Foster The People – Static Space Lover

This one rocks. This formula always works – psychedelia fused into contemporary styles. The second best for me from this new offering from the group is Doing It For The Money. This should have replaced the lead single Royal Like Sid & Nancy.

Sacredheartsclub.jpgBrad Shoup of Pitchfork assesses the new album: Mark Foster enlists more beat-filled haze for his third album, a tuneful but confounding modern pop event that lands somewhere between the Beach Boys and Just Blaze.

 

 

 

 

For the full review: http://pitchfork.com/reviews/albums/foster-the-people-sacred-hearts-club/

Pitchfork: But Foster’s first love was the Beach Boys, and he pays homage to them yet again on Sacred Hearts Club. On SupermodeI, it was the choral “The Angelic Welcome of Mr. Jones.” Here, it’s “Time to Get Closer,” a 58-second, full-band stroll through the surf. Their fullest tribute is the daydreamy “Static Space Lover,” a duet with singer and actress Jena Malone: Foster the People stuff the pre-chorus with sleigh bells and curlicue harmonies, then build the bridge around a piano line, leading to something like trap beats meets Pet Sounds.

This one is much-attuned to today’s style and chart-oriented.

The final cut is equally beautiful, which I learned is part of the advanced EP the group released in June with Pay The Man and Doing It For The Money.

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Ringo Starr Talks New LP, Future Deluxe Beatles Albums – Rolling Stone

http://www.rollingstone.com/music/features/ringo-starr-talks-new-lp-future-deluxe-beatles-albums-w496783

By 

For his 19th solo album, Ringo Starr planned to record his first country album since 1970’s Beaucoups of Blues. But when his touring schedule made an extended trip to Nashville impossible, Ringo decided to simply work in his living room, inviting old friends like Peter Frampton, Dave Stewart, his brother-in-law Joe Walsh and Paul McCartney to collaborate. “It ended up like a regular Ringo album with a ballad, a country song, a rock song,” says the drummer, whose new album, Give More Love, is out September 15th. “It’s always very casual. With Pro Tools, you don’t need all that space like we had in Abbey Road. Sometimes the dog will bark, and it ends up on the track.” Ringo, 77, is approaching his 30th year leading his All-Starr Band, whose long-running lineup includes Steve Lukather (Toto), Gregg Rolie (Journey, Santana), Richard Page (Mr. Mister) and Todd Rundgren. The band’s fall tour includes a Las Vegas residency in October.

Well, I just called him up and said,”I got this song called ‘Show Me the Way,’ and I want you to play on it.” Because he is a really good friend of mine, he said he’d come to L.A. for it. It’s about [my wife] Barbara. She shows me the way. I wanted it to be very personal. While he was there, he also played on “We’re on the Road Again.” That was very kind of him.

You two still sound great together.
He’s an incredible musician. He’s incredible at singing too and as a writer, but for me, as a bass player, he is the finest and the most melodic. It’s always fun when we’re playing together. I’ve played on several of his records, mainly in the Nineties. People keep saying, “Oh, it’s been so long.” It’s not been that long. We did the Grammys, we did that Beat­les show three years ago. So we are still pals, but we don’t live in each other’s pocket.

There are a couple of country songs on the album that remind me of Beaucoups of Blues. What are your memories of that time in your life?
I went down to Nashville and we did it in two days. I did it because Pete Drake came to England to play [pedal steel] on George’s record [All Things Must Pass] and I was playing [drums] on it. I sent my car to get him and he noticed I had a lot of country tapes. He was talking to me about coming to Nashville to make a record and he’ll produce it. I was thinking I didn’t want to spend months in Nashville. He said “What are you talking about? Nashville Skyline took two days.” So I went to Nashville and I got there on Monday, we did the record Tuesday, Wednesday, and I left Thursday. And that’s how we did it! Five songs a day!

On “Electricity,” you give a shout-out to Johnny Guitar, from your pre-Beatles band Rory Storm and the Hurricanes.
When I changed my name to Ringo, he changed his to Johnny Guitar. I had left [my job at] the factory, and this was the first real job as a musician. I have great memories of being in that band. If you look back at my recent solo records, there’s always some mention of Rory and the Hurricanes in it. I don’t wanna write the book – I write it in songs. If you want to read my book, you’ll have to buy 15 CDs and put it all together.

On your new song “Laughable,” which you co-wrote with Peter Frampton, you sing “It would laughable if it weren’t so sad.” I presume you’re talking about Trump?

