Apparently, "headbanging" is hazardous to your health. This according to recent research (yes, somebody does research these kinds of things!) done by Declan Patton, (research assistant) and Andrew McIntosh; who is the associate professor at the School of Risk and Safety Sciences, University of New South Wales, Sydney, Australia. Here is some subtext (to read more, and there is a lot more, go to http://www.bmj.com/cgi/content/full/337/dec17_2/a2825)
Your day will never be the same.
Objective
To investigate the risks of mild traumatic brain injury and neck injury associated with head banging, a popular dance form accompanying heavy metal music.
Design
Observational studies, focus group, and biomechanical analysis.
Participants
Head bangers
Main outcome measures Head Injury Criterion and Neck Injury Criterion were derived for head banging styles and both popular heavy metal songs and easy listening music controls.
Results
An average head banging song has a tempo of about 146 beats per minute, which is predicted to cause mild head injury when the range of motion is greater than 75°. At higher tempos and greater ranges of motion there is a risk of neck injury.
Conclusion
To minimise the risk of head and neck injury, head bangers should decrease their range of head and neck motion, head bang to slower tempo songs by replacing heavy metal with adult oriented rock, only head bang to every second beat, or use personal protective equipment.
Introduction
Young people at heavy metal concerts often report being dazed and confused, possible symptoms of mild traumatic brain injury. Little formal injury research has been conducted on the world wide phenomenon of head banging, even though case reports indicate the inherent risks in this activity, especially in head and neck injury. Head banging is a violent activity associated with hard rock and various subgenres of heavy metal. Over the past five years hard rock and heavy metal have contributed to about 30% of all record sales in the United States and, as of 2002, rock albums have outsold pop albums. The second highest selling album of all time is AC/DC’s Back in Black, which has sold about 42 million copies worldwide. Two slightly more recent albums, Bon Jovi’s Slippery When Wet and Guns N’ Roses’ Appetite for Destruction, have each sold about 28 million copies. Though exposure to head banging is enormous, opportunities are present to control this risk—for example, encouraging bands such as AC/DC to play songs like "Moon River" as a substitute for "Highway to Hell"; public awareness campaigns with influential and youth focused musicians, such as Sir Cliff Richard; labelling of music packaging with anti-head banging warnings, like the strategies used with cigarettes; training; and personal protective equipment.
The head banging story begins in 1968 when Led Zeppelin was playing a set at the Boston Tea Party on their first US tour. The front rows of the audience were banging their heads on the stage in time to the music and the term "head banger" was born. It now refers to violent and rhythmic movement of the head synchronous with music, most commonly heavy metal music. It has etched its mark in popular culture with the likes of Beavis and Butt-head banging their heads instead of reviewing video clips for songs, with the first of these being "I Wanna Be Sedated" by The Ramones. Head banging was popularised in the movie Wayne’s World when Wayne, Garth, and friends started head banging to Queen’s epic ballad "Bohemian Rhapsody."
There are many different styles of head banging such as the up-down, the circular swing, the full body, or the side-to-side. It is thought that head banging to loud music, while making you more "metal," has associated risks other than acquired hearing loss. Jason Newsted, known for his circular swinging style head banging, gave "physical damage" as one of the reasons for his departure from the band Metallica in 2001. In 2005, doctors believed that Terry Balsamo, the guitarist from the band Evanescence, experienced a stroke from head banging. Head banging caused a traumatic aneurysm of the cervical vertebral artery in a 15 year-old drummer, and one case of subdural haematoma was reported to be caused by the shearing strain induced by the head and neck motion exhibited during head banging. Even though there are only a few unique cases documented, neurosurgical specialists question whether the incidence rate could be much higher because the symptoms are clinically silent or cause only mild headache that resolves spontaneously. We investigated the injury risk arising from head banging using biomechanical methods and the possible methods for controlling those risks.
On a serious note, I do know of a man who has been seriously injured while 'headbanging.' while a member for a 'death and speed metal' band, the constant up and down thrashing and pounding (it was part of their act) took a toll on his neck, so much so that he has had three surgeries and he will never be the same. Me? I am too old to 'headbang', but all you 'youngsters out there- be warned.
Sunday, December 21, 2008
Album Cover Art
Let's look at what made #2 on the Gigwise.com list of dirtiest and sexiest album covers (out of 50- Gigwise comments in quotes):
2. Burana in Brass: ‘Carmana Burana & Other Delights’ – "Of the several paradies of Herb Alpert’s original, this is our personal favourite. A simple-looking monk greedily devouring some pastry and a mug of ale, covered in the obligatory whipped cream. Thank God he’s not naked…."
Not sure why this is even on their list, let alone the number two position. I have come to one conclusion- they have some weird folks over at Gigwise :O)
2. Burana in Brass: ‘Carmana Burana & Other Delights’ – "Of the several paradies of Herb Alpert’s original, this is our personal favourite. A simple-looking monk greedily devouring some pastry and a mug of ale, covered in the obligatory whipped cream. Thank God he’s not naked…."
Not sure why this is even on their list, let alone the number two position. I have come to one conclusion- they have some weird folks over at Gigwise :O)
This Date In Music History-December 21
Birthdays:
Ray Hildebrand of Paul & Paula ("Hey Paula") is 67.
Birthday wishes to Carla Thomas.
Nick Gilder turns 57.
English blues guitarist Albert Lee (1943)
Barry Gordon ("Nuttin' For Christmas") is 60.
They Are Missed:
Carl Wilson of the Beach Boys was born in 1946.
Frank Zappa was born in 1940.
Vocalist Charlie Fuqua, one of the legendary Ink Spots, died in 1971.
Blues guitarist Albert King died from a heart attack in 1992.
History:
Crosby, Stills & Nash formed in 1968.
In 1967, The Rolling Stones released their psychedelic LP “Their Satanic Majesties Request” in the US. The album reaches #2 in the American album charts, below the Beatles' "Magical Mystery Tour."
One of Rock and Roll's strangest oddities happened in 1969 when "I Heard It Through The Grapevine" by Marvin Gaye hit #1 on the Cash Box music chart. The same song was also a number one hit for Gladys Knight and The Pips exactly one year earlier. The tune would also turn up on the chart by Creedence Clearwater Revival in 1976.
LaVern Baker recorded "Jim Dandy" in 1955.
Not a misprint- In 1993, Shaquille O'Neal's "I Know I Got Skillz" single was certified Gold by the RIAA.
Glen Campbell went to No.1 on the US album chart in 1968 with 'Wichita Lineman'.
The Supremes made their last TV appearance together with Diana Ross on 'The Ed Sullivan show' in 1969, singing their last No.1 'Someday We'll Be Together'.
Heart went to No.1 on the US album chart in 1985 with their self- titled album.
Following Blind Faith, Steve Winwood reformed Traffic as a trio in 1970, with original members Jim Capaldi (drums) and Chris Wood (woodwinds). Their “John Barleycorn Must Die” featuring the rousing instrumental “Glad” goes gold.
