Amoeblog

19 Days 'Till Coachella Go Boom

Posted by Smiles Davis, March 28, 2010 11:20pm | Post a Comment

Coachella
, Coachella, Coachella. Figure if I say it enough times it’ll eventually get old but it never does. Every year it comes around the same time and every year I get equally as excited, like I'm some sort of frat boy exploring his inaugurate freedom. The thought of a mini vacay alone sounds appeasing to me; it's high time for celebration. Take that, social eruption and enough music to runneth my cup a gazillion times over, and I’m there. I’d clone myself if I could to double my pleasure, that’s just how I feel about it. We're skimming the surface here -- we haven’t even gotten to the line-up yet; the line-up this year is the cherry on top. Wanna talk goodness: It could be just another plain dusty ol’ donut or it could be a sumptuous, glistening glazed donut, but it’s still a donut, still edible, still sweet. This year it’s a mammoth jelly filled, chocolate glazed donut with sprinkles and powdered sugar on top. I’m geeked, your mom’s geeked, everybody’s geeked, it's one big geek feast. Yaaa for Coachella's line-up 2010! Bummer side note: I might not be going... don't wish to bore you with the details really, will just say 'keep you posted for now'. Ah, pooh.
 
None the matter, I'm still just stuck on stupid over the cast of characters this year. Since the beginning of the year I’ve been on this new kick: “new beginnings, first times,” taking the leap into the unknown whenever I feel so inclined. So far it's working out nicely for me, took my first trip to Thailand (awesome), twisted my thumb for the first time while trying to ride a motorbike for the first time, got my arm pits waxed for the first time (never again) and I also dyed my hair for the first time—since high school—but the color didn’t hold, so you can’t tell, no one notices. Cut the mumbo jumbo and you get whatever goes, that’s my plan for Coachella: whatever goes—if I go. No game plan, just roaming fields. Too many good acts; Gil Scott Heron could be playing in one tent, Grace Jones could be performing in the next tent, then pop one tent over to catch the end of 2 Many DJ’s set and then and then and then... Just putting it on destination: cruise control. I’ll spare you the farcical dissertation on the art of music and cut straight to my short list…Part 1:

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Four Latin Rock Releases For March 2010

Posted by Gomez Comes Alive!, March 28, 2010 10:54pm | Post a Comment

Julieta Venegas
-Otra Cosa

For someone as hugely popular as Julieta Venegas is, I find it takes her fans a good couple of weeks to discover that she has a new album out. The album artwork and the first video look like they came from the British Psychedelic Folk movement of the late sixties. No worries though, Julieta remains on Planet Julieta and there is no one who can do it better than her. So women and Indie-nerd boys rejoice, the new album is here!

Julieta Venegas - "Buen o Mal"





Bunbury
- Las Consecuencias

The former (and maybe still current) member of Heroes Del Silencio latest’s album is somewhat of a departure from the 2006’s guitar driven Hellville En Deluxe, which only available as an import in the U.S. The song “Frente A Frente” is a cover song of Spanish singer Jeanette, done slightly darker. What is cool about this song is that it includes the vocals of Miren Iza from the group,Tulsa. Her vocals mixed with Enrique Bunbury's give the song a Serge Gainsberg/Jane Birkin feel.

Bunbury - "Frente A Frente"



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SOUNDTRACK SERIES #4

Posted by Job O Brother, March 28, 2010 04:44pm | Post a Comment
Directions: Imagine Mr. Brother living another day, as always, with music playing. Whether it’s one of his trusty iPods, or his home stereo, or working the soundtracks section of Amoeba Music Hollywood, Mr. Brother is eating, sonically, with the mouths of his ears.

To simulate this experience, as you read the below story of a day lived, you will be given certain music clips to play. These are inserted to provide you with the same tunes Job was hearing as he was doing what you’ll be reading.

For example, while he was writing the above directions, he was listening to this:


The other day… no, not that day – the other day… yeah, that one… I was painting my collection of pigments, when a car drove past, blaring its music so loud that it felt like an earthquake. But, y’know, an earthquake that could keep a beat.


I’m all for losing one’s self in music, but I do think it’s tacky to blast your car stereo so loud that anyone within an area code can hear it. I’m not talking about regular loud – I’m talking about these people who have pimped out their auto’s sound system specifically so that they can impose their roving, one-man rave on a neighborhood at a time. What if someone’s trying to sleep? What if someone’s trying to record music? What if someone’s being held hostage by a crazy person who’s got a sword pressed to their throat and is screaming:

Perennial Melodies: Sukiyaki for the Sentimental

Posted by Kelly S. Osato, March 28, 2010 02:39pm | Post a Comment
A few weeks ago the vocalist Eduard Khil and his heart-swelling vocal flexes were nothing to me, but now I cannot think of a day gone by without my acknowledging the impression his song has left on my heart. For those who've yet to encounter Khil, his claim to international stardom comes of the internet meme known as "Trololololololololololo," a video clip circa 1976 that features a dapper dandy (Khil) vocalizing a song called "I Am Glad To Be Finally Returning Home" with plenty of laughing ha-hahs and hearty bellowing tro-lo-los as he gestures with casual fluidity, occasionally directing viewers to consider the paltriness of the set pieces that flank him. It is an aural and visual happy-pill dressed in sunny yellow, an upper to be taken when the spirit lags and, for about the last two weeks, it's been the very first thing I enjoy in the morning. 


