What Music Shit Are You Watching? (videos, interviews, docu's etc)

[Georgy Zhukov]

AC/DC back when they were a glam rock band.

[DieselDaisy]

Slash - Made in Stoke

Slash is phenomenal. Jaw dropping. If Axl arrives like he did in 2014, Slashy boy will make him look like a complete fat wanker because Slash is playing at a heightened level of excellence. People will instantly realise Slash is GN'R. The problem is Myles. Now he is technically good - hits all the correct notes - but the problem is this: I have an assortment of middle class products in my fridge - pongy smelling French garlic cheese which elevate my sophistication instantly of course (so I have been told), humus and prawny fried items - that are more exciting than Myles Kennedy. Myles Kennedy is like a Volvo or a Phil Collins album. I found myself falling asleep during the 'singing breaks' - this surely must be some unique event in the history of rock?

Edited January 26, 2016 by DieselDaisy

[Jabberwocky]

[Rovim]

[Jabberwocky]

 

[Jabberwocky]

 

 

 

 

[DieselDaisy]

 

[Rovim]

 

[J Dog]

Can't believe I'm just now seeing these.

 

 

Eminem gets all the white boy credit in hip hop (well deserved) but Mike Dean is probably the best unknown white boy in all of hip hop. Legendary producer. I don't know how he talks all that dab though

 

Edited February 20, 2016 by J Dog

[DieselDaisy]

Simply stunning. The audience are very 'English' haha, very reserved (but respectful) which makes Neil a little insecure, whether or not, playing unknown at the time Harvest material, he was being well received.

 

Proof that a bunch of stoned hippies and a camera do not necessarily make a great film. Post-Easy Rider there were a lot of hippies who thought they could take a load of drugs and do a cinema verite pieces featuring abstract scenes and hippy mumbo jumbo, case in point the thoroughly unwatchable Rainbow Bridge (even the most hardcore Hendrix nerd would struggle to get through that one). Thankfully Neil's fleshed his out with brilliant clips from the Springfield and CSNY era and humourous backstage shenanigans which make this enjoyable. There are bits and bobs to enjoy although it is a mess. Watch out for a stoned David Crosby speaking crap about flowers.

I think the best thing to say about it is that it is a 'product of its time'.

 

Excellent Beeb documentary.

Edited February 21, 2016 by DieselDaisy

[DieselDaisy]

Full film of this trailer,

 

Some good aspects to this screwball comedy such as Neil's portrayal of Lionel and the faux movie set but it definitely is self indulgent and difficult to decipher. Hopper looks stoned out of his tits. Apparently he sliced one of the actresses with a knife who promptly sued him.

 

Neil completely loses the crowd on the Trans stuff; Nils Lofgren hams it up in a '80s guitar poser manner which is distracting from Neil's performance; Molina's drums have been hijacked by cackhanded '80s engineers; Bruce Palmer is completely overweight; nonetheless it is an enjoyable performance and features an exclusive song - the only time that song was ever performed - 'Berlin' which is a terrific slow paced rocker, so this is one for the collectors.

Spellbinding. Surely the definitive 'Crime in the City' - Neil is so intense and into the lyrics? It is a shorty but a sweety, this show, released on VHS in the '80s. Do watch this. It demonstrates that it is not just as simple as bucolic acoustic Neil (csny, harvest) vs crazy heavy rock Crazy Horse, seeing as this is some of the heaviest music you will hear from Young and it is merely Neil and a guitar - witness the way he bashes that acoustic on 'Crime in the City'!

 

This is from the same period as above however not quite as good but still very good. Neil is a little perkier and less intense at this show. Still a terrific Crime in the City for your perusal.

Full show of this,

 

His heart is not really in it, is it? He turns up looking as rough as a badger's arse; he looks rough even by Shakey's standards; he looks like he has been on a week long bender. He is cynical about the whole thing (MTV Unplugged) and rather fighting his own cynicism. There is still some decent moments; a dirge like solo Mr Soul; a Transformer Man that is revitalised when stripped off the electronica; yet Neil still looks a bit dour and cynical about the whole affair. Like A Hurricane on an organ can best be summarised as ''real innaresting''.

There are people going back-and-forth for a pee (which poor Neil spots) for crying out loud!!

Watch the Freedom acoustic show instead.

Edited February 22, 2016 by DieselDaisy

[DieselDaisy]

Full show of this,

10/10 for music - incredible intense Crazy Horseness, Young at his very best - 1/10 for editing: extensive shots of mulleted fans singing along.

I have this to watch, Wanker Spike Lee's new documentary covering the period when Jackson was black,

I'll let you know what it is like when I finally watch it.

PS

On the subject of the Jackson documentary, good. Descends to hagiography at certain points ('Michael had the hand of god on him') but I liked its comprehensive nature, analysing every track - I laughed at how fast they dispensed with 'Girlfriend'. Has an element of those classic albums shows in its geekyness which I find commendable. Watch it. Not worth re-buying Off the Wall mind for the millionth time. Just filch it online. Spike Lee is a cock anyway so just rip the cunt off.

