Espero que os haya gustado la serie. A partir de la semana que viene la canción del lunes vuelve a su formato habitual.

Pulp "Common People"

She came from Greece she had a thirst for knowledge,
she studied sculpture at Saint Martin's College,
that's where I,
caught her eye.
She told me that her Dad was loaded,
I said "In that case I'll have a rum and coca-cola."
She said "Fine."
and in thirty seconds time she said,

"I want to live like common people,
I want to do whatever common people do,
I want to sleep with common people,
I want to sleep with common people,
like you."

Well what else could I do -
I said "I'll see what I can do."
I took her to a supermarket,
I don't know why but I had to start it somewhere,
so it started there.
I said pretend you've got no money,
she just laughed and said,
"Oh you're so funny."
I said "yeah?
Well I can't see anyone else smiling in here.
Are you sure you want to live like common people,
you want to see whatever common people see,
you want to sleep with common people,
you want to sleep with common people,
like me."
But she didn't understand,
she just smiled and held my hand.
Rent a flat above a shop,
cut your hair and get a job.
Smoke some fags and play some pool,
pretend you never went to school.
But still you'll never get it right,
cos when you're laid in bed at night,
watching roaches climb the wall,
if you call your Dad he could stop it all.

You'll never live like common people,
you'll never do what common people do,
you'll never fail like common people,
you'll never watch your life slide out of view,
and dance and drink and screw,
because there's nothing else to do.

Sing along with the common people,
sing along and it might just get you through,
laugh along with the common people,
laugh along even though they're laughing at you,
and the stupid things that you do.
Because you think that poor is cool.

I want to live with common people,
I want to live with common people etc...

The Jam "That's Entertainment"

A police car and a screaming siren -
A pneumatic drill and ripped up concrete -
A baby waiting and stray dog howling -
The screech of brakes and lamplights blinking -

that's entertainment.

A smash of glass and the rumble of boots -
An electric train and a ripped up 'phone booth -
Paint splattered walls and the cry of a tomcat -
Lights going out and a kick in the balls -

that's entertainment.

Days of speed and slow time Mondays -
Pissing down with rain on a boring Wednesday -
Watching the news and not eating your tea -
A freezing cold flat and damp on the walls -

that's entertainment.

Waking up at 6 a.m. on a cool warm morning -
Opening the windows and breathing in petrol -
An amateur band rehearsing in a nearby yard -
Watching the tele and thinking about your holidays -

that's entertainment.

Waking up from bad dreams and smoking cigarettes -
Cuddling a warm girl and smelling stale perfume -
A hot summers' day and sticky black tarmac -
Feeding ducks in the park and wishing you were faraway -

that's entertainment.

Two lovers kissing amongst the scream of midnight -
Two lovers missing the tranquility of solitude -
Getting a cab and travelling on buses -
Reading the grafitti about slashed seat affairs -

that's entertainment.

Y como despedida...

Belle and Sebastian "Marx and Engels"

(Aquí puede escucharse la canción entera)

There's misery in all I hear and see
From the people on TV
After their tea when life begins again
They'll be happier than me

There are a thousand meals being made on Saturday
From the view I saw today
I took a bet inside the launderette
With a girl from Wallasey

She spoke in dialect I could not understand
But one thing that she made clear
There was no coming on to her
There was no way

There's misery in all I hear and see
From people on TV
After their tea when life begins again
They'll be happier than me

There are a thousand meals being made on Saturday
From the view I saw today
I took a bet inside the launderette
With a girl from Wallasey

She spoke in dialect I could not understand
But one thing that she made clear
There was no coming on to her
There was no intellect
That she could respect
If it couldn't see
That the girl just wants to be
Left alone with Marx and Engels for a while
She's writing in the style
Of any riot girl

A mediados de los 70, en la época dorada del CBGB de New York, cuando Tom Verlaine, Patti Smith y Blondie eran los putos amos de la ciudad, aparecieron cuatro chavales de Rhode Island teloneando a mis adoradísimos Ramones. Se llamaban Talking Heads.

Firmaron un brillante album debut en el 77 a base de grandes pildorazos punk, como este Psycho Killer, para convertirse a partir del segundo largo en iconos de la new wave junto a The Police y los Jam de Paul Weller.

A David Byrne, cantante y líder intelectual, le dio en los 80 por explorar nuevos sonidos (electrónica, world music, funky, latina...), y ahí sigue, pero actualmente aburre. Del resto del grupo cabe destacar a Tina Weymouth, una de las bajistas más interesantes del rock. Hasta que Kim Deal no fundó los Pixies o Sean Yseult no conoció a Rob Zombie ninguna mujer había tocado el bajo con un estilo tan especial.

