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Chrissie Hynde on the sexual revolution: “Be Yourself”

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Few other rock stars have managed to combine her swagger, sexiness, stage presence, knack for putting words to music, gorgeous voice and just all-around kick-assedness into such a potent and alluring package. From “Tatooed Love Boys” and “Brass in Pocket” to “Talk of the Town” and “Back on the Chain Gang,” Chrissie Hynde’s signature songs project a unique mixture of toughness and vulnerability that millions of men and women have related to. A kind of one- woman secret tunnel linking punk and new wave to classic guitar rock, she is one of the great luminaries in rock history. In this interview with The Globe and Mail, Chrissie talks about the artistic expression, and when sex needs to be involved (hint: it doesn’t).

In the book you describe being accosted by a group of bikers, who took you back to their headquarters for a ‘party.’ There was a strong response in the Internet cycle about your statement that you accept responsibility for the sexual violence –

See, I never said any of this, and I don’t read my press. I was talking to a journalist, and she was sort of prodding me – she was nice, I liked her, we had a fun afternoon. But I think she missed the point, that when this altercation happened I was so fucked up on Quaaludes I didn’t even care. So she kept prodding me to say, was I traumatized by this thing, or was I victimized, and all I was saying was that I was an idiot to even be there. She kept trying to get me to rephrase that. And it went into an article that I didn’t read. And the next thing you know I’m vilified for defending rapists! I never even said I was raped. And you know, frankly, if you’re being very provocative – let’s take a music video. You know, if you’re being sexually provocative, and you’re a woman, in a video, what’s the message?

What is the message?

I don’t know. I’m asking you. What do you think the message is?

I don’t know that there is necessarily one message. In general I think it’s fine to make a living with your body.

That’s a really interesting response. Because you’re just selling a song by being sexually provocative, and like you say, you’re using your body to sell something. I’m not sure that being sexually provocative is speaking to other women as much as it’s trying to get money out of men, and trying to get attention.

I can think of female musicians for whom sexuality is part of the package, and it doesn’t feel outside of the music. Someone like Madonna’s sexuality feels like part of her art.

What if you took her sexuality out of it, and just listen to the records? Do you think she would have sold as much of it?

No, I don’t.

That’s sex work. That’s still using sexuality to sell something. Why be sexual, that’s the question. Why? To what end? Why not just be a person? You see, to me, sex is an appetite. Better to play it down, because it causes a lot of problems.

Well, I think it’s natural to want to be looked at and admired.

Is it?! In a sexually provocative way? To be admired as an object of desire?

Absolutely. And I also think it’s reasonable to expect men not to violate your personhood just because you are desirable.

But what does that say about the mentality of someone who’s walking down the street trying to be sexy? I disagree with you; I don’t think that is natural. I never felt like that. Ever. I mean, I want to look pretty good. You don’t want to go out and look bad. But to go out and look sexually provocative and sexual, no. I’ve never tried to do that. And I think a lot of women don’t try to do that.

I think it’s natural, I don’t think it’s default. I think it’s natural to not want to be looked at as well.

I don’t know why anyone would. Why don’t you just look cool, why don’t you just look good? Why is sex so important? Why is it so important to be sexy, or desirable? I mean, ultimately, what does that lead to? It leads to sex. So if you don’t want to have sex, why are you trying to look like that? Are you trying to make someone think that you’re sexy but you don’t want to deliver? If you’re a sex worker, that’s got an end to it, and that means something. I’m not saying that everyone has to be completely covered, but why can’t you just be?

I guess I don’t see anything inherently wrong with wanting to look desirable or pleasing in that way.

I didn’t say that. I never thought there was anything wrong with it. All I’m saying is, Why do you want that?

Because it feels good, and it’s validating, and sometimes it makes people happy.

Well, I’ve gotten by without it. Not that I’m saying I’m any prize. Or that I’ve done anything right. I’m not comparing myself to anyone. It’s just an interesting question that you brought up. And I’ve been waiting for someone to bring this up, because of this kerfuffle I got in where I said look, if you’re drunk, and you’re walking down the street in your underwear, the message that puts out is the same message as a sex worker: Come and get it. That’s all I said! And that seemed to trigger off some kind of debate, which I wasn’t really a part of because I don’t read the press. In any one of the interviews or discussions I’ve had in the last few weeks, I’ve never said that I thought women should dress a certain way or do a certain thing. I was just talking about what happened to me. And then you know, only a total imbecile would have been where I was, and that applies to about 30 years of my life. Hence the name of the book. I don’t recommend it to anyone. And I lost a lot of people along the way.

My only advice is don’t kill animals. That’s the only advice I’ve ever given in my whole career. Dress how you want, do what you want, think what you want, be who you want, act how you want. Be yourself. The rest of it is – they’re interesting subjects, but they’re not really my subjects. They are now, I guess.

