Hello, Obama managed to strongarm some arabic countries to help to put a stop to the IS madmen but throwing bombs won't win the war, likely drones can extend the possibilities and who knows maybe some robots may see their first battlefield employment, its unlikely any regular arabic army will go up against the blackshirt crazies- if anything these arabic armies have been shown to be inept and eager to surrender. Meanwhile peacenick Obama is forced into a war he didn't want.
Something of a climate summit has started again- duh one or two big vulcanic explosions in South America and Indonesia and temps plummet worldwide, if not defrosting the permafrost will unleash enormous amounts of methane which is a far more dangerous gas as CO2 ever was, in short there's not much we humans can do, except develop reusable technologies like solar and tidal...
Today's band is an American rock band that went on to become one of the most successful alternative rock bands of the 1980s, selling over 9 million albums by 2005. In its early days, the band frequently played coffee houses and street corners. They were discovered by James Honeyman-Scott (of The Pretenders) on August 23, 1981, when the band was busking on a street corner in front of the Oriental Theatre, the Milwaukee venue that The Pretenders would be playing later that night. The band found success with the release of their self-titled debut album in early 1983. it became the band's biggest-selling album and was eventually certified platinum by the RIAA . ....N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
The textbook American cult band of the 1980s, the Violent Femmes captured the essence of teen angst with remarkable precision; raw and jittery, the trio's music found little commercial success but nonetheless emerged as the soundtrack for the lives of troubled adolescents the world over. The group formed in Milwaukee, Wisconsin in the early '80s, and comprised singer/guitarist Gordon Gano, bassist Brian Ritchie and percussionist Victor DeLorenzo; Ritchie originated the band's oxymoronic name, adopting the word "femme" from the Milwaukee area's slang for wimps. After being discovered by the Pretenders' James Honeyman-Scott, the Violent Femmes signed to Slash and issued their self-titled 1983 debut, a melodic folk-punk collection which struck an obvious chord with young listeners who felt a strong connection to bitter, frustrated songs like "Blister in the Sun," "Kiss Off" and "Add It Up." Though never a chart hit, the album remained a rite of passage for succeeding generations of teen outsiders, and after close to a decade in release, it finally achieved platinum status.
With 1984's Hallowed Ground, Gano's lyrics began to reflect his devout Baptist upbringing, while the Femmes' music approached more traditional folk and country structures. Produced by Talking Heads' Jerry Harrison, 1986's The Blind Leading the Naked advanced towards a more mainstream sound; a cover of the T. Rex chestnut "Children of the Revolution" even became a minor hit. After the record's release, the Femmes temporarily disbanded: Gano recorded a self-titled 1987 album with his gospel side project the Mercy Seat, while Ritchie issued a series of solo LPs including 1987's The Blend and 1989's Sonic Temple & Court of Babylon for SST. (I See a Noise appeared on Dali Records in 1990.) In 1989, the group resurfaced with 3, and followed in 1991 with Why Do Birds Sing?, which featured the Femmes' deconstructionist cover of Culture Club's "Do You Really Want to Hurt Me?"
Following the release of the 1993 compilation Add It Up (1981-1993), DeLorenzo exited the Violent Femmes to resume the solo career he began two years prior with the release of Peter Corey Sent Me; his sophomore effort, Pancake Day, appeared in 1996. Former Oil Tasters and BoDeans drummer Guy Hoffman was tapped as DeLorenzo's replacement in time to record 1994's New Times for Elektra Records which proved their sole release for the label. Rock!!!!! was released in 1995 on Mushroom Records only in Australia; the live Viva Wisconsin followed on the American indie label Beyond in 1999, trailed early the next year by a new studio effort, Freak Magnet. In the spring of 2001, the Femmes released their first MP3-only album, Something's Wrong, through the website EMusic.com; it collected an assortment of rarities, including covers, acoustic live tracks, alternate versions, demos, and the like. In 2002, Rhino/Slash reissued their debut as a two-disc Deluxe Edition that featured twenty-two previously unreleased tracks, followed by Permanent Record: The Very Best Of in 2005.
