Ended up kinda similar in some parts? Sure. “Stole” and “ripped off”, no, that seems way overstated.
Lucky for me I live in Brooklyn and massive outdoor humanity-fests make me want to off myself, so I never have to worry about what to do about shit like this. Just for fun, I pared this list down to things I’d actually be excited to see in such a setting:
Friday April 10 & 17
Raekwon and Ghostface Killah
Todd Terje and the Olsens
Saturday, April 11 & 18
Belle and Sebastian
Sunday, April 12 and 19
I guess Friday’s the best day for me. Out of these, would probably be most excited about Ride, Lil B, St. Vincent.
God freakin dammit I wish I had seen this. It seems like the Cure has finally put their weird late 90s-mid 00s period behind them and refocused on what made them great. I saw them at the Beacon Theater back in I think 2011, they were playing 3 Imaginary Boys / Seventeen Seconds / Faith. I thought that would be more than enough by itself. It started off kind of weird, like the audience was looking at an exhibition of some sort rather than at a rock concert. But they proceeded to just take the atmosphere in the place and make it collapse in on itself. Especially 17 seconds and Faith – a lot of this is weird rock music to play or see live. ‘Rock!’ is so not what’s going on most of the time. But it was really gripping. By the time they were really digging into Faith, Lol Tolhurst was back up on stage, which I never thought I’d see. They were playing superb, way-better versions of all of these tracks than their studio versions, which I largely already loved.
And, AND, they followed that up with a huge run of 70s-80s b-sides. Weird stuff like ‘Splintered in her head’, ‘descent’, ‘another journey by train’, ‘I’m cold’, just one after another and again, so loud, so awesome, soooo weird.
And, AND THEN, on top of that, they came out and played a string of about 15 ‘hits’ in a row as a second encore. It was insane. This show above is 40 songs. 40!! The show I saw was 47. God damn. Forty motherfucking seven songs in about three hours with a few minor breaks.
What other band can do that and cover the sheer range of styles the Cure can cover? In the rock world, these days, no one. The Cure are the great elder statesmen of weird, creative, oddball rock. And sugary power pop. And gothic dirges. And heart-rending love songs. And skin-crawling screaming confessionals. When Robert Smith isn’t busy sabotaging his legacy, he can, Aragorn-style, “summon an army more deadly than any that walks the Earth”.
I didn’t not like this album because I thought they were ‘posers’ or ‘ripping off grunge’ – ‘grunge’ as a thing was pretty well dead & buried as an actual creative thing by the time this album made it to the US. I disliked it for being clunky, trite, musically unadventurous, and frankly boring. I think a lot of kids got into this just to have a new wave of rebellion of some kind. Something that went further, in at least some way, than Nirvana. Parents will hate Kurt screaming, but they’ll hate this pointless bracken with a terrible-voiced singer saying “sex” and “violence” and hinting at drug use under the name of ‘Bush’ even more. So, if your brother or sister was 2 or 3 years older, you could buy this and be a step ahead of where they had been at at a comparable age. I guess there are some people who actually like this band musically, but I find that hard to fathom. A lot of it was people who found the lead singer pretty, which, fair enough. But these are not good songs, folks.
they are pals, have been for a while. no idea how that happened, but I now I kind of want them to reproduce together….
Great job on this list! People don’t spend nearly enough time going on and on and on about Miles Davis. He is the greatest. ‘On the Corner’ is for sure one of the best musical, uh, things, ever made. It’s amazing. I have loved the living crap out of that album ever since I first heard in in 1995 or so. Its the intersection of Krautrock, funk, radical politics, post-psychedelic rock, and a bunch of other sh#t thrown in.
I have a soft spot for ‘In a Silent Way’ though, probably my #2 Miles record. But it does seem almost silly to call anything besides ‘Kind of Blue’ the *best* Miles album. ‘Kind of Blue’ isn’t even an album anymore. Its a significant part of the planet’s psychic atmosphere. It’s the nitrogen of music. Miles Davis could change one tiny element of his sound, and entire genres and subgenres would just open up and take form on the spot. He is the greatest.
thank you! I have tried to point this same thing out to numerous people, and everyone’s all like ‘eh’. but I find it endlessly annoying. made of what indeed.
It’s pretty funny when journalists don’t realized that they are being messed with. I’m sure he was hoping very much that people would take that Rwanda comment seriously, just so he could laugh at the ensuing histrionics.
Wow, what a jerk! I have tried to listen to RHP, and I’m someone who likes atmospherics and diminished chords and melancholy and the like, but….lot of soundalike songs in this guy’s catalog. And someone had the nerve to say “this is what My Bloody Valentine would sound like if they could sing or write a song”? Oh ho ho, oh no you don’t. Nope. No you do not.
the problem with U2 is that, sadly, Bono has really lost the plot as a songwriter. it’s like he’s trying so hard to be impactful, stuffing so many syllables, ideas, vocal tweaks into every measure, that you just see the effort and there’s no payoff. “you’re dangerous ’cause you’re honest…” he can’t do that anymore. just can’t figure out how to gut-punch you with a great 2 measures / 8 simple syllables. the music usually is there, they’re a very inventive and elastic band. it’s easy to forget because of how distracting Bono has become. but he used to have a great economy of language and meaning, and he’s replaced, for whatever reason, with overstuffed blorg-juice that isn’t challenging, dangerous, provocative, or poetic. he might still have some of that buried in there, but he’s just so, so far from where he started, and it doesn’t feel like he deliberately navigated himself to wherever he is with any real sense of purpose.