were messing around with the idea of forming a band, when a friend recommended they give me a shot at being the singer. We got together in Art's parents basement and rehearsed a handful of Top 40 Alternative type covers. Almost immediately we embraced the idea of writing and recording our own music - pretty ambitious for a bunch kids, but we really liked playing together and sensed a lot of potential. Within a year or two we were playing high school talent shows and dances, and after a few lineup changes, we entered the club scene in Albany, NY.
RTBE: What prompted this summers show?
Brendan Pendergast: The Wait have only played together one time since we called it quits back in 2005. There was a reunion gig planned a couple years ago, but the plans fell through. When Keith (guitar) approached us a few months ago about opening a show for another one of his bands this summer, I think we all pretty much jumped at the opportunity. It's an added bonus that we're on a bill with our friends, Five Alpha Beatdown, and that we get to play in Saratoga Springs during the opening weekend of the harness track. There should be a lot of friendly, familiar faces in the crowd.
RTBE: You developed a respectable fanbase while active, and were known as a Capitol Area "must see", what is it that draws fans and you guys to the live playing experience?
BP: In my estimation, there were a few factors to our "success". First, we rehearsed a ton. In the end, I think excessive rehearsal drove us all a little crazy. But, we were a very tight band and could play the shit out of our songs. We weren't exactly reinventing the wheel with any of our music, but what we did we did well and took pride in it.
Secondly, we were supported and championed by some important people in Albany's music scene. Dominick Campana, our friend and producer, had run an indie label prior to recording our debut album. He'd made a lot of connections and knew what it took to get recognized. He pitched the album to the program director of 102.7 WEQX and talked us up amongst his musician friends.
As a result, we received some heavy radio rotation and landed the opening slot on a few great bills with local favorites and national bands stopping to gig in Albany. Thirdly, we had the support of great friends and family who always turned out for shows. There's a line from a Soul Asylum song that goes, "Nothing attracts a crow like a crowd." I personally think that was true in our case. There was a small, devoted, core following of folks who would drag their friends to our shows and encourage people to listen to our music. Their passion and patience made us seem cooler and more legitimate than we probably were. As a result, I think people got behind us and maybe rooted for us more than they typically would have for an unsigned band. Just a theory, though - I could be completely wrong. Ask the other guys and they'll probably tell you a different story.
RTBE: You guys got together and played Lark Fest in 2005 which must have been a high point, were there any other shows that stand out?
BP: Actually, that Lark Fest experience was bitter sweet. It was our last show together before splitting up. Prior to the festival, we had some unintentional friction with the radio station sponsoring the event, so we were given the very, um....dubious honor...of opening show at 10:30in the morning. It was great to have both Ryan and Keith, who'd stepped for Ryan when he left the band a few years prior, on stage at the same time, but sad that we went out with such a whimper. In a way, that Lark Fest show was poetic or symbolic of our experience as a band - we played great, looked odd, and performed to fewer people than we would have liked. A fitting end, I suppose.
Other than that, there are a few great shows that come to mind. We once opened for Superdrag on Halloween in Albany. We dressed in drag, except Mark, who dressed up like our pimp. Halloween is Mark's birthday. Art had purchased him a bottle of JD to celebrate. Before the show, John Davis of Superdrag, who hailed from Memphis, proudly announced, "back home [we] call this 'Tennessee tap water'", and proceeded to take a few huge swills off the bottle with no hesitation or pain. It was simultaneously so rock 'n roll cliche, astonishing, and kinda scary. Not surprisingly, a few years later Mr. Davis hit up rehab and found Jesus.
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John Davis and Superdrag |
In what I thought would be a really apropos fit of punk rage, I decided the bottle had to go, and jumped on it. Little did I know that the only thing keeping it inflated was a shitty little fan. Needless to say, it was not prepared to support the impact of an angry front man jumping on it. The thing instantly collapsed, as did the jackass atop it. I tumbled probably 10 feet to the ground and busted my elbow on impact. Whoops. Silver lining: I learned a couple valuable lessons that day. First, I'm not even remotely punk. Second, it doesn't pay to take on a corporate titan, even in the form of an inflated bottle. And three, never agree to play a battle of the bands. In case you're curious, a rap-metal band finished ahead of us in the voting, then got a mob of their genuinely irate and under-educated knuckle head fans to nearly start a riot when they didn't take home the trophy. Good times.
