The Baseball Project – Mike Mills, Peter Buck, Steve Wynn, Scott McCaughey & Linda Pitmon joined by Corin Tucker – perform a few R.E.M. songs at the 1st night of Sun Station Vadsø, Vårbrudd, Vadsø, Norway, June 23, 2017.
The Holy Grail Of Lost New Order Shows Is Now Available
Let’s go back to New Order’s first show in Chicago. This one gig has become the stuff of legend. On June 30, 1983, the group is performing at the Cabaret Metro, and it’s hot in there. Like, so dripping-with-sweat that Bassist Peter Hook, in his memoir “Substance: Inside New Order,” calls it “one of the hottest gigs I have ever done,” and with the on-stage temperature at 118 degrees Fahrenheit. “Even Gillian (Gilbert) was sweating,” Hook writes.
Known as the lost New Order show not available for anyone to listen to until now, the group playing Blue Monday unplugged makes it worthwhile. It comes from someone named A.L., and there’s also a track list.
1. Confusion 0:00
2. Chosen Time 6:26
3. The Village 10:55
4. Truth 15:45
5. Leave Me Alone 20:37
6. Your Silent Face 27:35
7. Denial 33:45
8. Age Of Consent 39:04
9. Ceremony 44:35
10. In A Lonely Place 48:46
https://youtu.be/tROh3XXcKDA
A.L.’s Note:
“Several months ago, I had gotten into a discussion via a Facebook comment thread with a Chicago person who claimed to have a tape of New Order’s debut Chicago gig June 30, 1983 at the legendary Cabaret Metro. For background, there are two New Order sets which have long been held up as the Holy Grails of New Order tapes – this show, and their debut Beach Club performance from 1980. For 34 years, no known tape of this Chicago set had been known to exist and all discussion was essentially conjecture and long-diminished memories from club owners and punters who attended. As I had already made arrangements to be in Chicago for the weekend described up top, I made separate arrangements to meet up with this person and pick up a copy of this set. If I’m to be honest, I didn’t expect it to be much of anything. So, that Saturday two weeks ago, I did. Turns out to have been with a lovely fellow who had several entertaining stories to share about gigs and particularly this recording.
The minute I put the CD-R into the rental car’s CD player, I knew it was special.
It’s not often something like this sort of falls in your lap.
June 30, 1983 was the hottest day of the year to date in Chicago. The now-legendary venue Metro – then known as Cabaret Metro – had been open for roughly a year. While I was just an 11 year old kid cavorting on a beach across Lake Michigan from Chicago that day – or most likely asleep in the summer cottage, considering the time – New Order finally made their debut appearance in Chicago. Attendees say it was unbearably hot inside the Metro that night. And allegedly even hotter on the stage. That day, the high temperature reached near 100° F in Chicago and it had barely cooled as the evening went on. Making matters worse, the band took nearly two hours to get on stage after the opening act, which made an uncomfortable and stinky audience even more strident.
The set starts out as your typical New Order set of the era would. Things seem OK, maybe a bit rowdier crowd than normal, until late in the fourth song “Truth” when the sequencer starts to act up. They launch straight into “Leave Me Alone” which ends uneventfully. Then, the power goes out (as you’d have it). A restless crowd begins complaining amongst itself, with audible complaints about sweat dripping into eyes, another mentioning rubbing ice all over their face, and vocalized thankfulness that they brought paper towels in. Random sequencer bleats punctuate the rumbling crowd, as the roadies and venue staff try to get the power sorted. Hooky mentions needing a shower. Eventually, “Your Silent Face” starts. It devolves into a unique and fascinating exposition on what a sequencer-using band does when the sequencers are failing mid song – Steve Morris jumps behind the drum kit far earlier than usual, and essentially drives the song to its skittering end as the sequencers never recover. I think this take is spectacular and I think you’ll agree.
Barney then makes reference on stage to equipment and power problems, mentions the band’s just going to jam, and Steve then pounds out the drum riff for “Denial”. Instead of jamming, the band then finishes the set with four straight sequencer-free tracks, ending on the majestic “In A Lonely Place” well into the wee hours of the morning.
