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Spotlight Artist of whenever I feel like updating (1 Viewer)

kupcho1

kupcho1

Footballguy
Today's artist: Fiery Furnaces.

Biography by Heather Phares

Restless sonic chameleons the Fiery Furnaces revolve around the brother and sister duo of Matthew and Eleanor Friedberger, whose prickly childhood relationship and musical family set the stage for their playful, unpredictable music. The Friedbergers' grandmother was a musician and choir director at a Greek Orthodox church near the family's home in Oak Park, IL; their mother, who had a penchant for Gilbert & Sullivan, played piano and guitar and sang; and throughout school, Matthew played standup bass. While the Friedbergers weren't the closest of siblings growing up, after college and separate trips abroad they returned to Oak Park and began working on music together. The pair mixed simple, poppy melodies with a dizzying array of wordplay, sounds, and influences, including the Who, Captain Beefheart, Os Mutantes; dashes of folk, blues, and garage rock; and Eleanor's adventures in Europe.
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Check out:

Blueberry Boat

Bitter Tea

Widow City

I'll update this every once in a while (i.e., when I feel like it).
 
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Today: The National

Setting up their tunes on a creative territory amid American electric rock and indie rock's mellowest tunes, the National ultimately present melodious and inspiring compositions also enlightened by a set of influences, including country-rock and even British pop/rock. Originally coming from Ohio, the band eventually formed in New York in the late '90s, with a five-piece lineup, embodied by brothers Scott (guitar) and Bryan Devendorf (drums), Aaron (bass) and Bryce Dessner (guitar), and by vocalist Matt Berninger. Following a series of live presentations, the group eventually managed to enter the studio to record their first record. The National, their debut and self-titled album, hit the record stores in 2001, achieving considerable acclaim. The Ohio natural crew then continued to play on several live shows, eventually securing a growing fan base. In 2003 the group released Sad Songs for Dirty Lovers, a deft blending of alternative country and chamber pop, followed by the EP Cherry Tree in 2004. The following year the band signed with Beggars Banquet and released Alligator. The National returned in 2007 with Boxer, an ambitious effort that featured orchestration by the Clogs' Padma Newsome and Sufjan Stevens on piano.
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Check out:

Secret Meeting

Fake Empire

Tropic Morning News
 
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The more I listen to The National, the more I love them.

On the other hand, the more I listen to Okkervil River, the less I like them.

 
"I'm a birthday candle in a circle of black girls."

If someone can explain that to me maybe I can enjoy this band.

 
"The birthday candle is this sort of image of a skinny, awkward white guy in the middle of all these beautiful black people and it doesn�t have any more meaning than being self-conscious but also being sort of delusional and a fantasy image � it�s obviously not any kind of literal thing, but it�s a weird way of expressing the feeling of feeling awkward"

 
Today's artist is Iron & Wine

Singer/songwriter Samuel Beam, who rose to prominence with a blend of whispered vocals and softly homespun indie folk, chose the moniker Iron & Wine after coming across a dietary supplement named "Beef Iron & Wine" while working on a film. Raised in South Carolina, Beam received his bachelors degree in art from Virginia Commonwealth University in Richmond and later his Master of Fine Arts degree from Florida State University Film School. Although Beam would later expand his sound to include electric instruments and rich, lush textures, he was firmly exploring the former style when several of his lo-fi recordings caught the ear of Jonathan Poneman, co-owner of Sub Pop Records. The songs had been recorded in Beam's bedroom without the aid of studio flourishes, but Poneman nevertheless requested that additional material be sent to the label for submission, and Beam responded by sending two CDs in the mail — both of them full-length albums. Poneman considered releasing them both, but instead slimmed down the set to 12 songs and released it in September 2002 as The Creek Drank the Cradle. The similarly themed The Sea & the Rhythm EP followed in 2003, but it was 2004's full-length, Our Endless Numbered Days, that signaled his arrival on the indie pop scene. Recorded in Chicago with producer Brian Deck, Endless Days was resolutely hi-fi, but the addition of a full band only illuminated Beam's deft lyricism and intimate vocal delivery, resulting in one of the most critically acclaimed albums of the year. Late 2004 found the newly marketable Iron & Wine popping up on television commercials and movie soundtracks (In Good Company, Garden State), culminating in a busy 2005 which saw Beam release two EPs, the lush Woman King and In the Reins, a collaboration with Arizona spaghetti western aficionados Calexico. 2007 saw the release of the politically charged Shepherd's Dog, Beam and company's most diverse, and most listenable record to date. A two-disc collection of B-sides, rarities, soundtrack inclusions, and discarded tracks from the Iron & Wine archives called Around the Well arrived in early 2009.
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Check out:

Bird Stealing Bread

Our Endless Numbered Days

History of Lovers (with Calexico)
 
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kupcho1 said:
Today's artist is Iron & Wine

