Chippendales Mr. September

Summer is almost over but the desert temperature is still rising. Especially thanks to Chippendales guitarist James Davis. He in spades hit all the right chords.





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Blogging Outside Lands, Day 2: Tom Petty, M. Ward, Steve Winwood

The sun, which emerged briefly around 2 p.m., darted not 10 minutes later back behind a thick cover of cloud and fog (of the "stinging, cold" mixture), and the temperature dropped accordingly. I'm no weatherman, but anyone headed out to the Lands for the rest of the weekend, one bit of advice: wear layers.

Which leads me to a question, which I'll get to in a minute. The festival's Eco Lands area seems to be more than the token "greenwashing" effort you see at a set of events along the lines of Outside Lands [ ]. The Panhandle Stage, for instance, is fully solar, running a 4-kilowatt organization to top executive all the equipment onstage. Which is pretty cracking, but waitress: there's more.

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There are compost bins everywhere. When the need rises to put away of whatsoever you have in your hand at the moment, you're confronted with a set of choices: recycle, compost, or landfill. There is no lecture attached, and no penalty for contributing to the landfill, you barely get a fairly linear multiple alternative option, and you let to think about the thing that you're trying to get rid of, maybe simply for a second or two, simply you do think around it. Especially when there's a guy cable from the Clean Vibes trash and recycling gang hollering "Don't toss that beer cup! Compost it!" at every station.

They're 100% biodegradable and made from corn, if you didn't know.

Whoops, I promised a question and then promptly forgot near it. So, when the sun goes away and doth reject to shine, like it did for all simply few glorious moments this afternoon, what happens to the solar-powered music from the solar-powered stage? Is this thing being run on batteries, or did they just keep a spare extension cord handy? I'll check with individual and pay back the answer later.

I would do that sort of fact-checking sooner, instead of later, except that right around the time Steve Winwood [ ] was finishing up a power plant set in front of a vast main stage crowd (including several note-perfect versions of his old Traffic songs, including "Low Spark of High Heeled Boys" and "Mr. Fantasy"), my laptop computer decided to give up the ghost. The "live" portion of this web log has now been affected to the "file afterwards the evince" category.

Earlier, ahead the Great Laptop Tragedy of '08, M. Ward [ ] delivered a tight, soulful set in front of an enthusiastic Lindley Meadow crowd, many of whom no doubt said to themselves something like "I really should get me some M. Ward albums!" This newsperson included, dishonourably. And homo, does he sound like mid-'70s Dylan, or what?

Hey, what's that enormous circus tent in the eye of the Polo Field?

Answer: Crowdfire is this enormous circus tent in the middle of the Polo Field; it is also this site where citizenry can upload video mash-ups and photos and whatnot, and the great unwashed inside the big collapsible shelter at Outside Lands john watch them projected all over the place. You can append your possess contribution while you're there at the festival, as a matter of fact; lots of people sprawled inside on big blankets and pillows watching the shifting content, which acted sort of like an instant feedback response to whatever was going on outside the tent or, really, anyplace else on the 'Net.

Radiohead's up on stage right now? Here's some bootlegged video from a European festival earlier this summer. Here's Thom Yorke's voice put through a pitch-changer, and "Karma Police" coming out wish Alvin & the Chipmunks. What around Beck from last night? Here you go. Blink and you'll miss it.

I don't cognize if whatever of this is in reality useful, simply the Crowdfire tent is, at the very least, a nice place to spend an hour or two while waiting for Ben Harper [

] to come on.

Speaking of which, the nice lady world Health Organization runs the hand-painted light bulb concession (and world Health Organization let us pet her awesome firedog, Rainbow) would like to know why you get too a great deal good clobber going on, Outside Lands organizers.

"Ben Harper, Primus [ ] and Cake [ ] ar all happening at the same time," she complained. "Why can't they flounder them out?"

While I in agreement with her, I personally wouldn't have made the decision to sit slow a

