Related Content
Bonnaroo not quite a sellout
More on Bonnaroo at Billboard's Jaded Insider
MANCHESTER, Tenn. -- Pearl Jam capped its headlining slot Saturday at Bonnaroo with an impassioned rendering of Bob Dylan's "All Along the Watchtower," with frontman Eddie Vedder urging the sprawling throng to vote for change in November.
"There's a time and place for this kind of talk, right?" he asked late in the show, noting that music alone can't change the world, only people like those in front of him can. "It is welded into the Constitution that people have not only the right, but the responsibility to make change. It can't get any worse. We're right here in the middle of America. We can change the whole world. Do you agree that this is the time and place for this kind of talk?" The crowd roared its approval.
Not long after reaching its scheduled finish time of 12:15 a.m., without hesitation Vedder and company pressed on with the Victoria Williams-penned fan fave "Crazy Mary" and others, before eventually forking over the mega-hit "Alive."
If the previous night saw fellow headliners Metallica sticking to its vintage, pre-1992 material, Pearl Jam toured its catalog and then some. The band wowed fans with a fiery take on the Who's "Love, Reign o'er Me," and during "Daughter" Vedder even threw in a portion of the English Beat's "Save It for Later." The outtake "All Night" was played for the first time ever, while "W.M.A." made its first complete live appearance in 13 years.
Pearl Jam's appearance at Bonnaroo marked just its second U.S. festival date since nine fans were crushed to death during its 2000 set at Denmark's Roskilde Festival. Without specifically mentioning the event, Vedder referred to the tragedy when expressing his awe at how so many people could come together peacefully. "There was a time when we thought we'd never play a show like this again -- and for good reason," he said. "(Bonnaroo) makes you realize how it could actually work. And on top of that it's a great f***in' night."
With Pearl Jam having just begun a short U.S. tour that was built around Bonnaroo, Vedder expressed shock at picking up the daily newspapers in each city and finding little to no media coverage of the Iraq War.
He later dedicated the song "No More" to friend Tomas Young, the paralyzed Iraq War vet featured in the new film "Body of War." Amid the war continuing, Young's health has taken a turn for the worse in the past couple of weeks, and Vedder admitted that has made it "a lot harder to be happy" these days.
But the band still drew and sustained one of the biggest main-stage crowds ever seen at Bonnaroo, the masses stretching well beyond those who showed up to see Metallica the night before. Even Vedder was a bit awed by the size. In between songs, when he glimpsed just how far back the crowd extended, he thanked the audience a second time for listening.
Saturday, 21 June 2008
Agnostic Front
Artist: Agnostic Front
Genre(s):
Other
ROck: Alternative
Rock: Punk-Rock
Alternative
Rock: Hard-Rock
Punk
Discography:
Warriors
Year: 2007
Tracks: 14
Another Voice
Year: 2004
Tracks: 14
Working Class Heroes
Year: 2002
Tracks: 29
Working Class Heroes
Year: 2002
Tracks: 29
Dead Yuppies
Year: 2001
Tracks: 14
Riot, Riot, Upstart
Year: 1999
Tracks: 17
Dropkick Murphys Agnostic Front
Year: 1999
Tracks: 4
Something's Gotta Give
Year: 1998
Tracks: 18
Raw Unleashed
Year: 1995
Tracks: 63
Last Warning
Year: 1993
Tracks: 21
To Be Continued
Year: 1992
Tracks: 19
One Voice
Year: 1992
Tracks: 12
Live At CBGBs
Year: 1989
Tracks: 19
Live at CBGB
Year: 1989
Tracks: 19
Victim In Pain
Year: 1986
Tracks: 11
Cause For Alarm
Year: 1985
Tracks: 10
United Blood
Year: 1983
Tracks: 10
Liberty and Justice For
Year:
Tracks: 11
At the dawn of the '80s, New York City was mired in debt and crime, wrestling with 1 of the virtually trying periods in its history, even ironically (or peradventure fittingly), its tube music view was seething with activity like never in front. Still reeling from the violent origin and subsequent implosion of punk rock, hundreds of underprivileged kids living in Manhattan and its outlying boroughs began forming john Rock groups to rail against the everyday trials, dangers, and prejudices of urban being. As had been natural event in other urban centers (most notably L.A. and Washington, D.C.) equally unnatural by the list, recession-laced early long time of Reaganomics, New York became a thaw pot/hub for a prospering hardcore scene -- a cultural phenomenon that used punk careen as a weapons platform for politically charged, inherently regional musical catharsis.
And though it would finally sliver into infinite subgenres, at least ab initio NYHC (Novel York Hard Core) far superseded the original touchwood movement's ragged collective (known as much for nontextual matter bikers like Talking Heads and Television as it was for "true" punks like the Ramones and Dictators) in footing of a cohesive creative vision. Among the bands at the forefront of this joined, seemingly unstoppable united States Army were Agnostic Front, whose frantic, minimalist violation and sociopolitical rants came to epitomize the heart of hard-core, New York f*ckin' City style.