Singer/songwriter Samuel Beam, who rose to prominence with a blend of whispered vocals and softly homespun indie folk, chose the moniker Iron & Wine after coming across a dietary supplement named "Beef Iron & Wine" while working on a film. Raised in South Carolina, Beam received his bachelors degree in art from Virginia Commonwealth University in Richmond and later his Master of Fine Arts degree from Florida State University Film School. Although Beam would later expand his sound to include electric instruments and rich, lush textures, he was firmly exploring the former style when several of his lo-fi recordings caught the ear of Jonathan Poneman, co-owner of Sub Pop Records. The songs had been recorded in Beam's bedroom without the aid of studio flourishes, but Poneman nevertheless requested that additional material be sent to the label for submission, and Beam responded by sending two CDs in the mail — both of them full-length albums. Poneman considered releasing them both, but instead slimmed down the set to 12 songs and released it in September 2002 as The Creek Drank the Cradle. The similarly themed The Sea & the Rhythm EP followed in 2003, but it was 2004's full-length, Our Endless Numbered Days, that signaled his arrival on the indie pop scene. Recorded in Chicago with producer Brian Deck, Endless Days was resolutely hi-fi, but the addition of a full band only illuminated Beam's deft lyricism and intimate vocal delivery, resulting in one of the most critically acclaimed albums of the year. Late 2004 found the newly marketable Iron & Wine popping up on television commercials and movie soundtracks (In Good Company, Garden State), culminating in a busy 2005 which saw Beam release two EPs, the lush Woman King and In the Reins, a collaboration with Arizona spaghetti western aficionados Calexico. 2007 saw the release of the politically charged Shepherd's Dog, Beam and company's most diverse, and most listenable record to date. A two-disc collection of B-sides, rarities, soundtrack inclusions, and discarded tracks from the Iron & Wine archives called Around the Well arrived in early 2009.
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Discography:The Creek Drank the Cradle

Our Endless Numbered Days

In the Reins (with Calexico)

The Shepherd's Dog

Around the Well (I still need this one)

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I love his version of "Such Great Heights."
 
kupcho1 said:
Today's artist is Iron & Wine

Singer/songwriter Samuel Beam, who rose to prominence with a blend of whispered vocals and softly homespun indie folk, chose the moniker Iron & Wine after coming across a dietary supplement named "Beef Iron & Wine" while working on a film. Raised in South Carolina, Beam received his bachelors degree in art from Virginia Commonwealth University in Richmond and later his Master of Fine Arts degree from Florida State University Film School. Although Beam would later expand his sound to include electric instruments and rich, lush textures, he was firmly exploring the former style when several of his lo-fi recordings caught the ear of Jonathan Poneman, co-owner of Sub Pop Records. The songs had been recorded in Beam's bedroom without the aid of studio flourishes, but Poneman nevertheless requested that additional material be sent to the label for submission, and Beam responded by sending two CDs in the mail — both of them full-length albums. Poneman considered releasing them both, but instead slimmed down the set to 12 songs and released it in September 2002 as The Creek Drank the Cradle. The similarly themed The Sea & the Rhythm EP followed in 2003, but it was 2004's full-length, Our Endless Numbered Days, that signaled his arrival on the indie pop scene. Recorded in Chicago with producer Brian Deck, Endless Days was resolutely hi-fi, but the addition of a full band only illuminated Beam's deft lyricism and intimate vocal delivery, resulting in one of the most critically acclaimed albums of the year. Late 2004 found the newly marketable Iron & Wine popping up on television commercials and movie soundtracks (In Good Company, Garden State), culminating in a busy 2005 which saw Beam release two EPs, the lush Woman King and In the Reins, a collaboration with Arizona spaghetti western aficionados Calexico. 2007 saw the release of the politically charged Shepherd's Dog, Beam and company's most diverse, and most listenable record to date. A two-disc collection of B-sides, rarities, soundtrack inclusions, and discarded tracks from the Iron & Wine archives called Around the Well arrived in early 2009.
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Discography:The Creek Drank the Cradle

Our Endless Numbered Days

In the Reins (with Calexico)

The Shepherd's Dog

Around the Well (I still need this one)

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Love his stuff. It's some of the best folk stuff being made out there today. I love it's soft introspection. :shrug:
 
Today it's Silversun Pickups

Brian Aubert (guitar/vocals), Nikki Monninger (bass), Christopher Guanlao (drums), and Joe Lester (keyboards) comprise the swarthy indie rock stylings of Silversun Pickups. The quartet's textured melodies capture the hypnotic dream pop threads of My Bloody Valentine and pop bitter sweetness of Earlimart, and such a blend has wowed their native L.A. since 2005. Silversun Pickups issued their debut release, the six-song Pikul EP that same year while shared show dates with the likes of Brendan Benson, Dead Meadow, Two Gallants, and Black Rebel Motorcycle Club followed into 2006. Produced by Dave Cooley (Rolling Blackouts, Citizen King, Smash Mouth), their full-length debut Carnavas, arrived in July. The group got the word out with some intensive international touring throughout 2006 and 2007, supporting OK Go and Snow Patrol in the U.S. and Foo Fighters and Kaiser Chiefs in the U.K. and Europe. Their second full-length, Swoon, hit the shelves in 2009 and made a strong showing with its first single, "Panic Switch." Also out in 2009 was the five-track sampler Connect Set.
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Check out:

Lazy Eye

Panic Switch

Circadian Rhythm (Last Dance)
 
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Northern Voice said:
The more I listen to The National, the more I love them.On the other hand, the more I listen to Okkervil River, the less I like them.
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:hifive: Haven't listened to any of the Okkervil River stuff I have in quite some time.Still listen to The National's Alligator and older stuff all the time. Especially after seeing them live a month back or so.
 
haven't heard the new one yet beyond a sliver of one track on the radio. i like them a lot but i do not get the comparison to MBV mentioned above. the obvious debt is to Smashing Pumpkins with the fuzzed out guitars and hushed vocals.

