#RVG Perfect Day

[vanity-lair]

VLP #60 RVG ‘Perfect Day’ (music video). Via @louderthanwar-blog

[jungleindierock]

Jungle Indie Rock July 2020 Nonprofit Playlist

Play and donate to Doctors Without Borders (MSF). 100 songs curated by Mar, Rebjukebox, Daloja and Dao. Cover art by Bárbara Ana Gómez.

Donations managed by MSF, directly on their site, for the support of the global pandemic. DONATE

Tracklist

SKULDPADDA - Wild Card (Sweden); Daloja

The Psychedelic Furs - You'll Be Mine (UK); Rebjukebox

Flyying Colours - Big Mess (Australia); Mar

Jonny Polonsky - Sign In The Window (USA); Dao

Social Animals - Best Years (USA); Daloja

The Killers - Caution (USA); Rebjukebox

Joel Sarakula - Midnight Driver (Australia); Dao

The Jaded Hearts Club - This Love Starved Heart Of Mine (It's Killing Me) (UK); Rebjukebox

The Flavians - On the Radio (Germany); Mar

The Strokes - Bad Decisions (USA); Mar

bigott - This is All Wrong (Spain); Daloja

Nick Cave - Cosmic Dancer (Cover) (Australia); Rebjukebox

Ethan Gold - Not me. Us (USA); Dao

Neuman - The City Of Love (Spain); Mar

Calibra - Spearhead (Spain); Dao

IST IST - You're Mine (UK); Daloja

Sonic Boom - Things Like This (A Little Bit Deeper) (UK); Rebjukebox

Ghost Transmission - Get Me High (Make Me Lose My Will) (Spain); Daloja

Bipolaire - Piña Colada (France); Dao

Hervé - Si Bien Du Mal (France); Mar

Gerry Cinnamon - Canter (UK); Rebjukebox

Alessandra Giubilato - Vento Di Tempesta (Italy); Dao

Damien Jurado - Ochoa (USA); Daloja

Le Ren - Love Can't Be the Only Reason to Stay (Canada); Mar

Iseta - Friendzone Rebellion (Spain); Dao

Muzz - Red Western Sky (USA); Rebjukebox

Inhaler - We Have To Move On (Ireland); Rebjukebox

The Slow Readers Club - Problem Child (UK); Mar

Mura Masa (ft. Ellie Rowsell) - Teenage Headache Dreams (UK); Daloja

I LIKE TRAINS - The Truth (UK); Dao

IDLES - Mr. Motivator (UK); Daloja

The Blinders - Forty Days & Forty Nights (UK); Rebjukebox

Protomartyr - Processed By The Boys (USA); Daloja

Woodkid - Goliath (France); Mar

M83 (Felsmann + Tiley Reinterpretation) - Solitude (France/Germany-UK); Daloja

Jónsi - Exhale (Iceland); Rebjukebox

Sofía Buckingham - Strangers (Spain); Dao

The Low Flying Panic Attack - Demons Grow (Spain); Daloja

I Break Horses - Death Engine (Sweden); Mar

Wilsen - Ruiner (USA); Mar

We Were Promised Jetpacks - Same Mistakes (UK); Rebjukebox

October Drift - The Past (UK); Mar

Amyjo Doh & The Spangles - Smile & Dance (Spain); Dao

Pinpilinpussies - Noventas (Spain); Mar

The Beths - Dying To Believe (New Zealand); Rebjukebox

Los Jaguares De La Bahía - Living With You (Spain); Dao

Clan of Xymox - Lovers (Netherlands); Daloja

AaRON - The Flame (France); Mar

Gorillaz (ft. Peter Hook & Georgia) - Aries (UK); Rebjukebox

Ezrat - Distorsions (USA); Dao

Bedroom - Gulf (USA); Daloja

Johanna Warren - Rose Potion (USA); Mar

Aurora - Exist For Love (Norway); Daloja

Big Thief - Love In Mine (USA); Rebjukebox

Alison Darwin - Meaningless Sounds (Spain); Dao

Rolling Blackouts Coastal Fever - Cars In Space (Australia); Mar

Archers Of Loaf - Raleigh Days (USA); Rebjukebox

Tijuana Panthers - Current Outfit (USA); Rebjukebox

Open Mouth - My Creation (Spain); Dao

Circa Waves - Be Your Drug (UK); Mar

Bellamy - Pop Star (Spain); Dao

SIX to FIX - When The Night Is Over (Spain); Mar

Travis - A Ghost (UK); Daloja

Sarajevo 84 - Arctic Fire (Spain); Dao

Blossoms - The Keeper (UK); Mar

Dan Deacon - Sat By A Tree (USA); Mar

RVG - Perfect Day (Australia); Rebjukebox

Billie Joe Armstrong - I Think We're Alone Now (Cover)(USA); Rebjukebox

Black Lips - Rumbler (USA); Daloja

The Young Wait - Never Sleep 'till Regret (Spain); Mar

Hurts - Voices (UK); Daloja

Una Guapa y Un Gualtrapa - Blame It On Me (Spain); Dao

Egyptian Blue - Four Is The Last Four (UK); Rebjukebox

Fontaines D.C. - A Hero's Death (Ireland); Rebjukebox

Alison Mosshart - Rise (USA); Rebjukebox

L7 (ft. Joan Jet) - Fake Friends (USA); Rebjukebox

Lauren Ruth Ward - Valhalla (USA); Mar

Austra - Risk It (Canada); Daloja

Land of Talk - Weight of That Weekend (Canada); Mar

Cigarettes After Sex - You're All I Want (USA); Daloja

IAMX - Surrender (Acoustic) (UK); Daloja

Paul Weller - Earth Beat (UK); Rebjukebox

The Levitants - Toxic (Spain); Daloja

Swim School - How It Should Be (UK); Mar

Great Hare - Fresh Air (Sweden); Rebjukebox

Easy - Crystal Waves (Sweden); Dao

Viridian - Suddenly (Spain); Dao