Guitarist Vinnie Stigma was a first-generation punk rocker rocking chair and an early-'80s skinhead wHO finally got around to forming his own band, Zoo Crew, in mid-1982, with singer John Watson. But Watson just lasted a few months in front being replaced by Cuban-born Union City, NJ, native Roger Miret, a product of refugee parents with firsthand see in social injustice and opinionated views just about political science coursing through his veins. When combined with Stigma's fundamental rhythm guitar furiousness, Miret's personal magnetism as a decadent urban messiah would come to personify AF's sound. Bassist Adam Moochie and drummer Ray Beez joined presently after and, after adopting the unexampled diagnose Agnostic Front (at Stigma's insistence because he opinion it sounded like a motion), they recorded their showtime independent tone ending, the United Blood EP, the following class. This was followed by 1984's career-defining Victim in Pain album, which contained a 15-minute blast of pure New York hard-core and saw the reaching of new members Rob Kabula (freshwater bass) and Jimmy Colletti (drums). It also confirmed Agnostic Front's brief condition as leaders (on with precursors the Cro-Mags and Murphy's Law) of the already cresting trend, which set up its weekly show window via the now fabled Sunday matinees at favorite Lower East side haunts A7 and CBGB's.
Just Agnostic Front were always on the verge of collapse due to Miret and Stigma's erratic family relationship and, like almost of their hardcore brethren, were already tampering with their sound. Inevitably, as their musicianship continued to improve, the bandmembers (at present including drummer Louie Beatto and extra guitarist Alex Kinon) began losing some of their cutting hardcore spontaneousness, and with heavy metallic element growing in popularity day by day, it was no surprise when they started experimenting with the tightly controlled velocity of thrash alloy (i.e., buzzsaw riffing and dual kick drums). Coincidentally picked up by the velocity metal-friendly Combat Records, they struggled through the sessions for what would turn 1986's Causa for Alarm album, today acknowledged as a crossover landmark alongside efforts by D.R.I. and Corrosion of Conformity. It was too considered a betrayal and a parody by many of the band's early supporters, world Health Organization couldn't have cared less that Cause for Alarm was teaching thousands of metallic element heads to value hard-core.
Some saw 1987's subsequent Liberty & Justice For..., which featured an completely revised cast of musical accompaniment musicians in guitar player Steve Martin (no relation), bassist Alan Peters, and drummer Will Shepler and did away with the metal-style drumming to follow a looser, less disciplined commission, as an act as of compromise. Not that it mattered: the original hard-core view had pretty a great deal disintegrated by this time anyways, with growing dissonance among the movement's many factions (straightedge, skinheads, etc.) transforming most concerts into armed combat, and preeminent to many clubs existence close down. Released in 1989, Unrecorded at CBGB's (with new bassist Craig Setari) self-collected Agnostic Front's best-loved corporeal as heard in the band's lifelike component and, in a means, symbolized the NYHC's official wake. As if to punctuate that fact, Roger Miret was arrested shortly thereafter on serious drug charges and sentenced to closely two days in prison house.
In the meanwhile, Vinnie Stigma and Agnostic Front carried on as topper they could, undertaking their first European spell with modern guitar player Matt Henderson and substitute singer Alan Peters, piece Miret found solace writing lyrics about his predicament. These would incorporate the bulk of 1992's comeback album, the overtly metallic One Voice, which was pretty much dead on comer, since a great deal of Agnostic Front's following had moved on to other things during the band's extended absence. A greatest-hits rig entitled To Be Continued was too issued at this time, prompting Agnostic Front to call it a day next a farewell concert at (where else?) CBGB's. The final picture was recorded for 1993's Concluding Warning, after which Stigma and Henderson formed Madball with Miret's jr. brother Freddy Cricien.
Come 1997, even so, Stigma and Miret began discussing a possible return for Agnostic Front. And when top thug pronounce Epitaph Records showed involvement, the band's long-rumored resurrection became fact, with other members Rob Kabula and Jimmy Colletti complemental the batting order that recorded both 1998's Something's Gotta Give and 1999's Debauch, Riot, Upstart in flying successiveness. The latter boasted an particularly strong go under of retro-hardcore, and featured guest appearances from M.O.D.'s Billy Milano and Rancid's Lars Frederiksen, among others. With the hardcore scene that they'd helped build effectively dead in the stain, few listeners international the band's New York stomping grounds seemed to care just about their repay, just Agnostic Front persist in to perform and record periodic albums like 2001's Beat Yuppies (with new bassist Mike Gallo), 2003's On the job Class Heroes, 2005's Some other Voice and 2006's CD/DVD Unrecorded at CBGB's.
