So as entertainment we kind of failed because no one really knew the songs. This time around we are trying to draw on things the audience knows and that covers a lot of territory. A lot of "Raw Power" stuff and we'll hit on the first two Stooges albums, maybe a couple of Iggy's solo things. At the time of this interview Williamson was preparing for rehearsal in L.
A photo book documenting the band's early years called "Stooges: The Authorized and Illustrated Story" is in the works. James talks about how he met Careless Hearts, how the Stooges setlists were determined in the distant past, and what may be in store for the fans in next year's Iggy and the Stooges tour.
There is a slideshow of pix about halfway down the page, "Look" link.
See full article here. James' own website will be up and running SOON, stay tuned! Available today for download from iTunes are the three different versions of the innovative "King Of The Dogs" animated video, directed by Patrick Boivin, which originally debuted on YouTube in May as an annotated "interactive" video.
In it's 6th year, the Blank Club has won over a dozen 'Best Of Silicon Valley' awards from the local press for it's live shows, dance nights, and full bar atmosphere.
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Expect to hear more from James in the near future, bio, show dates, "stuff I like," interviews and images - past and present - on his own website, as well as T shirts and guitar picks designed by James himself. He will also be on Twitter and MySpace. He's just a modern guy. We will gather questions for James Williamson from fans to be answered and posted on our respective websites. We will post the best 10 questions and James' answers.
Rock N Roll Hall Of Fame Volumes 1 -3 Various Artists 34 Sides Of Vinyl Rare Set
Send your questions with the subject "JW Question" here: cbensonburke hotmail. When Guitar Hero 5 ships on September 1, living-room rock stars will be able to rock any way they want, to the expansive set list including to these stellar tracks:. For more information about Guitar Hero 5 , please visit gh5. Iggy Pop is back—not with a vengeance, but with an album of introspective, jazz-tinged, Leonard Cohen-esque standards and originals.
But the album succeeds because Pop bounces from track to track with the same swagger albeit more muted this time out that made him a punk icon. He simply refuses to acknowledge the shift in genre, instead diving head-on into this new sonic sea. From the upscale, hotel lounge-meets-faux-bossa nova vibe that Pop sings over on the timeless classic "Les Feuilles Mortes" in French, of course to the Louis Armstrong-meets-Tom Waits strut of "King of the Dogs," each track is an aural journey all its own.
And on cuts like "I Wanna Go to the Beach" and "Spanish Coast," Pop's understated delivery draws even the most skeptical of listeners in, bathing his hushed voice in beds of stark piano and tremolo-washed guitar. Wait, what? It is lyrics like that that reassured me right away that all was still well. As word first surfaced about this project, I was nervous. Iggy Pop doing a record of jazzy ballads? Such an outing would be akin to the Sex Pistols playing at casinos or something. Oops, they did. Yet, Preliminaires works, and often very well. Who knew that Iggy had it in that voice to lower it to Leonard Cohen-esque levels of jaded smokiness, enough to give most of the record a seedy, inspired torch songs?
The songs are based on image and ideas from The Possibility of an Island , a novel by the latest decadent French writer, Michel Houellebecq. Like Villon, Sade, Bataille and Genet, Houellebecq swims in waters where the holy is unholy, and often vice-versa.
Apparently there was talk of a film version of Island , but it never came about. Preliminaires evolved from there. Risky though it may have seen in terms of both taste and talent , this is a great record. One thing that has always been a hallmark of Mr. Osterberg, even when delivering tired material -- is that he has always been sincere.
And he often sings his heart out here. No big band abominations. Like the inspiration for these songs, Iggy is tired and jaded, with more loneliness than disgust in that heavy heart of his. This is a record that hopefully opens up new creative veins for Iggy and for his voice, a voice that, like those of Dylan, Cohen and Waits, is fading with grace and defiance.
Either way, this is a major volte face. Out go guitars mostly. In come wistful saxophones, old New Orleans jazz and music made to waft through a fog of Gitanes smoke in some forgotten European bar. The old Iggy makes fleeting appearances on rocker Nice to Be Dead, but otherwise he is beautifully fatigued and insightful. On lines such as "You can convince the world that you're some kind of superstar, when an asshole is all you are, but that's all right," he sounds simultaneously invulnerable and immortal.
This may be his best album since 's Lust for Life. Iggy Pop's recent output has been laboriously retreading his glory years.
