Carson High's Marching Band playing Gary Glitter's Hey Song at the Varsity Venice football game; 11/21/08. Remember to ...
Carson High's Marching Band playing Gary Glitter's Hey Song at the Varsity Venice football game; 11/21/08.
Remember to add &fmt=18 to the end of the URL to make the quality a little better :)
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The marching band playing the Hey Song (which is really called Rock and Roll). ...
Added:1 month ago
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Add n to(X) Ann Shenton, Barry 7 & Steven Claydon. http://www.addntox.com/ Feature from 1999 on Chnnl4 UK. *Simon ...
Add n to(X)
Ann Shenton, Barry 7 & Steven Claydon.
http://www.addntox.com/
Feature from 1999 on Chnnl4 UK.
*Simon Reynold's excellent review of 'Add Insult to Injury' from 2000:
Imagine an alternate universe where the synthesizer displaced the guitar as rock's primary instrument. A world where the superbands of the 1970s weren't Zep or Sabbath but keyboard-dominated prog-rockers like Heldon and Goblin, where punk was kickstarted by Silver Apples and Suicide not the Velvet Underground and the New York Dolls, and where techno never needed to happen. This is the parallel reality conjured by Add N To (X).
Where synth-based fare today is dancefloor oriented, pulse-based, and hypnotic, Add N To (X)'s music is heavy riffing and headbanging. Electronic music has an in-built tendency towards Appollonian neatness and prissy subtlety. Psychotic rather than neurotic, Add N To (X) seize upon the synthesizer's under-explored capacity for mess, mayhem, and Dionysian disorder. They relish the analog synth's vocabulary of vulgar blurts, toxic emissions, fartacious eruptions, and histrionic whinnies. Their tracks are steam-punk contraptions, creaking and hissing like B-movie computers pushed to the limit. Add N To (X) are also a rampaging, fully live band, with two human drummers (well, if it was good enough for the Allman Brothers and Adam and the Antz).
They may hate electronica's machine rhythms, but they're not totally averse to digital techniques: "Peanuts for Eno" features jungle-style drum breaks that are pitchshifted and computer-edited, and they even dabbled in sampling on their last album Avant Hard (with a sample from Canterbury scene proggers Egg!). "Plug Me in", the single, is deceptively light and Air-y, and it foregrounds one of the irritating aspects of their analog fetish: the belief that deploying voice-box is any kind of big whoop, even after Cher's "Believe" and the endemic use of vocoder in recent R&B. Mostly, though, Add N To (X) eschew kitsch in favor of bombast: the mastodon boogie of "Incinerator No. 1", the 16 minute pomp and circumstance of "The Regent Is Dead." There's also an oddly appealing English seediness: "Monster Bobby," with its thuggish chant and Gary Glitter beat crunching like a Doc Marten in the groin, could be a soundtrack candidate if they ever remade A Clockwork Orange, while the sleazy bass-pummel of "Peanuts for Eno" recalls the Moog-laced punk of The Stranglers's "Bring On the Nubiles".
Some folk regard Add N To (X) as just a conceptualist novelty outfit, pure English art school. But Add Insult to Injury is actually the group's third album in three years, and if not quite Grand Funk Railroad three-albums-per-year rate, still testifies to a desire to be taken seriously as a proper musical entity. In that parallel universe where the burn-outs play air synth, Add N To (X) are the hardest workin', hard-rockin' band around.
*Simon Reynolds
http://en.wikipedia.org/wiki/Simon_Reynolds
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Added:9 months ago
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Blondie Concert performing HANGING ON THE TELEPHONE at Six Flags Great Adventure in Jackson, New Jersey on June 9th 2008 ...