What's especially remarkable about it is that, actually, the twenty-one songs on 22 Dreams (that final dream refers to a short story printed in the insert) are all crammed onto a single disc, at least on CD. Still, there's no denying that long, luxurious feel, that sense that the artist has way too many good ideas to fit onto a single album, so he's made something that meanders and takes weird tangents and arguably bites off more than it can chew, a record that's great not in spite of, but precisely because of its scope and its messiness. In that sense, it's very much in the tradition of The White Album, but there's a key difference; if that album is marked by its chaotic, ramshackle feel, Weller's album is notable for its elegance and its sense of pacing. True to its title, the album does indeed unfold like a dream, an organic tapestry that ebbs and flows but always feels like it's going where it's supposed to go. It's not a scattershot collection of good ideas and half-baked experiments, like so many great (and not so great) double albums are, but a seamless and sophisticated tapestry, woven together by a masterful composer and seasoned recordmaker who knows how to take twenty-one songs of all different shapes and sizes and put them together in a way that's not only natural, but positively addictive in its seamlessness and its momentum.

And what makes Weller so adept at making what could have been a mess of an album into something so cohesive and effortless sounding? Probably a lot of things, but chief among them is his knowledge of rock tradition, how things have worked in the past and how best they might work now. And so while 22 Dreams runs the gamut of styles and genres, it's unmistakably the work of a dogged traditionalist; so, while the album mixes genres and moods to great effect, each song plays out exactly how it's supposed to without breaking any rules or blurring any boundaries. And that might sound a bit dull, but actually it's anything but, as Weller is so passionate about his craft that, rather than be tamed by it, he proves how exciting craft can be. This music may look to the past for its inspiration, but from it it draws a stunning and resilient creativity. Just listen to how Weller mines British folk music on acoustic numbers like "Light Nights" and the soaring climax, "Sea Spray"; in form, these songs sound like they could've been written a century ago, but the performance and writing are so vibrant that these songs are wonderfully in the moment. Likewise with the horn-drenched soul-rock of the title cut, or the chugging rock of "Push it Along," songs that are deliberately classicist but no less inspired or creative because of it. Even when the album does go off on weird tangents, as on the quirky instrumental "111" or the spoken-word interlude "God," Weller's obviously drawing his inspiration from the classic double albums, albums that were long enough to make room for strange little tangents and even work them into the fabric of the record itself.

And thinking of this album as a fabric or a tapestry is certainly fitting. Weller hasn't just made a batch of great songs that mine the disparate elements of British rock; he's actually made a suite, a piece of music that unfolds with an almost narrative (or at least thematic) thrust, with each songs sounding like it was meant to be placed exactly where it is, no matter how different from the preceding song it might be. Weller wanted the album to resemble the changing of the seasons, and indeed, there's an uncannily organic feel to the whole thing; it begins with gentle folk before seguing into rock, then soul, then jazz, then back to rock and, finally, folk again. Each section of the album is sequenced perfectly, and it's a testament to Weller's skills as a writer and as a recordmaker that the soulful, jazz-inflected piano tunes like "Invisible" (which sounds like something a smoother-voiced Tom Waits might have cut thirty years ago) and "Cold Moments" (Weller's best Curtis Mayfield/Marvin Gaye homage yet) feel not like tangents, but like integral pieces of the album's landscape. And as the album travels through different genres, it also plays out like a travelogue through different emotions, making it all the more rewarding and sophisticated.

Of course, listening to the music, it doesn't ever feel like Weller went into it with any grand concept or ambition; it's very unassuming music that doesn't call attention to its greatness, as if Weller and his band were just making music in some basement studio and didn't even know they were being taped-- a feeling that's enhanced by the communal spirit of the album, as Weller is joined on a couple of tracks be members of Brit rock royalty Oasis and Blur. It's Weller's album, though-- his vision, his unique character, and, in the end, his greatest work yet as a solo artist, an intoxicating and compulsive piece of music that proves traditional craft can be unique, vibrant, and utterly riveting.

This past Tuesday night, July 29th, Paul Weller appeared on BBC2's The Culture Show. He performed two songs from his new 22 Dreams album--"All I Wanna Do (Is Be With You)" and "Why Walk When You Can Run"--as well as being interviewed by the program's host, BBC 6 Music DJ Lauren Laverne. Weller did seem a bit miffed when, during the interview segment, Laverne brought up the months-old story about Conservative leader David Cameron's alleged fondness for The Jam's song "The Eton Rifles." Weller had stated numerous times in the past that "The Eton Rifles" was written to blast people of privilege like David Cameron. I suppose that Weller didn't feel like explaining that for the thousandth time for a member of the media. And I can't blame him for that, really.