We opened for Fuel at the Palace Theater in Albany around Christmas one year. It should have been a thrill to play for a couple thousand people in a really cool old venue. Unfortunately someone told Fuel that they were important or something, and it went to their heads. First, they demanded absolutely no one outside of their crew be allowed in the theater during their sound check, because, you know, some rock 'n roll super sleuth may have been hanging around waiting for an ultimately forgettable band like Fuel to accidentally surrender the formula to becoming a modest commercial success. Consequently, we stood outside in the freezing cold with all of our gear for a ridiculously long time. Later, they had one of their bodyguards (cousins?) threaten to break a friend's camera if he took pictures of the band without their permission. Finally, their lead singer took the stage in...I shit you not...a Brett Michaels inspired cowboy hat, leather trench coat, and pink boa. So, yeah, that happened. Surprisingly, the look never became as iconic as Bono's shades or the Beatles' mop tops.
Stay Tuned for Part 2 and remember to catch The Wait live on July 21st at Putnam Den in Saratoga Springs....
Tuesday, July 25, 2017
Album Review: Public Enemy - Nothing Is Quick In The Desert
Public Enemy
Nothing Is Quick In The Desert (Except Death)
***and1/2 out of *****
There has been a lot of what the public calls "Dad Hip-Hop" coming out lately and while some of it is from artists re-establishing themselves or trying to turn back the clock, Public Enemy who have nothing left to prove, decided to drop a free album on the 4th of July for their fans to celebrate 30 years in the business.The business is very much on Chuck D's mind as he stated in regards to the title:
"It looks dead like a desert. But there's plenty of life in the desert when one is educated on what they see and hear. There, a cactus absorbs and stores water deep in its root, taken from the air itself and certain creatures thrive in that dry heat whereas the average cannot. It pays to be above average (or well below it) in the desert for survival. The music industry is similar in that analogy. It's still in motion, it just needs redefinition."So the free offer may be more than a PR Stunt as the group struggles to reach an audience, RtBE are fans of PE and even we didn't know they dropped albums in 2015 and 2012. Whatever the means of getting the disk out, the group seems inspired, crafting an album that bangs, rocking hard while dealing with social issues and culture in general.
The most impressive thing about the groups 14th studio album is that it is just that, a full album. Sequenced and performed/produced to flow directly from one track into the other it's seamless playing works wonderfully from the first track. Ever since the beginning Chuck D wanted to be the activist Mick Jagger fronting a rock band and in recent years PE has gone almost all live (with the excellent DJ Lord) while performing with multiple guitars and drummers. For Chuck and company this makes perfect sense after their recent jaunt into Prophets of Rage.
That musicality is instantly evident as guitars and beats mix with drum breaks and bass drops. "sPEak" is a call to action after a slow title track sets the scene and "Yesterday Man" calls out to many of today's culture touchstones Kanye and Klan included. From these openers to the old school "Rest In Beats Parts 1 & 2" the albums excellent closing in memoriam track that calls out all the lost artists, the group is locked in and loaded for big game.
While other older MC's (Big Boi in particular) sound just as fresh vocally as they did years ago, Chuck D does not. There is clear age in his delivery however, his voice was never his strongest attribute, it was what he was saying and that stays the same as he calls out a long list of issues he wants to deal with. The guests also help out the vocal sound, as everyone from Ice-T, PMD, Easy Mo Bee, Sammy Vegas and Solé show up to add some unique vocal styling behind the SW1/Bomb Squad assault rifle sound.
The whole album should be listened to but there are a few standout tracks that elevate the concept album (Chuck mentioned Paul's Boutique and Death Certificate as inspirations). "Smash The Crowd" is a aggressive party-is-over jam that bobs and weaves with metal guitar, a perfect song for Body Count front man Ice-T to help out on while perhaps the disk highlight is "SOC MED Digital Heroin". Guests galore bring the sound of PE into the now and deals with a digital culture in a funky as fuck way, tons of samples, riffs and beats color the background while MC's shake their damn head at internet/social media woes leading to inaction.