Elvis Presley dropped in on President Richard Nixon at the White House in 1970. No invitation, no warning. Elvis was convinced drugs are ruining America’s youth and he offers his to help deal with the problem. The White House staff allows Elvis to see the President. Elvis walked into the Oval Office wearing a flamboyant outfit, oversize sunglasses and two huge medallions. He gave Nixon a chrome-plated Colt .45 and Tricky Dick gave Elvis a Narcotics Bureau badge. All that really comes from the meeting is a picture of a very stoned Elvis shaking hands with a very uncomfortable Nixon.
In 1974, Harry Chapin enjoyed his only number one single with "Cat's In The Cradle". The song's theme about a distant father and son relationship was suggested to Harry by his wife, after he expressed disappointment about being on tour instead of attending his son's birth.
In 1985, Bruce Springsteen's album, "Born in the USA" passed Michael Jackson's "Thriller" to become the second longest-lasting LP on the Billboard Top 10. It stayed there for 79 weeks. Only "The Sound of Music" with Julie Andrews lasted longer at 109 weeks.
Yusuf Islam, formerly known as Cat Stevens, performed on stage in 2006 before a live US audience for the first time in nearly thirty years as he promoted his first Pop album since leaving the music world for life as a devout Muslim. Mixing new songs with such old hits as "Oh Very Young" and "Peace Train", he sang with a gentle voice that had changed little from his heyday in the 1970s.
Ray Hildebrand of Paul & Paula ("Hey Paula") is 67.
Birthday wishes to Carla Thomas.
Nick Gilder turns 57.
English blues guitarist Albert Lee (1943)
Barry Gordon ("Nuttin' For Christmas") is 60.
They Are Missed:
Carl Wilson of the Beach Boys was born in 1946.
Frank Zappa was born in 1940.
Vocalist Charlie Fuqua, one of the legendary Ink Spots, died in 1971.
Blues guitarist Albert King died from a heart attack in 1992.
History:
Crosby, Stills & Nash formed in 1968.
In 1967, The Rolling Stones released their psychedelic LP “Their Satanic Majesties Request” in the US. The album reaches #2 in the American album charts, below the Beatles' "Magical Mystery Tour."
One of Rock and Roll's strangest oddities happened in 1969 when "I Heard It Through The Grapevine" by Marvin Gaye hit #1 on the Cash Box music chart. The same song was also a number one hit for Gladys Knight and The Pips exactly one year earlier. The tune would also turn up on the chart by Creedence Clearwater Revival in 1976.
LaVern Baker recorded "Jim Dandy" in 1955.
Not a misprint- In 1993, Shaquille O'Neal's "I Know I Got Skillz" single was certified Gold by the RIAA.
Glen Campbell went to No.1 on the US album chart in 1968 with 'Wichita Lineman'.
The Supremes made their last TV appearance together with Diana Ross on 'The Ed Sullivan show' in 1969, singing their last No.1 'Someday We'll Be Together'.
Heart went to No.1 on the US album chart in 1985 with their self- titled album.
Following Blind Faith, Steve Winwood reformed Traffic as a trio in 1970, with original members Jim Capaldi (drums) and Chris Wood (woodwinds). Their “John Barleycorn Must Die” featuring the rousing instrumental “Glad” goes gold.
Elvis Presley dropped in on President Richard Nixon at the White House in 1970. No invitation, no warning. Elvis was convinced drugs are ruining America’s youth and he offers his to help deal with the problem. The White House staff allows Elvis to see the President. Elvis walked into the Oval Office wearing a flamboyant outfit, oversize sunglasses and two huge medallions. He gave Nixon a chrome-plated Colt .45 and Tricky Dick gave Elvis a Narcotics Bureau badge. All that really comes from the meeting is a picture of a very stoned Elvis shaking hands with a very uncomfortable Nixon.
In 1974, Harry Chapin enjoyed his only number one single with "Cat's In The Cradle". The song's theme about a distant father and son relationship was suggested to Harry by his wife, after he expressed disappointment about being on tour instead of attending his son's birth.
In 1985, Bruce Springsteen's album, "Born in the USA" passed Michael Jackson's "Thriller" to become the second longest-lasting LP on the Billboard Top 10. It stayed there for 79 weeks. Only "The Sound of Music" with Julie Andrews lasted longer at 109 weeks.
Yusuf Islam, formerly known as Cat Stevens, performed on stage in 2006 before a live US audience for the first time in nearly thirty years as he promoted his first Pop album since leaving the music world for life as a devout Muslim. Mixing new songs with such old hits as "Oh Very Young" and "Peace Train", he sang with a gentle voice that had changed little from his heyday in the 1970s.
Saturday, December 20, 2008
Music News & Notes
May Says He Didn't Know Mercury Was Gay
Brian May has told Britain's Daily Express that he didn't realize that Freddie Mercury was gay for years.
"You're talking to someone who shared rooms with Fred on the first couple of tours, so I knew him pretty well. I knew a lot of his girlfriends and he certainly didn't have boyfriends, that's for sure. I think there was a slight suspicion, but it never occurred to me that he was gay."
"I know that all through his life Fred didn't think that whether he was gay or not was important. He loved music, he love his work, and he didn't want anything to get in the way. Anyone who portrays Fred as purely a gay story is missing a lot of the point."
----------------------------------------
McCartney Says Don't Get Too Excited
Paul McCartney is quoted as saying for everyone not to get too excited about "Carnival of Light," the Beatles' 14-minute unreleased experimental song. "People are thinking there's another "Strawberry Fields" somewhere... this is more plinky-plonky. I mean, I like it, but it's not to everyone's taste."
----------------------------------------
Sing With Elvis
If you've always wanted to sing with Elvis Presley, now you have the chance. Sony has a new site up (www.singwiththeking.com) where you can duet on Blue Christmas. The site launched December 5th and it is free to enjoy.
"Someone in our digital area came up with the concept," explained JJ Rosen, executive vice president of Sony BMG Music Entertainment Commercial Music Group. "It fits the duets concept of the album so well."
Because the campaign leans heavily on technology, Rosen said that it helps to bring Presely and his music to a younger generation, stating that "We're always trying to keep the Elvis brand alive."
So far, the site has drawn over 30,000 people from over nine countries and it is scheduled to end sometime in January. In fact, the promotion has proved to be so successful, that Sony plans a similar one for mariah Carey's upcoming release "The Ballads" for Valentine's Day.
----------------------------------------
Joe Perry's Christmas Performance
For those who would like a free download of Aerosmith's Joe Perry performing Chuck Berry's "Run, Rudolph, Run," check it out at YouTube:
Brian May has told Britain's Daily Express that he didn't realize that Freddie Mercury was gay for years.
"You're talking to someone who shared rooms with Fred on the first couple of tours, so I knew him pretty well. I knew a lot of his girlfriends and he certainly didn't have boyfriends, that's for sure. I think there was a slight suspicion, but it never occurred to me that he was gay."
"I know that all through his life Fred didn't think that whether he was gay or not was important. He loved music, he love his work, and he didn't want anything to get in the way. Anyone who portrays Fred as purely a gay story is missing a lot of the point."
----------------------------------------
McCartney Says Don't Get Too Excited
Paul McCartney is quoted as saying for everyone not to get too excited about "Carnival of Light," the Beatles' 14-minute unreleased experimental song. "People are thinking there's another "Strawberry Fields" somewhere... this is more plinky-plonky. I mean, I like it, but it's not to everyone's taste."
