ballade de johnny-jane ジョニーとジェーンのバラード

洋楽の紹介! johnny:rock,singer-songwriter,folk, acoustic,electronic jane: female vocalists

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omg best album ever: Fest 2012
09-18 08:46

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Deerhunter Debut New Songs at NoisePop
Mar 2nd '09 stereogum page
Earlier we posted a couple new songs St. Vincent debuted at NoisePop last week. The folks at Wolfgang’s Vault captured Deerhunter’s set in its entirety from “Born To Run” to a bits from Cryptograms and Microcastle through to the extended exeunt, which marks the final or four new tracks. One of the newbies, the spare, marching-paced “Famous Last Words,” is maybe the closest you’ll ever come (maybe) to hearing Deerhunter do a Strokes song. As a bit of local flavor, toward the end of the performance, Harvey Milk gets a “Hazel St.” dedication. “Never Stops” is in there, of course. The set’s over 50 minutes long, so sit back and let Deerhunter soundtrack the snowdrifts outside your window.

Song List
Intro + Cryptograms
Disappearing Ink
Rainwater Cassette Exchange
Never Stops
Spring Hall Convert
Nothing Ever Happened
Famous Last Words
Saved By Old Times
Cover Me (Slowly) + Agoraphobia
Hazel St.


Category :  johnny (rock,ambient etc...)
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Album: Native Speaker (2011)

Musical style and influences wikipedia Native Speaker (album)
The band’s way of mixing pop and avant-guard met with much critical acclaim. "Braids' uniquely feminine experimental pop is largely a success", argued AllMusic, mentioning Animal Collective, Björk, Karen O, Cocteau Twins, Siouxsie Sioux, and Yeasayer as possible influences.According to Spin, the album "pairs glimmering, pastoral post-rock with foul-mouthed lyrics", making this girl's psyche preparation a fascinating thing to watch."This is a band that is all about abstraction, experimentation and, most important, obfuscation", Prefix reviewer remarked.Pitchfork spoke of peculiarity of the quartet's brand of "dream-pop". "There are dreams, there are nightmares, and then there are those night visions that don't quite qualify as either, the unnerving images and dialogues that rattle about your head in your waking life for the rest of the day and reveal strange, forgotten details every time you pick at them. That's the kind of stuff we need to be talking about if we're going to call Braids "dream-pop" as so many others have", according to reviewer Ian Cohen.
As Rolling Stone put it, the band's debut "takes the beatific psychedelic washes of Animal Collective back to the testy clatter of punk-folk wild women the Raincoats — an at times nutty, at times serene, mash-up of pastoral guitar babble, minimal orchestral drones, loopy chorale vocals and porous, roiling rhythms". Asked if the band wasn't yet sick of the Animal Collective comparisons, Raphaelle Standell-Preston said: "Not at all. We were 17 when we first discovered the records Feels. We would go to parties and end up just sitting in the car and listening to Feels instead of going inside". Explaining the Sylvia Plath reference in the track "Plath Heart", the singer said: "My mother, who's a writer, did her thesis on The Bell Jar, so that's a novel I grew up with. Plath was a big influence on me when I was younger and feeling a bit morose and dark. As I'm getting older I'm like Jesus, Sylvia, lighten up".


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npr_music_logo_174x46.png Page here
"Listen to that Duquesne whistle blowing," Dylan importunes, the burr in his voice recalling none so much as Louis Armstrong. "Blowing like it's gonna sweep my world away." The verses, co-written with old friend Robert Hunter, are typically mysterious and playful. This could be the same train Dylan took with The Band in "Lo + Behold!": as in that song from The Basement Tapes, something strange, raucous and scary is happening. And like that older iron horse, this one runs through Pittsburgh and seems to be carrying a very attractive lady. Maybe it's on the rails to heartbreak or disaster, or a new industrial age. Or maybe the song's just a sly tribute to Earl "Fatha" Hines, the jazz great whose stride piano would have fit perfectly in this arrangement, and who was born in Duquesne in 1903.

Let the Dylanologists figure out what the song's "real" story may be. The real real story unfolds through its delicious rhythms and in that unshakeable whistle — and the loquacious vivaciousness of Dylan's voice. He and his crew really get the floorboards rocking. We still need saloon songs like this one.