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Ben Swank of Third Man Records on the importance of artist, labels, and fans

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How have practices changed at Third Man since it was founded?

“The label started mainly in name only in 2001, and then became really active with the brick-and-mortar offices/studio/record shop/venue location in 2008. In 2001, being buoyed by all these sloppy garage-rock bands getting national attention and touring the world, the possibilities felt kind of endless (we were young and dumb). In 2008, opening these offices released a torrent of inspiration and excitement that I think people really related too and engaged with, and now nearly seven years later I really do feel like new opportunities open up every day.

“It’s important to us to approach things in an unconventional, but wholly artist-friendly way, and that’s been really helpful in spreading a good rep around the “biz.” I think anyone can do what they want, as long as they don’t listen to how everyone else is doing it… It’s very much the wild west right now, and most bands have more control then ever, though the financial resources and backing aren’t what they used to be… but as long as you’re making music for your own reasons and have reasonable expectations and understand that it’s a partnership between artist and label, I think you’re going to meet your goals. Being excited about what you do (both labels and bands) goes a hell of a long way.” – Ben Swank, “Consigliere” for Third Man Records

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Adele on Amy Winehouse’s impact will make you go back and listen to “Frank”

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“If it wasn’t for Amy and Frank, one hundred per cent I wouldn’t have picked up a guitar, I wouldn’t have written Daydreamer or Hometown and I wrote Someone Like You on the guitar too. Contrary to reports, me and Amy didn’t really know each other, we weren’t friends or anything like that. I went to Brit School and she went for a little while. But a million per cent if I hadn’t heard Frank this wouldn’t have happened. I adored her.”

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The Beatles’ “A Day In The Life” Recent Video Is Still Brilliant

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I’ll say it, ok? The Beatles’ “A Day in the Life” is their greatest song, and should be in anyone’s Top 10 list of best songs, ever. It sounds like nothing else before or since. The final song on the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band album, and credited to Lennon–McCartney, the song comprises distinct sections written independently by John Lennon and Paul McCartney, with orchestral additions. While Lennon’s lyrics were inspired by contemporary newspaper articles, McCartney’s reminisce about his youth. The decisions to link sections of the song with orchestral glissandos and to end the song with a sustained piano chord were made only after the rest of the song had been recorded.

And that final note. My God.

Nick Koenig, aka Hot Sugar asks the question: Why do we need instruments anymore?

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This is the first part of Hot Sugar’s Cold World, a new documentary on visionary producer Nick Koenig, aka Hot Sugar. Nick ventures out into the city and records the sounds around him, posing the question, “why do we need instruments anymore?”

On his adventure, Hot Sugar surreptitiously samples a $90,000 grand piano while posing as an interested buyer, records legendary filmmaker and musician Jim Jarmusch, and raps with Kool A.D. (formerly of Das Racist).

https://youtu.be/orBQp6aSF9I

Bieber, Drake, The Weeknd get heavy “metaldy” from JUNO Award metal-nominated acts

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Metal always was a slightly open-ended musical sub-category, but the genre is sorely lacking a breakthrough band fronted by a woman – until now. Meet Priya Panda, lead singer of Toronto’s Diemonds, signed to Underground Operations (the label that first brought you Lights, Protest The Hero and more) for their Never Wanna Die album. Priya is causing quite a stir, becoming just the 2nd female-fronted band in 24 years to be nominated in the Hard Rock/Heavy Metal category at this year’s JUNO Awards, happening in Calgary from April 1-3rd.

Diemonds teamed up Cancer Bats for this heavy “metadly”, in celebration of both bands’ heavy metal album of the year Juno nominations. Here’s their take on The JUNO Awards’ Single Of The Year nominees: “Can’t Feel My Face” by The Weeknd, “What Do You Mean?” by Justin Bieber, “Hotline Bling” by Drake, “Here” by Alessia Cara and “Clothes Off” by Ria Mae.

Dave Grohl writes letter to town council in England on behalf of teenage metal band

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Rock hero Dave Grohl has penned a letter to the town council of Cornwall, England, asking the council members to allow teen metal band Black Leaves of Envy practice despite the fact that their playing is audible to those outside their practice space — a garage. “I believe it is crucial that children have a place to explore their creativity and establish a sense of self through song,” wrote Grohl, who shared the open letter along with tips on how bands can better soundproof their practice spaces.

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Reporter Drops A Tribe Called Quest Rhymes Into Traffic Report

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In the wake of the death of A Tribe Called Quest member Phife Dawg, musicians and fans from around the world have been paying tribute. So have the media themselves – Reporter Mark Arum, at Atlanta station WSB-TV, paid tribute to Phife Dawg by incorporating A Tribe Called Quest rhymes into Wednesday’s traffic reports.