 
kupcho1 said:
Today it's Silversun Pickups

Brian Aubert (guitar/vocals), Nikki Monninger (bass), Christopher Guanlao (drums), and Joe Lester (keyboards) comprise the swarthy indie rock stylings of Silversun Pickups. The quartet's textured melodies capture the hypnotic dream pop threads of My Bloody Valentine and pop bitter sweetness of Earlimart, and such a blend has wowed their native L.A. since 2005. Silversun Pickups issued their debut release, the six-song Pikul EP that same year while shared show dates with the likes of Brendan Benson, Dead Meadow, Two Gallants, and Black Rebel Motorcycle Club followed into 2006. Produced by Dave Cooley (Rolling Blackouts, Citizen King, Smash Mouth), their full-length debut Carnavas, arrived in July. The group got the word out with some intensive international touring throughout 2006 and 2007, supporting OK Go and Snow Patrol in the U.S. and Foo Fighters and Kaiser Chiefs in the U.K. and Europe. Their second full-length, Swoon, hit the shelves in 2009 and made a strong showing with its first single, "Panic Switch." Also out in 2009 was the five-track sampler Connect Set.
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Discography:

Carnavas

Swoon

Connect Set isn't listed in the "official" discography. Is this out?

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caught that panic switch single, might have to look further
 
Today Fatboy Slim

Norman "Jack-of-All-Genres" Cook, in addition to his former occupations as bassist for the Housemartins and one-third of acid house hitmakers Pizzaman, is also the man behind one of the most popular of the new flock of English "Brit-hop" producers, Fatboy Slim. Releasing his Fatboy material through club staple Skint, Cook's raucous blend of house, acid, funk, hip-hop, electro, and techno has added to his already formidable reputation as one of the foremost all-around producers on the U.K. club scene.

Born Quentin Cook in Bromley on July 31, 1963, Cook joined the Hull-based pop group the Housemartins in 1986, replacing founding member Ted Key. After the group split the following year, Cook became involved with the burgeoning acid house scene, pairing with producers Tim Jeffrey and J.C. Reid toward the end of the decade to form Pizzaman. The trio nailed three Top 40 hits together ("Trippin' on Sunshine," "Sex on the Streets," and "Happiness") before Cook splintered off to record with similarly styled outfits Freak Power and Beats International in the early '90s.

He shut most of his other production activities down in the following years to focus on his latest incarnation, Fatboy Slim, which began with a trio of singles and the full-length Better Living Through Chemistry. Cook was also called in to add his remixing skills to Jean-Jacques Perrey's proto-electronica classic "Eva," released as a 12" and CD single in 1997. In addition to his FBS work, Cook also recorded the Skip to My Loops sample CD, a popular studio tool sporting a mélange of sample-ready drum loops, analog squelches, and assorted noises. In early 1998, his remix of Cornershop's "Brimful of Asha" spent several weeks at number one in the British charts.

Fatboy Slim's eagerly anticipated second LP, You've Come a Long Way, Baby, followed later that year. The album went platinum in the U.S. and spawned two international hits, "The Rockafeller Skank" and "Praise You," which also boasted a Spike Jonze-directed video that earned three MTV Video Music Awards as well as two Grammy nominations. "The Rockafeller Skank," "Praise You," and other songs from You've Come a Long Way, Baby ended up on countless soundtracks and commercials, cementing Fatboy Slim's unique position as a critically acclaimed and immensely popular act.

Cook also recorded several mix albums, including the first disc of the Radio 1 compilation Essential Selection, Vol. 1 and his own On the Floor at the Boutique. The latter was released domestically in the U.S. in early 2000 to help fans withstand the wait for his third album, Halfway Between the Gutter and the Stars, which arrived that fall. Two mix albums — Live on Brighton Beach and Big Beach Boutique II — appeared in 2002. During 2003, Cook and his wife — popular British TV presenter Zöe Ball — separated for a brief period. They soon patched things up but the split was a heavy influence on 2004's Palookaville, the most laid-back and moody Fatboy Slim album yet. Collecting his singles along with a couple of important remixes, The Greatest Hits: Why Try Harder appeared in 2006. In 2008 Cook announced he would be retiring the Fatboy Slim name and launching a new project, Brighton Port Authority, or the BPA for short. As of 2009 the Fatboy Slim name was still appearing, such as on the 2009 mix CD Dance #####, and as BPA, Cook released I Think We're Gonna Need a Bigger Boat in 2009.
Click to expand...

Check out:

Right Here, Right Now

Weapon of Choice

Wonderful Night
 
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kupcho1 said:
Today Fatboy Slim

Norman "Jack-of-All-Genres" Cook, in addition to his former occupations as bassist for the Housemartins and one-third of acid house hitmakers Pizzaman, is also the man behind one of the most popular of the new flock of English "Brit-hop" producers, Fatboy Slim. Releasing his Fatboy material through club staple Skint, Cook's raucous blend of house, acid, funk, hip-hop, electro, and techno has added to his already formidable reputation as one of the foremost all-around producers on the U.K. club scene.

Born Quentin Cook in Bromley on July 31, 1963, Cook joined the Hull-based pop group the Housemartins in 1986, replacing founding member Ted Key. After the group split the following year, Cook became involved with the burgeoning acid house scene, pairing with producers Tim Jeffrey and J.C. Reid toward the end of the decade to form Pizzaman. The trio nailed three Top 40 hits together ("Trippin' on Sunshine," "Sex on the Streets," and "Happiness") before Cook splintered off to record with similarly styled outfits Freak Power and Beats International in the early '90s.