Belako - Tie Me Up (Spain); Dao

M. Ward - Migration of Souls (USA); Daloja

The Standby Connection - MB (Spain); Daloja

Jade Hairpins - (Don't Break My) Devotion (Canada); Mar

Paul Heaton & Jacqui Abbott - A Good Day Is Hard To Find (UK); Rebjukebox

The Flamingos Bite - Nightcrawler (Spain); Dao

Ender Bender - Star Killer (USA/Italy); Dao

Mando Diao - Sjalens skrubbsar (Sweden); Daloja

I Am A Rocketship - False Impressions (USA); Dao

Jehnny Beth - Heroine (France/UK); Daloja

Clara Plath - Trully (Cigarettes After Sex cover) (Spain); Dao

Poliça - Forget Me Now (USA); Mar

Holy Fuck - Moment (2020); Mar

Links: JIR Playlists

[daggerzine]

Celebrity Mix Tape Party featuring Robert Vickers! (compiled by Matthew Kenneth).

Power Pop has always been the genre that might have been king. All the elements present in the commercially successful pop music of the ‘60s through early ‘70’s we heard on the radio can be found in Power Pop and yet the mass music consuming public, in their wisdom,  moved on and songs that would have been radio hits were been relegated to cult favourites in the late ‘70s and early ‘80s. This playlist  takes a look at the genre investigating some of its origins and best proponents while straying into crossover genres like Punk Pop and Indie Pop from the same period. It moves on into more mainstream alternative rock from the later ‘80s and into the ‘90s but always with a nod to the roots of pop/rock. All with a bit of an Australian tilt for my benefit I assume.  I know some of these bands very well but one of the delights of these genres is that because of their low profile there’s always a new band to discover and delight.

It gets off the ground with a band from Australia that I was, in an early version, actually a member of, The Riptides. With roots in punk Tomorrow’s Tears is probably their most Power Pop single and it is concentrated burst of energy and melody that never loses its spark. The list then delves into a bit of Garage Rock with the grungy Scientists, also from Australia, and the mighty Fleshtones from New York. The Fleshtones were the first band I ever saw set up with the drummer in front (not that I’ve seen many).

In between some rather more standard New Wave of the time, The Gooch Palms, Translator  and Justin Trouble we find The Shoes, one of the greats of late ‘70s Power Pop. They were kind of band that could have been a success ten years earlier but flew well under the radar in their own time. It should be said though that despite their near perfect albums they did always seem to lack the one song that might have given them a wider audience. The elusive hit single or at least something sounded like one. In an earlier era perhaps they could have covered a great song by a contemporary artist that didn’t have a major label behind them but that wasn’t the fashion at the time; you had to write your own songs even if they weren’t quite good enough. This track, “Too Late” was as close as they got.

Also tossed in here is another Australian band, The Saints. These guys were from my neighborhood and seeing them become internationally recognized inspired me to join a band. They don’t really fit into this playlist exactly but if you have to get them in, this is the song. It was released just after the band split into two factions and I, like a lot of hardcore fans chose guitarist Ed Kuepper’s side. Here you have singer Chris Bailey who kept the name prove he could write a great ‘60s pop song and put it over as well as anyone.

We move on now to some classic British indie rock, The Jasmine Minks and Felt. Felt in particular were superb; intelligent lyrics with interesting Post Punk arrangements. They are one of my favourites of the period. With that we also have from Scotland, The Close Lobsters who were more Indie Pop with Power Pop elements. This is paired some interesting Power Pop from the US, The Paley Brothers, a fascinating duo who were influenced by East Coast Girl Groups, Phi Spector etc. in a way similar to the New York Dolls but with commercially acceptable image and production. Andy Paley ultimately found his greatest success producing  and co-writing (Brian Wilson’s comeback album) .Also the US Secret Service an obscure early band of a Power Pop/Indie legend, Mitch Easter who later played with Chris Stamey (more of him later) in the Sneakers then led the band Let’s Active. Like Andy Paley he too found greater success producing, in his case the early REM albums.