Madonna's Brother Pens 'Brutal' New Book
Calyx and Kontrol
Artist: Calyx and Kontrol
Genre(s):
Drum & Bass
Discography:
Set Me Free / Drums Take Control
Year: 2006
Tracks: 2
Transvision Vamp
Stevie Wonder embarks on "magical" summer tour
LOS ANGELES (Reuters) - Grammy-winning pop star Stevie Wonder is on the road again, embarking on what he called a concert tour in the "magical" summer and spreading a message of unity among all religions and races.
The Motown icon, whose hits include "Superstition" and "My Cherie Amour," played the first date of his 14-city North American tour Wednesday in Long Island, New York, and on a conference call with reporters on Friday, he said it was "nice" to be playing again.
"Performing in the summer is always fun, there's something magical about the summer," he said.
The brief tour ends July 12 in Canada, and comes on the heels of his successful road show in 2007 that was his first series of concerts in more than a decade. Other stops on the current tour include Chicago, Detroit and Los Angeles.
As he goes back on the road, the 58-year-old Wonder said his message is unity.
"I think that we have to really come together for the common ground and be about the perpetuation of life," Wonder said. "No matter what religion or color or ethnicity that we are, we have to be about the perpetuation of life."
He also plans to tour Australia in spring 2009, and after that Europe in late summer into early fall.
Wonder has won 25 Grammy Awards and sold more than 100 million records. An inductee in the Rock and Roll Hall of Fame, Wonder released his first album at age 12.
The Motown icon, whose hits include "Superstition" and "My Cherie Amour," played the first date of his 14-city North American tour Wednesday in Long Island, New York, and on a conference call with reporters on Friday, he said it was "nice" to be playing again.
"Performing in the summer is always fun, there's something magical about the summer," he said.
The brief tour ends July 12 in Canada, and comes on the heels of his successful road show in 2007 that was his first series of concerts in more than a decade. Other stops on the current tour include Chicago, Detroit and Los Angeles.
As he goes back on the road, the 58-year-old Wonder said his message is unity.
"I think that we have to really come together for the common ground and be about the perpetuation of life," Wonder said. "No matter what religion or color or ethnicity that we are, we have to be about the perpetuation of life."
He also plans to tour Australia in spring 2009, and after that Europe in late summer into early fall.
Wonder has won 25 Grammy Awards and sold more than 100 million records. An inductee in the Rock and Roll Hall of Fame, Wonder released his first album at age 12.
Nelly and Ashanti Not Engaged
Speculation of an engagement between singer Ashanti and her rumored boyfriend rapper Nelly has been put to rest, with the songstress telling a U.S. publication that they are simply “good friends”.
Reports of a romance between the pair pops up from time to time, however, Ashanti has downplayed the talk, telling People.com, “Me and Nelly, we’re good friends. We kick it � hang out a lot. The industry is very hard, so it’s good to have fun and lighten it up.”
When asked if she had become engaged to the rapper, Ashanti held up her left hand waving a ring-less finger saying, “Oh no. Noooo! No engagement. But definitely in the future.”
Photo courtesy of Universal Music.
Reports of a romance between the pair pops up from time to time, however, Ashanti has downplayed the talk, telling People.com, “Me and Nelly, we’re good friends. We kick it � hang out a lot. The industry is very hard, so it’s good to have fun and lighten it up.”
When asked if she had become engaged to the rapper, Ashanti held up her left hand waving a ring-less finger saying, “Oh no. Noooo! No engagement. But definitely in the future.”
Photo courtesy of Universal Music.
Matt Pokora
Artist: Matt Pokora
Genre(s):
Rap: Hip-Hop
Discography:
De Retour
Year: 2006
Tracks: 2
Like Justin Timberlake in front him, France's M. Pokora rehabilitated his boy-band pinup image by channeling the pop up and R&B influences of his youth to create a slickly modern interpretation of white-haired mortal. Born Matthieu Totta in Strasbourg on September 26, 1985, he first base earned attention as a appendage of the rap group Mic Unity, which in fall 2003 appeared on the megahit television system show window Popstars. Totta was such a crowd favorite that Popstars' producers installed him in a spinoff boy band called Linkup. The trio's debut single, "Mon Étoile," topped the French charts, but the followup, "Un Seconde d'Éternité," flopped and when their debut LP, Notre Étoile, met a similarly forbidding fate, the show pulled the plug. Totta presently resurfaced as Matt Pokora, enjoying newfound creative and commercial success by teaming with hip-hop producers Kore & Skalp to record his self-titled 2005 debut, a major hit buoyed by the singles "Showbiz" and "Elle Me Contrôle." In the waken of the disc's winner, French vocalizer Matt slapped Pokora with a causa, claiming the similarities 'tween their names and music was the source of market place confusedness. As a resultant role, 2006's Bionix-produced Instrumentalist arrived credited to M. Pokora.
Marques Houston
Subscribe to:
Posts (Atom)