Below are the music and interview segments from the program:

"All I Wanna Do (Is Be With You)":

"Why Walk When You Can Run":

Paul Weller's interview with Lauren Laverne:

In other Paul Weller news, his July 2008 interview with SPIN magazine is available at http://digital.spin.com/spin/200807/?pm ... pg=84&fm=1. In the interview, Weller discusses, among other things, his recent 50th birthday, the 22 Dreams album, his lack of stardom in America, splitting up The Jam at their peak, his interest in fashion, being managed by his father through a good part of his career, and what he thinks of his former Jam bandmates Rick Buckler and Bruce Foxton playing together again as From The Jam. Weller, always a fantastic interview subject because of his extreme candor, doesn't pull any punches. It is a great interview, and is well worth a read.

O tema era “A evolução das espécies” e eu era o encarregado de pesquisar os vídeos que seriam editados mais tarde.

Fizemos vários temas como a evolução da Madonna, Michael Jackson, Hard Rock, Sofredores do rock, imitadores do Eddie Vedder e Drag Metal.

Queria ter feito mais, só que as idéias (na época) acabaram. Hoje cedo lembrei que gostaria de ter feito uma evolução dos Mods. Em 2003 esse estilo não tinha um sucessor à altura, agora temos.

Divirtam-se.

THE WHO

THE JAM

BLUR

THE LAST SHADOW PUPPETS

BEZZI

]]> http://popunderground.wordpress.com/?p=85 Thu, 17 Jul 2008 22:21:34 +0000 obscureco http://popunderground.wordpress.com/?p=85 Back around 1980, The Vapors scored their only big hit, “Turning Japanese,” which two strange places in my memory. First, around the time it came out, it was parodied on SCTV’s “Gerry Todd Show,” being performed by the unctuous, corduroy-clad lounge lizard Tom Monroe (as played by Rick Moranis), a vision I could never quite erase from my mind’s eye. Three summers later, I went to Washington D.C. with my social studies teacher, Helen Mineta, and another student, Teri Uyeda. We stayed at Helen’s brother’s house – then-congressman Norm Mineta, where his then-wife May and son Stewart also lived. Note that the only non-Japanese American in the group was me. Stewart was a couple of years younger than I was, and took great glee in taunting me by singing the aforementioned song. I was a good houseguest and neglected to inform him the song was actually about, ahem, self-gratification.

The ubiquity of that single disguised just how good the Vapors were. New Clear Days was a darned good album, with some spiky songwriting from Dave Fenton and crisp production from Vic Coppersmith-Heaven that recalled the Jam. Gosh, I wonder why that might have been – because Vic produced the Jam, or because the band’s managers were Bruce Foxton and Paul Weller’s dad.

I contend that the magic ingredient that kicked the Vapors into gear - much like Foxton in the Jam - was bassist Steve Smith. “Sixty Second Interval” shows this off, but Smith’s bass lurks around all over the album, providing the right kick when Fenton and Ed Bazalgette’s guitars give him room – which they do often, thanks to the jagged arrangements. Content-wise, much of the album dealt with the spectre of nuclear war, with such subtlely-titled tunes as “Cold War” and “Bunkers” sprinkled in. The song that should have been the big hit was not the novelty tune but “Waiting for the Weekend,” a great little pop tune. Please don’t confuse it with the Loverboy song of a similar title – this one’s about 100 IQ points better.

Why is life unfair: The Vapors made one more album and broke up. Fenton was a lawyer before the band, and he’s now a slightly more famous lawyer.

Joe Strummer, reading a printed-out version of our blog.

Here's Part I, mostly sans commentary (sorry, too lazy). Note that some of these are possibly from the '80's; I just didn't want to screw up the snazzy post title.

1. "Town Called Malice" by the Jam: My favorite song of all time.

2. "The Card Cheat" by the Clash

[vodpod id=ExternalVideo.625884&w=425&h=350&fv=%26rel%3D0%26border%3D0%26]

3. "Outsider" by the Ramones.

4. "1-2 Crush on You" by the Clash.

5. "Dreams of Children" by the Jam.

6. "Koka Kola" by the Clash: And yes, I do know this song is all about crack.

Gomez - Bring It On

Pink Floyd - The Wall

Van Morrison - Astral Weeks

Pink Floyd - Wish You Were Here

The Smashing Pumpkins - Mellon Collie and the Infinite Sadness

The Jam - Extras

Toots and the Maytals - Pressure Drop

The Specials - The Specials

Bob Dylan - The Freewheelin' Bob Dylan

Nick cave - B-sides and Rareties (3 disc set)

...N.B I will now get in the car , get 5 minutes down the road and think "how did i leave out..."