He shut most of his other production activities down in the following years to focus on his latest incarnation, Fatboy Slim, which began with a trio of singles and the full-length Better Living Through Chemistry. Cook was also called in to add his remixing skills to Jean-Jacques Perrey's proto-electronica classic "Eva," released as a 12" and CD single in 1997. In addition to his FBS work, Cook also recorded the Skip to My Loops sample CD, a popular studio tool sporting a mélange of sample-ready drum loops, analog squelches, and assorted noises. In early 1998, his remix of Cornershop's "Brimful of Asha" spent several weeks at number one in the British charts.

Fatboy Slim's eagerly anticipated second LP, You've Come a Long Way, Baby, followed later that year. The album went platinum in the U.S. and spawned two international hits, "The Rockafeller Skank" and "Praise You," which also boasted a Spike Jonze-directed video that earned three MTV Video Music Awards as well as two Grammy nominations. "The Rockafeller Skank," "Praise You," and other songs from You've Come a Long Way, Baby ended up on countless soundtracks and commercials, cementing Fatboy Slim's unique position as a critically acclaimed and immensely popular act.

Cook also recorded several mix albums, including the first disc of the Radio 1 compilation Essential Selection, Vol. 1 and his own On the Floor at the Boutique. The latter was released domestically in the U.S. in early 2000 to help fans withstand the wait for his third album, Halfway Between the Gutter and the Stars, which arrived that fall. Two mix albums — Live on Brighton Beach and Big Beach Boutique II — appeared in 2002. During 2003, Cook and his wife — popular British TV presenter Zöe Ball — separated for a brief period. They soon patched things up but the split was a heavy influence on 2004's Palookaville, the most laid-back and moody Fatboy Slim album yet. Collecting his singles along with a couple of important remixes, The Greatest Hits: Why Try Harder appeared in 2006. In 2008 Cook announced he would be retiring the Fatboy Slim name and launching a new project, Brighton Port Authority, or the BPA for short. As of 2009 the Fatboy Slim name was still appearing, such as on the 2009 mix CD Dance #####, and as BPA, Cook released I Think We're Gonna Need a Bigger Boat in 2009.
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Discography:

Better Living Through Chemistry

On the Floor at the Boutique [live]

You've Come a Long Way, Baby

Halfway Between the Gutter and the Stars

Live on Brighton Beach

Palookaville

Dance #####

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Saw Fatboy spin live twice, last time was in 2002 out in San Francisco while flying unbelievably high on MDMA. He was on absolute fire for the whole show
 
Another good choice. I love Fatboy Slim, and it's definitely my kind of music.

For some reason, I've always loved Talkin' Bout by Baby. I can never figure why, but it can get stuck in my head for days at a time

under the big bright yellow sun..

 
ODoyleRules said:
bostonfred said:
ODoyleRules said:
Today it's Silversun Pickups

Brian Aubert (guitar/vocals),
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So the singer is a dude, huh? THere are many songs of theirs where I wondered if it was a female lead or not.
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Some time when that song comes on, ask whoever you're with if they think the lead singer is a male or a female. Then when they get to the part where he's screaming lost and loaded, ask them again. Enjoy the look of confusion until the moon the sun and the stars part at the end, and ask again. It's nutty until you figure out that there's one of each singing in harmony for a good part of the song.
 
Today's artist is Miles Davis

Throughout a professional career lasting 50 years, Miles Davis played the trumpet in a lyrical, introspective, and melodic style, often employing a stemless Harmon mute to make his sound more personal and intimate. But if his approach to his instrument was constant, his approach to jazz was dazzlingly protean. To examine his career is to examine the history of jazz from the mid-'40s to the early '90s, since he was in the thick of almost every important innovation and stylistic development in the music during that period, and he often led the way in those changes, both with his own performances and recordings and by choosing sidemen and collaborators who forged new directions. It can even be argued that jazz stopped evolving when Davis wasn't there to push it forward.