Ritchie filed a lawsuit against Gano in August 2007, seeking half ownership of Violent Femmes' music and access to royalty accounting. Many speculated this would lead to the band's breakup. However, on June 17, 2008 the band released a cover of "Crazy" by Gnarls Barkley who had previously covered "Gone Daddy Gone". The band disbanded in 2009 as a result of Ritchie's lawsuit. In January 2013, it was announced that the Violent Femmes would be reuniting and performing at the Coachella Valley Music and Arts Festival in April. The Violent Femmes played three shows as part of the 2013/2014 Falls Festival, performing at Marion Bay on the 30th of December, Lorne on the 31st of December and Byron Bay on the 2nd of January. On May 11, 2014, they performed at the Shaky Knees music festival in Atlanta, GA.
xxxxx xxxxx xxxxx xxxxx xxxxx
One of the most distinctive records of the early alternative movement and an enduring cult classic, Violent Femmes weds the geeky, child-man persona of Jonathan Richman and the tense, jittery, hyperactive feel of new wave in an unlikely context: raw, amateurish acoustic folk-rock. The music also owes something to the Modern Lovers' minimalism, but powered by Brian Ritchie's busy acoustic bass riffing and the urgency and wild abandon of punk rock, the Femmes forged a sound all their own. Still, the main reason Violent Femmes became the preferred soundtrack for the lives of many an angst-ridden teenager is lead singer and songwriter Gordon Gano. Naive and childish one minute, bitterly frustrated and rebellious the next, Gano's vocals perfectly captured the contradictions of adolescence and the difficulties of making the transition to adulthood. Clever lyrical flourishes didn't hurt either; while "Blister In the Sun" has deservedly become a standard, "Kiss Off"'s chant-along "count-up" section, "Add It Up"'s escalating "Why can't I get just one..." couplets, and "Gimme the Car"'s profanity-obscuring guitar bends ensured that Gano's intensely vulnerable confessions of despair and maladjustment came off as catchy and humorous as well. Even if the songwriting slips a bit on occasion, Gano's personality keeps the music engaging and compelling without overindulging in his seemingly willful naiveté. For the remainder of their career, the group would only approach this level in isolated moments. In some ways this became the Dark Side of the Moon for the eighties generation. Enjoy it.
Violent Femmes - Violent Femmes (flac 471mb)
01 Blister In The Sun 2:24
02 Kiss Off 2:56
03 Please Do Not Go 4:15
04 Add It Up 4:43
05 Confessions 5:32
06 Prove My Love 2:38
07 Promise 2:49
08 To The Kill 3:59
09 Gone Daddy Gone 3:06
10 Good Feeling 3:56
Demos & More
11 Girl Trouble 3:06
12 Breakin' Up 5:17
13 Waiting For The Bus 2:07
14 Blister In The Sun 2:35
15 Kiss Off 2:48
16 Please Do Not Go 4:17
17 Add It Up 4:34
18 Confessions 5:20
19 Prove My Love 2:49
20 Ugly 2:22
21 Gimme The Car 5:06
xxxxx
01 - 04 Recorded live at the Beneath-It-All Café, Milwaukee, WI (12th September 1981)
05 - 08 Recorded live at The Jazz Gallery, Milwaukee, WI (8th December 1981).
09 - 13 Recorded live at Folk City, New York, NY (26th January 1983).
14 - 15 Recorded live on the program "High Noon", WHA Radio, Madison, WI (6th February 1982).
