Damn you, Goth intern!

Snork! I almost want to tag this, but I'm still lovin' my ice weasels.

Anyone interested in a free download from the not yet released TV on the Radio album can get it from their label's site: Dry Drunk Emperor.

It's really good - and doesn't sound too similar to their last album at all.

The last few weeks I have been weeding the 6000 songs on my iPod with absolutely no sentimentality or respect toward the sanctity of complete albums. I'd wanted to do this for a while and I am glad I finally started. It's liberating and fun. It can't be overstated how much this thing has totally changed what I listen to and how I listen to it.

This is sarcasm, right?

Just jokingly stating the obvious. I don't think Pavement are Fall copyists, though, of course, they've never been afraid of acknowledging their influences. Another video they showed was "Teenage Riot" by SY, and it's nothing but a big lovefest for their heroes including a snippet of Mark E., Pee Wee Herman, Tom Waits and Patti Smith.

between "Band of Gypsies is the best Hendrix Album because it is the funkiest"

Really? I don't know anybody that makes that claim these days. Not since the Black Panthers stopped their school lunch program. Mitch Mitchell is the fleet-handed, Elvin Jones lovin' man!

and "Neil Young is the sole '60s hero who really got Punk".

Grace Slick did a show in Germany in full Gestapo outfit and a Hitler-moustache. She did another show in blackface. Grace was wacky.

From Nerve's Neil Gaiman/Dave McKean interview:

Nerve: I certainly remember watching [Labyrinth and Dark Crystal].
Neil: What I'm hoping that the you of today, the eleven- and twelve-year-old girls, the fourteen- and fifteen-year-olds, maybe they'll fantasize about strange beardy men with rubber masks in the same way that your generation fantasized about the incredible, peculiar bulge in David Bowie's trousers.

Nerve: Excuse me?
Neil: We once saw the unedited rough cut of Labyrinth, which included a ten-minute cut of "Dance the Magic Dance," which was the single most embarrassing thing—
Dave: That David Bowie has ever committed to film.
Neil: We were amazed it was so tightly edited to the two-and-a-half not-embarrassing minute routine that you see.

I don't know anybody that makes that claim these days.

I won't make it either, but I will say that BoG's "Machine Gun" is as good as anything in his ouevre. (The two versions on Live at Fillmore East are good, but don't even start to measure up. There's a reason why that take was the issued one. Not clear why they left off "Hear My Train a Comin'" though.)

I can never think about "Band of Gypsys" without thinking of "King Suckerman" and Rasheed and Marcus fighting about it being in Rock or Soul. Which is probably the sort of thing that kept a Music thread open for a year without my making a meaningful contribution to it, actually.

Oh come on, joe, I thought for sure I'd get you talking about Mitch Mitchell with that bait.

I hate to shred whatever iota of indie cred I have left, but I never have been all that into The Fall.

Is there one of their albums I should listen to in order to "get it?"

Is there one of their albums I should listen to in order to "get it?"

I like This Nation's Saving Grace. "Cruiser's Creek" is a toe-tapper..uh, and it's added on the reissue.

I thought for sure I'd get you talking about Mitch Mitchell with that bait.

I'd take Mitch Mitchell over Buddy Miles if for no other reason than he didn't want to grab the mic from Hendrix. Ditto for taking Billy Cox instead of Noel Redding.

I'm a huge Hendrix fan, but I'm far from indiscriminate. It's great to have the live stuff because he was capable of mindblowing stuff on stage, but I prefer his studio work. Part of his genius was his craftsmanship. I love his attention to detail (e.g., the multiple guitar lines in "Nightbird Flying") and his use of the studio as part of his overall design, not just a quiet place to record something. Which is of a piece with his approach to the guitar: it's all about sound for him. The studio was a) another instrument extending his sonic options, b) a place for experimentation, especially for blending sounds to get new ones, and c) a place to take all that and shape it into what he was hearing in his head. That was practically Hendrix's mantra, "I can hear these sounds in my head; I just need to figure out how to make them." His ambitions were grand, and good as he was live, the studio gave him a better chance of getting those sounds out of his head and into the world. Would that he had lived and the Gil Evans collaboration taken place! Forget Mitch Mitchell, I want to hear him with Tony Williams. Would it have worked? Maybe, maybe not, but I'd love to hear it in part because I know that whatever I imagine it would sound like I would be wrong.

Is there one of their albums I should listen to in order to "get it?"

Just listen to their song "Totally Wired" on repeat. It don't get any better.