Then we have The Boys who are from the related Punk Pop genre that emerged a little after Power Pop and may be said to have ended up the more commercial genre given the success of bands like Green Day. Generation X were probably the best example but The Boys had a couple of strong singles early on, the 45s of which I remember fondly even if they don’t sound quite as good listening now.

Following up on that is one of the greats of Power Pop, The Records who’s single, “Starry Eyes” is perhaps the greatest example of the genre ever. This isn’t it but still a good song and the light melodic production is still a joy. No discussion of Power Pop is complete with a mention of The Records and it’s a high point of this playlist. Then we have another interloper, Be Bop Deluxe a Prog Rock group from English midlands in the mid ‘70s whose glammy singles toyed with the charts and always threatened to compete with Roxy Music but couldn’t quite rise to the occasion. An underrated band, certainly by me and I think a victim of the rise of Punk in the late ‘70s. Pairing them with Sniff 'n’ The Tears, a slightly later also glammy, progy UK band makes sense. Inferior to Be-Bop Deluxe but more pop and a better commercial fit for the New Wave that was then dominant in independent music at that time.

Now here is a legitimate challenger to “Starry Eyes” as Power Pop’s flag bearer. Bram Tchaikovsky’s bass driven “Girl of My Dreams” is another of those songs that should have been a mammoth hit if all the rules of popular music had remained in place. Bram Tchaikovsky came out of UK Pub Rockers The Motors but with more of a New Wave sound. It’s a juicy slice of classic pop that deserved to be better known.

The Sunnyboys, an Australian Pop Rock band who were another one that always promised more than they delivered in songwriting is next up. A great live band that thrived in the countries’ beer barn live circuit of the time they were never able to come up with the hit that you felt was their destiny the way another ‘60s based pop band, The Smithereens did in the US. A couple of newer Australian indie rock bands who have been said to owe a little to my old band, The Go-Betweens now make an appearance. One of them, RVG provide the thing most lacking in this playlist, a different  voice but also some excellent lyrics making them one of the most interesting new discoveries of this list for me. The other, Rolling Blackout Coastal Fever have already had some deserved success in the US. I don’t hear the GBs connection quite as strong in them but they are a fine rock band with the songwriting skill and musicality required for a long career producing quality albums.

We then have a couple of American artists in the mid-80s when indie was hitting its stride there. The Magnolias were from Minnesota where Twin/Tone Records had just begun to prove America could be about more than the coasts. It showed you didn’t have to leave your hometown to play and record music and the idea spread like wildfire. That helped create the network of venues across the country that made touring America finally possible for mid-sized bands from all over the world in the ‘90s. Chris Stamey, from another hotspot, North Carolina, was a real pioneer of quality songwriting, first with Mitch Easter in the aforementioned Sneakers and then with Peter Holsapple in the dBs. Oddly this track is an early (1978) single by the dBs that’s actually a cover of a Richard Lloyd of Television song that’s awfully close to Power Pop. Showing how little space there was between these genres at that time.

From there we move to the UK for four bands who well represent alternative pop music of the 90s in that country. First we have Primal Scream who used ‘60s pop arrangements to great effect to become perhaps the classic rock band of the era, at least in the UK. Then the hugely successful but short lived Stone Roses from Manchester. They were mostly too dancey for me but this track, “She Bangs the Drum” is one of the best pop singles ever. It proves if you have the melody you can get away with anything.  Also included is House of Love from the excellent Creation label who played intelligent psychedelic guitar rock. And finally we have someone I wasn’t familiar with, The Sun and the Moon who were formed out of a better known Manchester band The Chameleons. Well played and arranged post punk and another good discovery for myself.

We end with the Australian band The Church. They made beautiful albums by taking the melodic pop heard on ‘70s radio and combining it with more thoughtful lyrics creating an indie rock template that remains popular. They are a fitting end to this little journey through time and the musical museum.

https://www.mixcloud.com/matthewkenneth9/robert-vickers-mix-2/?fbclid=IwAR33Vyq9VmSZq6ef5i6l52B6fW1Ej54RsbO6FzOhwIL3zFiTIyYuLmPBwdo

[tomatrax]

Tomatrax Top 100 Songs - Part 8 (30 to 21)

Tomatrax Top 100 Songs – Part 8 (30 to 21)

30. The Beths – Dying to believe 29. Kim Salmon – Poison Pen 28. Archie Roach – Took the children away (30th year anniversary version) 27. Fontaines DC – Televised mind 26. Violent Soho – A-OK 25. Tia Gostelow – Psycho 24. RVG – Perfect day 23. Super Massive – I like it 22. Soccer96 – I was gonna fight fashism 21. They Might Be Giants – Who are the electors

[dentalworlld]

DIGITAL ROOT CANAL TREATMENT (RCT)

Every patient is more confident of this type of root canal treatment as they can themselves see and easily understand all the procedure going on step by step on screen, during the procedure and also after the completion of the same.

 Now with the help of latest Gadgets and Technology and advancement in the skilled training of the Best Dentist In Chandigarh, Root Canal Treatment has become PAIN FREE and more of a single visit procedure (80% cases are done in single visit)

   In previous days if there was any pain or infection in the tooth people usually undergoes an extraction but now a days one can save his/her natural tooth with the help of root canal treatment. It is the straightforward procedure to relieve dental pain and save your natural tooth .