Violent Femmes - Live Femmes (flac 348mb)
01 Special 4:26
02 Country Death Song 5:24
03 To The Kill 4:19
04 Never Tell 7:16
05 Break Song 0:40
06 Her Television 2:28
07 How Do You Say Goodbye 2:43
08 Theme And Variations 0:53
09 Prove My Love 3:19
10 Gone Daddy Gone 3:31
11 Promise 3:08
12 In Style 3:42
13 Add It Up 6:14
14 Michael Feldman Interview 4:08
15 Kiss Off 3:31
xxxxx xxxxx xxxxx xxxxx xxxxx
After the various side projects and explorations the band got up to for most of the early '80s, not to mention switching some members around (with bassist Sauter and drummer Demeski now forming the rhythm section), the Feelies made a fine return with The Good Earth. With co-production from noted fan Peter Buck, the group exchanged some of the understated tense frazzle of Crazy Rhythms for a gentler propulsion without losing its trancy edge. Compared to the wispy jangle rock that passed for much of college radio at the time, the Feelies proposed a different path with the songs' steady pace and murkier feeling. Demeski's a more than fine replacement for Fier (his martial playing on "Tomorrow Today" is one of his many entertaining touches), Sauter's playing emphasizes controlled understatement, and the Million/Mercer guitar duo still nails it. The brisker jauntiness of songs like "The Last Roundup," which wears just enough of a country & western edge without seeming like a parody or half-assed, varies the calmer moods elsewhere very well. At the album's considerable best, such as the brief but really lovely acoustic/electric blend of "When Company Comes" or the title track, with an almost epic ending, Million and Mercer sound like they inhabit the same body playing two guitars, everything's that much in lovely sync. Their vocals ride low in the mix this time out, but thankfully the sometimes all-too-obvious hints of Lou Reed in Mercer's style have been replaced with a more unique, stronger edge -- not that the connection still isn't there on a track like the building groove of "Slipping (Into Something)." Reed would also love its concluding guitar solo!
Violent Femmes - Hallowed Ground (flac 244mb)
01 Country Death Song 5:02
02 I Hear The Rain 1:30
03 Never Tell 7:06
04 Jesus Walking On The Water 3:04
05 I Know It's True But I'm Sorry To Say 5:05
06 Hallowed Ground 4:12
07 Sweet Misery Blues 2:43
08 Black Girls 5:38
09 It's Gonna Rain 4:12
xxxxx xxxxx xxxxx xxxxx xxxxx
A more mainstream effort courtesy of producer Jerry Harrison (Talking Heads). Gordon Gano returns to his troubled teen persona and the Violent Femmes rock harder than on their previous two releases. The Blind Leading the Naked, the third album from the Violent Femmes, has never received the attention and acclaim it deserves. It has its own sound and identity; moving away from the brash, angst-ridden testimonials of the group's early days toward a softer, sometimes mellow sound. Love & Me Make Three, World Without Mercy, Candlelight Song, Two People, and Good Friend are rather somber and sometimes soothing. Of course, Gordon Gano can only be mellow for so long. Gano turned his frenzied vocals loose on Special and I Held Her in My Arms; these two songs, combined with the unrestrained Heartache and Cold Canyon tracks, help give this album a great balance between the hard-hitting songs you would expect from the Violent Femmes and the unusual softer side that Gano and the guys give birth to here. Add to that a nice cover of the T. Rex classic "Children of the Revolution" and produced by the Talking Heads' very own Jerry Harrison, The Blind Leading the Naked is a great album that introduces us to an entirely new type of sound from this always unpredictable and unorthodox trio of musical entrepreneurs.
Violent Femmes - The Blind Leading The Naked (flac 228mb)
01 Old Mother Reagan 0:29
02 No Killing 5:13
03 Faith 4:12
04 Breakin' Hearts 2:15
05 Special 1:17
06 Love & Me Make Three 3:51
07 World Without Mercy 3:46
08 Held Her In My Arms 2:51
09 Children Of The Revolution 4:18
10 Good Friends 3:27
11 Heartache 2:00
12 Cold Canyon 3:21
13 Candlelight Song 3:10
14 Two People 0:57
xxxxx xxxxx xxxxx xxxxx xxxxx
Something of a climate summit has started again- duh one or two big vulcanic explosions in South America and Indonesia and temps plummet worldwide, if not defrosting the permafrost will unleash enormous amounts of methane which is a far more dangerous gas as CO2 ever was, in short there's not much we humans can do, except develop reusable technologies like solar and tidal...
