Jonathan Butler - More Than Friends (CD, Album)
The result: an overpowering acoustic album brimming with sadness and soul. The title track—a meditation on three little words—is a three-hanky affair unto itself. It is urgent and spontaneous, featuring songs written in a rush of cathartic emotion on whatever instrument happened to be laying around.
No three-minute orchestral intros to be written or historical facts to be researched here. It stares straight into the hospital rooms, regrets, cloudy memories and empty bedrooms—and dares to sing a quiet, beautiful song about them all.
More than anything, Cease to Begin represents the sound of a talented writer growing more comfortable in his skin and unafraid to name a song after ex-Seattle Supersonic Detlef Schrempf despite its elegiac, unrelated subject matter.
Chesnutt was a rolling contradiction. Elegant and ungainly, impish and morbidly depressed, flat-assed drunk and piercingly sober, his salient obsessions circled around private peculiarities and public personae, scrawled like graffiti on the wall of a gas station, glimpsed through the Spanish moss.
His wounded warble was an epic surprise, too: sweeping like Marvin Gaye, in its way, and teetering with uncertainty—like a bastard Wallenda, who defied gravity out of sheer heart. To do that, they dusted off a musical form seen today as either a novelty or the exclusive provenance of ethnomusicologists.
While folk-rock thrived in the U. Sounding unlike anything that came before, it filtered old Irish tunes through a decidedly college-rock lens. Calexico co-founders Joey Burns and John Convertino hear the world differently than most people. Not everyone would have imagined that surf guitar reverb would sound so at home beneath a blast of mariachi trumpet. Feast of Wire is the Tucson, Ariz.
While their proximity to the Mexican border is still a strong influence, Calexico raises the ante here with more song styles, instruments and collaborators. The result further proves that variety can provide just the right musical chemistry. Given the somber nature of some of the subject matter, many of the songs on Feast of Wire are unashamedly melancholic. But all are emphatically vibrant and ultimately spiritually fulfilling because of the beauty of their construction and the honesty of their execution.
InJohn Darnielle and The Mountain Goats were on the road when Darnielle learned that his abusive stepfather had died. In giving The Sunset Tree over to this man, Darnielle explores a non-linear, irrational series of reactions. Kristian Matsson plays to his strengths on The Wild Hunthis second album. He keeps it simple, finger-picking strings to propel his gristly vocal melodies, which feel simultaneously cavalier and carefully wrought.
Though his acoustic guitar often thwacks like a snare, his songs are uncluttered by percussion, harmonized vocals or the orchestral ornaments that are so prevalent in alt-folk. After their eponymous debut album earned a well-deserved standing ovation from critics, Fleet Foxes set the bar high for their sophomore album. Helplessness Blues is sweet and comforting at its worst and inspiring at its best.
The album is often about love — and the emptiness that can accompany its euphoria. Forget sexy. Although people with an affinity for homesick soldiers, star-crossed lovers and cleaver-wielding gangsters will find plenty to swoon over, The Decemberists brought epic back—and in a big way.
Hailing from the Rust Belt, Molina expertly blended the aggression of industry with a pastoral calm. But XO sure does. Tragically, Smith would have just one more album in him.
On The Winter of Mixed DrinksFrightened Rabbit imbue their songs with sighing keyboards, screaming layers of melodious distortion, nested rhythms, choral harmonies—all the doodads that rock bands are liable to employ circa album number three.
The arrangements occasion stirring moments on the epic scale of early U2—this is burnished, stadium-sized, cloud-cover rock. The change is more one of scale than style. This is a different sort of intimacy: The Winter of Mixed Drinks is less of a breakup record than a post-breakup record; the more pathetic feelings having hardened into self-reliant moxie. Frightened Rabbit wrings a winning simplicity from all this august isolation.