Root canal treatment is designed to eliminate bacteria from the infected root canal, prevent the reinfection of the tooth and save the natural tooth .

 HI TECH DIGITAL Root Canal Treatment:

We at DENTAL WORLLD are well equipped with best quality equipment and Dental Implant Specialist to complete the Root Canal Treatment with utmost perfection and accuracy

These include:

1.  RVG Radiovisiography: it is the most helpful tool for diagnosing teeth problems and display in a large digital picture of the x-ray on the screen where both the Doctor and the Patient can clearly see and understand the actual problem in the tooth, and also verify each and every level of the Root Canal Treatment step by step.

2.  DIGITAL APEX LOCATOR: Dentist in Sector 43 Chandigarh are glad to own J MORITA apex locator which is simply the Gold standard for measuring the actual length of the tooth in any given situation.

3.  NSK ENDOMOTOR : This is an another gadget which helps in speeding up the long procedure of Root Canal Treatment, moreover helping us achieve 6% or larger taper of canal preparation for better irrigation and cleaning.

4.  ENDOACTIVATOR: In a Root Canal Treatment Irrigation being the most important step, by means of an Endoactivator, the irrigating solution is activated and thus it becomes 10 times more potent and reaches its highest efficiency. 

5.  OBTURATION SYSTEM: Root Canal anatomy is all 3 dimensional, so to fill all the canals in all nick and corners, this latest gadget in happily a part of our inventory.

It is only with the combined combination effect of these all equipments we are able to do a pain free and quick Root Canal Treatment.

              The term root canal comes from cleaning of the canals inside the tooth’s root. The procedure involves removing the damaged area of tooth (the pulp) and cleaning it, then filling the space created with suitable material and sealing it.

What are common causes affecting the pulp of a tooth and creating a need of a RCT procedure?

1.   Cracked tooth

2.   A Deep cavity/carries

3.   Repeated Dental Treatment to the tooth

4.   Trauma to the tooth

5.   Hard tooth brushing causing deep cervical lesions.

6.   Over grinding of tooth while fabricating a bridge.

7.   Trauma from occlusion.

FEW SYMPTOMS THAT MEAN YOU MIGHT NEED A ROOT CANAL

1.   Pain while chewing or biting

2.   A chipped or cracked tooth

3.   Pain radiating towards neck and head

4.   When pain goes away with cold water in mouth

5.   Sensitivity to hot and cold

6.   Swollen or tender gums

7.   Deep decay

8.   Frequent Food lodgment between teeth with pain/sensitivity

  PROCEDURE

Root canal treatment consists of a number of steps that take place over several dental visits, depending on the situation.

Firstly, the Dentist in Sector 22 Chandigarh examines and x-rays the tooth, then local anesthesia is administered to the affected tooth to numb the area near the tooth. A rubber dam (a sheet of rubber) is usually placed over the affected tooth to isolate it and keep it free from saliva.

The Dentist in Sector 44 Chandigarh makes an opening through the back of front tooth or the crown of molar or premolar to remove the infected pulp. Next the pulp chamber and root canals are cleaned and shaped with the help of instruments and medicines to make them infection free.

Then the root canal is filled with gutta percha material and is sealed in place with suitable cement. If more than one visit is needed, a temporary filling is placed in the crown opening to protect the tooth in between the dental visits.

In the final step, a crown is usually placed over the tooth to restore its natural shape and appearance and give the tooth the much needed strength.

ADVANTAGES OF SAVING THE NATURAL TOOTH WITH ROOT CANAL

1.   Efficient Chewing

2.   Normal Biting Forces

3.   Natural Appearance of face

4.   Protects other teeth from excessive wear or strain

5.   Also preserves the Bone Tissue around itself  

 DIGITAL ROOT CANAL TREATMENT (RCT) is a very technique sensitive procedure that has to be performed by a trained and experienced Best Dentist In Chandigarh with all required Equipments.

[standuphippy]

April Favorites

Here’s what I enjoyed in April. https://open.spotify.com/playlist/3WbeAjSRqOfrT5QTeWFzcI?si=6qChvQEXRaCP3Ze2ZkkVvA

NEW MUSIC: 
 Bob Dylan “I Contain Multitudes” I’ve enjoyed all of the singles he’s been releasing. Folk epics.

Cowboy Junkies “Ghosts” An elegiac record for the Timms siblings’ mother, from a band that’s always made the mournful sound sublime. I finally went to see Cowboy Junkies a few years ago. The first set was their 2018 album “All That Reckoning,” the second set was to be the hits. During the intermission the building next door caught on fire and that was it. Hope to see them again someday, but if that’s the story then so it goes. So close.

Danzig “Sings Elvis” Glenn Danzig’s fully embracing his non-Satanic muse. It seems overdue but he’s really going for it and I’m glad he’s having fun.

Fiona Apple “Fetch the Bolt Cutters” It’s a masterpiece, as advertised. As uncompromising and fully realized as Rid of Me or Exile In Guyville.