Mp3 music: Guano Apes

Artist: Guano Apes: mp3 download    Genre(s):  ROck: Alternative Rock Alternative Metal Metal: Alternative     Guano Apes's discography:      Planet Of The Apes CD2    Year: 2005    Tracks: 19      Planet Of The Apes CD1    Year: 2005    Tracks: 21      Planet Of The Apes: Best Of (Premium Version) (CD 2)    Year: 2004    Tracks: 19      Planet Of The Apes: Best Of (Premium Version) (CD 1)    Year: 2004    Tracks: 21      You Can't Stop Me    Year: 2003    Tracks: 5      Walking On Thin Line    Year: 2003    Tracks: 15      Walking on A Thin Line    Year: 2003    Tracks: 14      Pretty In Scarlet    Year: 2003    Tracks: 4      No Speech    Year: 2000    Tracks: 4      Lords Of The Boards    Year: 2000    Tracks: 3      Don't Give Me Names    Year: 2000    Tracks: 12      Proud Like A God    Year: 1999    Tracks: 12      Don't You Turn Your Back On Me    Year: 1999    Tracks: 5      Rain    Year: 1998    Tracks: 1      Lords Of The Boards CD 2    Year: 1998    Tracks: 3      Open Your Eyes    Year: 1997    Tracks: 3      Lords Of The Boards CD 1    Year: 1997    Tracks: 3      Walking On A Thin Line (Limited Edition)    Year:     Tracks: 14      Planet of the Apes: Best of Guano Apes (cd2)    Year:     Tracks: 20      Planet of the Apes: Best of Guano Apes (cd1)    Year:     Tracks: 20 The German alt-rock quaternary Guano Apes consists of vocalists Sandra Nasic, guitar player Henning Ruemenapp, bassist Stefan Ude and drummer Dennis Poschwatta. Ude, Ruemenapp and Poschwatta had been playacting together for for a while and added Nasic in time to extradite the goods first-class honours degree station in the 1996 "Local Heroes" contest held by VIVA, Germany's music TV channel. The Guano Apes' fusion of alloy, belt down and rap music beat out all over 1000 competitors, and their debut single "Open Your Eyes" was a Top 10 shoot in Germany that year and stayed in the Top one C for 30 weeks. Thanks to VIVA's wakeless rotation of the picture for "Open Your Eyes," Guano Apes signed a deal with Gun Records, world Health Organization released the group's full-length track record album Proud Like A God in 1997. The group's minute single "Lord of the Boards," which was licenced for the 1998 European Snowboarding Championship, was an tied larger rack up and pushed the phonograph recording album to pt position in Germany and gold condition in other European countries. RCA released Majestic Like a God in the US in 1999.

Aubrey Haynie

   
Artist: Aubrey Haynie

   Genre(s): 
Country
   

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Discography:


   
 Doin' My Time

   Year: 1997   
Tracks: 14

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Born in 1974, Aubrey Haynie has superfluous no time in establishing himself as peerless of the most gifted fiddle and mandolin players in modern-day country euphony. Haynie has been i of the well-nigh sought after session players in Nashville, having appeared on releases by George Jones, Porter Wagoner, Trisha Yearwood, and Bryan White among others, and with tours in the bands of Aaron Tippin and Clint Black cushioning his resumé, as well. Comfortable in a tolerant of traditional musical genres, from bluegrass Country and nation to more than than swing and jazz-oriented styles, Haynie has careworn comparisons to swing and bluegrass Country twiddler Chubby Wise, cosmos Health Organization served as something of a wise man to Haynie in his young person, and accolades from Ricky Skaggs, globe Health Organization contributed vocals on Haynie's debut. 1997's Doin' My Time -- an fantabulous mix of traditionals, covers, and original instrumentals mixed with the occasional vocal lead -- was well-received in the bluegrass residential district and netted Haynie a nomination from the International Bluegrass Music Association for Instrumental Album of the Year. The likewise impressive A Man Must Carry On followed in the bound of 2000 and only added to Haynie's development report.





Robbie Williams waiting for an UFO

Kane Roberts

   
Artist: Kane Roberts

   Genre(s): 
Other
   

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Discography:


   
 Saints and Sinners

   Year: 1991   
Tracks: 10


   
 Kane Roberts

   Year: 1987   
Tracks: 11

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Boston native Kane Roberts became aquiline on music at a loretta Young age and would finally serve stints as guitarist for several high profile rock acts of the Apostles, most notably Alice Cooper. Influenced by Jimi Hendrix and Led Zeppelin, Roberts was already forming bands in junior high school shoal. After a very abbreviated flow attending Boston University, he was accepted at the New England Conservatory of Music, where he studied classic and jazz guitar for iI and a half eld. In New York, Roberts turned his attention back to rock-playing sessions and formed a band, Criminal Justice. In 1986, Roberts was enlisted to play for Alice Cooper, for whom he had done an opening lance the year earlier. During the late '80s, Roberts not merely toured with Cooper, but co-wrote and arranged tracks for Cooper's Constrictor, Applesauce, and Raise Your Fist and Yell albums. He as well ground time to release his self-titled solo debut in 1987. Leaving Cooper's ring in 1991 to quest after his solo career, Roberts released Saints & Sinners the same year, scoring a Top 40 strike with the individual "Does Anybody Really Fall in Love Anymore?" (which was co-written with Jon Bon Jovi and Richie Sambora). By the late '90s, Roberts had turned his attention to multimedia system projects, including designing video games, calculator artwork, nontextual matter, and websites.