An 18-Year-Old Phil Collins On The Drums In Flaming Youth, A Year Before Genesis

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In 1969, american singer John Walker of the Waker Brothers fame, toured in England, and was accompanied by four young British musicians, these were on keyboards Brian Chatton, who played with The Warriors – whose singer was Jon Anderson -, on guitar and bass guitar Gordon “Flash” Smith, on bass and guitar Ronnie Caryl and on drums, an 18-year-old by the name of Phil Collins.

The group released the album, Ark 2, in 1969. The LP was released on the Fontana Records in the UK to some critical but no commercial success. Then Collins and Caryl both auditioned for Genesis the following year, although Caryl was not successful, he played at a concert with them at Aylesbury, just before they met Steve Hackett. He later played with Collins as rhythm guitarist on his solo tours. Collins and Caryl are still very good friends to this day, too.

https://youtu.be/jzBYib_Pko8

The Beach Boys Celebrate Pet Sound’s Golden Anniversary with Special Commemorative Editions and Exclusive Merchandise

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The Beach Boys’ iconic 1966 album, Pet Sounds, is universally hailed as one of popular music’s most important recordings of all time. May 16 marks the acclaimed album’s 50th anniversary, and to commemorate the milestone, The Beach Boys and Capitol/UMe will release special expanded editions of the recorded masterpiece, as well as a range of exclusive Pet Sounds merchandise. Available now for preorder, Pet Sounds (50th Anniversary Edition) will be released worldwide on June 10 in several configurations, including a 4CD/Blu-ray Audio collectors edition presented in a hardbound book, featuring the remastered original album in stereo and mono, plus hi res stereo, mono, instrumental, and 5.1 surround mixes, session outtakes, alternate mixes, and previously unreleased live recordings; a 2CD and digital deluxe edition pairing the remastered album in stereo and mono with highlights from the collectors edition’s additional tracks; and remastered, 180-gram LP editions of the album in mono and stereo with faithfully replicated original artwork.

The Beach Boys’ 11th studio album, Pet Sounds has reigned atop countless critic and fan polls, and has maintained its timeless rank as one of popular music’s most-cited influences. More than 100 domestic and international publications and journalists have lauded Pet Sounds as one of the greatest albums ever recorded, and it entered the GRAMMY® Hall of Fame in 1998. Platinum-certified, Pet Sounds tops MOJO magazine’s “Greatest Albums of All Time” at No. 1, while Rolling Stone ranked Pet Sounds at No. 2 in the magazine’s list of the “500 Greatest Albums of All Time.”

This year also marks the 50th anniversary of one of popular music’s most iconic singles of all time, The Beach Boys’ “Good Vibrations.” The Beach Boys and Capitol/UMe will celebrate “Good Vibrations” with a global commemorative release this fall.

CD 1
Pet Sounds (Mono)
1.  Wouldn’t It Be Nice
2.  You Still Believe In Me
3.  That’s Not Me
4.  Don’t Talk (Put Your Head On My Shoulder)
5.  I’m Waiting For The Day
6.  Let’s Go Away For Awhile
7.  Sloop John B
8.  God Only Knows
9.   I Know There’s An Answer
10. Here Today
11. I Just Wasn’t Made For These Times
12. Pet Sounds
13. Caroline No
Pet Sounds (Stereo)
14. Wouldn’t It Be Nice
15. You Still Believe In Me
16. That’s Not Me
17. Don’t Talk (Put Your Head On My Shoulder)
18. I’m Waiting For The Day
19. Let’s Go Away For Awhile
20. Sloop John B
21. God Only Knows
22. I Know There’s An Answer
23. Here Today
24. I Just Wasn’t Made For These Times
25. Pet Sounds
26. Caroline No
Additional Material
27. Caroline No (Promotional Spot #2)
28. Don’t Talk. . . (Unused Background Vocals)
29. Hang On To Your Ego (Alternate Mix)
30. Caroline No (Promotional Spot #1)

CD 2
The Pet Sounds Sessions
1.  Sloop John B (Highlights from Tracking Date)
2.  Sloop John B (Stereo Backing Track)
3.  Trombone Dixie (Highlights from Tracking Date)
4.  Trombone Dixie (Stereo Backing Track)
5.  Pet Sounds (Highlights from Tracking Date)
6.  Pet Sounds (Stereo Track Without Guitar Overdub)
7.  Let’s Go Away For Awhile (Highlights from Tracking Date)
8.  Let’s Go Away For Awhile (Stereo Track Without String Overdub)
9.  Wouldn’t It Be Nice (Highlights from Tracking Date)
10. Wouldn’t It Be Nice (Stereo Backing Track)
11. Wouldn’t It Be Nice (Stereo Track with Background Vocals)
12. You Still Believe In Me (Intro – Session)
13. You Still Believe In Me (Intro – Master Take)
14. You Still Believe In Me (Highlights from Tracking Date)
15. You Still Believe In Me (Stereo Backing Track)
16. Caroline No (Highlights from Tracking Date)
17. Caroline No (Stereo Backing Track)
18. Hang On To Your Ego (Highlights from Tracking Date)
19. Hang On To Your Ego (Stereo Backing Track)
20. I  Know There’s An Answer (Vocal Session) [previously unreleased]
21. Don’t Talk (Put Your Head On My Shoulder) (Brian’s Instrumental Demo)
22. Don’t Talk (Put Your Head On My Shoulder) (Stereo Backing Track)
23. Don’t Talk (Put Your Head On My Shoulder) (String Overdub)
24. I Just Wasn’t Made For These Times (Highlights from Tracking Date)
25. I Just Wasn’t Made For These Times (Stereo Backing Track)
26. That’s Not Me (Highlights from Tracking Date)
27. That’s Not Me (Stereo Backing Track)