Edited February 29, 2016 by DieselDaisy

[Jabberwocky]

 

Edited February 29, 2016 by Jabberwocky

[J Dog]

 

 

[Rovim]

No one nails them like Ginger Baker. Such excellence.

https://www.youtube.com/watch?v=oU1serW0ouk

[J Dog]

 

 

[supercool]

i've been reading a couple of articles by simon reynolds about joe carducci, great stuff :

http://reynoldsretro.blogspot.com.es/2007/08/joe-carducci-rock-and-pop-narcotic.html

  Joe remains suspicious of hipster towns like New York and San Francisco; he believes that the most powerful rock comes from less over-acculturated areas, like the light-industrial, blue collar zones of Los Angeles, from where Black Flag and Minutemen originated.

One of the most remarkable things about Rock and the Pop Narcotic is that
it offers a thoroughly plausible explication of rock's appeal, written from a
right-of-centre perspective. Breaking with the Left/liberal values that have
dominated rock discourse since the late '60s, Carducci describes himself as "part
of the puritan reaction against '70s decadence". A self-confessed "sociophobe",
his politics are somewhere in the blurry zone between anarchism and libertarian
right. As for his sexual politics, he's a bit like a grunge Robert Bly: rock is
where male biologically-programmed energies are sublimated, now that they're no
longer expended through hunting, heavy labour or warfare. The dark side of
Carducci's masculinist aesthetic emerges in the homophobic slurs which litter the
text, like his jibes at the "limey fagwave" of "Bowie-damaged" art-rockers that
he blames for destroying Britain's virile blues-based rock tradition.

Carducci's illiberal bent carries through to his next project, Stone Male:
Requiem For A Style, a history of Westerns and other genre movies, in which he
celebrates the granite-jawed hero who uses few words and under-emotes (Wayne,
Eastwood, Bronson), as opposed to neurotic "blowhards" like Brando, Dean and the
rest of the method pack. Stone Male promises to be as controversial as Rock and the Pop: "A lot of the acting profession is very connnected with theatre's homosexual culture. I'm writing about actors who are non-theatrical: in the early Westerns, they'd often worked their way up from handling horses. The heroic image affects you more if the actor's non-professional. That interests me
'cos I don't like over-acting".

 Amongst many other things, Rock and the Pop Narcotic traces and canonises the lineage that
Carducci believes is the true path: Sabbath/Ramones/Motorhead/Black Flag/Husker
Du/Nirvana. Grunge--the fusion of punk and metal into an all-American hard
rock--happened after he finished the book; in the revamp, it provides the
punchline, the absolute vindication of Carducci's creed.

"When I wrote the book", Carducci says, on the phone from his home in
Wisconsin, "quite a few underground bands had signed to majors, but nobody had
sold any records. If it had stayed at that level, if Nirvana had never happened,
the people who write the history of rock--and in America, that's a coterie of
critics who used to work at Rolling Stone--would still have ignored it."

In order to explain why bands like Black Flag and Meat Puppets were the true
'80s exemplars (and why the artists that were critically revered--Springsteen,
U2, REM, Prince--were "non-rock" frauds), Carducci was obliged to formulate a
rock aesthetic. For Carducci, rock's essence does not reside, as most crits on
both sides of the Atlantic maintain, in "songs" and story-telling, but in riffs
and rhythm. In his book, Carducci shifts attention from all the places that
rockcrit situates meaning (lyrics, attitude, rebellion, the singer's
charisma/neurosis, the collective ideals and anxieties of the rock community), to
the materiality of the music itself. Historically, rock is "rock'n'roll made
conscious of itself as small band music"; rock signifies through its kinetics,
the way that a performance embodies an abstract-yet-visceral drama of conflict,
struggle and perseverance, in the face of a hostile environment. Rock's unique
epiphany is when four or five players come together on the One, creating
"multidimensional simultaneity" a.k.a "the jam": transcendence through collective
toil, a perfect mesh of individual expression and unitary discipline.

Carducci is equally as good at defining what's not rock. It's not the "light rousing high" of pop metal (he's mordant on Van Halen's "meringue" of "liquid, insensate fret math"). It's not Velvet Underground and family, either, because VU had nothing going on in the rhythm section. Insisting that rock is "not identifiable . . . by sound (say, fuzzed-out guitars), volume or speed," Carducci also eliminates most thrash metal and virtually all British guitar-based music since the Jesus & Mary Chain, whose classicist rock 'n' roll imagery and feedback sheathed the most rudimentary, metronomic drumming. Generally, Carducci is quite the Anglophobe: his introduction lets loose the stinging aphorism, "Rock is dead in America about as often as it lives in England." After heavyweights like Sabbath and Zep, he claims, Brit rock lost touch with the blues source; Limey bands reverted to their innate state of rhythmic ignorance, resulting in postpunk guitar outfits that sounded more like "electric busking" than rock, and in synth-pop units with drum machines. 

 

 

Edited March 27, 2016 by supercool

[PsychoKiss344]

Unreal fucking performance!

I highly recommend watching this

[PsychoKiss344]

Another great Slipknot show

[Len Cnut]

 

[PsychoKiss344]

Corey Taylor and Jim Root 

[J Dog]

 

 

[Jabberwocky]

I love Juliana Hatfield so much...

 

Edited March 31, 2016 by Jabberwocky

[PsychoKiss344]

 

[Len Cnut]