There are some stumbles, "Toxic" has lines that feel forced while "If You Can't Beat Em Join Em" drags in the middle but on the whole this is an unexpectedly rock solid album from the Hip-Hop Heroes and Rock and Roll Hall of Famers. Never count legends out...
_______________________________________________________________
Color RtBE surprised, as we listened to a lot of hip-hop this month, and if you would have told us the newest Public Enemy was going to be our favorite we would have laughed. This is a really good disk that deserves to be heard.
Support the band, buy the album, peep some video:
Labels:
hiphop,
Overflow Review,
RTBE Personal Favorites,
Video
Tuesday, December 24, 2013
Year In Review 2013 - Top Ten Albums - Part 3 (5-1)
Another great year is finishing up for Rock The Body Electric and we wouldn't be a proper music site if we didn't end the year with a "Best Of" list, so without further verbiage RtBE Presents it's third part of the Best of 2013 Top Ten Albums (5-1):
In the instance that RtBE has reviewed the album either on the site or somewhere else we will link to that review and just give a quick summation, just click on the name and title and you can read it. RtBE worked with the Glide Team to give input on the their Top 20 so expect some overlap. Again the focus here is on full albums, not singles, but full releases you can slap on and listen to the all the way through.
This year was a bit of a down year for us, but we got a few that we feel we will still be reaching for many years down the road. While not as bountiful as 2012 these are all great albums and worth your time, energy and hard earned ducets, capped by a trio of animal's:
In the instance that RtBE has reviewed the album either on the site or somewhere else we will link to that review and just give a quick summation, just click on the name and title and you can read it. RtBE worked with the Glide Team to give input on the their Top 20 so expect some overlap. Again the focus here is on full albums, not singles, but full releases you can slap on and listen to the all the way through.
This year was a bit of a down year for us, but we got a few that we feel we will still be reaching for many years down the road. While not as bountiful as 2012 these are all great albums and worth your time, energy and hard earned ducets, capped by a trio of animal's:
Labels:
Arctic Monkeys,
Best of,
best of 2013,
Boosh,
Dr.Dog,
hiphop,
Noiserock,
NYC,
RTBE Personal Favorites,
Video
Monday, November 15, 2010
Monday Dead 2-23-1993 Oakland, CA
This Monday we are picking a a show from a year we haven't touched upon yet here at Rock The Body Electric...1993. Not the best of years from the fellas as the end was pretty near, but that doesn't mean there aren't any high points, and this is one...
Mardi Gras 2-23-1993 in Oakland California. Click that link or listen right c'here:
This recording is spot on, if a bit sterile, but it sounds straight from the Soundboard. The bass sound is pretty loose and piano is pretty high in the mix as well, with Vince Welnick twinkling the ivories very admirably on this night. The first set is pretty standard 90's style Dead, not much energy but lucid excursions. They were never in a hurry to do much of anything towards the end, but "Loser" benefits from this slow pacing. "Way To Go Home" and "Stuck Inside A Mobile..." are skippable, but the first does hold one little treasure, the bands first ever performance of "Broken Arrow". It is fun to hear Phil sing this Robbie Robertson song, the Dead pulled this one out quite a bit in it's last few years, and I am a sucker for it. One of my favorite Phil and Friends shows has a fun version of it, and the Dead even played it when they sung through Albany a month after today's show:
"Johnny B Goode" ends the set on a high note, letting Jerry shred a bit before the band breaks, returning with the Mardi Gras tradition of Drums into "Iko Iko".
The first part of the second set is a bit weak in my opinion, I could do without "Corrina" and this Lazy River Road is average at best, but things really start to come together when the band dips into "Playing In The Band". The drums and the digeridoo come out with Ornette Coleman and Graham Wiggins, and here is what set this show apart.