Honeydripper - 6/24/2008

Somewhere right about the time that blues great Keb' Mo' shows up as a blind guitarist named Possum who loves nothing more than to pick at his instrument and dispense homespun wisdom with a wry chuckle, it becomes clear that Honeydripper is not going to be anything close to the film that it should be. For sure, it would be near impossible, and probably not even advisable, for a filmmaker to totally eschew clich� when placing a film in as weighted a setting as John Sayles has done here. A small town in Alabama named Harmony, circa 1950, with a mean white sheriff, a lot of dirt-poor black folk, a bucolic landscape of thick green forests and insect-buzzed cotton fields, and plenty of porches to watch life go by from -- the blues is in the air. It's all the characters can do not to burst into choreographed song and dance.



As usual with Sayles, there's a hard knot of a good story here. The film is named for the town's Honeydripper Lounge, a ramshackle affair that serves up a good fried chicken affair but whose old blues singer can't compete with the jukebox R&B getting blasted by the competition down the street. Danny Glover plays the owner, Pine Top Purvis, a piano player with a violent past who's in debt to everyone in town and about out of chances. His last one is a New Orleans hot shot named Guitar Sam who's got a radio hit and is booked to play the Honeydripper on Saturday; only problem is, when the train shows up, Guitar Sam is nowhere to be found, even though Purvis has plastered the town with ads. The whole thing is a scramble, with Purvis frantically (well, not frantically, maybe busily; it is the old South, after all, and things take time) working every last hustle he can to stay ahead of the creditors and the corrupt sheriff (Stacy Keach, playing it more for laid-back humor than menace) who will shut him down if he can't find somebody who looks and plays like Guitar Sam to show up on Saturday. Maybe that handsome fella who just hopped off the train and is chatting up Purvis' daughter could do the trick…



As is also unfortunately usual with Sayles, the solid structure of his story is one that plays much better on paper than it does on screen, endlessly padded out by digressions and dramatic dead-ends. A good example is the subplot following Purvis' wife Delilah, who is a maid for a rich white family and going through some sort of religious reawakening at an itinerant preacher's tent revival. There's nothing wrong on the surface with this story, as Lisa Gay Hamilton acts it with her expected dignity and grace, and the scenes are warmly rendered. But the whole thing is just one more element that detracts from the main thrust of Purvis' desperate predicament. The same goes for another endless thread following a number of bickering cotton pickers whose relationship to the entire story is tangential at best. Given how much vibrant humor and energy Sayles gets out of Glover and Charles S. Dutton, as Purvis' friend, it's eminently frustrating each time the film wanders away from that setup to dawdle in the weeds.



One wants to applaud Sayles for trying to present a portrait of an entire town and period here, but so much of Honeydripper is lacking in punch or drive that it's hard not to let one's initial admiration drain away and just start waiting for the thing to end. In any case, there's just no excuse for that blind guitar player, none whatsoever.







Robert Plant called. He wants his name back.

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Lessons To Learn From Gabriella

One of the most played tracks on radio these days has to be Gabriella Cilmi's Sweet About Me, which GenQ had the pleasure of promoting early on. GenQ Music Editor Leigh May had the pleasure of talking to this youngster about her debut album, Lessons To Be Learned and being a Museum Tour Guide..
GQ: Hi Gabriella, how are you today?
GC: Hi, good thanks, how are you?
GQ: I'm good ... I hear you're pretty flat out today, hey?
GC: Yeah, it's been pretty busy.  I flew to Sydney last night, and arrived in Melbourne like 2 hours ago, so ... yeah ...

..in case things didn't work out, I told all my friends I was going to Queensland for a holiday, and I'd always come back without a tan, so, of course, going to London, it's always freezing there, so I'd come back tanless!"