----------------------------------------
Sing With Elvis
If you've always wanted to sing with Elvis Presley, now you have the chance. Sony has a new site up (www.singwiththeking.com) where you can duet on Blue Christmas. The site launched December 5th and it is free to enjoy.
"Someone in our digital area came up with the concept," explained JJ Rosen, executive vice president of Sony BMG Music Entertainment Commercial Music Group. "It fits the duets concept of the album so well."
Because the campaign leans heavily on technology, Rosen said that it helps to bring Presely and his music to a younger generation, stating that "We're always trying to keep the Elvis brand alive."
So far, the site has drawn over 30,000 people from over nine countries and it is scheduled to end sometime in January. In fact, the promotion has proved to be so successful, that Sony plans a similar one for mariah Carey's upcoming release "The Ballads" for Valentine's Day.
----------------------------------------
Joe Perry's Christmas Performance
For those who would like a free download of Aerosmith's Joe Perry performing Chuck Berry's "Run, Rudolph, Run," check it out at YouTube:
Thin Lizzy To Release 'Still Dangerous' Live Album In March
March 2009 sees the release of 'Still Dangerous,' the real Live & Dangerous!
Thin Lizzy's seminal 'Live & Dangerous' is consistently featured in polls for the greatest live album of all time, yet, as we all know it's not a true live record.' Still Dangerous' on the other hand is the raw, unadulterated, untouched sound of Thin Lizzy at the absolute height of their power.
Recorded on the band's sell out 1977 'Bad Reputation' tour, 'Still Dangerous' captures the classic quartet of Phil Lynott, Brian Downey, Scott Gorham and Brian Robertson on fire at the celebrated Tower Theatre in Philadelphia.
'Still Dangerous' features three tracks that never made the 'Live & Dangerous' release and all cuts are previously unreleased. Mixed by the legendary Glyn Johns, with contributions from Scott Gorham and Brian Downey, 'Still Dangerous' is the definitive live statement from one of rock's most revered and enduring groups.
Fully endorsed by the band, Still Dangerous is the first release on their Thin Lizzy Productions label, distributed by VH1 Classics in the US and Proper music distribution in the UK & Europe.
Thin Lizzy's seminal 'Live & Dangerous' is consistently featured in polls for the greatest live album of all time, yet, as we all know it's not a true live record.' Still Dangerous' on the other hand is the raw, unadulterated, untouched sound of Thin Lizzy at the absolute height of their power.
Recorded on the band's sell out 1977 'Bad Reputation' tour, 'Still Dangerous' captures the classic quartet of Phil Lynott, Brian Downey, Scott Gorham and Brian Robertson on fire at the celebrated Tower Theatre in Philadelphia.
'Still Dangerous' features three tracks that never made the 'Live & Dangerous' release and all cuts are previously unreleased. Mixed by the legendary Glyn Johns, with contributions from Scott Gorham and Brian Downey, 'Still Dangerous' is the definitive live statement from one of rock's most revered and enduring groups.
Fully endorsed by the band, Still Dangerous is the first release on their Thin Lizzy Productions label, distributed by VH1 Classics in the US and Proper music distribution in the UK & Europe.
Sound Check: In digital era, vinyl makes a comeback
Jesse DeLeon
They were black, shiny and you had to get up and turn them over if you wanted to hear all of the songs on them. They had covers that became an art form, and it was on that long-since-retired format of recorded music known as the record album where generations of fans first heard artists such as The Beatles, The Rolling Stones and Eric Clapton.
These days, thanks to the iPod, we can carry around thousands of songs in our pockets. The last few years has been a dizzying and relentless journey of musical downsizing that started with the inception of the seemingly now-archaic compact disc.
But a funny thing happened on the way to digitizing all of our music.
The LP (or long-play record, as some of us remember all too well) is staging an unlikely comeback in this digital age. Turntables are slowly coming back into fashion, and record companies realize some ears out there would rather hear the warmer, fuller sound of a vinyl record than the antiseptic, processed and sometimes tinny nuances that plague some MP3s.
"Viva La Vida" (Capitol) by Coldplay, "Magic" (Columbia) from Bruce Springsteen and Metallica's "Death Magnetic" (Electra) are all recent releases from some of rock's biggest acts who have satiated that segment of its LP-loving audience with special limited edition vinyl versions.
Even U2, whose recently remastered "The Joshua Tree" (Island) was originally unveiled when LPs were still part of the industry's official configuration, has re-released that landmark recording on vinyl, complete with a meticulous reproduction of its artwork, lyrics and label.
Beatles fans, who had been hoping for LP reissues in the wake of Capitol's release of the group's much-altered American titles, will have to make do with the issue of Paul McCartney's solo watermark "Band on the Run" (Capitol) and John Lennon's oldies love letter, "Rock and Roll" (Capitol). These solo albums couldn't be more disparate, as McCartney was intent on establishing a strong solo identity with "Band on the Run" and Lennon was reaching back to his pre-Beatles fame as he covered songs by his big influences that included Buddy Holly, Chuck Berry and Little Richard.
The newfound availability of these albums on vinyl is not only a testament to the amazingly durable quality of the music, but for those of us who prefer the comfortable sound of the needle gliding over that shiny black plastic, it remains an unparalleled and amazingly groove-y experience.
SOURCE: http://www.caller.com
They were black, shiny and you had to get up and turn them over if you wanted to hear all of the songs on them. They had covers that became an art form, and it was on that long-since-retired format of recorded music known as the record album where generations of fans first heard artists such as The Beatles, The Rolling Stones and Eric Clapton.
These days, thanks to the iPod, we can carry around thousands of songs in our pockets. The last few years has been a dizzying and relentless journey of musical downsizing that started with the inception of the seemingly now-archaic compact disc.
But a funny thing happened on the way to digitizing all of our music.
The LP (or long-play record, as some of us remember all too well) is staging an unlikely comeback in this digital age. Turntables are slowly coming back into fashion, and record companies realize some ears out there would rather hear the warmer, fuller sound of a vinyl record than the antiseptic, processed and sometimes tinny nuances that plague some MP3s.
"Viva La Vida" (Capitol) by Coldplay, "Magic" (Columbia) from Bruce Springsteen and Metallica's "Death Magnetic" (Electra) are all recent releases from some of rock's biggest acts who have satiated that segment of its LP-loving audience with special limited edition vinyl versions.
Even U2, whose recently remastered "The Joshua Tree" (Island) was originally unveiled when LPs were still part of the industry's official configuration, has re-released that landmark recording on vinyl, complete with a meticulous reproduction of its artwork, lyrics and label.
Beatles fans, who had been hoping for LP reissues in the wake of Capitol's release of the group's much-altered American titles, will have to make do with the issue of Paul McCartney's solo watermark "Band on the Run" (Capitol) and John Lennon's oldies love letter, "Rock and Roll" (Capitol). These solo albums couldn't be more disparate, as McCartney was intent on establishing a strong solo identity with "Band on the Run" and Lennon was reaching back to his pre-Beatles fame as he covered songs by his big influences that included Buddy Holly, Chuck Berry and Little Richard.
The newfound availability of these albums on vinyl is not only a testament to the amazingly durable quality of the music, but for those of us who prefer the comfortable sound of the needle gliding over that shiny black plastic, it remains an unparalleled and amazingly groove-y experience.