Davis was the son of a dental surgeon, Dr. Miles Dewey Davis, Jr., and a music teacher, Cleota Mae (Henry) Davis, and thus grew up in the black middle class of east St. Louis after the family moved there shortly after his birth. He became interested in music during his childhood and by the age of 12 began taking trumpet lessons. While still in high school, he started to get jobs playing in local bars and at 16 was playing gigs out of town on weekends. At 17, he joined Eddie Randle's Blue Devils, a territory band based in St. Louis. He enjoyed a personal apotheosis in 1944, just after graduating from high school, when he saw and was allowed to sit in with Billy Eckstine's big band, who was playing in St. Louis. The band featured trumpeter Dizzy Gillespie and saxophonist Charlie Parker, the architects of the emerging bebop style of jazz, which was characterized by fast, inventive soloing and dynamic rhythm variations. It is striking that Davis fell so completely under Gillespie and Parker's spell, since his own slower and less flashy style never really compared to theirs. But bebop was the new sound of the day, and the young trumpeter was bound to follow it. He did so by leaving the Midwest to attend the Institute of Musical Art in New York City (renamed Juilliard) in September 1944. Shortly after his arrival in Manhattan, he was playing in clubs with Parker, and by 1945 he had abandoned his academic studies for a full-time career as a jazz musician, initially joining Benny Carter's band and making his first recordings as a sideman. He played with Eckstine in 1946-1947 and was a member of Parker's group in 1947-1948, making his recording debut as a leader on a 1947 session that featured Parker, pianist John Lewis, bassist Nelson Boyd, and drummer Max Roach. This was an isolated date, however, and Davis spent most of his time playing and recording behind Parker. But in the summer of 1948, he organized a nine-piece band with an unusual horn section. In addition to himself, it featured an alto saxophone, a baritone saxophone, a trombone, a French horn, and a tuba. This nonet, employing arrangements by Gil Evans and others, played for two weeks at the Royal Roost in New York in September. Earning a contract with Capitol Records, the band went into the studio in January 1949 for the first of three sessions which produced 12 tracks that attracted little attention at first. The band's relaxed sound, however, affected the musicians who played it, among them Kai Winding, Lee Konitz, Gerry Mulligan, John Lewis, J.J. Johnson, and Kenny Clarke, and it had a profound influence on the development of the cool jazz style on the West Coast. In February 1957, Capitol finally issued the tracks together on an LP called Birth of the Cool. Davis, meanwhile, had moved on to co-leading a band with pianist Tadd Dameron in 1949, and the group took him out of the country for an appearance at the Paris Jazz Festival in May. But the trumpeter's progress was impeded by an addiction to heroin that plagued him in the early '50s. His performances and recordings became more haphazard, but in January 1951 he began a long series of recordings for the Prestige label that became his main recording outlet for the next several years. He managed to kick his habit by the middle of the decade, and he made a strong impression playing "'Round Midnight" at the Newport Jazz Festival in July 1955, a performance that led the major label Columbia Records to sign him. The prestigious contract allowed him to put together a permanent band, and he organized a quintet featuring saxophonist John Coltrane, pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones who began recording his Columbia debut, 'Round About Midnight, in October. As it happened, however, he had a remaining five albums on his Prestige contract, and over the next year he was forced to alternate his Columbia sessions with sessions for Prestige to fulfill this previous commitment. The latter resulted in the Prestige albums The New Miles Davis Quintet, Cookin', Workin', Relaxin', and Steamin', making Davis' first quintet one of his better-documented outfits. In May 1957, just three months after Capitol released the Birth of the Cool LP, Davis again teamed with arranger Gil Evans for his second Columbia LP, Miles Ahead. Playing flügelhorn, Davis fronted a big band on music that extended the Birth of the Cool concept and even had classical overtones. Released in 1958, the album was later inducted into the Grammy Hall of Fame, intended to honor recordings made before the Grammy Awards were instituted in 1959. In December 1957, Davis returned to Paris, where he improvised the background music for the film L'Ascenseur pour l'Echafaud (Escalator to the Gallows). Jazz Track, an album containing this music, earned him a 1960 Grammy nomination for Best Jazz Performance, Solo, or Small Group. He added saxophonist Cannonball Adderley to his group, creating the Miles Davis Sextet, who recorded the album Milestones in April 1958. Shortly after this recording, Red Garland was replaced on piano by Bill Evans and Jimmy Cobb took over for Philly Joe Jones on drums. In July, Davis again collaborated with Gil Evans and an orchestra on an album of music from Porgy and Bess. Back in the sextet, Davis began to experiment with modal playing, basing his improvisations on scales rather than chord changes. This led to his next band recording, Kind of Blue, in March and April 1959, an album that became a landmark in modern jazz and the most popular disc of Davis' career, eventually selling over two million copies, a phenomenal success for a jazz record. In sessions held in November 1959 and March 1960, Davis again followed his pattern of alternating band releases and collaborations with Gil Evans, recording Sketches of Spain, containing traditional Spanish music and original compositions in that style. The album earned Davis and Evans Grammy nominations in 1960 for Best Jazz Performance, Large Group, and Best Jazz Composition, More Than 5 minutes; they won in the latter category.
Click to expand...

Check out:

Freddie Freeloader (featuring John Coltrane, Cannonball Adderly, Wynton Kelly & Paul Chambers)

My Funny Valentine

'Round Midnight
 
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saw miles perform in the late 80's, when i was in high school. i was courting this girl and she said she liked jazz. i thought it would be fun to take her to a show. somehow i settled on seeing miles and took her to the show for a date. total mind#### for me. i have been a fan ever since.

 
Today's spotlight artist is The Beautiful South.

Following the disbandment of the British indie pop group the Housemartins in 1989, vocalist Paul Heaton and drummer David Hemmingway formed the Beautiful South. Where their previous group relied on jazzy guitars and witty, wry lyrics, the Beautiful South boasted a more sophisticated, jazzy pop sound, layered with keyboards, R&B-inflected female backing vocals and, occasionally, light orchestrations. Often, the group's relaxed, catchy songs contradicted the sarcastic, cynical thrust of the lyrics. Nevertheless, the band's pleasant arrangements often tempered whatever bitterness there was in Heaton's lyrics, and that's part of the reason why the Beautiful South became quite popular within its native Britain during the '90s. Though the group never found a niche in America — by the middle of the decade, their records weren't even being released in the U.S. — their string of melodic jazz-pop singles made them one of the most successful, if one of the least flashy, bands in Britain. Their popularity was confirmed by the astonishing success of their 1994 singles compilation, Carry on Up the Charts, which became one of the biggest-selling albums in British history.

Heaton and Hemmingway formed the Beautiful South immediately after the breakup of the Housemartins, who were one of the most popular and well-reviewed British guitar pop bands of the mid-'80s. The Housemartins had earned a reputation for being somewhat downbeat Northerners, so the duo chose the name Beautiful South sarcastically. To complete the lineup, the pair hired former Anthill Runaways vocalist Briana Corrigan, bassist Sean Welch, drummer David Stead (formerly a Housemartins roadie), and guitarist David Rotheray, who became Heaton's new collaborator. In the summer of 1989, they released their first single, "Song for Whoever," on the Housemartins' old record label, Go!. "Song for Whoever" climbed to number two, while its follow-up "You Keep It All In" peaked at number eight in September, 1989. A month later, the group's debut, Welcome to the Beautiful South, was released to positive reviews.