The Godfather of Free Jazz and the the Dead seem like a perfect fit, but Ornette Coleman only played with the group twice in 1993, this being the first and the better of the 2 shows. While the Dead were in obvious decline, Ornette was just starting a rebirth, he put out a bunch of albums in the 90's and started to be recognized more and more for his greatness. While it would have been epic for them to jam at both of their peaks, this is a pretty fun excursion. Things start off with "Space" as both prties are well accustomed to performing without a net in the sonic realms. Garcia in particular loves this combo and gets freaky with his tone as he chases Ornette who is rolling out saxophone licks. Garcia actually played with Ornette on his Virgin Beauty album in 88 so the two had been friends and musically connected.
As things start to coalesce with the musicians the rhythm boys want to have some fun so they start pumping the low end for "The Other One" which leads to some fireworks. The scrambling to start the song moves the band in multiple directions with squawks from the sax branching out this is not your ordinary "Other One" with it's building peaks that soar higher and higher; a uniquely excellent version of this song. "Stella Blue" manages to sound revolutionary and triumphant, the tune is expertly adjusted to by Coleman, ideally a mix that downplayed Vince a bit and amped Coleman would be ideal, but this is what we have. The "Lovelight" is simply one of the best post-Pigpen versions that is out there. The encore of "Brokedown Palace" is dynamite and just dominates with Coleman's blowing presence.
You can download the Ornette section, which makes this show special, right c'here. Happy Grateful Dead Monday with a saxophone twist...here's some Ornette for the road, "Dancing In Your Head":
Mardi Gras 2-23-1993 in Oakland California. Click that link or listen right c'here:
This recording is spot on, if a bit sterile, but it sounds straight from the Soundboard. The bass sound is pretty loose and piano is pretty high in the mix as well, with Vince Welnick twinkling the ivories very admirably on this night. The first set is pretty standard 90's style Dead, not much energy but lucid excursions. They were never in a hurry to do much of anything towards the end, but "Loser" benefits from this slow pacing. "Way To Go Home" and "Stuck Inside A Mobile..." are skippable, but the first does hold one little treasure, the bands first ever performance of "Broken Arrow". It is fun to hear Phil sing this Robbie Robertson song, the Dead pulled this one out quite a bit in it's last few years, and I am a sucker for it. One of my favorite Phil and Friends shows has a fun version of it, and the Dead even played it when they sung through Albany a month after today's show:
"Johnny B Goode" ends the set on a high note, letting Jerry shred a bit before the band breaks, returning with the Mardi Gras tradition of Drums into "Iko Iko".
The first part of the second set is a bit weak in my opinion, I could do without "Corrina" and this Lazy River Road is average at best, but things really start to come together when the band dips into "Playing In The Band". The drums and the digeridoo come out with Ornette Coleman and Graham Wiggins, and here is what set this show apart.
The Godfather of Free Jazz and the the Dead seem like a perfect fit, but Ornette Coleman only played with the group twice in 1993, this being the first and the better of the 2 shows. While the Dead were in obvious decline, Ornette was just starting a rebirth, he put out a bunch of albums in the 90's and started to be recognized more and more for his greatness. While it would have been epic for them to jam at both of their peaks, this is a pretty fun excursion. Things start off with "Space" as both prties are well accustomed to performing without a net in the sonic realms. Garcia in particular loves this combo and gets freaky with his tone as he chases Ornette who is rolling out saxophone licks. Garcia actually played with Ornette on his Virgin Beauty album in 88 so the two had been friends and musically connected.
As things start to coalesce with the musicians the rhythm boys want to have some fun so they start pumping the low end for "The Other One" which leads to some fireworks. The scrambling to start the song moves the band in multiple directions with squawks from the sax branching out this is not your ordinary "Other One" with it's building peaks that soar higher and higher; a uniquely excellent version of this song. "Stella Blue" manages to sound revolutionary and triumphant, the tune is expertly adjusted to by Coleman, ideally a mix that downplayed Vince a bit and amped Coleman would be ideal, but this is what we have. The "Lovelight" is simply one of the best post-Pigpen versions that is out there. The encore of "Brokedown Palace" is dynamite and just dominates with Coleman's blowing presence.
You can download the Ornette section, which makes this show special, right c'here. Happy Grateful Dead Monday with a saxophone twist...here's some Ornette for the road, "Dancing In Your Head":
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