Well you know I’m not political. Peter Frampton added that line. We had discussions where he wanted the words to be more political. And I was against that, and it’s my record so you know what that’s what I do. I direct it. But I felt we still said the same things and it’s understood that it would be laughable if it wasn’t so said. But no I’m not gonna mention people and parties because I feel like we can do this in a much better way.

Your drums sound louder than ever on the new Sgt. Pepper box set.
They are! Giles [Martin, son of George Martin] has turned me up. I love it! We couldn’t do that in the Sixties. If anything, when we were mastering, we were taking off the bottom all the time, and the bottom was my bass drum. You should go to the Love show [in Las Vegas]. It’s like drum boogie. It’s so far-out.

What role did you take in putting together the Sgt. Pepper set?
Giles remastered it, they sent it to me, and I said I loved it. There’s another bonus CD with different bits – the big piano that we all played for that one chord [on “A Day in the Life”]. That is so interesting, even for me, who’s on the damn thing. I just love it. It’s a bit like the Eight Days a Week [documentary] that Ron Howard did. I was so moved emotionally by looking at that, and I’m in it, for God’s sake.

It was interesting to see a Beatles film that focused only on your touring career.
It just showed us as four lads. We were always being ordered to play stadiums since we couldn’t play regular gigs. We stopped touring because we all felt we weren’t playing that well. I couldn’t hear what the other three were doing. I’d have to look at their actions and go, “Oh, yeah, we went into that part now.” Then we split up, of course. But I think [touring] is part of the four of us – that’s what we always liked to do.

Are you going to release deluxe editions of the other albums?
I hope they do the White Album and Abbey Road.

How about Revolver and Rubber Soul?
I don’t know. Let’s say yes! [Laughs] If we don’t, forgive me.

You’re heading out with the All-Starr Band this fall. Do you still want to be doing this in three years when you enter your eighties?
Yeah, I love it. It’s what I do. As long as I can hold the sticks, we can go for a long time.

Watch below: 5 little-known facts about “A Day in the Life,” considered by many to be the Beatles’ single greatest recorded achievement

Roger Waters – Wait for Her

Hazy Cosmic Jive three weeks ago said: Thank you Roger for your activism and your creative contributions to sound and vision.

tabrown812 in June interpreted the song: By far my favorite song from ITtLWRW?. Very honest, poetic, hopeful, and emotional all at once.

This song was based on a poem by Mahmoud Darwish. Listening to this song, I feel it describes the pain, nervousness, and blues associated with waiting for a lover. Waiting can mean many things here; it could mean waiting for a simple date for all we know. But the tone of the lyrics (and the music by Waters) suggests that one is waiting for a girl to love him back. The song reassures and gives advice to the listener, with light and frothy lyrics:

“With seven pillows laid out on the stair
The scent of womens’ incense fills the air
Be calm, and wait for her”

and

“Serve her water before wine
Do not touch her hand
Let your fingertips rest at her command”

And while it gives the song a sense of hope, the almost tragic-sounding backdrop serves as what brains love to do in these scenarios: think of the worst. The drop from G to E minor by the electric guitar throughout the song suggest the mood swings from hopeful to hopeless. Love is a crazy emotion, and things can go from good to bad (and vice versa) quickly. 

The last stance is one of my favorites. It reminds the listener that waiting to love someone may be difficult, but there is a promise the listener made with themselves: to never lose hope. 

“And as the echo fades from that final fusillade
Remember the promises you made”

The promise is obvious; the promise of the listener to continue loving the girl. It doesn’t leave. And the final fusillade is all but simply another change in emotions. They can be good or bad, but anyone (such as myself) who has experienced a bombardment of emotions knows how to connect to this final line.

The full lyrics:

With a glass inlaid with gemstones
On a pool around the evening
Among the perfumed roses
Wait for her

With the patience of a packhorse loaded for the mountains
Like a stoic, noble prince
Wait for her

With seven pillows laid out on the stair
The scent of womens’ incense fills the air
Be calm, and wait for her

And do not flush the sparrows that are nesting in her braids
All along the barricades
Wait for her

And if she comes soon
Wait for her
And if she comes late
Wait

Let her be still as a summer afternoon
A garden in full bloom

Let her breathe in the air that is foreign to her heart
Let her lips part
Wait for her

Take her to the balcony, see the moon soaked in milk
Hear the rustle of her silk
Wait for her