Flat Worms “Antarctica” 
Excellent garage punk.


Hazel English “Wake UP!” A solid dream pop album and a step up from her other records, though those are good too.

Jackie Lynn “Jacqueline” Originally Jackie Lynn was Haley Fohr’s country music alter-ego outside of Circuit Des Yeux. The Jackie Lynn records seem to be a bit looser and playful, but honestly I’ll check out anything Fohr does regardless of the name on the sleeve.

Laura Marling “Song For Our Daughter” It’s one of her best.

Marisa Anderson and Tara Jane O’Neill “You’d Be So Nice To Come Home To” I’m a fan of both of these artists and this collaboration is inspired.

Purity Ring “WOMB” Twinkling body fascination.

RVG “Feral” “Perfect Day” is on the playlist and it’s such a sweet, funny song. The whole record is a winner.

Samantha Crain “Holding to the Edge of Night” A stunning song. Can’t wait for the record.

Seazoo “Joy” Impeccable indie pop.

Thundercat “It Is What It Is” Got that right.  

Yves Tumor “Heaven to a Tortured Mind” Incredible record. Everything about it: the cover, the title, and the unpredictable music.

OLD MUSIC (reissues) :
 Caspar Brötzmann Massaker “Koksofen, Home” Southern Lord started reissuing CBM on vinyl last year; this year they put out Koksofen and Home, both of which I was fortunate enough to hear when they were initially released. I grew up in a small town in Iowa. In high school we knew a guy who’d graduated ahead of us and worked at the public library. This one guy singlehandedly introduced dozens of teens to the glory of Amphetamine Reptile Records. He championed noise rock across the board, including more high minded sounds like those of Caspar Brötzmann Massaker. Dissonant and monstrous. Great stuff. RIP, Tim, I would have missed out on so much.

OLD MOVIES: 
The American Astronaut (2001) If you crossed Eraserhead with Ice Pirates and added musical numbers you might end up with something like this.

The Bride (1985) I was eleven years old when this came out. Around this age I was beginning to connect the dots in entertainment in terms of identifying performers across projects. I loved fantasy films (80’s!) and “Synchronicity” by The Police. I’d seen Sting as Feyd Rautha in David Lynch’s Dune. I was excited to see The Bride, but there was no exhilaration when I watched it and I felt disappointed. Watching it years later, I can see why I was disenchanted as a kid: it’s a pretty bleak film. That being said, the production design and cinematography are gorgeous, and I think Clancy Brown’s performance is excellent, especially when viewed in contrast to his performance as the Kurgan in Highlander, which came out that same year.

The 400 Blows (1959) I know there are more films that follow the life of the character Antoine Doinel, but I just want to think of him as running on that beach for awhile.

Blue Thunder (1983) Happy Birthday to Me (1981) Seeing the posters for these movies as a child left permanent marks on my brain. Because they occupied that space for so long, I felt like I had a relationship with these films, when honestly, I’d never seen them and simply knew that they existed.

When I was six years old I was horrified and transfixed by the poster for Happy Birthday to Me. The actual film is over-plotted and ridiculous and culminates with a Scooby-Doo-worthy reveal but I admire how ambitious it is. I associate slasher films with low-budget fare but in the first ten minutes a character jumps an elevating drawbridge in a car.

In the case of Blue Thunder, the darkness of the poster was captivating. When I found out it was about a technologically advanced helicopter it only raised more questions. Was it like Megaforce? Was it fun? Watching it today, when police regularly use military-grade equipment, the plot’s privacy concerns seem quaint. The helicopter duel over Los Angeles is amazing, though, especially in the pre-CGI era.

[mrtcoool]

RVG - Perfect Day https://ift.tt/3gX2BGV

[thisdaythissong]

07/12/2020 @ RVG - Perfect Day

07/12/2020 @ RVG – Perfect Day

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RVG Perfect Day

7.5

Our Tag Review:

#optimistic

#congenial

#moony

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Album Feral

April 2020

Fire Records

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Song included on

July’s…

[vinylbay777]

Week In Review: New Songs / Music Videos You Need to Check Out (February 16-22, 2020)

A lot of new music is released over the course of any given week. This one was no different as we saw a wealth of new songs and music videos hit the internet this week, especially when it came to rock and pop.

With the weekend here, now is the perfect time to take a look back at some of the musical highlights of the week that was. Vinyl Bay777, Long Island’s music outlet, has once again scoured the internet for some of the hottest new tracks of the last seven days. Here are eight (and a few more) of our favorites that we think are worth a second listen.