SOURCE: http://www.caller.com
Metal Cover Art Revealed
God Forbid Prepare to Shed EARTHSBLOOD
by Gregory S. Burkart
Multi-cultural metal wizards God Forbid, whose mercilessly evil thrash skills and haunting vocals have put them head-to-head with tour-mates like GWAR, Cradle of Filth and Mushroomhead, have just unveiled the wickedly beautiful cover art and track listing for their upcoming fifth album Earthsblood, which is slated for release on February 24th.
Guitarist Doc Coyle was so taken with the concept designs by Brazilian artist Gustavo Sazes that he felt compelled to blog about it. “This is my favorite God Forbid album artwork to date,” he proclaimed. “For Earthsblood, we thought it would be great to go with someone who isn't one of the usual suspects for album design in modern metal... [Sazes] fully captures the dark and organic, yet emotional atmosphere of the album.”
Sazes' art also graces the band's website and MySpace – where you can also listen to the album's first single “The Rain,” which the band has already been performing live on their summer 2008 tour with reunited thrash titans Death Angel.
Here's the track listing for Earthsblood:
“The Discovery”
“The Rain”
“Empire of the Gun”
“War of Attrition”
“The New Clear”
“Shallow”
“Walk Alone”
“Bat the Angels”
“Earthsblood”
“Gaia (The Vultures)”
SOURCE: http://www.fearnet.com
by Gregory S. Burkart
Multi-cultural metal wizards God Forbid, whose mercilessly evil thrash skills and haunting vocals have put them head-to-head with tour-mates like GWAR, Cradle of Filth and Mushroomhead, have just unveiled the wickedly beautiful cover art and track listing for their upcoming fifth album Earthsblood, which is slated for release on February 24th.
Guitarist Doc Coyle was so taken with the concept designs by Brazilian artist Gustavo Sazes that he felt compelled to blog about it. “This is my favorite God Forbid album artwork to date,” he proclaimed. “For Earthsblood, we thought it would be great to go with someone who isn't one of the usual suspects for album design in modern metal... [Sazes] fully captures the dark and organic, yet emotional atmosphere of the album.”
Sazes' art also graces the band's website and MySpace – where you can also listen to the album's first single “The Rain,” which the band has already been performing live on their summer 2008 tour with reunited thrash titans Death Angel.
Here's the track listing for Earthsblood:
“The Discovery”
“The Rain”
“Empire of the Gun”
“War of Attrition”
“The New Clear”
“Shallow”
“Walk Alone”
“Bat the Angels”
“Earthsblood”
“Gaia (The Vultures)”
SOURCE: http://www.fearnet.com
Album Cover Art
Drumroll please! We are at the number 3 position of Gigwise.com's dirtiest and sexiest album covers! (Gigwise comments in quotes):
3. Herb Alpert’s Tijuana Brass: ‘Whipped Cream & Other Delights’ – "Released way back in 1965, Herb Alpert’s album has since shifted 6million copies and has garnered a legendary status thanks to its extremely risqué cover of a woman doused in whipped cream and sucking suggestively on her finger. It’s no wonder that it has been parodied a number of times since."
Whipped Cream and Other Delights is a 1965 album by Herb Alpert & the Tijuana Brass, called "Herb Alpert's Tijuana Brass" for this album, released on A&M Records. It is the band's fourth full album and arguably their most popular release.
This album saw the band nearly abandoning its Mexican-themed music, featuring mostly covers of popular songs, and also generating some major pop hits for the first time since "The Lonely Bull". One "tradition" of the early Brass was to include a number rendered in "strip-tease" fashion, and this album's entry for that style was "Love Potion No. 9"
Whipped Cream sold over 6 million copies in the United States and the album cover alone is considered a classic pop culture icon. It featured model Dolores Erickson wearing chiffon and shaving cream. The picture was taken at a time when Erickson was three months pregnant. The cover was so popular with Alpert fans that, during concerts, when about to play the song "Whipped Cream", Alpert would tell the audience, "Sorry, we can't play the cover for you!"
The art was parodied by several groups including once A&M band Soul Asylum, who made fun of the liner notes along with the back cover on their album Clam Dip & Other Delights, comedian Pat Cooper on his album Spaghetti Sauce and Other Delights, the Frivolous Five on a Herb Alpert tribute album, "Sour Cream and Other Delights" and by Peter Nero on his album, Peter Nero Plays a Salute to Herb Alpert & The Tijuana Brass.
A classic album cover, who would have known back when it was done that we would still be talking about it 40 years later?
3. Herb Alpert’s Tijuana Brass: ‘Whipped Cream & Other Delights’ – "Released way back in 1965, Herb Alpert’s album has since shifted 6million copies and has garnered a legendary status thanks to its extremely risqué cover of a woman doused in whipped cream and sucking suggestively on her finger. It’s no wonder that it has been parodied a number of times since."
Whipped Cream and Other Delights is a 1965 album by Herb Alpert & the Tijuana Brass, called "Herb Alpert's Tijuana Brass" for this album, released on A&M Records. It is the band's fourth full album and arguably their most popular release.
This album saw the band nearly abandoning its Mexican-themed music, featuring mostly covers of popular songs, and also generating some major pop hits for the first time since "The Lonely Bull". One "tradition" of the early Brass was to include a number rendered in "strip-tease" fashion, and this album's entry for that style was "Love Potion No. 9"
Whipped Cream sold over 6 million copies in the United States and the album cover alone is considered a classic pop culture icon. It featured model Dolores Erickson wearing chiffon and shaving cream. The picture was taken at a time when Erickson was three months pregnant. The cover was so popular with Alpert fans that, during concerts, when about to play the song "Whipped Cream", Alpert would tell the audience, "Sorry, we can't play the cover for you!"
The art was parodied by several groups including once A&M band Soul Asylum, who made fun of the liner notes along with the back cover on their album Clam Dip & Other Delights, comedian Pat Cooper on his album Spaghetti Sauce and Other Delights, the Frivolous Five on a Herb Alpert tribute album, "Sour Cream and Other Delights" and by Peter Nero on his album, Peter Nero Plays a Salute to Herb Alpert & The Tijuana Brass.
A classic album cover, who would have known back when it was done that we would still be talking about it 40 years later?
Friday, December 19, 2008
Album Cover Art Stories
As always, I want to thank Michael Goldstein at www.RockPoPGallery.com for the exclusive reprint rights to these great rock and roll stories:
Cover Story - The Grateful Dead's "Dick's Picks Vol. 25-30", with design/photography by Bob Minkin
Cover Story for January 11, 2008
Subject – Dick’s Picks, a series of CD releases by The Grateful Dead on Grateful Dead Records, with cover images by Bob Minkin
In these days of declining record sales, many people who report on the music business wonder aloud how it is that musicians are supposed to be able to survive (and, even, make a good living) without selling millions of CDs or digital downloads. Throughout the short history of Rock and Roll music, there have been a few great examples of musical acts that have connected with their fan bases in such as deep way that they have been able to build and support their careers (and their families) on the sales of the wide range of related enterprises, with touring being the most obvious (and, done right, a very profitable) method.