I have an ambivalent attitude to Paul Weller.

I don't know why, because you could fill several CD's with his highly enjoyable 'best of'... However, I think he blows a bit hot and cold for me; maybe it's just because he's had such a phenomenal output in volume terms (even this album has a collosal 21 tracks).

Wildwood was classy.

I liked some, but not much, of Style Council, I liked some, but not all, of The Jam.

So, this stunning album, (I was prompted to buy it on the back of seeing him live on TV a couple of times, but more significantly by the outstanding single, 'Have you made up your mind.") has really taken me by surprise.

It's massively varied, although it has a strong rock backbone to it.

It's not a life-changing record but it is a very, very good one by a man who has had more iterations than a highly iterative thing.  Like a website for example.

Try it.  You might like it.

Here's the stunning single I referred to.

]

Mod enthusiasts probably have the biggest grin on their face due to the collaboration of two signature mod staples. The Highly anticipated  Paul Weller for Fred Perry shop online is set to open this week. Fred Perry is kind enough to let the fans of the two purchase the special short sleeve Paul Weller henley before the line is released on line.

www.fredperry.com

-Manuel Paul

final cut of the Quadrophenia selection and i'm finishing up with the piece of music that closes the film. pucker tune and one that definately had an impact on my mindset growing up.

Jimmy's gone back to Brighton and had the final igmony of seeing 'the face' in his dayjob as nothing but a 'bell boy'. it's the final straw for him and reminds me of a saying that I once heard and took to heart...something like

"never try to reach out and touch a 'golden idol' as the gilding might come off in your hands.."

I always took it to mean, never idolise anyone as they chances are one day they will dissapoint you. it's unfair to put such a weight of responsibility on someone elses shoulders because we are all human and full of contridictions.

for the record, even though I was introduced to 'Mod Revival' through the Jam's first album 'In The City' a few years earlier than seeing the film the actual soundtrack was, for me, always a bit of a dissapointment. that said I rate Pete Townsend, (and the Who's), original album from which the film was crafted. Townsend's lyrics were a guide for themusicologist and will always hold fond memories.

"you were under the impression, that when you were walking forwards,
that you'd end up further onwards, but things ain't quite that simple,

you got altered information, you were told to not take chances,
you missed out on new dances now your'e losing all your dimples,

my jacket's gonna be cut slim and checked,
maybe a touch of seersucker with an open neck,
I ride a GS scooter with my hair cut neat,
I wear my war time coat in the wind and sleet,

love reign o'er me, love reign o'er me.....

I've had enough of living, I've had enough of dying,
I've had enough of smiling, I've had enough of crying,
I've taken all the high roads, I've squandered and I've saved,
I've had enough of childhood I've had enough of graves,

love reign o'er me, reign o'er me,
love reign o'er me...looooooooooooooooooooooooooooooooooooooove

I've had enough of dancehalls, I've had enough of pills,
I've had enough of street fights, I've seen my share of kills,
I'm finished with the fashions and acting like I'm tough,
I'm bored of hate and passion, Iv'e had enough of trying to looooooooooooooooooooooooooooove

you stop dancing"

I've also been on a big Front 242 kick lately, the old WaxTrax!-era stuff like Official Version and Back Catalogue. Talk about variety! Anyway, I'd never seen the video below for "Animal" (from one of my favorite albums of theirs and one of their strangest, oddly enough NOT from their 80s output), and gave it a watch in a fit of insomnia.

Cutest member of Front 242 EVAR.

This post details the latest in a series of discs I put together for my listening pleasure. They contain songs meant to make you move, or move you... or both if you're lucky. This one spans the years 1976-1983. I'll start with the tracklisting before moving on to some commentary on each song.

01. "Beat Surrender" - The Jam [1982]
02. "Heart Of The City" - Nick Lowe [1976]
03. "So Good To See You" - Cheap Trick [1977]
04. "Identity" - X-Ray Spex [1978]
05. "Homosapien" - Pete Shelley [1981]
06. "Away From Home" - Klark Kent [1980]
07. "Reel By Reel" - XTC [1979]
08. "The Walls Came Down" - The Call [1983]
09. "So Young" - Elvis Costello & The Attractions [rec. 1979, rel. 1987]
10. "Candy-O" - The Cars [1979]
11. "Walking Out On Love" - The Beat [1979]
12. "Ain't That Nothin'" (45 version) - Television [1978]
13. "Everywhere That I'm Not" - Translator [1982]
14. "In My Own Time" - The Three O'Clock [1983]
15. "Hold On To Something" - Great Buildings [1981]
16. "Tomorrow Night" - Shoes [1979]
17. "Girls Talk" - Dave Edmunds [1979]
18. "Tell That Girl To Shut Up" - Holly & The Italians [1980]
19. "Girl U Want" - Devo [1980]
20. "I Love A Man In A Uniform" - Gang Of Four [1982]
21. "New Feeling" - Talking Heads [1977]
22. "I Could Be Happy" - Altered Images [1981]
23. "Not So Much The Time" - The Records [1982]
24. "What Do All The People Know" - The Monroes [1982]
25. "On Your Radio" - Joe Jackson [1979]
-------------------------------------------------------
01. "Beat Surrender" - The Jam [1982]

Before Paul Weller left the band for Style Council and a still-running solo career, he gave us this last Jam single in late '82.