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Pete Doherty - Live Medley - 09-02-12 Atlantico Live, Rome (GLasstudios71): @youtube
09-11 17:00

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9.2 2012 - A Perfect Day Festival - Castello Scaligero - Villafranca di Verona - Sigur Ros in concert


Page here


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Rudolph "Rudy" Toombs wikipedia
Rudolph "Rudy" Toombs (born between 1914 and 1920 – November 28, 1962), born in Monroe, Louisiana, was an American black songwriter who wrote "Teardrops from My Eyes", Ruth Brown's first number one R&B successful song. He wrote more successes for Brown, including "5-10-15 Hours" as well as "One Mint Julep" for The Clovers.

Some of Toombs best known songs are listed below:
"Teardrops from My Eyes" a hit for Ruth Brown
"One Mint Julep" (sung by The Clovers, went to number one on the charts in 1951)
"5-10-15 Hours" (sung by Ruth Brown, finished number one R&B in 1951)
"One Scotch, One Bourbon, One Beer", written for Amos Milburn and covered by John Lee Hooker, George Thorogood and the Destroyers, and in the television series Glee among others.
"Thinking and Drinking"
"Gum Drop", a hit for The Crew-Cuts in 1955.
"I'm Shakin'", a hit for Little Willie John, and later performed by Jack White
"Lonesome River Blues"
"I Cried and Cried"
"I Get a Thrill"
"It Hurts To Be in Love" for Frankie Lymon and the Teenagers

His songs (apart from those recordings listed above) have been sung by the following artists:
Amos Milburn
Hank Ballard
Freddy King
Ella Mae Morse
Otis Williams and the Charms
The Orioles
James Brown
Big Joe Turner
Louis Jordan
Pat Boone
Wynonie Harris
Hank Snow
Johnny "Guitar" Watson
Betty Everett
Frankie Laine
The Five Keys
Albert King
Bill Haley & His Comets
The Blasters
Jack White

William Edward John wikipedia
William Edward John (November 15, 1937 - May 26, 1968), better known by his stage name Little Willie John, was an American R&B singer who performed in the 1950s and early 1960s. Many sources erroneously give his middle name as Edgar.[2] He is best known for his popular music chart successes with songs such as, "All Around the World" (1955), "Need Your Love So Bad" (1956) and "Fever" the same year, the latter covered in 1958 by Peggy Lee.


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Matthew Dear- Beams

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Ghostly International Page here
Early on in Matthew Dear's Beams— the New York-based artist's fourth full-length, his first since 2010’s shadowy masterpiece Black City— something strange happens. A thick-fingered electric bass gallops in atop a driving backbeat as Dear sneers, "It’s alright to be someone else sometimes." It may be odd to hear former techno-wunderkind Matthew Dear playing rock music, but the manic punk pulse of "Earthforms" is just one facet of Beams’ kaleidoscopic journey. Shot through with equal parts optimism and uneasiness, Beams is the latest transmission from one of pop music's most fascinating creative minds.

Recorded in Dear's home studio and mixed at Nicolas Vernhes' Rare Book Room studios in Brooklyn, Beams evokes a day-lit dreamworld at once strange and familiar. While the album's dancefloor-ready tempos, major keys, and sun-warmed synths signal Beams as the lighter, brighter response to its predecessor, closer inspection reveals a squirming mass of oddball details. Dear's latest productions creak and groan like anxious organisms, with slivers of guitar, electric bass, and drum kit darting in and out among the synths and samples. Beams delights in thoughtful leftfield juxtapositions: the leathery, handclap-heavy funk of "Up & Out" barrels into the anxious wig-out of "Overtime"; the dark, burbling dirge "Shake Me" sets the stage for the melancholic simmer of album closer "Temptation".

Beams’ lyrics, meanwhile, are deeply personal, expressing vulnerability and confusion in startlingly immediate ways. "Do I feel love like all of the others or is this feeling only mine?" Dear sings on the strutting lead-off single "Her Fantasy", later wondering "Am I one heartbeat away from receiving a damaging shock to my life?" Dear has grown into his songwriting voice, and he wears his current lyrical perspective—that of a man with something to lose—with an impressive grace.

When all is said and done, the central tension in Matthew Dear's Beams— musical mischief vs. lyrical maturity—may not be a tension at all. After all, growing up involves learning to integrate all of one's disparate selves. "I’m about 4 to 5 different people at any given time," Dear says. "By allowing all of those different personalities to exist… the most pure and direct self can come through in the music. [The songs] may still be cryptic, and full of contradictions—but in my opinion, that is pure, unadulterated thought in musical form. They are direct lines to the center."

Matthew Dear - Beams Page here




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SBTRKT rinse fm 3rd january 2012 by sbtrkt via #soundcloud
08-31 21:52