Blondie Concert performing HANGING ON THE TELEPHONE at Six Flags Great Adventure in Jackson, New Jersey on June 9th 2008. Blondie was inducted into the Rock and Roll Hall of Fame in 2006, Blondie emerged as the great pop icons of New York's celebrated late '70s new wave punk scene by defying easy categorization. They wrote great rock hooks and brilliant, ironic lyrics. The original Blondie was formed in 1974 by art student/guitarist Chris Stein and ex-folkie and ex-Max's Kansas City waitress, vocalist/songwriter Deborah Harry. Drummer Clem Burke and keyboard player Jimmy Destri joined in 1975. The band played the fabled New York downtown circuit of CBGB's, Max's Kansas City and Mothers, amassing a major following before recording their first album Blondie in 1976 for the Private Stock label. It was released in 1977 and was well received as the band toured in support of Iggy Pop and David Bowie.
Blondie started as an ironic update of trashy '60s pop. By the end of the '70s it was far and away the most adventurous and commercially successful survivor of the New York punk scene,(and she rocked the famed CBGB's) with three platinum albums (Parallel Lines, Eat to the Beat, and Autoamerican) and an international recognition factor for bleached-blond lead singer Deborah Harry, new wave's answer to Marilyn Monroe. Blondie's repertoire, most of it written by Harry and boyfriend Chris Stein, was always on the melodic side of punk and grew increasingly eclectic, trademarked mostly by Harry's deadpan delivery.
Born in Miami, Harry was adopted at age three months by Richard and Catherine Harry. She grew up in Hawthorne, New Jersey, and after graduating from high school moved to Manhattan. Harry joined a folk-rock band, the Wind in the Willows, which released one album for Capitol in 1968; she worked as a beautician, a Playboy bunny, and a barmaid at Max's Kansas City. In the mid-'70s she became the third lead singer of a glitter-rock band, the Stilettoes, which also included future Television bassist Fred Smith. Stein, a graduate of New York's School of Visual Arts, joined the band in October 1973, and he and Harry reshaped it, first as Angel and the Snakes, then as Blondie.
By 1975 the band was appearing regularly at CBGB, home of the burgeoning punk underground. Its first single, "X Offender," was independently produced by Richard Gottehrer and Marty Thau, who sold it to Private Stock. The label released Blondie's debut, also produced by Gottehrer, in December 1976. The group expanded its cult following to the West Coast with shows at L.A.'s Whisky-a-Go-Go in February 1977 and opened for Iggy Pop on a national tour. A few months later, they made their British concert debut. In July Gary Valentine (who wrote "[I'm Always Touched by Your] Presence Dear," a 1978 U.K. Top 10 hit) left the band to form his own trio, Gary Valentine and the Know, which broke up in spring 1980. In early 1978 Blondie's "Denis" hit #2 in the U.K.
After one album for Private Stock and some legal wrangling, Blondie signed with Chrysalis in October 1977. Mike Chapman, a veteran of glitter pop, produced Parallel Lines, which slowly made its way into the Top 10, breaking first in markets outside the U.S. The disco-style "Heart of Glass" hit #1 in April 1979 and established the group with a platinum album. Blondie maintained its popularity and dabbled in black-originated styles, collaborating with Eurodisco producer Giorgio Moroder for the American Gigolo soundtrack ("Call Me," #1, 1980), covering the reggae tune "The Tide Is High" (#1, 1980), and writing a rap song, "Rapture" (#1, 1981), on Autoamerican (#7, 1980). Harry also did the rounds as a celebrity, including an endorsement of Gloria Vanderbilt designer jeans in 1980.
As the group's success continued, there were reports that Stein and Harry were asserting more control; by 1981 some Blondie backing tracks were played by session musicians under Stein's direction. Burke produced the New York band Colors, and Destri released a solo album, Heart on a Wall, in 1982. In 1981 Harry released her solo KooKoo (#25). Produced under the direction of Chic's Bernard Edwards and Nile Rodgers, KooKoo went gold.
Harry also began acting, appearing off-Broadway in Teaneck Tanzi: The Venus Flytrap (1983), in the films Union City (1979), Videodrome (1982), and John Waters' Hairspray (1988), in the television series Wiseguy, and in Showtime's Body Bags.
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Added:5 months ago
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