02. "Heart Of The City" - Nick Lowe [1976]

One side of the first single (paired with "So It Goes") on the venerable Stiff Records label.

03. "So Good To See You" - Cheap Trick [1977]

Their first 4 albums are full of power pop gems like this one from the second LP In Color.

04. "Identity" - X-Ray Spex [1978]

Dig that saxophone! One of a great run of singles from Poly Styrene and the gang; also on Germfree Adolescents.

05. "Homosapien" - Pete Shelley [1981]

The title track to Shelley's first solo album after The Buzzcocks' first breakup.

06. "Away From Home" - Klark Kent [1980]

Klark Kent was actually a pseudonym for Stewart Copeland, whose main gig at the time of this release was as the drummer for The Police. Try to imagine Sting committing something this frivolous and fun to wax. Never gonna happen.

07. "Reel By Reel" - XTC [1979]

From XTC's third album Drums And Wires, the first that succeeds from beginning to end. Andy Partridge really came into his own at this point, finally coming up with the melodies to match his witty and often insightful lyrics.

08. "The Walls Came Down" - The Call [1983]

From Modern Romans. I don't know what Michael Been is singing about here, but it sure sounds serious. Reagan's Cold War is as good a guess as any. Back then, I just liked the insistent guitar line.

09. "So Young" - Elvis Costello & The Attractions [rec. 1979, rel. 1987]

It is a shame that EC can't stand Bruce Thomas, because he will never have a bass player that good again. Even on a track like this that was recorded in '79 but not deemed worthy of release until 1987's Out Of Our Idiot odds-n-ends compilation. The bass is the lead instrument in the verses. Not too many outside of Entwistle could be that muscular and melodic at the same time.

10. "Candy-O" - The Cars [1979]

The Cars' second album, of which this is the title track, showcases the darker side of Ric Ocasek. The songs are of course still pure pop. The chorus on this particular tune is all paranoid longing with a Bo Diddley beat.

11. "Walking Out On Love" - The Beat [1979]

They get in and get out in under 2 minutes so you'll need to hit the "back" button a few times.

12. "Ain't That Nothin'" (45 version) - Television [1978]

Yes, Marquee Moon is way better than Adventure, the album that this song was drawn from. But this track, with its ringing guitars, could have held its own on the debut.

13. "Everywhere That I'm Not" - Translator [1982]

From Heartbeats And Triggers. You're everywhere that I'm not...it can seem like this when dealing with unrequited love.

14. "In My Own Time" - The Three O'Clock [1983]

They were lumped in with the Paisley Underground in early '80s Los Angeles, but there is nothing vaguely psychedelic about this one from The Three O'Clock. Rather than harkening back to Sgt. Pepper and his ilk, the band were more in tune with 1965-1966 pop sensibilities. This one from their first full length Sixteen Tambourines features lead singer Michael Quercio's impossibly high voice (the first time I heard their song "Jet Fighter" I was convinced the lead singer was female) and a honking saxophone.

15. "Hold On To Something" - Great Buildings [1981]

Where can I find more Great Buildings? This is sublime.

16. "Tomorrow Night" - Shoes [1979]

Zion, Illinois' very own Shoes!

17. "Girls Talk" - Dave Edmunds [1979]

On this track from his Repeat When Necessary LP, Edmunds polishes the rough edges from a song Costello ended up relegating to a B-side, but leaves the double meanings intact. "You may not be an old-fashioned girl but you're gonna get dated".

18. "Tell That Girl To Shut Up" - Holly & The Italians [1980]

Cat fight! It's inclusion here, though, is due entirely to the harmonies on the chorus...

19. "Girl U Want" - Devo [1980]

Those of you beaten into submission by countless airings of "Whip It" (no disrepect) will appreciate the squirrely beat and catchy guitar figure on this one from Freedom Of Choice. Strangely, Soundgarden covered this one.