A cardiac pulse animates many of the songs, a mightily thwacking unison at the core of all the kaleidoscopic embellishment. When writing songs together, Kakacek and Ehrlich developed a persona: Whitney is a lonely guy who drinks too much and lives alone. It was probably a pretty easy idea to embody. Both Max and Julien are quick to admit that the songs for Light Upon the Lake were written in the midst of consecutive breakups.
They felt a little bit like Whitney, so they built this as a bit of a concept album. If anything, it was the start of something new. The expansive lyrical content and layered allusions of Ys can be pretty hard to follow. The record takes on a mythical cast, but if Newsom is delivering a parable, she leaves it to the listener to determine the moral of the story. Muchacho aims big. Like the benders and busts of Grievous AngelMuchacho pursues both sin and absolution and offers apology for neither.
Houck works with elements of sand and soil and gold and steam to cast love in some comprehensible form of relief.
While most of this season's 97 shows remained online as the country recovers from another wave of COVID infections in the summer, about a third did opt for a physical return to the runway, including industry heavyweights from Chanel and Hermes to Louis Vuitton and Yves Saint Laurent. They chose an eclectic collection of iconic backdrops — alongside the Gothic Notre Dame Cathedral and serene Seine River; the tree-lined 16th-century Tuileries Garden in central Paris; the glassy, Guest lineups for the Sunday news shows Guest lineups for the Sunday news shows.
Mexico displays pre-Hispanic artifacts recovered from abroad Two Mexican museums have opened a massive show of 1, pre-Hispanic artifacts, more than half of which were recovered from abroad. Forever a rolling stone: Dylan going on tour — through Bob Dylan is nothing if not confident. Valentino says it with flowers at Paris Fashion Week show Valentino gave its pared down fashion audience a taste of real Parisian life on Friday.
It was a passionate kind of relationship that we directed into creativity, into writing, into creating this piece. We put the drama between us on stage.
Rado described the inspiration for Hair as "a combination of some characters we met in the streets, people we knew and our own imaginations. We knew this group of kids in the East Village who were dropping out and dodging the draftand there were also lots of articles in the press about how kids were being kicked out of school for growing their hair long". We hung out with them and went to their Be-Ins [and] let our hair grow.
You could read about it and see film clips, but you'd never experience it. We thought, 'This is happening in the streets', and we wanted to bring it to the stage. Rado and Ragni came from different artistic backgrounds. In college, Rado wrote musical revues and aspired to be a Broadway composer in the Rodgers and Hammerstein tradition.
He went on to study acting with Lee Strasberg. Ragni, on the other hand, was an active member of The Open Theaterone of several groups, mostly Off-off Broadwaythat were developing experimental theatre techniques. They hand me the material. I set it to music. The creators pitched the show to Broadway producers and received many rejections. The musical was the first work by living authors that Papp produced. The director, Gerald Freedmanthe theater's associate artistic director, withdrew in frustration during the final week of rehearsals and offered his resignation.
Papp accepted it, and the choreographer Anna Sokolow took over the show. After a disastrous final dress rehearsal, Papp wired Mr.
Freedman in Washington, where he'd fled: 'Please come back. Freedman did. Hair premiered off-Broadway at the Public on October 17,and ran for a limited engagement of six weeks. Chicago businessman Michael Butler was planning to run for the U. Senate on an anti-war platform. After seeing an ad for Hair in The New York Times that led him to believe the show was about Native Americanshe watched the Public's production several times  and joined forces with Joe Papp to reproduce the show at another New York venue after the close of its run at the Public.
It opened there on December 22, and ran for 45 performances. Hair underwent a thorough overhaul between its closing at the Cheetah in January and its Broadway opening three months later. The off-Broadway book, already light on plot, was loosened even further  and made more realistic. He had been the authors' first choice to direct the Public Theater production, but he was in Europe at the time. He enjoys sensory bombardment. Many of the improvisations tried during this process were incorporated into the Broadway script.