The consummate touring band, The Grateful Dead is a great example of such an act. For 30 years, from 1965 to 1995, the band played almost constantly, traveling throughout the U.S. and Canada, as well as Europe and, in 1978, in Giza, Egypt, near the Great Pyramids. All during this time, the band lived in an open marriage with its fans, allowing them to record and share their music and, in some cases, providing the throngs of Deadheads who traveled with them from show to show with the necessities of life (free food, shelter, first aid and, quite often, music).
And while this didn’t translate into commercial success in a traditionally-measured way (for example, it took nearly 30 years for American Beauty and Europe ’72 to go Double Platinum, with only one recording – Skeletons from the Closet – going 3X Platinum, and that after 20 years!), the band made a VERY good living from touring and merchandise, and they were very wise to record (on audio and, when possible, video tape) nearly every concert to be put into a vault for use later on.
Beginning in the early 1990s and continuing to this day, the band made good use of their archives by releasing three series of live concert recordings. Two of these series use the multi-track recordings made, remixed using the newer technologies now available. The third series, titled Dick’s Picks, were based on more rudimentary 2-track recordings – more like what would have been recorded by fans at these shows. The series was launched in 1993 and was named for Grateful Dead archivist Dick Latvala, who personally worked with the band members to select the shows for the series and then oversaw production until his death in 1999, after which the new archivist, David Lemieux, took over these responsibilities until the series was completed in 2005.
And although the Dead has fairly-well fully-embraced the new Digital Age – offering their new, internet-only “Grateful Dead Download Series” both on their www.gdstore.com site and through iTunes – the packaging of “traditional” products in high style continues to be a priority for the band. While early records featured the artwork of some of the leading artists of the San Francisco psychedelic and underground scene – Stanley Mouse, Alton Kelley, John Van Hamersveld, Gilbert Shelton, Philip Garris and others – they chose a long-time fan, artist & photographer Bob Minkin, to create the look of the last 11 volumes of the Dicks Picks series. How this opportunity for a Deadhead to leave a lasting mark on the products for his favorite band is the subject of today’s Cover Story. Read on, dudes…
In the words of the artist, Bob Minkin –
According to Bob - "As a long-time Deadhead, I began photographing the Grateful Dead for fun. In 1977, I had the opportunity to show my work to the publisher of Relix Magazine in NYC. From then on, my photography and artwork was published in almost every issue of Relix - even to this day.
My relationship with the magazine allowed me to get credentials to photograph many artists, and so in the 1980's, I contacted Grateful Dead Productions directly and they began using my photography for calendars, books and, later, the internet. Although I was also graphic designer with my own business, The Dead's organization primarily knew me as a photographer.
That all changed in 2000 when they were looking for a new packaging designer. A friend who works for Grateful Dead Productions recommended me to fill that role. I made a presentation and they were impressed and hired me to create a new look for the CD cover and other packaging for the 25th Dick's Picks. Dick's Picks is a numbered series of live concert releases that were hand picked by the Dead's archivist, Dick Latvala, and so the criteria was that the design had to lend itself to a numbered series.
Number 25 was a stand-alone design, but my client was so pleased with that package that they hired me to design and produce all of their subsequent CD, DVD and box set releases. The artist's management provided me with no visual direction at all. It was wide open for me to come up with an array of possibilities for them to consider.
The next 11 releases that I created were divided into two series with different designs. For Numbers 26-30, I created the 'stamp' series. As a fan of the band, I was already immersed in their imagery. Their song lyrics conjure up visions of the Wild West, trains, hobos, poker games, dancing bears, roses, outer space and so on, and since these were live concert recordings, microphones, tape reels, the venue and location could all play a part in the visuals.
I had proposed a few different themes for the series – a 'road case' theme, a 'space' theme, and a theme based on postage stamps. Here are some comps of the designs I had proposed -
My client ultimately chose the 'stamp' design. The idea was to make the CD look like a mailed package, complete with stamp and postmark. The postmark would reflect the date of the concert recording and the stamp would be evocative of the Dead's imagery.
I looked through my childhood postage stamp collection and found beautiful stamps form South America dating from the 1930s-40s. When I scanned and enlarged the stamps, the detail was incredible. Working in Photoshop, I manipulated the images to make the postage value conform to the series number of the Dick's Picks. Then I replaced the central image and merged it seamlessly into the original stamp design. Two of the central images were from photographs I shot - the skeletons on #26 were taken in Mexico, while the rose on #30 was taken in my garden. The others I found in my collection of 'old stuff'.
I scanned wrapping paper for the background and created a 'postmark' in Adobe Illustrator. I imported the postmark into Photoshop and incorporated it into the paper scan and added shadows and de-bossing effects to make it look real. In the end, everyone was extremely pleased with the results, so much so that they hired me as their principal designer for their new releases over the next five-year period. Nothing wild took place during the development process - it was all very business-like - but it was and still is thrilling for me to work with my favorite band."
About the artist & photographer, Bob Minkin –
In 1974, when Bob brought his Kodak Instamatic camera to a New Riders Of The Purple Sage concert at New York City’s Academy Of Music, he had no idea he was about to embark on a lifetime journey.
A graduate of New York City's School Of Visual Arts, Bob earned his BFA in graphic design and photography. He was born and raised in Brooklyn, NY, and currently lives with his family in Marin County, CA. He is a partner in Minkin Design, a full-service web design and graphic studio.
His photographs have appeared internationally on CDs and DVDs, and on the covers and insides of many magazines and books. Clients have included Time Magazine, Rolling Stone, Entertainment Weekly, Guitar World and Grateful Dead Productions.
As Bob tells it – “When I was 13 years old, I fell in with a clique who turned me on to the music I still love today. By 1974, I was going to concerts by Eric Clapton, Grateful Dead, Johnny Winter, Mountain, NRPS, and others. Greatly impressed with this new world, I wanted to capture a memory or keepsake for myself. I began taking my camera to almost all the concerts I attended.
Living in NYC afforded me the opportunity to hear plenty of live music. It became a hobby, an obsession and I went to many shows, seeing not only bands that I was familar with, but exploring new bands that were unfamilar to me - The Plasmatics, Todd Rundgren, Ramones, B-52s, Talking Heads, etc.
By 1977, I had already amassed a considerable portfolio. At that time - through a chance encounter - I hooked up with Relix Magazine, then a Grateful Dead fanzine. My photos were published in Relix and I began gaining official access, that is, photo passes to many concerts. I continue to work with Relix to this day.
<- Bob and his favorite guitarist
As time went on, I expanded my contacts in the music industry. Working with Monarch Entertainment in the Northeast, later Bill Graham Presents when I moved to San Francisco. During the 1980's I began a close relationship with Grateful Dead Productions which continues to this day in the form of my role as their package designer for most of their CD and DVD releases.
I still do a lot of photography, of course. When shooting, I like the beauty of natural light and try to be as unobtrusive as possible, allowing my subjects to be their natural selves. Capturing the definitive peak moments of an event is what I strive for.”
Bob’s design studio - Minkin Design - opened shop in 1990, the year Bob and Anne Minkin escaped from New York and settled in the San Francisco Bay Area. The two talented designers met at Manhattan's School of Visual Arts, graduating with BFAs in Graphic Design and designs on a future together.