20. "I Love A Man In A Uniform" - Gang Of Four [1982]

From Songs Of The Free. A rousing tongue-in-cheek song about those that lust for battle. A slew of these songs were released in this period (XTC's "Generals And Majors", Men At Work's "It's A Mistake", The Police's "Bombs Away" to name three), probably enough for a compilation all their own. It would be essential listening for those that think the eighties were just about cocaine and Rubik's Cubes. By the way, you should feel free to use Cocaine And Rubik's Cubes as an album title.

21. "New Feeling" - Talking Heads [1977]

David Byrne and company's first album, Talking Heads: 77, is so musically spacious. The room was needed to give Byrne's claustrophic lyrics free reign. As interesting as the band's later experiments with world rhythms would be, I think I come back to this album even more.

22. "I Could Be Happy" - Altered Images [1981]

I love Clare Grogan's vocal on this bittersweet ballad.

23. "Not So Much The Time" - The Records [1982]

Meanings misinterpreted. Easy enough to do in any relationship, but when long distances are involved, it's just that much harder. From Music On Both Sides.

24. "What Do All The People Know" - The Monroes [1982]

This is the only song I've heard from The Monroes, but it's just as catchy now as it was in '82.

25. "On Your Radio" - Joe Jackson [1979]

This track leads off Jackson's second album I'm The Man. An interesting riposte to everyone who's ever pissed him off - "you can only hope to hear me on your radio". We should all be so lucky.

Ahora lo que sí.. pedían cosas del tributo que se le hizo al disco Sgt. Pepper de los Beatles hace como un año. No lo tengo todo, en realidad había varios ahí que no me interesaban, pero según yo tenía mas. Tengo que buscar, pero por mientras, Travis haciendo Lovely Rita y Oasis con Within You, Without You.

Travis - Lovely Rita

Oasis - Within You Without You

También me pidieron por ahí el cover que hicieron alguna vez Liam Gallagher y Steve Craddock a Carnation, de The Jam, y aquí esta.

Liam Gallagher & Steve Craddock - Carnation

Por cierto ya que mencionamos a The Jam, les dejo este video de un concierto reciente de The Rifles, donde llego Paul Weller de invitado a tocar con ellos The Eton Rifles, uno de los más grandes éxitos de The Jam. Si les gusta, que tal que van a 10:1 y leen mi super artículo que hice acerca de ese gran grupo. La publicidad jaja. Es que me gusto.

That seems pretty consistent with what music fans are looking for. Generally speaking (and, according to the research), they're younger males who are spending their entertainment money on music (downloads, live appearances, etc.).

So all of the music discovery sites out there are all geared toward this mission. Everyone wants to be the site that can consistently break the next big band. The site that reliably takes local no-name talent and exposes them to a national audience.

While that does scratch the hardcore music fan's itch to find new music, to some degree, it seems to me that such a desire on the part of the site is also self-serving. If GarageBand were to break a big band, they'd probably be more excited about the publicity for them that goes along with it than they would about the potential success of the band, in and of itself.

[To be clear, I'm not suggesting that GarageBand is in it only for themselves. I'm simply using them as an example. I don't claim to have any knowledge of their motives.]

The problem I'm having with the premise is that I think the definition of "new music" is broader than that. To me, "new music" is any music that is new to me. Any music that I have not heard before can be considered, to me, to be "new music."

The number of bands and the diversity of musical styles has increased dramatically in the past 30 years. That's a lot of bands that have come and gone that have significantly contributed to the music landscape. And, like most things historical, one could argue that we couldn't have the breadth of music we have today without those who pioneered before.

Thus, the mission of NewTunes, to me, is more than just another "me, too" music discovery site. Our aim is to be complete.

Many of the bands I've written about here - The Submarines, West Indian Girl, Most Serene Republic, to name a few - are all relatively new, are touring and have some sort of fan base right now.

But I guarantee to you - and I know our search engine would prove this, as well - that if you took a song from any of the aforementioned bands and entered them in our search engine, you could come up with a song match from an artist over 20 years old.

If bands like The Specials, Talking Heads, The Clash or Kraftwerk (to name a few) came on the scene today, they'd find an audience just as hungry for their music as they did then. But how many of today's fans have had deep exposure to those bands' songs?

This is not to preach that kids should know their history.  Instead, I'm simply saying that if you repackaged some of the music of the last 30 years and sold it as if it came from today, today's fans would flock to it.

Even more simply, does today's hardcore music fan have to be a pioneer, or can they be an archeologist? I submit that if it's music you like, it's "cool" to do both.

So, in the spirit of discovering new music from the past, I'll be dedicating next week's posts to the reintroduction of some great, but probably unknown, bands from the past that would fit well in today's music landscape.

Here's this, to get us started...