Papp declined to pursue a Broadway production, and so Butler produced the show himself. For a time it seemed that Butler would be unable to secure a Broadway theater, as the ShubertsNederlanders and other theater owners deemed the material too controversial. However, Butler had family connections and knew important people; he persuaded Biltmore Theatre owner David Cogan to make his venue available.
Claude, the nominal leader of the "tribe", sits center stage as the tribe mingles with the audience. Tribe members Sheila, a New York University student who is a determined political activistand Berger, an irreverent free spirit, cut a lock of Claude's hair and burn it in a receptacle. After the tribe converges in slow-motion toward the stage, through the audience, they begin their celebration as children of the Age of Aquarius "Aquarius".
Berger removes his trousers to reveal a loincloth. Interacting with the audience, he introduces himself as a "psychedelic teddy bear" and reveals that he is "looking for my Donna" "Donna".
The tribe recites a list of pharmaceuticals, legal and illegal "Hashish". Woof, a gentle soul, extols several sexual practices "Sodomy" and says, "I grow things. In a fake English accent, Claude says that he is "the most beautiful beast in the forest" from " ManchesterEngland". Hud, Woof and Berger declare what color they are "I'm Black"while Claude says that he's "invisible".
The tribe recites a list of things they lack "Ain't Got No". Four African-American tribe members recite street signs in symbolic sequence "Dead End". Sheila is carried onstage "I Believe in Love" and leads the tribe in a protest chant.
Jeanie, an eccentric young woman, appears wearing a gas mask, satirizing pollution "Air". She is pregnant and in love with Claude. Although she wishes it was Claude's baby, she was "knocked up by some crazy speed freak". Six members of the tribe appear dressed as Claude's parents, berating him for his various Album) — he does not have a job, and he collects "mountains of paper" clippings and notes. They say that they will not give him any more money, and "the army'll make a man out of you", presenting him with his draft notice.
In defiance, Claude leads the tribe in celebrating their vitality "I Got Life". After handing out imaginary pills to the tribe members, saying the pills are for high-profile people such as Richard Nixonthe Popeand " Alabama Wallace ", Berger relates how Album) was expelled from high school. Three tribe members dress up as principals in Hitler mustaches and swastika arm bands, mocking the American education system. Berger and the tribe defy them, singing "Going Down".
Claude returns from his draft board physical, which he passed. He pretends to burn his Vietnam War draft card, which Berger reveals as a library card.
Claude agonizes about what to do about being drafted. Two tribe members dressed as tourists come down the aisle to ask the tribe why they have such long hair. In answer, Claude and Berger lead the tribe in explaining the significance of their locks "Hair".
The woman states that kids should "be free, no guilt" and should "do whatever you want, just so long as you don't hurt anyone. She opens her coat to reveal that she's a man in drag.
As the couple leaves, the tribe calls her Margaret Mead. Sheila gives Berger a yellow shirt. He goofs around and ends up tearing it in two. Sheila voices her distress that Berger seems to care more about the "bleeding crowd" than about her " Easy to Be Hard ". Jeanie summarizes everyone's romantic entanglements: "I'm hung up on Claude, Sheila's hung up on Berger, Berger is hung up everywhere.
Claude is hung up on a cross over Sheila and Berger. The tribe runs out to the audience, inviting them to a Be-In. After young and innocent Crissy describes "Frank Mills", a boy she's looking for, the tribe participates in the "Be-In".
The men of the tribe burn their draft cards. Claude puts his card in the fire, then changes his mind and pulls it out. He asks, "where is the something, where is the someone, that tells me why I live and die? The tribe emerges naked, intoning "beads, flowers, freedom, happiness. Four tribe members have the "Electric Blues".
After a black-out, the tribe enters worshiping in an attempt to summon Claude "Oh Great God of Power". Claude returns from the induction center, and tribe members act out an imagined conversation from Claude's draft interview, with Hud saying "the draft is white people sending black people to make war on the yellow people to defend the land they stole from the red people".