1.       Waxahatchee, “Lilacs”: The mix of alt-country twang and folk-y indie-pop on “Lilacs” is bright and upbeat. It’s easy-going melody makes for a pleasant listen while the steady metronome-like beat is easy to follow. (video)

2.       The 1975, “The Birthday Party”: “The Birthday Party” is an ethereal track that contrasts the 80s feel of much of what The 1975 has been putting out lately. A more deconstructed kind of song (it lacks a chorus), the melody’s relaxing qualities mask the rather stressed lyrics about what Matty Healy has called “the interesting social minutiae of house parties.” The video portrays the relaxed aura of the song, using “digital detox” site mindshower as a jumping off point for a computer animated visual that looks like a 1990s Sims game filled with memes. (video)

3.       The Strokes, “Bad Decisions”: The Strokes continue their comeback with their latest single “Bad Decisions,” a garage-rock-tinged indie-rock track that sounds like the band at their early 2000s best. The 80s-inspired, upbeat melody borrows from Billy Idol’s “Dancing with Myself,” though the band puts it through their distinct sonic lens, making it feel both new and familiar at the same time. (video)

4.       Yves Tumor, “Gospel For A New Century”: “Gospel For A New Century” is an energetic track that mixes rhythmic soul with thrash-y rock guitars. The sound really jumps out and grabs a hold of your attention. (video)

5.       Ozzy Osbourne feat. Post Malone, “It’s A Raid”: The last single released before his new album, ‘Ordinary Man,’ was released this week, “It’s A Raid” finds Osbourne reuniting with Post Malone for an aggressive metal duet. It’s fast pace and thrash-y guitars make it one of the more chaotic songs on the album. The screaming crowd vocals at the beginning are a bit disconcerting, but add atmosphere to the hurried nature of the track. Malone adapts to the song’s harder tone, going to his deeper register in attempting to riff off Osbourne’s signature vocal. However, his back-up vocal role does more for the song than his verses do. (video)

6.       A. Swayze & the Ghosts, “Mess Of Me”: “Mess Of Me” is an upbeat, pummeling track that takes its inspiration from early punk/new wave and melds it with the more aggressive punk sounds of the 2000s/2010s. Think Iggy Pop filtered through Against Me!. (video)

7.       RVG, “I Used To Love You”: A song for falling out of love, “I Used To Love You” tries to reason with the realities of two people growing apart. The swirling, airy guitars make the melody feel very open. As the song progresses the emotion grows, becoming more passionate and intense. (video)

8.       Man Man, “Cloud Nein”: “Cloud Nein” is an upbeat track in tone and melody, though the lyrics aren’t as cheery, essentially telling someone that they’re “in denial.” It’s a very interesting play off the expression “on cloud nine,” using the phrase’s original meaning as the melody and the homonyms of “nine / nein” as the basis for the lyrics. The video is reminiscent of Fatboy Slim’s “Weapon of Choice,” with the older gentleman dancing around the street as if nothing were about to happen. (video)

Further Listening:

·         All Time Low, “Sleeping In”: (video)

·         5 Seconds Of Summer, “Old Me”: (video)

·         Sparks, “Self-Effacing”: (video)

·         Alanis Morissette, “Smiling”: (video)

·         The Amity Affliction, “Forever”: (video)

This week saw a lot of great new rock and pop songs and music videos vying for our attention. With the weekend here, now is a great time to look back at some of the best. Check out some of our favorites above and let us know what new tracks you’ve been digging this week in the comments below.

                                                             ---

Discover music new and old at Vinyl Bay 777. As one of Long Island’s top independent record shops, we have thousands of titles to choose from in a variety of genres. Browse our wide selection of new and used vinyl records, CDs, cassettes, music DVDs, memorabilia and more in store at our Plainview location or online at vinylbay777.com. Whether you’re looking for something new to you or to rediscover the classics, we have you covered. And with more titles being added to our selection all the time, you never know what you might find at Vinyl Bay 777.

[thejoyofviolentmovement]

New Video: Aussie Indie Rockers RVG Releases a Dream-like Visual for "Perfect Day"

New Video: Aussie Indie Rockers RVG Releases a Dream-like Visual for "Perfect Day" @rvgband @firerecordings @ourgoldenfriend

Over the past seven months or so, I’ve managed to spill quite a bit of virtual ink covering the rapidly rising Adelaide, Australia-born Melbourne, Australia-based singer/songwriter Romy Vager and her band RVG.  Vager has a remarkable backstory: She was a teenaged goth kid runaway, who left Adelaide and headed east to Melbourne.…

[delicasseten]

ντελικασσέτεν 20.04.20 | Keep On Keeping On Chemtrails - Suck My Mind Deaf Radio - Modern Panic PINS - Ghosting J.C. Satàn - I Hate You Whereswilder - Helping Hand Do Nothing - Fits Charmpit - Sophomore Year Talk Show - Stress Empty Country - Swim Odd Morris - Cold Water Ghostpoet - Nowhere To Hide Now Stuck - Bug Song Peggy Sue - Motorcade Big Pity - Things To Work On The Wants - Container Fugazi - Blueprint bdrmm - Is That What You Wanted To Hear? Ganser - Lucky Stuck - Invisible Wall Do Nothing - Comedy Gold Roxy Girls - Dirtier Powerplant - Evidence Pure X - Middle America Peel Dream Magazine - Emotional Devotion Creator Trace Mountains - Lost In The Country RVG - Perfect Day Modern Nature - Harvest Fiona Apple - Cosmonauts Muzz - Red Western Sky Car Seat Headrest - Hollywood Public Practice - My Head Caribou - Odessa

[wendellbartonn]

RVG share "Perfect Day," tell us about what they've been listening while stuck at home

Australian band RVG release their second album, Feral, on April 24.