Their entrepreneurial start in California after stints in the NY corporate world netted them clients ranging from start-ups to Fortune 500's. In addition to many long-term client relationships, they developed a full network of support people and services, along with the ability to successfully manage any marketing communications project, no matter the size or complexity.
Their Philosophy
1. Listen and learn
2. Respond creatively with clarity, function, usability and good looks.
To see more of Bob Minkin’s current work, please visit his site at -
http://www.minkindesign.com/cd-dvd.html
To see more of his work as a photographer, please follow this link -
http://www.minkindesign.com/photo/
To see Bob’s work available through RockPoP Gallery, please follow this link –
http://rockpopgallery.easystorecreator.com/items/bob-minkin/list.htm
To see all of the Grateful Dead-related items in the RockPoP Gallery collection, please click here - http://rockpopgallery.easystorecreator.com/items/grateful-dead/list.htm?1=1
All images featured in this Cover Story are Copyright 1993-2005 and 2006, Robert Minkin and Minkin Designs - All rights reserved. Except as noted, all other text Copyright 2008 - Mike Goldstein & RockPoP Gallery (www.rockpopgallery.com) - All rights reserved.
Cover Story - The Grateful Dead's "Dick's Picks Vol. 25-30", with design/photography by Bob Minkin
Cover Story for January 11, 2008
Subject – Dick’s Picks, a series of CD releases by The Grateful Dead on Grateful Dead Records, with cover images by Bob Minkin
In these days of declining record sales, many people who report on the music business wonder aloud how it is that musicians are supposed to be able to survive (and, even, make a good living) without selling millions of CDs or digital downloads. Throughout the short history of Rock and Roll music, there have been a few great examples of musical acts that have connected with their fan bases in such as deep way that they have been able to build and support their careers (and their families) on the sales of the wide range of related enterprises, with touring being the most obvious (and, done right, a very profitable) method.
The consummate touring band, The Grateful Dead is a great example of such an act. For 30 years, from 1965 to 1995, the band played almost constantly, traveling throughout the U.S. and Canada, as well as Europe and, in 1978, in Giza, Egypt, near the Great Pyramids. All during this time, the band lived in an open marriage with its fans, allowing them to record and share their music and, in some cases, providing the throngs of Deadheads who traveled with them from show to show with the necessities of life (free food, shelter, first aid and, quite often, music).
And while this didn’t translate into commercial success in a traditionally-measured way (for example, it took nearly 30 years for American Beauty and Europe ’72 to go Double Platinum, with only one recording – Skeletons from the Closet – going 3X Platinum, and that after 20 years!), the band made a VERY good living from touring and merchandise, and they were very wise to record (on audio and, when possible, video tape) nearly every concert to be put into a vault for use later on.
Beginning in the early 1990s and continuing to this day, the band made good use of their archives by releasing three series of live concert recordings. Two of these series use the multi-track recordings made, remixed using the newer technologies now available. The third series, titled Dick’s Picks, were based on more rudimentary 2-track recordings – more like what would have been recorded by fans at these shows. The series was launched in 1993 and was named for Grateful Dead archivist Dick Latvala, who personally worked with the band members to select the shows for the series and then oversaw production until his death in 1999, after which the new archivist, David Lemieux, took over these responsibilities until the series was completed in 2005.
And although the Dead has fairly-well fully-embraced the new Digital Age – offering their new, internet-only “Grateful Dead Download Series” both on their www.gdstore.com site and through iTunes – the packaging of “traditional” products in high style continues to be a priority for the band. While early records featured the artwork of some of the leading artists of the San Francisco psychedelic and underground scene – Stanley Mouse, Alton Kelley, John Van Hamersveld, Gilbert Shelton, Philip Garris and others – they chose a long-time fan, artist & photographer Bob Minkin, to create the look of the last 11 volumes of the Dicks Picks series. How this opportunity for a Deadhead to leave a lasting mark on the products for his favorite band is the subject of today’s Cover Story. Read on, dudes…
In the words of the artist, Bob Minkin –
According to Bob - "As a long-time Deadhead, I began photographing the Grateful Dead for fun. In 1977, I had the opportunity to show my work to the publisher of Relix Magazine in NYC. From then on, my photography and artwork was published in almost every issue of Relix - even to this day.
My relationship with the magazine allowed me to get credentials to photograph many artists, and so in the 1980's, I contacted Grateful Dead Productions directly and they began using my photography for calendars, books and, later, the internet. Although I was also graphic designer with my own business, The Dead's organization primarily knew me as a photographer.
That all changed in 2000 when they were looking for a new packaging designer. A friend who works for Grateful Dead Productions recommended me to fill that role. I made a presentation and they were impressed and hired me to create a new look for the CD cover and other packaging for the 25th Dick's Picks. Dick's Picks is a numbered series of live concert releases that were hand picked by the Dead's archivist, Dick Latvala, and so the criteria was that the design had to lend itself to a numbered series.
Number 25 was a stand-alone design, but my client was so pleased with that package that they hired me to design and produce all of their subsequent CD, DVD and box set releases. The artist's management provided me with no visual direction at all. It was wide open for me to come up with an array of possibilities for them to consider.
The next 11 releases that I created were divided into two series with different designs. For Numbers 26-30, I created the 'stamp' series. As a fan of the band, I was already immersed in their imagery. Their song lyrics conjure up visions of the Wild West, trains, hobos, poker games, dancing bears, roses, outer space and so on, and since these were live concert recordings, microphones, tape reels, the venue and location could all play a part in the visuals.
I had proposed a few different themes for the series – a 'road case' theme, a 'space' theme, and a theme based on postage stamps. Here are some comps of the designs I had proposed -
My client ultimately chose the 'stamp' design. The idea was to make the CD look like a mailed package, complete with stamp and postmark. The postmark would reflect the date of the concert recording and the stamp would be evocative of the Dead's imagery.
I looked through my childhood postage stamp collection and found beautiful stamps form South America dating from the 1930s-40s. When I scanned and enlarged the stamps, the detail was incredible. Working in Photoshop, I manipulated the images to make the postage value conform to the series number of the Dick's Picks. Then I replaced the central image and merged it seamlessly into the original stamp design. Two of the central images were from photographs I shot - the skeletons on #26 were taken in Mexico, while the rose on #30 was taken in my garden. The others I found in my collection of 'old stuff'.
I scanned wrapping paper for the background and created a 'postmark' in Adobe Illustrator. I imported the postmark into Photoshop and incorporated it into the paper scan and added shadows and de-bossing effects to make it look real. In the end, everyone was extremely pleased with the results, so much so that they hired me as their principal designer for their new releases over the next five-year period. Nothing wild took place during the development process - it was all very business-like - but it was and still is thrilling for me to work with my favorite band."
About the artist & photographer, Bob Minkin –
In 1974, when Bob brought his Kodak Instamatic camera to a New Riders Of The Purple Sage concert at New York City’s Academy Of Music, he had no idea he was about to embark on a lifetime journey.
A graduate of New York City's School Of Visual Arts, Bob earned his BFA in graphic design and photography. He was born and raised in Brooklyn, NY, and currently lives with his family in Marin County, CA. He is a partner in Minkin Design, a full-service web design and graphic studio.
His photographs have appeared internationally on CDs and DVDs, and on the covers and insides of many magazines and books. Clients have included Time Magazine, Rolling Stone, Entertainment Weekly, Guitar World and Grateful Dead Productions.