There is no jamming, no acoustic “Blue Monday” despite the venue owner’s misremembered statements made over the years since. It’s possible of course at some point these did exist and were edited out from this tape upstream, but I doubt it and all other recollections of this gig fail to mention any acoustic “Blue Monday” performances.
For the past 34 years, this set has been legendary in the New Order community due to the circumstances which befell it. And a tape was never known to exist, nor a setlist for that matter. With the 1980 Beach Club set, it was part of the Holy Grail pair of lost New Order sets. That changes today. The story of how this tape ultimately came to me is nearly as good as the story behind the gig, but to protect privacy I shall simply thank A. for this. I believe this is from a 1st generation dub of the master, and whomever the actual taper is remains a complete mystery.”
FKA Twigs x Nike – do you believe in more?
Trip hop artist FKA Twigs conceptualized Nike’s Do You Believe in More? ad campaign for its Zonal Strength women’s training gear.
Vitamin String Quartet Performs Radiohead’s “True Love Waits”
Another great cover by the Vitamin String Quartet, and this time we’ve got Radiohead’s True Love Waits.
The Origin of the Hip-Hop Air Horn
Born on a B-side of a Bob Marley and the Wailers record, the air horn sound has been associated with reggae and Jamaican dancehall music since the 1960s. What was once a staple of the club scene in Jamaica has now become a global hip-hop phenomenon, thanks primarily to Luis Diaz aka Cipha Sounds. The DJ was kind enough to share the story behind the massive, attention-grabbing sound.
Exclusive interview with Nadya Tolokonnikova from Pussy Riot on Russia, Trump, and their Kickstarter campaign
How wonderful is it to be living at the same time as Pussy Riot, the Russian feminist protest punk rock group based in Moscow, who continuously put their safety and lives on the line every single time they take a stand for what’s right. Founded in August 2011, their provocative guerrilla performances in public places, performances that were filmed as music videos and posted on the Internet, performances that mean something, is almost eclipsed by the fact these are real human beings behind their message. Instead of grumbling when we see something we don’t like, or agree with, we should just be happy that the brave and powerful Pussy Riot exist, that they changed music and politics, that they’re working towards a better world. I know many musicians inspired by Pussy Riot taking up causes like feminism, LGBT rights, and opposition to Russian President Vladimir Putin (or, in these artists’ cases, whoever is in power in their own country), to use music as a weapon, their lyrics as actions, and their voice to be heard.
This is why, right now, you need to support them. The group has a few weeks left of their Kickstarter campaign, and once I finish writing this line, I’m going over to the site to donate. I urge you to do the same.
Here’s the interview I did with Nadya Tolokonnikova last week.
How The Danish Police Get Around At A Music Festival
The Danish Police at Roskilde Festival on a sound system while the famous tune ‘Sound Of The Police’ by KRS-One plays.
The Legendary TR-08 Drum Machine Is Back (Kinda) At An Affordable Price
The TR-08 is an obsessively detailed and faithful replica of the legendary TR-808 — easily the most famous and influential drum machine ever made. After creating a monumental shift in the sound of music, the “808” has continued to shape and define entire genres. Beloved by musicians and producers the world over, it’s one of the most revered and sought-after electronic musical instruments of all time. The TR-08 brings the look, sound, and feel of the original 808—with stunning accuracy—to the Roland Boutique format. It blends attention to detail and respect for legacy with modern convenience and reliability.
The TR-808 arrived in 1980 to an unsuspecting and somewhat bewildered public. To many at the time, its purely analog sound and range of tweakable parameters didn’t exactly deliver “traditional” drum sounds. It wasn’t until adventurous musicians and producers got their hands on the TR-808 and started tweaking those knobs that the world would fully realize the sonic impact it would leave on music forever. For the next three decades, the sizzling hi-hats and snappy snare, the robotic, clicky rim shot, the unmistakable cowbell, and yes, that booming bass drum, would be heard on many thousands of tracks. Worldwide hits, underground classic, and entire genres were spawned. Its influence is so deep that it’s been name-dropped in famous tracks, had albums dedicated to it and bands named after it, and even been the subject of a feature-length documentary film.