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RVG share "Perfect Day," tell us about what they've been listening while stuck at home published first on https://soundwiz.weebly.com/

[raggywaltz1954]

Look out world.  After having written a post about an original Blue Note album, here comes my first post about an original Prestige album.  Mama I made it.

The Music

https://raggywaltz.files.wordpress.com/2018/10/airegin.wav

The Tune:  “Airegin”

Recorded:  29 June, 1954 in Hackensack, NJ

Personnel:

Miles Davis-  Trumpet

Sonny Rollins-  Tenor Sax

Horace Silver-  Piano

Percy Heath-  Bass

Kenny Clarke-  Drums

https://raggywaltz.files.wordpress.com/2018/10/oleo.wav

The Tune:  “Oleo”

Recorded:  Same as above

Personnel:  Same as above

Numerous people have extolled the greatness of this album, the legendary drama that took place during one of the recording sessions, the phenomenal lineup of musicians, etc etc etc.  And now, I add my name to the list of numerous people.

This album is an example of what many jazz record labels did after they phased out the 10-inch record:  Combine two 10″ albums together onto one 12″ LP, throw some alternate takes or unreleased material from the same sessions, and release it as a new album.  Prestige was particularly fond of this practice, which in a way was pretty revolutionary and forward-looking.  Decades later, music labels did the same thing with CDs, throwing numerous alternate takes and previously unissued tracks and false starts and studio chatter and…

The music on side one features Miles Davis, 75% of the Modern Jazz Quartet (Milt Jackson on vibes, Percy Heath on bass, and Kenny Clarke on drums), and Thelonious Monk on piano.  Recorded on Christmas Eve 1954, this was the session where Miles asked (told) Thelonious to lay out behind his solos and not accompany him.  The music from that session was released on the 10″ LP ‘Miles Davis All Stars, Volume 1′ PRLP 196.  For this “new” release as a 12″ LP, Prestige coupled the originally released take of “Bags Groove” with a previously unissued second take of the same tune.  The music swings, but one gets the idea that Prestige founder and session supervisor Bob Weinstock was in the control room motioning for the guys to keep soloing.  Miles’ solos on these sides are cool and perfunctory.  Without a piano to fill in the cracks, Miles sounds detached and removed from the music.  This detachment is amplified when he finishes his solo and Milt Jackson begins his ebullient solo and Thelonious assumes his role as accompaniment.  It’s a study in contrast.

Side two is the main reason why I bought the album.  Enter Sonny Rollins, with Horace Silver on piano.  Right from the jump, the music has a fresh vitality and feel.  Almost all the tunes on this side were written by Sonny Rollins, and all of them went on to become jazz standards- an impressive feat for anybody.  The opener, “Airegin”, is a classic.  That song and I go way back.  Over ten years ago when I was starting the 7th grade, I got a Miles Davis compilation CD and this song was one of my favorites.  I played it on repeat and thought I was the coolest thing ever, which of course it is.  My only gripe at the time was that “the piano player” (youthful ignorance) didn’t get to solo.  In the ensuing decade and some change, I’ve grown to appreciate Horace Silver’s tasty and stimulating comping behind Miles and Sonny, as well as his LACK of piano during the intro and melody statements.  Silver was a master of piano accompaniment, and in many ways his comping and chord choices are just as interesting as a full-blown solo.  Miles sounds stimulated by the music and his compatriots, weaving a minimalist, casually-cool solo that contrasts with Sonny’s solo.  Sonny’s full, sometimes breathy sax serves as the perfect foil to Miles’ trumpet.

“Oleo”, another classic, is a tune with a unique format over the familiar “I Got Rhythm” changes.  While the bass walks and the drums drum throughout the entire tune, the piano only comes in on the bridge and the soloist is free to play over the entire tune.  It doesn’t seem that wild on paper, but in practice it makes for an interesting listening experience.  Miles has his Harmon Mute firmly in place here, which combined with Kenny’s lack of a hi-hat on beats two and four, gives the tune a dainty, polite swing.  Sonny Rollins maintains the dainty air in his opening statements, using space to let the music breathe.  When he begins his second solo with more umph, Kenny finally throws in some hi-hat and the swing becomes more firmly entrenched.  Silver gets to solo this time (!!!).  It’s a fun performance, with Miles even throwing in a snippet from Duke Ellington’s “Cottontail” in the bridge during his second chorus.

The rest of the album is in much of the same vein, with “Doxy” being another Rollins original that quickly became a jazz anthem.  The music helped launch the hard-bop sound, history has been very kind to this album.  Over at Allmusic, Lindsay Planer gave the album a 10/10, admonishing that “Bags’ Groove belongs as a cornerstone of all jazz collections.”  It’s certainly great music on its grooves, and has what I consider to be the definitive versions of “Airegin” and “Doxy”.  The combined talents of so many major jazz figures with Miles Davis making jazz?  Yeah, I guess this album does belong in just about every jazz collection!