GQ: Well, at least there's no jetlag when it's only from Sydney ...
GC: Yeah, I know ... the flight still messes you around a little bit anyway.
GQ: There's definitely a different culture between the two cities, isn't there?
GC: Yeah ... I like Sydney for different reasons too, but the food is better in Melbourne ...
GQ: ... and cheaper!
GC: Yeah, and cheaper, haha!  Sydney's really expensive, but it's really pretty.  I wrote some of the songs up there in Manly.
GQ: Oh awesome!  Speaking of your album, that came out over here two days ago.  Have you had much feedback about it yet?
GC: Um, not really, I think it was #3 on iTunes last time I checked ... not sure where it is now, but I checked last night, ha!  Made sure it was alright.
GQ: "Sweet About Me" hit #1.  How did that make you feel?
GC: Oh it was pretty cool.  I remember I was in London, and I'd just gotten back from Melbourne, and it was in the morning that I found out, and it took until lunchtime for it to sink in. I have delayed reactions with everything ... don't laugh, it's really weird.
GQ: What about the first time you heard "Sweet About Me" on the radio?
GC: I remember I was driving to the studio, which was in this house ... it's the house that the real-life Alice In Wonderland lived in.  It's this massive house, and we were driving there, and as soon as we rocked up in the driveway, it started playing, it was really weird, and I remember thinking that I wasn't sure whether I should listen to it, or change the station, or get out of the car, cos you can't be seen listening to and bopping alone to your own song, it's really bad.
GQ: It's an unwritten rule, isn't it?
GC: Yeah, haha!
GQ: So you were in high school when you recorded this album, and you told your friends you were in Queensland ...
GC: Yeah, in case things didn't work out, I told all my friends I was going to Queensland for a holiday, and I'd always come back without a tan, so, of course, going to London, it's always freezing there, so I'd come back tanless!
GQ: So when did you come clean?
GC: I came clean when one of my mates rang me when I was in London, and I told her "you can't call me, it's too expensive for you, cos I'm actually in London." And she was like "I kind of suspected you weren't in Queensland" but yeah, everyone's been really cool with it.  When I was on Rove, they all bought tickets to sit in the audience which is really funny, cos I had to try not to look at them cos then I'd just laugh.
GQ: I have to admit, one of my favourite tracks on the album is "Don't Wanna Go To Bed Now".  What was the inspiration behind that?
GC: I wrote that on the Mornington Peninsula in a beach hut, and I was reading a pyjama catalogue, so I think that's where it came from.  It's really a lot more innocent than it sounds.  It's all about having a good time and just not wanting to go to bed cos you want to stay up ... people think I mean one thing, but I really mean the other ... it shows what people really think about!
GQ: You also got discovered in an Italian street party?
GC: Yeah, I think it was in Carlton.  We go to this festival thing every year, like we go to church first, then have this big party thing where people auction off seasoned salami for auction and things like that.  We go there every year, and it's one of those things that you don't really want to go to, but it's kind of a chore.  My uncle kind of pushed me to get up and sing, so I did Jumpin' Jack Flash, and Michael Parisi from Festival Mushroom Records was there, and he ended up signing me later that year, so I guess it's lucky I did get up!
GQ: Yeah, definitely!  What would you be doing now if that hadn't happened?
GC: I used to say I wanted to be a Museum Tour Guide ... it's funny cos I just did an interview with a New Zealand woman, and she asked me to point out all the different buildings in the city and say what they were, and I just had a mental blackout, I couldn't remember what any of them were called, so lucky I didn't take that career!  I know I'd be really bad at it!  I really like Melbourne city though ...
GQ: Yeah, I love how it's like the old mixed with the new.
GC: It's funny cos we were driving in from the airport before and I was saying how much it looks like Gotham City, like sort of futuristic but then the contrast of the old with it ... and there's about a million Ferris Wheels here now too, they're just sticking them everywhere!
GQ: Getting back to the album, you recorded it in the UK.  What was the reason for that?
GC: I guess the producers I was going to write the abum with lived in the UK, and I ended up later signing to Festival Records, who are based in the UK, so I guess it just seemed like a good idea to move there, and we have family in Italy, so it's not too far from there, the move wasn't too hard, so I guess that's the reason we moved there, which was a year ago now.
GQ: Any plans on what the next single's going to be?
GC: The next single is either Don't Wanna Go To Bed, or Save The Lies, so either one of them.
GQ: Sanctuary's got a really sweet sound to it as well.
GC: Yeah,I wouldn't mind that as the third single, but I don't know where it's gonna go from there.  It's got a nice chilled-out vibe to it.
GQ: Most people only know you from Sweet About Me, so how would you describe your overall sound?
GC: I'd say it's kind of ... well, pop cos it can appeal to so many different people, but also ... I'd say pop-blues-glam... my Mum used to listen to stuff like The Sweet and T-Rex and stuff like that, so I tried to capture that funk-sort of vibe from that sort of music on tracks like Don't Wanna Go To Bed Now and Terrified.
GQ: So when you get around to touring Australia, what can we expect from your shows?
GC: Hopefully around October, I'll be doing a tour of Australia, cos I've toured with James Blunt, but I haven't done any of my own gigs yet, so it should be cool.  I think it'll be a kind of organic feel, but we like to have a bit of fun, so we'll see how we go, I guess.
GQ: Ok, well I better let you go back to your day, but do you have any messages for our readers?
GC: Come down to our live gigs, and bring along your friends..
GQ: I so put you on the spot just then, didn't I?
GC: Yeah, haha!  Well I guess I'll also say "Be excellent to each other" (ed: nice little Bill & Ted reference there Gab!)