Den bästa: Brittisk-skottska filmen Red Road, regisserad av Andrea Arnold. En psykologisk slags dramathriller (som på samma gång har en stor portion socialrealism) som jag hyrde på måfå sedan jag läst baksidestexten och tyckte det lät intressant & bra. Tur för mig (filmen vann tydligen främsta filmpriset i Cannes 2006, men jag hade inte hört talas om den ett dyft ;)). Handlar om Jackie som arbetar på ett kameraövervakningsbolag i Glasgow (tror jag det var) där hon övervakar olika platser och stadsdelar i staden, för att dokumentera och förhindra brott. En kväll ser hon plötsligt en man som hon känner igen på en av bildskärmarna...

Långt senare läste jag på baksidan av DVD:n att det är Lars von Trier som producerat filmen. Coolt. Denna var verkligen skitbra. En snyggt ihopsnickrad pusselhistoria där vi får följa Jackie som bär på ett förflutet som på något sätt är förknippat med mannen. Riktigt vad får vi inte veta först och det avslöjas sakta allt eftersom filmen utvecklas: Hon börjar förfölja och övervaka hans tillvaro i hemlighet med hjälp av kamerorna på sitt arbete och snart besöker hon även hans bostadsområde... Det är mer psykologiskt drama än thriller dock. Psykologiskt drama med thriller-element. *:)

Gillar man t.ex Mike Leighs och Ken Loachs filmer så bör man gilla denna!

betyg: 4,5/5.

Den näst bästa var Quentin Tarantino's Death Proof. Har länge haft lite svårt för Tarantino eftersom jag  - troligtvis som en av få ;) - INTE gillar Pulp Fiction. Alls. Har försökt se om den ett par gånger också, men det går bara inte. Gillade dock Reservoir Dogs typ hyfsat men har ännu ej sett Kill Bill-filmerna. Men det är möjligt att dessa hans senare filmer är bättre. Denna gillar jag definetivt bäst av de Tarantino jag sett hittills iaf. Grymt snygg och fantastisk soundtrack. Och så gillar jag ninjafeminism-budskapet om bitches som ska HÄMNAS. =) Och det handlar Death Proof om. På ett väldigt glammigt och härligt sätt. Ett gäng coola 1970-talstjejer som hämnas en galning (som de facto är en seriemördande, livsfarlig stuntman med döskallebil som mordvapen - något de inte vet om ;)). Superpsykogalningen spelas av en riktigt bra och skön Kurt Russel. Bäst av tjejerna är helt klart den übercoola Zoë Bell (tjejen som kör shipswreck-grejen med remmarna på huven :)).

Filmen ligger länge på en solklar fyra. För den är såpass snygg och välspelad. Det som det faller på sen är att slutet är alltför abrubt, och för att historien inte känns helt genomtänkt.. Detta har lite alltid varit mitt problem med Tarantino: Han tar för många genvägar i scener där han ofta är för upptagen med att flörta med 70-talets B-kultrullar; han koncentrarar sig faktiskt nästan för mycket på att hela tiden stapla cool dialog över varann, så att det blir nästan för påtagligt HUR 70-TALSRETROCOOL & 70-TALSSNYGG VI SKA FATTA ATT HAN ÄR (+ vi som tittar på filmen). Lite over the top-igt av coolhet och då blir det inte så coolt till sist.. Filmen är rätt kort och denna gång känns det som att den här faktiskt skulle tjäna på att vara en halvtimme LÄNGRE (inte ofta man tycker så när man ser på film, men denna gång faktiskt; här känns det riktigt så). Men det är bitvis underhållande och snyggt: krasch-scenen mellan det första tjejgänget och Psyko-Kurt är helt ENORMT snygg, liksom alla andra biljaktsscener i filmen. Bäst i filmen: det suveräna användandet av Dave Dee, Dozy, Beaky, Mick & Titchs låt Hold Tight. Helt klart. Ljuvligt. =)

betyg: 3,5/5.

Trångt i kistan (Death At A Funeral) var tyvärr inte alls så rolig som jag trodde den skulle va. Brittisk komedi som av någon anledning inte funkade... kom inte på varför. Men en del roliga scener var det ju, så den var inte helt värdelös, men blir tyvärr bara 2/5. Samma sak med Matador (komedi med Pierce Brosnan som yrkesmördare med nervproblem som ballar ur). Jag är dock ändå superglad för att jag spenderade två timmar av mitt liv på denna film, för soundtracket till denna film var så läckert med The Jams A Town Called Malice och The Killers All The Things I've Done. Ibland kan man bli man glad av en film bara för sånt. :)

A few key things to know (the following will probably pop up in the about me box eventually, but haven't gotten to that yet):

1. Our official stance on Nickelback: OH GOD NO.

2. Political dream team: Barack and Ron Paul, together. Why has no one though of this before.

3. Favorite artists, currently: Kind of loving The Jam...and Los Campesinos! (their exclamation point, not ours)

4. Standard little disclaimer: We love/worship/love musical artists of all kinds. If you like a song posted on this site, go to a concert, buy the cd--that's right, the whole cd, tangible form--don't download their stuff illegally. And now a word to said musical artists: if you want something taken down, email the site and it will get taken downnnn!

