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(no subject) [May. 14th, 2012|02:18 pm]
all about music

Hey Everyone! Check out Melissa Ferrick and special guest Rose Polenzani with a full band, July 27, 2012, on the Provincetown II - Rock and Blues Cruise out of Boston, MA. This show is General Admission and 21+. The boat boards at 7pm and departs at 8pm. Come enjoy some great music and a beautiful sunset cruise around Boston Harbor! Tickets are $27.50 (plus convenience fee) in advance and $33 (plus
convenience fee) the day of the show. Tickets can be purchased here http://www.etix.com/ticket/online/performanceSearch.jsp?performance_id=1615116 Buy your tickets soon, this show WILL sell out! Hope to see you there!
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Фестиваль Scandinavian Wave в Москве 17 Марта : Olafur Arnalds (Исландия) и Einar Stray (Норвегия) [Mar. 5th, 2012|02:52 pm]
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Вся информация о фестивале: http://fbits.ru/swf Билеты: http://fbits.ru/swf-tickets/

Встреча Вконтакте: http://vk.com/event33452369 Событие Last-FM: http://www.lastfm.ru/festival/3150607

17 марта 2012 года в Москве пройдет фестиваль скандинавской культуры SCANDINAVIAN WAVE, призванный приобщить российскую публику к традициям современного «северного» искусства и в буквальном смысле настроиться на скандинавскую волну.

Гостей ожидает множество сюрпризов, первый из которых – это огромный рояль, установленный в зале клуба. Полусказочная атмосфера будет на каждом шагу – невероятные проекции с истинно скандинавскими пейзажами, уютный антураж зимнего вечера, приглушенный теплый свет торшеров – и это еще далеко не все!

Einar Stray
(Норвегия, post-rock, folk, neoclassical)

Olafur Arnalds
(Исландия, neoclassical, ambient)

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Norway tragedy - In Memoriam [Jul. 31st, 2011|01:13 pm]
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[Current Music |Grieg: The Holberg Suite - Air ]

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all about music


В рамках фестиваля VISUAL REVOLUTION I
Вконтакте: http://vk.com/club17451931
Сайт фестиваля Visual Revolution: http://visrev.ru

visual kei, gothic, j-synth, industrial, darkwave, futurepop, ebm, kotekote kei

Впервые в России! Спустя 10 лет культовые Velvet Eden возвращаются на сцену и представят чарующую и завораживающую программу сразу в нескольких городах

России, отправившись в многодневный тур. В творчесском перерыве DADA был знят различным творчеством, сотрудничая с Dir en Grey и другими японскими мейджорами

как фотограф, иллюстратор и художник, но он не мог оставить своих фанов и жажду самореализации в музыке. В Возрожденный состав VE вошли: DADA (вокал), Aci

(композитор, скрипач) (The Royal Dead, ex Phantasmagoria), Lilly и Yurikago (бэк-вокал, dance).

Билеты от 350 до 500 рублей!

03 ОКТЯБРЯ ВОЛГОГРАД Клуб Белая Лошадь

Голосование за другие города тура в группе Вконтакте: http://vk.com/club17451931


Сайт фестиваля Visual Revolution: http://visrev.ru

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Jack Riot (24.04.2010 live in Saint-Petersburg, Arctica club) [Apr. 28th, 2010|03:32 pm]
all about music


другие видео с концертаCollapse )
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The Doors Redux [Mar. 14th, 2010|04:18 pm]
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I've addressed Paul Nelson's writings about the Doors before, back in June of 2008 ("Perceiving the Doors"). In that same entry, I mentioned that award-winning director Tom DiCillo was at work on a Doors documentary. Now that DiCillo's movie, When You're Strange: A Film About the Doors, is preparing for its U.S. premiere (in select theaters on April 9) and the Internet is abuzz with anticipation, it seems like a good time to post this ad from July 1967, which incorporated part of Paul's Hullabaloo review about the band's first album. Just click on the image to enlarge it.

And, while we're on the subject, here's the trailer to DiCillo's film, which is artfully composed entirely of period footage, much of it previously unreleased.

Should you miss DiCillo's film in the theater, fear not: it's also scheduled to appear on PBS's American Masters series on May 26.

Copyright 2010 by Kevin Avery. All rights reserved.

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Andy Zwerling [Jan. 14th, 2010|10:54 pm]
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Andy Zwerling was probably the youngest of the many young musicians whom Paul Nelson backed and/or befriended during his A&R years. Zwerling was only eighteen or nineteen when he first met Paul in 1973. One half of a brother-and-sister act that included his younger sister Leslie (who was still in junior high), Zwerling cherishes his memories of his friendship with Paul, which lasted well beyond their first meeting.

"A lot of people told me that I should contact Paul Nelson at Mercury," Zwerling e-mailed me before we spoke. "I tried calling Paul for a few weeks, but couldn't reach him. When I got him on the phone, he told me that he'd heard that my songs were good, but that he wouldn't be able to do anything for us at Mercury. I asked if we could come play him some songs. He repeated that it wouldn't do any good, but graciously told us to come in anyway.