Don’t let your eyes alight upon the twin doves of her breast
Lest they take flight
Wait for her

And if she comes soon
Wait for her
And if she comes late
Wait

Serve her water before wine
Do not touch her hand
Let your fingertips rest at her command

Speak softly as a flute would to a fearful violin
Breathe out
Breathe in

And as the echo fades from that final fusillade
Remember the promises you made

Corey Taylor: Calling Chris Cornell And Chester Bennington ‘Cowards’ Is ‘Very Immature’ And ‘A Cop Out’ – Blabbermouth.net

August 9, 2017

COREY TAYLOR: Calling CHRIS CORNELL And CHESTER BENNINGTON 'Cowards' Is 'Very Immature' And 'A Cop-Out'

Corey Taylor has slammed people who have have implied Chester Bennington and Chris Cornell were “cowards” for taking their own lives, saying that such criticism is “simplifying a very real issue.”The LINKIN PARK singer was found dead late last month at his home in Southern California. A Los Angeles County coroner confirmed that the cause of death was “suicide by hanging.”

After Cornell committed suicide in May, Bennington sang at his funeral and also wrote a heartfelt message paying tribute to the SOUNDGARDEN frontman.

Chester died on July 20, which would have been Cornell‘s 53rd birthday.

The suicides of these two high-profile musicians drew serious critics, all of whom wondered how someone could do something so extremely “selfish.” That included KORN guitarist Brian “Head” Welch, who blasted Bennington as a “coward” for leaving six kids and a family behind.

In a brand new interview with LoudwireTaylor, who has always been very open about his battle with depression and the natural ways he tries to combat it, was asked for his opinion on some people’s insistence that suicide is an act of cowardice.

“Calling them ‘cowards’ is a very immature way of looking at it,” Taylor said (see video below). “Obviously, [the people who are saying that are] hurt, which is why they’re lashing out and saying that. It’s the easy way to look at something like that, because it makes you not have to face what a serious issue it is. It’s easy for someone to label it like that so they can turn their back on it and pretend that it was something that didn’t happen to them, when inside they’re hurting.”

He continued: “People who fight depression are almost in a constant state of hurting. It comes and goes. The tide rises, the tide ebbs, and sometimes it’s hard to get past that break.”

Taylor reiterated that calling people like Bennington and Cornell “cowards” is “not only immature, but it’s also a cop-out. It’s needlessly — needlessly — simplifying a very real issue,” he explained. “An issue that might have a lot to do with a lot of the other issues that are going on in our country right now. Whether it’s suicide or the opioid problem that’s going on right now, people don’t wanna feel. Why do they not wanna feel? Let’s get to the bottom of that. Let’s get to the bottom of why there is a rise in not only PTSD, but severe depression across the board.”

Corey pointed out that he personally suffers from manic depression, “which means I rise and fall, I crash and I burn,” he said. “I’ve got the practice and I’ve got the people to talk to so I can keep myself from really breaking myself against that wall. But it’s tough, man. It’s tough. And some people don’t have that luxury. Some people, like our friends, the wall pushes back, and it is a goddamn tragedy. That does not make them cowards. I’ve even heard people recently say something to the fact of, ‘It was bound to happen. This was always going to happen.’ And I’ve gotten so angry hearing that that I’ve gone on record as saying that ‘you are absolutely wrong for saying that.'”

According to Taylor, suicide should never be a foregone conclusion. “That means you’re not listening,” he said. “You say you care about that person? That means you’re not listening. So I’m listening. So I’m doing everything I can to make sure that people know that there are people out there listening. There are places to go. Whether it’s a friend or a stranger, there are organizations, there are centers, there are people who are dedicated to listening. Because sometimes that’s all you need — just someone to listen. It’s not gonna change the severity of it, but it’s gonna help you feel a little better. It will take away that solitary confinement. It will take away that sense that you’re alone. You’re not. You’re not alone. Not one person out there who feels that way is alone. I feel it, I’m sure you know people who feel it, or you feel it. You’re not alone. And it is important for people to know that. You’re not a coward. You’re not alone. Get the help you need. There are ways to find it.”

Neither Chester nor Chris left a suicide note.

The two singers bonded when they toured together nearly a decade ago.

Read more at http://www.blabbermouth.net/news/corey-taylor-calling-chris-cornell-and-chester-bennington-cowards-is-very-immature-and-a-cop-out.html#WTwySTYf7ofifCsF.99