As if the simple joy and outdated charm of that performance alone wasn't enough to make me fall head over feet for Eduard Khil, he has since been featured in another recent post, a Russian press interview, showing Khil sitting down to view his viral video along with several parodies of it added into the mix (including one starring recent Academy Award recipient Christoph Waltz as seen on Jimmy Kimmel Live!). Khil's delightful reactions to these parodies and subsequent video statement in which he addresses the people of the world to invent lyrics to the much beloved song (which, according to Khil, originally flaunted rather raunchy lyrics --- so naughty in fact that they were never published, but decidedly ditched the for trololo vocalization in hopes that the song stood a chance at being appreciated but for its melody). He then suggests that everyone choose a time to gather and synchronize (via the internet ) to sing their version of the song all together, in their own tongue, in the style of "We Are The World." Okay, so he doesn't mention "We Are The World," but of course he doesn't have to, the sentiment is there, especially as, according to Khil, the song is about returning home and, in his mind, the newfound popularity of his tune represents an eternal homecoming of sorts, and a happy one at that. Bravo Eduard Khil and Спасибо.
sakamoto kyu kyuu ue wo muite arukou single sukiyaki 45rpm cover art
Digesting Khil's suggestion that the world set out to celebrate our affection for a singular melody, his melody, by independently crafting original lyrics to accompany a borrowed tune recalled to mind a sweet, bewitching song that I first heard many years ago in an elementary level Japanese class: Sakamoto Kyu's (坂本 九) sentimental hit "Ue wo Muite Arukou" or "I Walk With My Head Held High." Though introduced as a classroom exercise, I became one of many folks in that class who couldn't shake the lovely melancholy of such a tune, even if we couldn't understand everything Sakamoto-san crooned. Like the Russian "homecoming" song, the sentiment of acute longing and heartache expressed in Sakamoto's song, regardless of the presence of meaningful lyrics (and the potential inability to make sense of them), is clearly understood simply because of its perfectly crafted, jaunty-yet-melancholy melody. In fact, this song topped the U.S. Billboard charts for three weeks in 1963 under the title "Sukiyaki" (renamed because the execs at Capitol and HMV thought the original title too difficult to pronounce and/or remember). To date, Sakamoto Kyu's hit single has been the only song sung entirely in Japanese to ever top the charts in the states and it is the only Japanese song to ever enter the U.K. Billboard charts. Indeed, it must be all about that [sigh] sentimental melody. 
a taste of honey sukiyaki sakamoto kyu japanese song cover single hit sentimental song
And it's that melody that has been, for better or worse, shanghaied halfway 'round the world, the old fashioned way (that is, without knowledge of its being taken until it "arrives"), as a borrowed tune dressed in several languages, most notably as the sentimental slow jam "Sukiyaki" performed in 1981 by A Taste of Honey, the disco ensemble famous for crafting the hit dance single "Boogie Oogie Oogie." All I have to say is thank heavens they resisted suggestions to turn Sakamoto's tune into a disco jam, instead opting for turning it out as a soft-focused ballad which probably has everything to do with the song becoming Honey's final number one single of their career. Unlike Eduard Khil, however, Kyu Sakamoto cared not for the Misses Honey's take on his wistful walk-a-long hit and reportedly sued Capital Records for copyright infringement, a litigious action that pantsed those who had thought the song fruit of the public domain tree, ripe for the taking, and so plucked the tune and inanely kept the altered name "Sukiyaki."
sukiyaki hot pot japanese dish sakamoto kyu a taste of honey love song
By the way, sukiyaki (a Japanese steam-pot dish) has next to nothing to do with the original lyrics of Sakamoto's song or the romantic interpretation laid down by Honey's Janice Marie Johnson, who found that English translations of "Ue wo Muite Arukou" could be viewed three ways: as a man on his way to his execution, as someone trying to be optimistic despite life's trials, or as the story of an ended love affair (of course she opted to paint the English lyrics in the waning light of a love gone bad). My favorite quote related to the ridiculousness of naming a song for a word that is short, catchy, recognizably Japanese and familiar to English speakers comes from a Newsweek columnist who reportedly likened naming Sakamoto's song "Sukiyaki" to issuing a popular tune like "Moon River" in Japan under the title "Beef Stew," a total wah-waah.
4pm sukiyaki a taste of honey sakamoto kyu
Of course there have been other takes on the popular tune, mostly covers of A Taste of Honey's "Sukiyaki" rather than further takes on Kyu Sakamoto's crooning hit, but there's certainly nothing like the real thing. Featured below are several videos, the first being a 1963 video of Sakamoto himself walking and singing "Ue wo Muite Arukou" with his head held high ("so the tears down fall from my eyes" according to the original Japanese lyrics) followed by a live performance of "Sukiyaki" by A Taste of Honey complete with the aforementioned Johnson and bandmate Hazel Payne clad in kimonos, koto accompanyment on the song, finished with a whispered "sayonara" at the end. Then we have a 1995 version of "Sukiyaki" delivered by American R&B ensemble 4 P.M. (p.s. did they gank that set from that Heavy D & the Boys video for "Now That We Found Love" or what) and then a live version of "Sukiyaki" en Español as performed by Selena on the Johnny Canales Show.

March 26, 2010

Posted by phil blankenship, March 28, 2010 01:46pm | Post a Comment
Waking Sleeping Beauty movie ticket stub
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