Claude gives Woof a Mick Jagger poster, and Woof is excited about the gift, as he has said he's hung up on Jagger. Three white women of the tribe tell why they like "Black Boys" "black boys are delicious Berger gives a joint to Claude that is laced with a hallucinogen. Claude starts to trip as the tribe acts out his visions "Walking in Album).
He hallucinates that he is skydiving from a plane into the jungles of Vietnam. Berger appears as General George Washington and is told to retreat because of an Indian attack. The Indians shoot all of Washington's men. General Ulysses S. Claude Bukowski is called in the roll call, but Clark Gable says "he couldn't make it".
They all dance a minuet until three African witch doctors kill them — all except for Abraham Lincoln who says, "I'm one of you". Lincoln, after the three Africans sing his praises, recites an alternate version of the Gettysburg Address "Abie Baby". Booth shoots Lincoln, but Lincoln says to him, "Shit! I'm not dyin' for no white man". As the visions continue, four Buddhist monks enter. Three Catholic nuns strangle the three remaining Buddhist monks.
Three astronauts shoot the nuns with ray guns. Three Chinese people stab the astronauts with knives. Three Native Americans kill the Chinese with bows and tomahawks. Three green berets kill the Native Americans with machine guns and then kill each other. A Sergeant and two parents appear holding up a suit on a hanger. The parents talk to the suit as if it is their son and they are very proud of him. The bodies rise and play like children.
The play escalates to violence until they are all dead again. At the end of the trip sequence, two tribe members sing, over the dead bodies, a Shakespeare speech about the nobility of Man "What A Piece of Work Is Man"set to music.
After the trip, Claude says "I can't take this moment to moment living on the streets. I know what I want to be As they "look at the moon," Sheila and the others enjoy a light moment " Good Morning Starshine ". The tribe pays tribute to an old mattress "The Bed". Claude is left alone with his doubts. He leaves as the tribe enters wrapped in blankets in the midst of a snow storm. They start a protest chant and then wonder where Claude has gone. Berger calls out "Claude!
Claude says, "like it or not, they got me. Claude and everyone sing "Flesh Failures". The tribe moves in front of Claude as Sheila and Dionne take up the lyric. The whole tribe launches into "Let the Sun Shine In", and as they exit, they reveal Claude lying down center stage on a black cloth. During the curtain call, the tribe reprises "Let the Sun Shine In" and brings audience members up on stage to dance. Note: This plot summary is based on the original Broadway script.
The script has varied in subsequent productions. Hair opened on Broadway at the Biltmore Theatre on April 29, The original Broadway "tribe" i. The Hair team soon became embroiled in a lawsuit with the organizers of the Tony Awards. After assuring producer Michael Butler that commencing previews by April 3,would assure eligibility for consideration for the Tonys, the New York Theatre League ruled Hair ineligible, moving the cutoff date to March Before Suede had released an album, they dominated the music press on the strength of just three singles, setting high expectations for the forthcoming album.
Following the success of the album, the band toured extensively in Europe, receiving major coverage by MTV. During the tour, tensions began to develop between Butler and the rest of the band. The gig went ahead, but for the rest of the tour the two parties barely spoke. For their subsequent releases and shows in the United States, the band used the name "The London Suede". In Februarythe band released the stand-alone single " Stay Together ", which became their highest charting single at the time, reaching number three in the UK.
The single was backed by a collection of strong B-sides. The new expansive sound, however, fractured the band and led to the departure of Butler. Tensions grew worse during the recording of the album when Butler criticised Anderson in a rare interview, claiming that he worked too slowly and that he was too concerned with rock stardom.
It's very difficult for him to get around anything that isn't ABC. Around this time, journalist Neil Strauss wrote that Suede were a band who were "unafraid to be out of step with its peers. Osman said that he, Anderson and Gilbert often thought these tracks were the result of Butler trying to wind them up. This was usually done in shifts, with Anderson coming to the studio in the evenings after Butler had recorded his guitar parts during the day.