"A Little Time," the first single from the group's second album, Choke, became the group's first number one single in the fall of 1990. Choke was also well-received, even though it didn't quite match the performance of the debut, either in terms of sales or reviews. In particular, some critics complained that Heaton was becoming too clever and cynical for his own good. The Beautiful South released their third album, 0898, in 1992; it was their first record not to be released in the United States, yet it maintained their success in Britain. Following the release of 0898, Corrigan left the group, reportedly upset over some of Heaton's ironic lyrics. She was replaced with Jacqui Abbot, who made her first appearance on the band's fourth album, 1994's Miaow.

While both 0898 and Miaow were popular, they were only moderate successes. Their respectable chart performances in no way prepared any observers, including the band themselves, for the blockbuster success of Carry on Up the Charts, a greatest-hits collection released at the end of 1994. Carry on Up the Charts entered the charts at number one. It was one of the fastest-selling albums in U.K. history and its success outlasted the Christmas season. The album stayed at number one for several months, going platinum many times over and, in the process, becoming one of the most popular albums in British history. Its success was a bit of a surprise, since the popularity of the Beautiful South's previous albums never indicated the across-the-boards success that greeted Carry on Up the Charts. The album wasn't released in America until late 1995, after it broke several U.K. records.

The Beautiful South released their follow-up to Miaow, Blue Is the Colour, in the fall of 1996. Quench followed three years later, then Painting It Red in fall 2000, and Gaze in 2003.
Click to expand...

Check out:

Perfect 10

Song for Whoever

I Think the Answer's Yes
 
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kupcho1 said:
I almost hate doing this so soon after Fatboy Slim, but it's a tenuous connection at best. Anyway, today's spotlight artist is The Beautiful South.

Following the disbandment of the British indie pop group the Housemartins in 1989, vocalist Paul Heaton and drummer David Hemmingway formed the Beautiful South. Where their previous group relied on jazzy guitars and witty, wry lyrics, the Beautiful South boasted a more sophisticated, jazzy pop sound, layered with keyboards, R&B-inflected female backing vocals and, occasionally, light orchestrations. Often, the group's relaxed, catchy songs contradicted the sarcastic, cynical thrust of the lyrics. Nevertheless, the band's pleasant arrangements often tempered whatever bitterness there was in Heaton's lyrics, and that's part of the reason why the Beautiful South became quite popular within its native Britain during the '90s. Though the group never found a niche in America — by the middle of the decade, their records weren't even being released in the U.S. — their string of melodic jazz-pop singles made them one of the most successful, if one of the least flashy, bands in Britain. Their popularity was confirmed by the astonishing success of their 1994 singles compilation, Carry on Up the Charts, which became one of the biggest-selling albums in British history.

Heaton and Hemmingway formed the Beautiful South immediately after the breakup of the Housemartins, who were one of the most popular and well-reviewed British guitar pop bands of the mid-'80s. The Housemartins had earned a reputation for being somewhat downbeat Northerners, so the duo chose the name Beautiful South sarcastically. To complete the lineup, the pair hired former Anthill Runaways vocalist Briana Corrigan, bassist Sean Welch, drummer David Stead (formerly a Housemartins roadie), and guitarist David Rotheray, who became Heaton's new collaborator. In the summer of 1989, they released their first single, "Song for Whoever," on the Housemartins' old record label, Go!. "Song for Whoever" climbed to number two, while its follow-up "You Keep It All In" peaked at number eight in September, 1989. A month later, the group's debut, Welcome to the Beautiful South, was released to positive reviews.

"A Little Time," the first single from the group's second album, Choke, became the group's first number one single in the fall of 1990. Choke was also well-received, even though it didn't quite match the performance of the debut, either in terms of sales or reviews. In particular, some critics complained that Heaton was becoming too clever and cynical for his own good. The Beautiful South released their third album, 0898, in 1992; it was their first record not to be released in the United States, yet it maintained their success in Britain. Following the release of 0898, Corrigan left the group, reportedly upset over some of Heaton's ironic lyrics. She was replaced with Jacqui Abbot, who made her first appearance on the band's fourth album, 1994's Miaow.

While both 0898 and Miaow were popular, they were only moderate successes. Their respectable chart performances in no way prepared any observers, including the band themselves, for the blockbuster success of Carry on Up the Charts, a greatest-hits collection released at the end of 1994. Carry on Up the Charts entered the charts at number one. It was one of the fastest-selling albums in U.K. history and its success outlasted the Christmas season. The album stayed at number one for several months, going platinum many times over and, in the process, becoming one of the most popular albums in British history. Its success was a bit of a surprise, since the popularity of the Beautiful South's previous albums never indicated the across-the-boards success that greeted Carry on Up the Charts. The album wasn't released in America until late 1995, after it broke several U.K. records.

The Beautiful South released their follow-up to Miaow, Blue Is the Colour, in the fall of 1996. Quench followed three years later, then Painting It Red in fall 2000, and Gaze in 2003.
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Discography:Welcome to the Beautiful South

Choke

0898

Miaow

Blue Is the Colour

Quench

Painting It Red

Gaze

Superbi

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This is one of my favorites from this band:Song For Whoever

I like "36D" as well, but can't find a video for it.