"I knew that he had signed the New York Dolls. I halfway expected to meet some wild man instead of the quiet, soft-spoken guy Paul was. He immediately told us that since the New York Dolls weren't selling well, it would be impossible for him to do anything for us." [As a point of clarification, by the end of 1973 New York Dolls sold 110,000 copies—not bad for a first album. The problem was that the band was spending money faster than it was coming in, and that financial fact, along with their now legendary antics, was poisoning their relationship with Mercury management. Paul was stuck in the middle with the Mercury blues again.]

"I asked if we could play a few songs, and he gave a bemused smile," Zwerling continued. "We jumped up and started playing. He kept smiling, and we kept playing. Every few songs he'd say that 'I can't do anything for you.' He kept smiling. After a while, he picked up the phone and called a recording studio. He set up a session for us in a beautiful sixteen-track studio. That was a huge deal for us. We recorded two songs ten days later. We all had a great time in the studio. Those two songs are on our retrospective, Somewhere Near Pop Heaven." [In 2003, the album became an unexpected hit in Croatia.] "Paul was always soft-spoken, but he was very animated, encouraging, and enthusiastic during the whole day.

"I don't know how much longer he stayed at Mercury, but he continued to try to sign us. When he left Mercury he sent us to someone he knew at CBS, and we recorded a demo there, which would not have happened without Paul's recommendation. We didn't play live in the city very often, but Paul not only saw us four or five times, but he went out of his way to bring other writers with him [including Dave Marsh]. In 1980 we recorded a demo. It was cheaper to press it as an LP than to make cassettes. Paul sent a copy to Ken Tucker, who gave us a great review in the Los Angeles Herald-Examiner. I'm sure he sent it to other people, including a writer named Leslie Berman. Paul was then then the review editor at Rolling Stone, and he ran her very favorable review of us.

"His support was always incredible. No matter how much Paul Nelson told us he couldn't do anything for us, he spent decades doing everything he could for us.

"I lost touch with Paul during the 1990s. I knew he'd gone through a very tough time after his mother's death, but I didn't know where he was. One of the last times I saw him was in the middle of the winter sometime in the Eighties. It was about twelve degrees and very windy. I had on a down jacket. Paul had on a very light jacket. I asked 'Aren't you cold?' 'Cold?' He literally laughed. 'I'm from Minnesota, this isn't cold. It gets cold in Minnesota.'

In 2001, "Ed Ward wrote a New York Times story about us. He wanted to talk to Paul about us. I e-mailed a bunch of people, and I was directed to Evergreen Video. I got hold of Paul, and I spoke to him regularly until a year ago. His only regret about the Times story was that he wished more of the compliments he'd given us had made it to the final story. That made three decades of 100 percent support."

Paul would have no doubt been pleased, then, in 2008 when Zwerling—a one-time rock critic himself (with a handful of Rolling Stone reviews to his credit) and now a practicing attorney—released Hold Up the Sky, his first solo album in 37 years. The CD is a joy, and Ken Tucker, now editor-at-large at Entertainment Weekly, featured it on NPR's Fresh Air, where he named it one of the best albums of 2008.

It's not difficult to imagine that Paul Nelson would've agreed.

Copyright 2010 by Kevin Avery. All rights reserved.
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Lou Reed [Jan. 9th, 2010|05:09 pm]
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One of the more frustrating aspects of selecting which of Paul Nelson's writings to include in Everything Is an Afterthought was deciding which works not to include. For a guy who's famous for his struggles with getting the word onto the page, he wrote a hell of a lot. As much as I hated to, one of the last chapters I deleted from the manuscript was devoted to Lou Reed. Reed was a frequent touchstone and reference point for Paul, but he wrote about the singer-songwriter-founding Velvet Underground member surprisingly few times. Fortunately, two of his best pieces about Reed are available online.

When Paul was still in A&R at Mercury Records, he seized the opportunity to acquire some previously unreleased tapes of the Velvets performing live in Texas, less than a year before Reed departed the band. When the album (a double) was finally released in 1974 as 1969 Velvet Underground Live, Paul penned the liner notes that appeared on the back of the LP’s gatefold cover. (For the inside, he invited singer-songwriter Elliott Murphy, whom he was still trying to sign to Mercury, to compose some liner notes of his own. Murphy writes about the experience here and, although he misremembers the year—it was 1973, not 1972—offers a download of his original handwritten notes.)

In 1975, a few months after Paul left Mercury Records and returned to criticism, he wrote about Reed again, reviewing Lou Reed Live, the artist's follow-up to his classic Rock ‘n’ Roll Animal. “Had he accomplished nothing else,” Paul wrote, “his work with the Velvet Underground in the late Sixties would assure him a place in anyone's rock & roll pantheon; those remarkable songs still serve as an articulate aural nightmare of men and women caught in the beauty and terror of sexual, street and drug paranoia, unwilling or unable to move. The message is that urban life is tough stuff—it will kill you; Reed, the poet of destruction, knows it but never looks away and somehow finds holiness as well as perversity in both his sinners and his quest.”

Paul ended his critique of Lou Reed Live on an optimistic note and, as his review the following year of Coney Island Baby attests, his faith in Reed was rewarded. The review contains some of Paul’s best writing, his usual well-chosen words expressing not only his aesthetic admiration for Reed’s new work but also the sheer pleasure he derived from listening to it. The review—one of the rare times that his writing reflected his love of sports—also boasts one of my favorite Paul Nelson last lines.

Which makes me want to enjoy the entire piece over again.

Copyright 2010 by Kevin Avery. All rights reserved.

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