Today's band is an American rock band that went on to become one of the most successful alternative rock bands of the 1980s, selling over 9 million albums by 2005. In its early days, the band frequently played coffee houses and street corners. They were discovered by James Honeyman-Scott (of The Pretenders) on August 23, 1981, when the band was busking on a street corner in front of the Oriental Theatre, the Milwaukee venue that The Pretenders would be playing later that night. The band found success with the release of their self-titled debut album in early 1983. it became the band's biggest-selling album and was eventually certified platinum by the RIAA . ....N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
The textbook American cult band of the 1980s, the Violent Femmes captured the essence of teen angst with remarkable precision; raw and jittery, the trio's music found little commercial success but nonetheless emerged as the soundtrack for the lives of troubled adolescents the world over. The group formed in Milwaukee, Wisconsin in the early '80s, and comprised singer/guitarist Gordon Gano, bassist Brian Ritchie and percussionist Victor DeLorenzo; Ritchie originated the band's oxymoronic name, adopting the word "femme" from the Milwaukee area's slang for wimps. After being discovered by the Pretenders' James Honeyman-Scott, the Violent Femmes signed to Slash and issued their self-titled 1983 debut, a melodic folk-punk collection which struck an obvious chord with young listeners who felt a strong connection to bitter, frustrated songs like "Blister in the Sun," "Kiss Off" and "Add It Up." Though never a chart hit, the album remained a rite of passage for succeeding generations of teen outsiders, and after close to a decade in release, it finally achieved platinum status.
With 1984's Hallowed Ground, Gano's lyrics began to reflect his devout Baptist upbringing, while the Femmes' music approached more traditional folk and country structures. Produced by Talking Heads' Jerry Harrison, 1986's The Blind Leading the Naked advanced towards a more mainstream sound; a cover of the T. Rex chestnut "Children of the Revolution" even became a minor hit. After the record's release, the Femmes temporarily disbanded: Gano recorded a self-titled 1987 album with his gospel side project the Mercy Seat, while Ritchie issued a series of solo LPs including 1987's The Blend and 1989's Sonic Temple & Court of Babylon for SST. (I See a Noise appeared on Dali Records in 1990.) In 1989, the group resurfaced with 3, and followed in 1991 with Why Do Birds Sing?, which featured the Femmes' deconstructionist cover of Culture Club's "Do You Really Want to Hurt Me?"
Following the release of the 1993 compilation Add It Up (1981-1993), DeLorenzo exited the Violent Femmes to resume the solo career he began two years prior with the release of Peter Corey Sent Me; his sophomore effort, Pancake Day, appeared in 1996. Former Oil Tasters and BoDeans drummer Guy Hoffman was tapped as DeLorenzo's replacement in time to record 1994's New Times for Elektra Records which proved their sole release for the label. Rock!!!!! was released in 1995 on Mushroom Records only in Australia; the live Viva Wisconsin followed on the American indie label Beyond in 1999, trailed early the next year by a new studio effort, Freak Magnet. In the spring of 2001, the Femmes released their first MP3-only album, Something's Wrong, through the website EMusic.com; it collected an assortment of rarities, including covers, acoustic live tracks, alternate versions, demos, and the like. In 2002, Rhino/Slash reissued their debut as a two-disc Deluxe Edition that featured twenty-two previously unreleased tracks, followed by Permanent Record: The Very Best Of in 2005.