 
Back with M. Ward

Portland, OR-based singer/songwriter M. Ward (born Matthew Stephen Ward) grew up listening to gospel and country, two genres that figure prominently in his breezy, West Coast take on Americana. After a six-year stint with the folk-rock trio Rodriguez, Ward began sketching out songs deeply rooted in the classic traditions of American country-folk. Ward's first solo effort came in the form of Duet for Guitars #2, which was written and recorded while he was living between Chicago and various locales on the West Coast. Eventually, the album was placed in the hands of the ever enigmatic Giant Sand mastermind Howe Gelb, who released it on his own Ow Om Recordings in the fall of 2000. The record enjoyed favorable reviews and a considerable amount of attention in underground rock circles, and Ward supported it with a handful tours throughout the United States and Europe.

Released in 2001, End of Amnesia helped to further develop Ward's penchant for dusty, timeless narratives and bluesy, back-porch ballads, but it wasn't until 2003's Transfiguration of Vincent that Ward would begin to penetrate the mainstream. His first release for indie darling Merge Records, Vincent cashed in on the Great Depression obsession of the post-O Brother, Where Art Thou? gold rush, paving the way for 2005's Transistor Radio and 2006's Post-War, both of which firmly established Ward as a major player in the burgeoning indie folk/adult alternative rock scene. In 2008, after collaborating on a song for the film The Go-Getter with actress Zooey Deschanel, the unlikely duo released a well-received album of covers and Deschanel originals called Volume One under the moniker She & Him. Ward returned to the studio later that year to begin work on his next full-length offering; 2009's Hold Time, which featured guest vocals from Deschanel, Jason Lytle (Grandaddy), and Lucinda Williams, arrived in early 2009.
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Check out:

Helicopter

Big Boat

To Go Home
 
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Next up: Girl Talk

Girl Talk is the pseudonym of DJ and remixer Greg Gillis. A Pittsburgh native who works as a biomedical research engineer during the day, Gillis channels his other creative energies into Girl Talk, whose sample-based dance tracks have made him the John Oswald or Christian Marclay of the mash-up generation: each of his songs are built on recognizable samples of recent hit singles, recontextualized into an entirely new piece. Not just a geeky studio boffin, Gillis is also a manic, intense live performer known for his high-speed exhortations into the mic and tendency to strip to his underwear on-stage while dancing circles around his laptop and DJ setup. At first a teenage punk performer inspired by Japanese noise acts like Merzbow and the Boredoms, Gillis made the surprisingly slight conceptual shift into copyright-flouting sample work around the turn of the millennium. Hooking up with the proudly anti-copyright collective Illegal Art, a shadowy label vaguely connected to the pioneering samplers Negativland, Gillis made his CD debut with 2002's Secret Diary, an artsy and largely conceptual release that turned the recognizable snippets into brief blasts of glitchy noise. 2004's Unstoppable was far more direct, using fewer and longer samples to create more recognizable mash-ups in the manner of early KLF singles, making Girl Talk suddenly by far the most pop-oriented and accessible project on the Illegal Art roster. After a pair of vinyl EPs, 2004's Stop Cleveland Hate and 2006's Bone Hard Zaggin', Gillis' third album as Girl Talk, 2006's Night Ripper, split the difference between his two previous full-length efforts, with the playfully recognizable samples of the second and the more complex structures of the first.
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Play Your Part (Pt. 1)

Give Me A Beat

Once Again
 
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Respected what he was doing and the talent, but couldn't get into Girl Talk until I saw him live. I know that sounds weird considering it's just a dude with computers, but he does put on a show and the crowd was completely into it. I now color myself a fan.

 
Running with scissors said:
Respected what he was doing and the talent, but couldn't get into Girl Talk until I saw him live. I know that sounds weird considering it's just a dude with computers, but he does put on a show and the crowd was completely into it. I now color myself a fan.
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Agreed. His shows are insane. Its impossible to not move. He rode an inflatable raft out into the crowd last year at Lollapalooza after they made him stop playing because he brought some many people onstage that it was bowing in.
 
Today's artist:
Daft Punkhttp://www.allmusic.com/cg/amg.dll?p=amg&sql=11:dvfoxqugldde~T1 is playing at my house, my house!

(OK, my office, but why quibble?)

In similar company with new-school French progressive dance artists such as Motorbass, Air, Cassius, and Dimitri from Paris, Parisian duo Daft Punk quickly rose to acclaim by adapting a love for first-wave acid house and techno to their younger roots in pop, indie rock, and hip-hop. The combined talents of DJs Guy-Manuel de Homem-Christo and Thomas Bangalter, the pair's first projects together included Darling, a voiceless indie cover band; their current recording name derives from a review in U.K. music weekly Melody Maker of a compilation tape Darling were featured on, released by Krautrock revivalists Stereolab (their lo-fi D.I.Y. cover of a Beach Boys song was derided as "daft punk"). Subsequently ditching the almost inevitable creative cul-de-sac of rock for the more appealing rush of the dancefloor, the pair released their debut single, "The New Wave," in 1993 on the celebrated Soma label. Instantly hailed by the dance music press as the work of a new breed of house innovators, the single was followed by "Da Funk," the band's first true hit (the record sold 30,000 copies worldwide and saw thorough rinsings by everyone from Kris Needs to the Chemical Brothers).