The Cover

Raggy Waltz Rating:  A+

The adjective ‘classic’ gets thrown around a lot, but I have to say, this is one of those classic jazz album covers from the 1950’s.  It’s original, artistic, aesthetically pleasing.  From the calming and playful usage of green to the fonts and typeset, the cover art succeeds.  The cover art is also unique in that it’s un-art cover art.  That is, it’s literally just words and no conventional art.  The art director over at Prestige managed to make something as mundane as an album title and information not just interesting, but a work of art itself.  It’s ironic.  The hipster in me is going nuts.  The artist responsible for this un-art art?  Reid Miles, who was also the star artist over at Prestige’s competition, Blue Note.  Phenomenal job, Miles!  Reid, I mean, although Miles Davis deserves an accolade or two, too.

The Back

Obviously, its seen better days since its release in 1957.  In the six decades since, the pristine white has aged and a C. Witherspoon (never Witherfork or Withispoon) stamped their name on it to prevent it being permanently borrowed.

The liner notes are rather lazy, which I wouldn’t expect coming from someone like Ira Gitler, famed jazz critic and writer.  He readily admits that he hasn’t actually listened to this new album as a unit, specifically the new tracks, and thus only comments on what he heard before.  Whether this is due to his not having the tapes available to listen to or willful negligence I don’t know, but it’s comical to read things like “[t]he take that I describe is the latter as the other will be as new to me as it is to you when I hear LP 7109.”

That aside, the notes are alright.  He ends with a then-topical reference to 1954 being a good year for Giants.  While 1954 was a good year for other reasons (my parents were legally allowed to go to whatever school they wanted!), it was good for the San Francisco Giants, the baseball team.  Speaking of Blue Note…

The Vinyl

The cross-fertilization between Prestige and Blue Note continues with Rudy Van Gelder lending his talents to Prestige.  The results are satisfying acoustics in glorious mono.  Having been recorded in 1954, just before high fidelity really took off, the sound isn’t QUITE that Van Gelder sound, and the reverb is a bit much, but it’s not bad.  It gives the instruments a sense of space and breatheability (did I just coin a new word?  Me thinks me did).  Percy Heath’s bass comes through loud and clear without coming across as boomy or muddy.  The vinyl itself is a bit noisy here and there, with delicious snap, crackle, and pop throughout.  Sure I’d like a cleaner record, but then again that’s why I collect vinyl and not CDs.

And speaking of collecting, is it or isn’t it a first pressing?  Let me say that I don’t really care that much about coveted first pressings or stuff like that.  I do prefer to get original runs of an album, but not necessarily first pressings.  Having said that, let’s get into the nitty-gritty, because who doesn’t like to know if they have a coveted first pressing?!

The short answer:  Probably not, but maybe.

Not a very satisfying answer, is it?

The evidence provided by the album doesn’t really give a definitive answer, and after pouring over London Jazz Collector’s excellent site for clues, I’m still not sure.  Based on the vinyl and its labels, it’s a first pressing.  The labels have the New York City address, which were used up until 1958 or so.  This album was released in 1957, so that checks out.  The labels also have “HI FI” as opposed to “HIGH FIDELITY”, another pre-1958 marker.  The vinyl is deep groove, and as mentioned before has “RVG” stamped in the deadwax (also “AB”, for Abby Manufacturing).  So far, it’s a first pressing.  Yahoo.

The album jacket is where things get tricky.  Allegedly, there was a second album cover that was made when this album was released again, differing only slightly in color.  My copy looks different depending on the lighting, so I’m not sure how reliable that is.  The back of my album has advertisements for other Miles Davis albums; this is allegedly a post-1957 feature.  So, what’s the truth?  It’s safe to say that this is an early pressing.  Best to leave it right there.  Yahoo.

The Place of Acquisition

I’ve sung the praises of my local record store so much, I think I deserve to get a check from them each month.  They’re like the best.  I actually got this record a year or so ago, after walking into the store not expecting to see much.  This being northern Alabama, most of the records on the illustrious wall displays are non-jazz.  The rare jazz records to make it up there are usually Blue Notes (reissues at that) or things like ‘Kind of Blue’ (also invariably reissues).  That day, however, there were two jazz records up on display:  ‘The Musings of Miles’ and this album.  The former album was a little more expensive than this one and since I already had bought the former on iTunes, I grabbed this one instead.  I thought the price of $25 was fair, and I planned to come back the following week to grab the other Miles album (it was gone, of course).  Vertical House Records deserves an award or something, both for the unbelievable amount of quality jazz they manage to stock their shelves with and for the unbelievable amount of money they have taken from me over the past three years.  Both are remarkable feats, let me tell you.

A new post on a classic album from Miles and Sonny Rollins. Bags Groove //Miles Davis (Prestige 7109) Look out world.  After having written a post about an original Blue Note album, here comes my first post about an original Prestige album. 

[adabruns383347-blog]

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[tshirts-studio-blog]

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[mrtcoool]

RVG - Perfect Day https://ift.tt/3gX2BGV