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But, inspired by Michel Houellebecq, his new album thrillingly bids farewell to the rock superstar persona. A couple of years ago, I penned a blog urging Iggy Pop to stop making records. The gist of it was this: I am a massive Pop fan and have been since my teens. His double whammy of The Idiot and Lust for Life are among my favourite albums of all time. But his recorded output has been going down for years.
I believed that, for the sake of his remaining reputation, Iggy had to stop making music. The problem with modern Iggy is that he's been stuck on "being Iggy" — trying to recreate his youthful, wilder self with increasingly bad metal. Not that he's alone in that, but either he's got sick of his imitators or sick of imitating himself.
Gone are the sounds of sub-Stooges or dunderheaded punk, replaced by New Orleans street jazz, shades of Louis Armstrong, quieter overtones and the kind of music that played in smoky European bars in the s. Iggy — God forbid — even sings some of it i n French. There are tales of dead dogs, stale love and growing old. The story behind the album is this: on the lookout for "important fiction", Iggy came across a book called The Possibility of an Island by notorious French writer Michel Houellebecq.
He took it to France and read it in three days at a lonely seaside hotel, and fell in love with it. Word must have got around, because a year later he found himself being asked to write some music for a film about the author and — like the contrarian of old — "just ignored the film and wrote music for the book". Holed up in a Miami riverside cabin, Iggy spent a year crafting the songs, "completely outside the modern music industry.
Like Daniel, the book's protagonist, I too have grown weary of a career as an entertainer and wish for a new life," he says, pointedly. Among the album's killer tracks are a sublime take on standard Les Feuilles Mortes Autumn Leaves , and I Want To Go to the Beach, which has real vulnerability in lines about leaving the "superstar" behind. But otherwise it's timeless, jazzy, brave, reeking of Gitanes and rebirth, with Pop's stunning mature baritone the best vocal he's delivered in years; an album to lose yourself in like a great book.
The title, incidentally, translates as "Foreplay", suggesting there's more to come. Scratch the surface of the vocal stylings of a lot of male American rock singers and you'll find the unmistakable relics of crooning.
The genealogies are pretty explicit: Iggy Pop started off copying Jim Morrison, who really wanted to sing like Sinatra go give "Touch Me" another listen and Elvis, both of whom worshipped at the altar of Bing. Iggy has always managed to sneak the melodious low phrasing of his forebears within the racket of the Stooges e.
Osterberg would accept a French offer to make a nice 'n' easy record. The long shadow of Gainsbourg is all over this project, which was expanded from soundtrack work for a Michel Houellebecq adaptation. Iggy in a recent interview: "Every 10 or 15 years I'll meet some Euro nerd who is bright and wise enough to give me carte blanche on something, then leave me alone. But the force behind it is undeniably the product of a man fashioned by the glory and ravages of punk.
There was a novel by French author Michel Houellebecq with reviews in the American literary press that used words like "repugnant" and "unlikable" -- people were outraged and terrorized by his work. So of course I wanted to check this guy out.
I picked up "The Possibility of an Island," about a middle-age entertainer whose life spins out of control as he hangs out with stranger and stranger people, and he finally commits suicide. But before he does, he hangs out with a French cult, and this cult believes in processing technology to create neo-humanity. They take his DNA and he becomes the progenitor of a new race -- humans interfaced with digital technology.
I read it, a year passed, then some filmmakers asked me to provide a few songs for a documentary about the author.
How'd you find a connection between Parisian torch songs and N'awlins? Something about the melancholy of Houellebecq really resonated, to me, with the sadness in those guys.ergo-library.therefore.ca/best-tracker-mobile-redmi.php
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Why did you say you're "sick of listening to idiot thugs with guitars banging out crappy music"? Honestly, I have played in, in my opinion, one of the greatest and most valid rock bands in the last 25 years, and we were all about guitars! We were one of the good ones, but most of 'em aren't any damn good.
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It has now become the world's worst music in history. Coolio is better! There are touches of modern, electronic production, but, in the main it is straight, slow-ballad jazz. Us too, Ig. Now if his legions of lame, self-conciously cool leather-jacketed imitators could take note of this attitude, that would be great.
Come on guys: make a jazz album, do an insurance advert, whatever… Hamish MacBain. Iggy Pop experienced such pleasure reading Michel Houellebecq's novel, "The Possibility of an Island," he made a soundtrack to go with it.
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