As Bob tells it – “When I was 13 years old, I fell in with a clique who turned me on to the music I still love today. By 1974, I was going to concerts by Eric Clapton, Grateful Dead, Johnny Winter, Mountain, NRPS, and others. Greatly impressed with this new world, I wanted to capture a memory or keepsake for myself. I began taking my camera to almost all the concerts I attended.
Living in NYC afforded me the opportunity to hear plenty of live music. It became a hobby, an obsession and I went to many shows, seeing not only bands that I was familar with, but exploring new bands that were unfamilar to me - The Plasmatics, Todd Rundgren, Ramones, B-52s, Talking Heads, etc.
By 1977, I had already amassed a considerable portfolio. At that time - through a chance encounter - I hooked up with Relix Magazine, then a Grateful Dead fanzine. My photos were published in Relix and I began gaining official access, that is, photo passes to many concerts. I continue to work with Relix to this day.
<- Bob and his favorite guitarist
As time went on, I expanded my contacts in the music industry. Working with Monarch Entertainment in the Northeast, later Bill Graham Presents when I moved to San Francisco. During the 1980's I began a close relationship with Grateful Dead Productions which continues to this day in the form of my role as their package designer for most of their CD and DVD releases.
I still do a lot of photography, of course. When shooting, I like the beauty of natural light and try to be as unobtrusive as possible, allowing my subjects to be their natural selves. Capturing the definitive peak moments of an event is what I strive for.”
Bob’s design studio - Minkin Design - opened shop in 1990, the year Bob and Anne Minkin escaped from New York and settled in the San Francisco Bay Area. The two talented designers met at Manhattan's School of Visual Arts, graduating with BFAs in Graphic Design and designs on a future together.
Their entrepreneurial start in California after stints in the NY corporate world netted them clients ranging from start-ups to Fortune 500's. In addition to many long-term client relationships, they developed a full network of support people and services, along with the ability to successfully manage any marketing communications project, no matter the size or complexity.
Their Philosophy
1. Listen and learn
2. Respond creatively with clarity, function, usability and good looks.
To see more of Bob Minkin’s current work, please visit his site at -
http://www.minkindesign.com/cd-dvd.html
To see more of his work as a photographer, please follow this link -
http://www.minkindesign.com/photo/
To see Bob’s work available through RockPoP Gallery, please follow this link –
http://rockpopgallery.easystorecreator.com/items/bob-minkin/list.htm
To see all of the Grateful Dead-related items in the RockPoP Gallery collection, please click here - http://rockpopgallery.easystorecreator.com/items/grateful-dead/list.htm?1=1
All images featured in this Cover Story are Copyright 1993-2005 and 2006, Robert Minkin and Minkin Designs - All rights reserved. Except as noted, all other text Copyright 2008 - Mike Goldstein & RockPoP Gallery (www.rockpopgallery.com) - All rights reserved.
New Prince Tracks Previewed on Los Angeles Radio
Los Angeles' Indie 103 had the privilege of previewing Prince's new album, in it's entirety, with the musician himself before getting permission to preview four of the new tracks on-air. According to reports, the album is a very guitar-heavy rock record.
At this time, there is no release date for the album as Prince is without a label, and he's happy that way. According to a radio station spokesman, Prince “wants nothing to do with record labels, so he’s meeting with people to figure out how to operate at his level without a record label.”
Rolling Stone reported on the radio preview of the four tracks:
A cover of Tommy James & the Shondells' Crimson in Clover with altered lyrics and vocal effects.
Colonized Mind, with lyrics accusing record companies of theft.
Wall of Berlin, which RS said had a vibe similar to the third side of Jimi Hendrix' Electric Ladyland.
4ever, a slow love ballad.
SOURCE: http://winkscollectibles.blogspot.com
No fleeting fad
By Craig Mathieson
In 2008, few records sounded more timely — and yet somehow timeless — than the self-titled debut of Seattle's five-piece Fleet Foxes. An elegiac mix of folk-rock melodies and contemplative harmonies blessed with a stillness both stern and beautiful, Fleet Foxes tied together strands of America's history, musical and otherwise, at a time when the country was up for grabs.
"There's a certain subversion of the actual America that happens in an election year — you hear a distorted version of the country, the Sarah Palin version of what America is," says Robin Pecknold, vocalist and chief songwriter of Fleet Foxes.
"The great deception of the 21st century is the Republicans convincing the working class they're on their side when there's not a single policy you could point to that illustrates that."
Seated in the Seattle office of Sub Pop, the band's record label, Pecknold is quietly spoken but certain of what he wants to say. Still in his early 20s — the facial hair favoured by the group adds a few years — he has made an album about personal faith in times of crisis and how a nation's upheaval is felt on a personal level. As Canada's the Band once did, Fleet Foxes touch on the past to detail the present.
"In terms of the message on the record, it's about family and finding a genuine space to live in," Pecknold says. "With America, you're dealing with a very difficult country. For America to change for the better it would need to become a colony of Norway. There's a tonne of stuff written into the American mindset that is outmoded but difficult to transcend."
Their grooming, combined with Pecknold's oft-stated admiration for Bob Dylan and Fleet Foxes' pastoral sound, have left the outfit with the tag of hippies.
But this does them a disservice — you can as easily hear the 1860s as the 1960s in their music, with Pecknold's use of somewhat formal language and the group's invoking of the folk tradition.
"The record wasn't meant to evoke the 1960s in any particular way. The weirder, older American stuff is more interesting to me," says Pecknold.
The youngest of three children, Pecknold grew up the son of progressive parents. His mother was a school teacher and his father built everything from boats to guitars. Much has been made of what he learnt by going through his parents' collection of vinyl, but the robust discussion at the family dinner table was just as important. It left Pecknold with a quiet confidence and ready determination, qualities he shared with his best friend from high school, Skye Skjelset, who is now the guitarist for Fleet Foxes.
"I suppose music is kind of cyclical and that people are more interested in hearing a certain thing at a certain time," Pecknold says. "But all that stuff is someone else's game because we'd have made the same record no matter what."
This year alone, Fleet Foxes have toured North America three times and Europe twice. Near unanimous critical acclaim has also translated into healthy CD sales. Fleet Foxes has sold about 400,000 copies worldwide.
SOURCE: http://www.theage.com.au
Click on link to buy vinyl LP!http://www.insound.com/search/results4.jsp?from=5141&query=Fleet+foxes
Insound LP+MP3! Purchase the vinyl format of Fleet Foxes and you'll receive a link to download the MP3s for free immediately after check-out! VINYL FORMAT. Seattle's Fleet Foxes traffic in baroque harmonic pop. They draw influences from the traditions of folk, pop, choral, gospel, sacred harp singing, West Coast music, traditional music from Ireland to Japan, film scores, and their NW peers. The subject matter ranges from the natural world and familial bonds to bygone loves and stone cold graves.
In 2008, few records sounded more timely — and yet somehow timeless — than the self-titled debut of Seattle's five-piece Fleet Foxes. An elegiac mix of folk-rock melodies and contemplative harmonies blessed with a stillness both stern and beautiful, Fleet Foxes tied together strands of America's history, musical and otherwise, at a time when the country was up for grabs."There's a certain subversion of the actual America that happens in an election year — you hear a distorted version of the country, the Sarah Palin version of what America is," says Robin Pecknold, vocalist and chief songwriter of Fleet Foxes.