Although the group had only released a trio of singles ("The New Wave" and "Da Funk," as well as the 1996 limited pressing of "Musique"), in early 1996 Daft Punk were the subject of a minor bidding war. The group eventually signed with Virgin, with their first long-player, Homework, appearing early the following year (a brief preview of the album, "Musique," was also featured on the Virgin compilation Wipeout XL next to tracks from Photek, Future Sound of London, the Chemical Brothers, and Source Direct). As with the earlier singles, the group's sound is a brazen, dancefloor-oriented blend of progressive house, funk, electro, and techno, with sprinklings of hip-hop-styled breakbeats and excessive, crowd-firing samples, similar to other anthemic dance-fusion acts such as the Chemical Brothers and Monkey Mafia. In addition to his role in Daft Punk, Bangalter operates the Roule label and has recorded under his own name (the underground smash "Trax on da Rocks") as well as Stardust (the huge club/commercial hit "Music Sounds Better with You"). After four long years of eagerly awaiting a follow-up to their brilliant debut, Daft Punk finally issued Discovery in March 2001. The live record Alive 1997 followed near the end of the year, and a by now predictable four-year wait preceded the release of Human After All in early 2005. One year later, the duo released a compilation, Musique, Vol. 1: 1993-2005, and in 2007 their second live record, Alive 2007.
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Check out:

Around the World

Harder, Better, Faster, Stronger

Get Lucky (featuring Pharell Williams & Nile Rodgers)
 
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Today's artist: Gogol Bordello

Biography by Stacia Proefrock

Combining elements of punk, Gypsy music, and Brecht-ian cabaret, Gogol Bordello tell the story of New York's immigrant diaspora through debauchery, humor, and surreal costumes. Leader and singer Eugene Hütz's taste in music was spun out of black market tapes of the Birthday Party and Einstürzande Neubauten in his native Ukraine. After being evacuated to western Ukraine in 1986 following the Chernobyl disaster, Hütz became enamored of the mystical, outsider qualities of Gypsy music. Living as a refugee in Poland, Hungary, Austria, and Italy before moving to the United States in 1993, he experienced life as an outsider himself. After arriving in New York, he teamed up with guitarist Vlad Solofar and squeezebox player Sasha Kazatchkoff. American Eliot Fergusen added a strong rock sound on the drums and the band was also augmented by Sergey Rjabtzev on fiddle, a former theater director from Moscow whose past experience would prove helpful in the future in crafting Gogol Bordello's bizarre stage shows (like one that tells the story of super-powered immigrant Ukrainian vampires).

The group's early gigs involved playing straight Gypsy music at Russian weddings, but their music soon evolved into the hyper-kinetic explosions that earned them a solid following among New York's downtown hipsters. The band issued a single in 1999 entitled

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Check out:

Not A Crime

American Wedding

Immigraniada (We Comin' Rougher)
 
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Today's artist: Art Brut

Artist Biography by Heather Phares
Named after French painter Jean Debuffet's definition of outsider art -- art by prisoners, loners, the mentally ill, and other marginalized people, and made without thought to imitation or presentation -- South London's Art Brut make brilliantly simple, cleverly stupid art-punk. Tagged by NME as part of the "Art Wave" scene that also includes bands such as Franz Ferdinand and Bloc Party, as well as other bands from Art Brut's New Cross locale, the group is comprised of singer (and Top of the Pops fan) Eddie Argos, guitarists Chris Chinchilla and Ian Catskilkin, bassist Frederica Feedback, and drummer Mikey Breyer. The bandmembers allege that they began writing songs five minutes after they formed, including their single Formed a Band, which featured lyrics like "I wanna be the boy/The man that writes the song/That makes Israel and Palestine/Get along."
Art Brut recorded a demo, Brutlegs, that attracted the attention of Rough Trade, which signed the band and then released Formed a Band in spring 2004. Around the time of the single's release, the band played a string of dates, including a set at the Rock Against Racism show; a gig supporting the Libertines' Pete Doherty's side project Wolfman & Pete; and dates with up-and-coming bands such as the Fades and Abdoujaparov, the latest project from Fruitbat of British indie stalwarts Carter the Unstoppable Sex Machine. Art Brut released another volume of Brutlegs later that spring and continued to play selected dates throughout the summer and fall. Late in 2004, the Modern Art single arrived; in spring 2005, Art Brut were back on tour again and released the Emily Kane single just before their full-length debut, Bang Bang Rock & Roll, was issued that summer. The album earned a lot of critical acclaim from both the U.K. and the U.S., and the band made it across the pond to the States in fall 2005, coinciding with the release of Bang Bang Rock & Roll's fourth single, Good Weekend.
Around that time, Chinchilla departed the band to be replaced by guitarist Jasper Future. The revamped Art Brut embarked on a series of European and U.K. dates in late 2005 and early 2006, returning to the U.S. in support of the stateside release of Bang Bang Rock & Roll. The band moved to Mute for its U.K. label and worked with producer Dan Swift on its second album, 2007's It's a Bit Complicated. After touring the world in support of that album, the band went to Portland, Oregon, in late 2008 to record songs with former Pixie Frank Black as producer. The sessions took just two weeks, and Art Brut's third album, the fittingly raw Art Brut vs. Satan, was released in spring 2009. The following year, Art Brut went back into the studio with Frank Black and began work on their fourth album, Brilliant! Tragic!, which arrived in 2011. Two years later, the band's first retrospective, Top of the Pops, was released and featured B-sides, demos, and rarities, including a version of the Beatles' "Her Majesty" arranged by Black Francis..
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Discography

Today I'll be listening to:

Moving to LA

Direct Hit

Emily Kane

 
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