CD 3
The Pet Sounds Sessions (continued)
1.  Good Vibrations (Highlights from First Tracking Date)
2.  Good Vibrations (Stereo Backing Track)
3.  I’m Waiting For The Day (Highlights from Tracking Date)
4.  I’m Waiting For The Day (Stereo Backing Track)
5.  God Only Knows (Highlights from Tracking Date)
6.  God Only Knows (Stereo Backing Track)
7.  Here Today (Highlights from Tracking Date)
8.  Here Today (Stereo Backing Track)
Alternate Versions
9.  Wouldn’t It Be Nice (Mono Alternate Mix 1)
10. You Still Believe In Me (Mono Alternate Mix)
11. I’m Waiting For The Day (Mono Alternate Mix, Mike sings lead)
12. Sloop John B (Mono Alternate Mix, Carl sings first verse)
13. God Only Knows (Mono Alternate Mix, with sax solo)
14. I  Know There’s An Answer (Alternate Mix) [previously unreleased]
15. Here Today (Mono Alternate Mix, Brian sings lead)
16. I Just Wasn’t Made For These Times (Mono Alternate Mix)
17. Banana & Louie
18. Caroline No (Original Speed, Stereo Mix)
19. Dog Barking Session
20. God Only Knows (With A Cappella Tag)
21. Wouldn’t It Be Nice (Mono Alternate Mix 2)
22. Sloop John B (Mono Alternate Mix, Brian sings lead throughout)
23. God Only Knows (Mono Alternate Mix, Brian sings lead)
24. Caroline No  (Original Speed, Mono Mix)

CD 4
Live Recordings [all previously unreleased]
1.  Wouldn’t It Be Nice
2.  Sloop John B
3.  God Only Knows – Michigan State University, October 22, 1966
4.  Good Vibrations
5.  God Only Knows
6.  Wouldn’t It Be Nice – Daughters of the American Revolution Constitution Hall, Washington DC, November 19, 1967
7.  God Only Knows- Carnegie Hall, New York, November 23, 1972 (2nd Show)
8.  God Only Knows – Jamaican World Music Festival, Montego Bay, Jamaica, November, 26, 1982
9.  Sloop John B – Universal Studios, Universal City, California, May, 23, 1989
10. Caroline No
11. You Still Believe In Me – Paramount Theater, New York City, November 26, 1993
Stack-O-Vocals
12. Wouldn’t It Be Nice
13. You Still Believe In Me
14. That’s Not Me
15. Don’t Talk (Put Your Head On My Shoulder)
16. I’m Waiting For The Day
17. Sloop John B
18. God Only Knows
19. I Know There’s An Answer
20. Here Today
21. I Just Wasn’t Made For These Times
22. Caroline No
Bonus Track
23. Good Vibrations (Master Track with Partial Vocal) (previously unreleased)

Blu-ray Pure Audio Disc
Pet Sounds:
5.1 Surround Sound: 96kHz/24-bit
Mono; Stereo; Stereo Instrumental (new to hi res): 192kHz/24-bit
1.  Wouldn’t It Be Nice
2.  You Still Believe In Me
3.  That’s Not Me
4.  Don’t Talk (Put Your Head On My Shoulder)
5.  I’m Waiting For The Day
6.  Let’s Go Away For Awhile
7.  Sloop John B
8.  God Only Knows
9.  I Know There’s An Answer
10. Here Today
11. I Just Wasn’t Made For These Times
12. Pet Sounds
13. Caroline No
Additional Material in 5.1 Surround and Stereo
14. Unreleased Backgrounds (Unused Intro for “Don’t Talk (Put Your Head On My Shoulder)”)
15. Wouldn’t It Be Nice (Session Highlights)
16. Wouldn’t It Be Nice (Alternative Mix without Lead Vocal)
17. God Only Knows (Session Highlights)
18. God Only Knows (Master Track Mix with A Cappella Tag)
19. Summer Means New Love