"The great deception of the 21st century is the Republicans convincing the working class they're on their side when there's not a single policy you could point to that illustrates that."
Seated in the Seattle office of Sub Pop, the band's record label, Pecknold is quietly spoken but certain of what he wants to say. Still in his early 20s — the facial hair favoured by the group adds a few years — he has made an album about personal faith in times of crisis and how a nation's upheaval is felt on a personal level. As Canada's the Band once did, Fleet Foxes touch on the past to detail the present.
"In terms of the message on the record, it's about family and finding a genuine space to live in," Pecknold says. "With America, you're dealing with a very difficult country. For America to change for the better it would need to become a colony of Norway. There's a tonne of stuff written into the American mindset that is outmoded but difficult to transcend."
Their grooming, combined with Pecknold's oft-stated admiration for Bob Dylan and Fleet Foxes' pastoral sound, have left the outfit with the tag of hippies.
But this does them a disservice — you can as easily hear the 1860s as the 1960s in their music, with Pecknold's use of somewhat formal language and the group's invoking of the folk tradition.
"The record wasn't meant to evoke the 1960s in any particular way. The weirder, older American stuff is more interesting to me," says Pecknold.
The youngest of three children, Pecknold grew up the son of progressive parents. His mother was a school teacher and his father built everything from boats to guitars. Much has been made of what he learnt by going through his parents' collection of vinyl, but the robust discussion at the family dinner table was just as important. It left Pecknold with a quiet confidence and ready determination, qualities he shared with his best friend from high school, Skye Skjelset, who is now the guitarist for Fleet Foxes.
"I suppose music is kind of cyclical and that people are more interested in hearing a certain thing at a certain time," Pecknold says. "But all that stuff is someone else's game because we'd have made the same record no matter what."
This year alone, Fleet Foxes have toured North America three times and Europe twice. Near unanimous critical acclaim has also translated into healthy CD sales. Fleet Foxes has sold about 400,000 copies worldwide.
SOURCE: http://www.theage.com.au
Click on link to buy vinyl LP!http://www.insound.com/search/results4.jsp?from=5141&query=Fleet+foxes
Insound LP+MP3! Purchase the vinyl format of Fleet Foxes and you'll receive a link to download the MP3s for free immediately after check-out! VINYL FORMAT. Seattle's Fleet Foxes traffic in baroque harmonic pop. They draw influences from the traditions of folk, pop, choral, gospel, sacred harp singing, West Coast music, traditional music from Ireland to Japan, film scores, and their NW peers. The subject matter ranges from the natural world and familial bonds to bygone loves and stone cold graves.
Music News & Notes
Doors Documentary Revisits 'Strange' Days
The Doors documentary "When You're Strange" will premiere Jan. 17 at the Sundance Film Festival.
Written and directed by Tom DiCillo, "Strange" utilizes a wealth of previously unseen footage to chart the band's beginnings at UCLA's film school through to frontman Jim Morrison's mysterious death in 1971.
Describing the movie to Billboard earlier this year, Doors keyboardist Ray Manzarek said it was "the anti-Oliver Stone," in reference to the 1991 film "The Doors." "This will be the true story of the Doors."
Rhino will release a soundtrack to "When You're Strange" next summer.
----------------------------------------------------------------
U2 to release new album in March
Irish rockers U2 have named their new album "No Line On The Horizon," and will release it worldwide in early March, their label said on Thursday.
The quartet's 12th studio album was originally expected to be released by the end of this year, but the band announced in September that it would keep writing more tunes. Recording took place in Morocco, Dublin, New York and London.
Interscope Records will release "No Line On The Horizon" internationally on March 2, and a day later in North America.
It marks the follow-up to "How To Dismantle An Atomic Bomb," which was released in late 2004 and went on to sell 9 million copies worldwide, according to Interscope. It also garnered U2 their second album of the year Grammy, following 1987's "The Joshua Tree."
The new album was produced by long-time collaborators Brian Eno and Daniel Lanois, with additional production by Steve Lillywhite. Tunes recorded in 2006 with producer Rick Rubin, the man behind Johnny Cash's comeback, have been jettisoned.
Tour plans have not been announced. The "Vertigo" world tour for the last album ran from March 2005 to December 2006. U2 is partnered on touring and merchandise with concert promoter Live Nation Inc, which said earlier on Thursday that it bought back the band's stock in the company for a guaranteed $25 million -- $19 million more than the market price. Interscope is a unit of Vivendi SA's Universal Music Group.
----------------------------------------------------------------
New Vinyl Release
Brooklyn, NY's indie-folk duo Ida have announced that currently label Polyvinyl Records will release the band's first three full length albums on vinyl for the first time. Tales of Brave Ida, I Know About You, and Tales of Small Places will all get the standard Polyvinyl vinyl treatment with double gatefold jackets, 180 gram vinyl, and a digital download coupon.
The Doors documentary "When You're Strange" will premiere Jan. 17 at the Sundance Film Festival.
Written and directed by Tom DiCillo, "Strange" utilizes a wealth of previously unseen footage to chart the band's beginnings at UCLA's film school through to frontman Jim Morrison's mysterious death in 1971.
Describing the movie to Billboard earlier this year, Doors keyboardist Ray Manzarek said it was "the anti-Oliver Stone," in reference to the 1991 film "The Doors." "This will be the true story of the Doors."
Rhino will release a soundtrack to "When You're Strange" next summer.
----------------------------------------------------------------
U2 to release new album in March
Irish rockers U2 have named their new album "No Line On The Horizon," and will release it worldwide in early March, their label said on Thursday.
The quartet's 12th studio album was originally expected to be released by the end of this year, but the band announced in September that it would keep writing more tunes. Recording took place in Morocco, Dublin, New York and London.
Interscope Records will release "No Line On The Horizon" internationally on March 2, and a day later in North America.
It marks the follow-up to "How To Dismantle An Atomic Bomb," which was released in late 2004 and went on to sell 9 million copies worldwide, according to Interscope. It also garnered U2 their second album of the year Grammy, following 1987's "The Joshua Tree."
The new album was produced by long-time collaborators Brian Eno and Daniel Lanois, with additional production by Steve Lillywhite. Tunes recorded in 2006 with producer Rick Rubin, the man behind Johnny Cash's comeback, have been jettisoned.
Tour plans have not been announced. The "Vertigo" world tour for the last album ran from March 2005 to December 2006. U2 is partnered on touring and merchandise with concert promoter Live Nation Inc, which said earlier on Thursday that it bought back the band's stock in the company for a guaranteed $25 million -- $19 million more than the market price. Interscope is a unit of Vivendi SA's Universal Music Group.
----------------------------------------------------------------
New Vinyl Release
Brooklyn, NY's indie-folk duo Ida have announced that currently label Polyvinyl Records will release the band's first three full length albums on vinyl for the first time. Tales of Brave Ida, I Know About You, and Tales of Small Places will all get the standard Polyvinyl vinyl treatment with double gatefold jackets, 180 gram vinyl, and a digital download coupon.
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