Email: indieindielalala@gmail.com

All right. Business has been taken care of :PPP.

Please continue to check this site as we redesign, add new material, and BLOG!!!

As mentioned earlier this week on Powerline A.D., Paul Weller has been doing many interviews to promote the release of his new album, 22 Dreams. His latest interview, with BBC 6 Music, has proven to be a bit controversial, as Weller had some very harsh words for David Cameron, MP for the Oxfordshire constituency of Witney and the current leader of Britain's Conservative Party. (The Conservative Party, also known as the Tories, are currently the so -called opposition party since the current Prime Minister, Gordon Brown, is a member of the Labour Party.)

And what did Cameron do to draw Weller's ire? Cameron admitted to liking one of Weller's songs, "The Eton Rifles" by The Jam. In his own defense, Cameron opined, "I don't see why the left should be the only ones allowed to listen to protest songs."

But Weller wasn't having that. About Cameron's remark, Weller told BBC 6 Music, "Which part didn't he get? It wasn't a f---ing jolly drinking song for the cadet corps." 

Weller wrote "The Eton Rifles" in angry response to seeing a news report on TV concerning pupils of the Eton school mocking unemployed people participating in a protest march. (The Eton school is a very elite school in England that counts members of the Royal Family as its alumni.) Weller and his touring band have been playing "The Eton Rifles" during gigs on his current UK tour in response to Cameron's comments. (Weller had not played the song live in many years.)

For more on this story from the BBC 6 Music Web site, go to http://www.bbc.co.uk/6music/news/20080605_weller.shtml.

To watch a clip of The Jam performing David Cameron's favorite song, "The Eton Rifles," live on the UK music TV program Something Else in 1979, click below:

Since Paul Weller's latest album, 22 Dreams, was released in the UK yesterday (it will be released on CD in America next month, though it is now available for download on iTunes US), The Modfather busied himself this week doing interviews with the UK music press to promote the album's release.

Weller spoke extensively to BBC 6 Music on several subjects. On the issue of free music downloads, Weller told 6 Music:

"I'd like to charge people double the price for my record if I could. But I don't know if I'll get away with it. I don't see all this giving music away for nothing, I'm not having it. It lessens the art and cheapens the art. 

"I don't agree with it (download giveaways). I think why shouldn't an artist be paid for what they're doing? It's not for free."

Weller also told 6 Music about his displeasure with the reunion of his former bandmates in The Jam, Rick Buckler and Bruce Foxton, in the new group From The Jam:

"I'm not mad about the idea. I think it's a bit cabaret. I thought we were against all that, what we stood for. I can see that people are trying to make a buck or make a living, but there's other ways of doing it, I think."

The full article from the BBC 6 Music Web site is at
http://www.bbc.co.uk/6music/news/20080601_weller.shtml.

Weller also sat for a video interview with Julie Cullen of BBC 6 Music's The Music Week program. To watch that interview. click below:

Weller sat for another video interview this week for XFM London. The XFM London interview is in five parts, and each part can be viewed individually on each weekday this week. Yesterday, Part 1 was available, today Part 2 is on the site, and Parts 3, 4, and 5 will be up on the site tomorrow, Thursday, and Friday, respectively. To watch the XFM London video interviews with Paul Weller, go to http://www.xfm.co.uk/ and look for the clickable link to the videos.

Tomorrow, Wednesday, June 4th, Weller will be interviewed on the nationwide UK radio station Virgin Radio. That interview will take place at 4 p.m. Eastern time (9 p.m. BST) and can be heard by going to http://www.virginradio.co.uk and clicking the "LISTEN LIVE" button at the appropriate time.

If that isn't enough Weller for you, he was also interviewed yesterday by the DJ Gary Crowley of BBC London. The airdate of that interview has not been made public yet, but should be sometime in the near future. Check http://www.bbc.co.uk/london for updates.

I have only seen Paul Weller twice, once with The Jam back in 1981 and then in 1985 at some benefit thing Bob Geldof had put on at Wembley stadium. This second was with The Style Council of course. Excellent on both occasions, but he just doesn’t do much for me these days. He’s had some dodgy hairstyles over the years but ain’t we all?