In the first interview the band gave as a three-piece, Anderson foresaw the scenario, telling NME' s Steve Sutherland: "I saw it coming two years ago. It was no shock, I don't think he ever really wanted to be in the band or anything that goes with it.
The album was very well-received by critics in the UK who wrote favourably of the band's new experimental direction. It entered the UK Albums Chart at number three,  but slid quickly down the charts. Rolling Stone would describe it as "one of the most pretentious albums ever released by a major label. After reading about Butler's departure, he had sent a demo tape to the band's fanclub.
Oakes' first official duty as a member of Suede was an appearance in the "We Are the Pigs" video. Suede embarked on a long international tour during late and springbefore disappearing to work on their third album. Inthe band contributed a track to The Help Album charity compilation, covering Elvis Costello 's "Shipbuilding".
In the autumn ofthe band was joined by new member Neil Codlinga cousin of Gilbert who played keyboards and second guitar. His first appearance was at a fanclub gig at the Hanover Grand on 27 Januarywhich turned out to be one of Suede's most important gigs. A short set devoid of Butler songs was well-received by critics, "A set that says. The single was popular and tied with "Stay Together" as the band's highest-charting UK single, reaching number three.
Coming Up never did win an audience in America, partially because it appeared nearly a year after its initial release and partially because Suede only supported it with a three-city tour.
With the success Jonathan Butler - More Than Friends (CD the album, Suede secured top billing at the Reading Festival. By the time the compilation was released inthe Britpop movement was noticeably waning in popularity, and the band had decided to split with their long-time producer Ed Buller before commencing work on the follow-up to Coming Up.
Despite being backed by their second-highest charting single, " Electricity ", Suede's fourth album, Head Musicdid not evoke the critical and listener enthusiasm that previous records did, though it once again took the band to number one on the UK Albums Chart.
While the record was heavily promoted with some strong financial backing, and received almost widespread critical enthusiasm from the UK music press,  the consensus with people close to the band was a feeling that things were not quite right. Richard Oakes was aware of the fans' disapproval of the album, as well as Anderson's more gaunt-like appearance and Oakes' own admission of spending two years "being pissed out [his] face and being out of shape.
The next three singles released from the album failed to enter the top 10, breaking Album) run stretching back to the single "Trash". Anderson also attracted more criticism from fans for his frequent use of redundant vocabulary and limited lyrical themes.
It's the scariest drug in the world because the hit you get from it is so, so seductive. I wanted to experience that, and I did — repeatedly. Duringthere was press speculation that Suede were on the verge of disbanding, which was not helped by Codling's absence from some European gigs. Anderson denied these claims and insisted that Codling was healthy and that they were keen to record the next album.
The band premiered several new songs that eventually appeared on the final album. Not long after the release of Head MusicNude Records effectively ceased to exist. The album title, according to Anderson, referred to "a fresh start, a new band and a new fresh outlook" — the singer had been addicted to heroin and crack cocainewhich was having an increasingly deleterious effect on his health. Anderson claimed that A New Morning "was the first ever Suede record that wasn't influenced in its making by drugs".
Furthermore, the mainstream public interest had long disappeared. Only two singles, " Positivity " and " Obsessions ", were released, the fewest singles taken from any of the band's albums, and neither charted particularly well. Anderson has since stressed his disappointment with Suede's final album, stating "We made one Suede album too many. In SeptemberSuede played five nights at the Institute of Contemporary Arts in London, dedicating each night to one of their five albums and playing through an entire album a night in chronological order, with B-sides and rarities as encores.
The band had begun working on a follow-up album to A New Morningwhich was planned to be released after the Singles compilation. On 28 OctoberAnderson made the decision to call it a day. At the aftershow event, Osman revealed to Allen that they decided to call it quits less than a minute after their last interview. Anderson made an announcement, saying, "I just want you to know. Michigan's bloody-nosed rocker Andrew W. Latest News. View all. Metal Hammer Newsletter. Contact me with news and offers from other Future brands.
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