Ritchie filed a lawsuit against Gano in August 2007, seeking half ownership of Violent Femmes' music and access to royalty accounting. Many speculated this would lead to the band's breakup. However, on June 17, 2008 the band released a cover of "Crazy" by Gnarls Barkley who had previously covered "Gone Daddy Gone". The band disbanded in 2009 as a result of Ritchie's lawsuit. In January 2013, it was announced that the Violent Femmes would be reuniting and performing at the Coachella Valley Music and Arts Festival in April. The Violent Femmes played three shows as part of the 2013/2014 Falls Festival, performing at Marion Bay on the 30th of December, Lorne on the 31st of December and Byron Bay on the 2nd of January. On May 11, 2014, they performed at the Shaky Knees music festival in Atlanta, GA.
xxxxx xxxxx xxxxx xxxxx xxxxx
One of the most distinctive records of the early alternative movement and an enduring cult classic, Violent Femmes weds the geeky, child-man persona of Jonathan Richman and the tense, jittery, hyperactive feel of new wave in an unlikely context: raw, amateurish acoustic folk-rock. The music also owes something to the Modern Lovers' minimalism, but powered by Brian Ritchie's busy acoustic bass riffing and the urgency and wild abandon of punk rock, the Femmes forged a sound all their own. Still, the main reason Violent Femmes became the preferred soundtrack for the lives of many an angst-ridden teenager is lead singer and songwriter Gordon Gano. Naive and childish one minute, bitterly frustrated and rebellious the next, Gano's vocals perfectly captured the contradictions of adolescence and the difficulties of making the transition to adulthood. Clever lyrical flourishes didn't hurt either; while "Blister In the Sun" has deservedly become a standard, "Kiss Off"'s chant-along "count-up" section, "Add It Up"'s escalating "Why can't I get just one..." couplets, and "Gimme the Car"'s profanity-obscuring guitar bends ensured that Gano's intensely vulnerable confessions of despair and maladjustment came off as catchy and humorous as well. Even if the songwriting slips a bit on occasion, Gano's personality keeps the music engaging and compelling without overindulging in his seemingly willful naiveté. For the remainder of their career, the group would only approach this level in isolated moments. In some ways this became the Dark Side of the Moon for the eighties generation. Enjoy it.
Violent Femmes - Violent Femmes (flac 471mb)
01 Blister In The Sun 2:24
02 Kiss Off 2:56
03 Please Do Not Go 4:15
04 Add It Up 4:43
05 Confessions 5:32
06 Prove My Love 2:38
07 Promise 2:49
08 To The Kill 3:59
09 Gone Daddy Gone 3:06
10 Good Feeling 3:56
Demos & More
11 Girl Trouble 3:06
12 Breakin' Up 5:17
13 Waiting For The Bus 2:07
14 Blister In The Sun 2:35
15 Kiss Off 2:48
16 Please Do Not Go 4:17
17 Add It Up 4:34
18 Confessions 5:20
19 Prove My Love 2:49
20 Ugly 2:22
21 Gimme The Car 5:06
xxxxx
01 - 04 Recorded live at the Beneath-It-All Café, Milwaukee, WI (12th September 1981)
05 - 08 Recorded live at The Jazz Gallery, Milwaukee, WI (8th December 1981).
09 - 13 Recorded live at Folk City, New York, NY (26th January 1983).
14 - 15 Recorded live on the program "High Noon", WHA Radio, Madison, WI (6th February 1982).