Time has not diminished the TR-808’s influence. New genres continue to make use of the 808, with some utilizing it as the main instrument and defining sound of the style. Sure, you can use samples of a TR-808, but there’s nothing quite like the real thing. The 808’s user interface with its buttons, knobs, and switches, and the odd quirks of how the sounds interact with each other—they’re all vitally important to conjuring up that real 808 mojo. And you know it when you hear it.
The new TR-08 adds some thoughtful and modern touches to the classic formula. The sequencer has 16 sub-steps per step, so you can create detailed snare fills and intricate, rolling hi-hats. It also has a track-selectable trigger out for working with other instruments like the TB-03, SH-01A, or modular gear. An unobtrusive LED display provides finer control of tempo and shuffle. You can step-program or tap in your parts in real-time without stopping to change modes. Everything sends and receives MIDI control messages and it even supports audio and MIDI over USB.
Original TR-808s are big and heavy, and their rarity makes them extremely expensive and sought-after on the used market. Because of this, many have resorted to 808 sample packs or hardware knockoffs. But there’s something about the colors and controls and, of course, the sound of a genuine TR-808 that brings home the sound of so many classic tracks. The TR-08 accurately recreates the ingredients that make an 808 so special. The interface, while miniaturized, is 100% authentic. The sound is vibrant and alive thanks to our proprietary Analog Circuit Behavior (ACB) technology. We use ACB to carefully recreate all the details and quirks of the original hardware by modeling each analog circuit, right down to the component level.
Not only does the TR-08 look and sound the part, but it also has some modern features and conveniences. With all this beat-making power, it would be a shame to keep it shackled to the studio. After all, inspiration can strike anywhere, and drum machines are fun to play live. The TR-08 is literally small enough to take just about anywhere. It’s ruggedly built with sturdy knobs, buttons, and switches. It has several tilt options for easy viewing in various live and studio scenarios. It can be a low-latency, portable audio interface. It has a built-in speaker, and even runs on batteries for when the beat absolutely must go on. With all this power and flexibility, you may be most surprised by the TR-08’s affordable price, which puts the legendary 808 vibe within reach of just about anyone who’s ever dreamed of owning the iconic original.
Jack White Is Releasing A New Single, And You Have To Buy A Detroit Tigers Ticket To Get It
Calling all lovers of vinyl records! Purchase this package and get a ticket to see the Tigers battle the Minnesota Twins on September 24 plus an exclusive Third Man Records 7″ vinyl record.
One side of the record is the song “Strike Out” by “The Brushoffs” – a group featuring Third Man Records artists Brendan Benson, Ben Blackwell, Dominic Davis and Olivia Jean. On the other side, Third Man Records founder Jack White interviews 1984 World Series Champion Kirk Gibson. This record is pressed in the Tigers colors (blue and orange) specifically for this ticket package and will not be available anywhere else. The photos on the record sleeve were shot by Detroit Tigers pitcher, Daniel Norris.
A portion of the proceeds benefit the Kirk Gibson Foundation and The Detroit Tigers Foundation.
You can listen to a snippet of the song here and get tickets to ol’ ball game here.
The Spirit of John Benefit Concert Supporting Alzheimer Society of Toronto’s Music Project
The Spirit of John, now in its third year, is an incredible night of music and revelry that celebrates John Mann, his music, and the powerful effect melody can have on memory.
Join Spirit of the West with host Dave Bidini for an incredible night of music with performances by Danny Michel, Andy Maize & Josh Finlayson (Skydiggers), Tom Wilson, Martin Tielli (Rheostatics), Kevin Kane (Grapes of Wrath), Danny Greaves (Watchmen), and many more.
Doors open at 7PM and performances start at 8PM on September 13, 2017 at the Mod Club Theatre, 722 College Street in Toronto, Ontario.
Since 2015, John has used the power of song to raise awareness about music therapy for people living with dementia. Now that his own young-onset Alzheimer’s has progressed it’s our turn to play the music with a set list of songs custom made by John’s friends and family to help unlock his memories.
All proceeds from the concert support the Alzheimer Society of Toronto’s Music Project, which provides personalized playlists and iPods for people living with dementia in Toronto. Concert-goers will be participating in the second annual Fund-A-Need, which aims to raise enough money to supply music to 400 people living with Alzheimer’s disease and dementia, so get ready to donate!
You can buy tickets here.