Violent Femmes - Live Femmes (flac 348mb)
01 Special 4:26
02 Country Death Song 5:24
03 To The Kill 4:19
04 Never Tell 7:16
05 Break Song 0:40
06 Her Television 2:28
07 How Do You Say Goodbye 2:43
08 Theme And Variations 0:53
09 Prove My Love 3:19
10 Gone Daddy Gone 3:31
11 Promise 3:08
12 In Style 3:42
13 Add It Up 6:14
14 Michael Feldman Interview 4:08
15 Kiss Off 3:31
xxxxx xxxxx xxxxx xxxxx xxxxx
After the various side projects and explorations the band got up to for most of the early '80s, not to mention switching some members around (with bassist Sauter and drummer Demeski now forming the rhythm section), the Feelies made a fine return with The Good Earth. With co-production from noted fan Peter Buck, the group exchanged some of the understated tense frazzle of Crazy Rhythms for a gentler propulsion without losing its trancy edge. Compared to the wispy jangle rock that passed for much of college radio at the time, the Feelies proposed a different path with the songs' steady pace and murkier feeling. Demeski's a more than fine replacement for Fier (his martial playing on "Tomorrow Today" is one of his many entertaining touches), Sauter's playing emphasizes controlled understatement, and the Million/Mercer guitar duo still nails it. The brisker jauntiness of songs like "The Last Roundup," which wears just enough of a country & western edge without seeming like a parody or half-assed, varies the calmer moods elsewhere very well. At the album's considerable best, such as the brief but really lovely acoustic/electric blend of "When Company Comes" or the title track, with an almost epic ending, Million and Mercer sound like they inhabit the same body playing two guitars, everything's that much in lovely sync. Their vocals ride low in the mix this time out, but thankfully the sometimes all-too-obvious hints of Lou Reed in Mercer's style have been replaced with a more unique, stronger edge -- not that the connection still isn't there on a track like the building groove of "Slipping (Into Something)." Reed would also love its concluding guitar solo!
Violent Femmes - Hallowed Ground (flac 244mb)
01 Country Death Song 5:02
02 I Hear The Rain 1:30
03 Never Tell 7:06
04 Jesus Walking On The Water 3:04
05 I Know It's True But I'm Sorry To Say 5:05
06 Hallowed Ground 4:12
07 Sweet Misery Blues 2:43
08 Black Girls 5:38
09 It's Gonna Rain 4:12
xxxxx xxxxx xxxxx xxxxx xxxxx
A more mainstream effort courtesy of producer Jerry Harrison (Talking Heads). Gordon Gano returns to his troubled teen persona and the Violent Femmes rock harder than on their previous two releases. The Blind Leading the Naked, the third album from the Violent Femmes, has never received the attention and acclaim it deserves. It has its own sound and identity; moving away from the brash, angst-ridden testimonials of the group's early days toward a softer, sometimes mellow sound. Love & Me Make Three, World Without Mercy, Candlelight Song, Two People, and Good Friend are rather somber and sometimes soothing. Of course, Gordon Gano can only be mellow for so long. Gano turned his frenzied vocals loose on Special and I Held Her in My Arms; these two songs, combined with the unrestrained Heartache and Cold Canyon tracks, help give this album a great balance between the hard-hitting songs you would expect from the Violent Femmes and the unusual softer side that Gano and the guys give birth to here. Add to that a nice cover of the T. Rex classic "Children of the Revolution" and produced by the Talking Heads' very own Jerry Harrison, The Blind Leading the Naked is a great album that introduces us to an entirely new type of sound from this always unpredictable and unorthodox trio of musical entrepreneurs.
Violent Femmes - The Blind Leading The Naked (flac 228mb)
01 Old Mother Reagan 0:29
02 No Killing 5:13
03 Faith 4:12
04 Breakin' Hearts 2:15
05 Special 1:17
06 Love & Me Make Three 3:51
07 World Without Mercy 3:46
08 Held Her In My Arms 2:51
09 Children Of The Revolution 4:18
10 Good Friends 3:27
11 Heartache 2:00
12 Cold Canyon 3:21
13 Candlelight Song 3:10
14 Two People 0:57
xxxxx xxxxx xxxxx xxxxx xxxxx
3 comments:
Very cool blog.
Thanks for posting the Femmes.
Unfortunately, all the links for Live Femmes are kaput.
Any chance of a re-post??
THANK YOU for the re-up!
I would really appreciate a re-up on this page. Thank you!
Post a Comment