Ah, dream pop. It’s such lovely stuff, yet no one makes any money performing it. Do it right, though, and you’ll live forever (ask the Cocteau Twins), and if the latest album from Candi and the Strangers (10th of Always, good stuff) is any indication, the Austin quintet has a good shot at immortality. In the meantime, the band made their own video for this cover of the Cars’ “Moving in Stereo,” where the band discover they’re trapped in a time loop and see a vision of themselves playing the song, something they’ve, gasp, never done before (dunt dunt duuuuuunh!). Fun stuff.
Category: Videos (Page 39 of 52)
Few girls have as much nerd cred as Summer Glau. Not only was she River Tam on “Firefly” and later, the movie “Serenity” based on the same series, she also appeared as a Terminator in “The Sarah Connor Chronicles.” To top it all off, she’s adorable, which is why we were happy to see she’s been chosen as an Esquire magazine “Woman We Love.”
It’s true, we do love Summer. Enjoy the video, and check out more of Summer Glau in the March issue of Esquire in print and online at Esquire.com.
How this band escaped my notice for as long as they did is a bit surprising. They’re Scottish, and I’m an Anglophile. They’re even from Kilmarnock, hometown of my beloved Trashcan Sinatras. They’re a ferocious power trio that has elements of Muse and System of a Down in their sound. I love Muse, and well, that “Chop Suey” song. Where have these guys been hiding? Not sure, but when I interview their drummer later this afternoon, I plan on asking him that very question.
Muse fans are going to dig this, one of the most epic four-minute songs you’re likely to hear. There’s even a bit before the big prog-off at the back half where the drummer’s doing a military thing while the bassist (who’s the drummer’s twin brother) strikes a single note that will bring “Butterflies and Hurricanes” quickly to mind. The band is doing their first headlining tour of the States, and they’re playing small clubs. See ’em now, so you can say you knew them when.
When this piece goes live, we will be in the Ceres Cafe, housed in the Chicago Board of Trade, sharing drinks with coworkers from our previous life as white collar stiffs, in anticipation of seeing something we never thought we’d see in our lifetime: the definitive lineup of the Jayhawks, reunited and touring. It sickens us that these guys weren’t bigger, though at the same time, we’re selfishly glad to have them to ourselves…and a few thousand other equally devoted fans.
The band’s first two major label albums, Hollywood Town Hall and Tomorrow the Green Grass, just received the deluxe reissue treatment from Legacy, the kings of the reissue. Last night, they played Hollywood Town Hall in its entirety. Tonight, it’s Green Grass, bar none our favorite Jayhawks record and one of our favorite albums EVER. Sadly, they will probably not be playing the song that’s in this week’s Friday Video, as it was released after Tomorrow the Green Grass, and Jayhawks singer/guitarist Gary Louris told us that they would likely focus on the material that he and founder Mark Olson – who left the band shortly after they finished touring behind Green Grass – recorded together. But we couldn’t help but pick this video because it depicts the world in which we should be living. These guys should have been huge.
Then again, they have a new record on the horizon, one that’s supposed to be the logical follow-up to Tomorrow the Green Grass, so maybe this is the year. You hear that, people? This is their year. (*waves timepiece back and forth*) You will buy Jayhawks records, you will buy Jayhawks records…
Just got finished reading “MTV Ruled the World,” an oral history of the channel’s origins, controversies and influence, as told by MTV executives, VJs, musicians and writers. It’s very amusing, even if it’s not the most technically well written book ever published (one sentence begins with an ampersand, ow), but the best chapter, by a country mile, is called “When Music Videos Attack,” where musicians talk about the videos that were not just embarrassing but derailed certain artists’ careers. Musician after musician after musician singled out “Rock Me Tonite,” the lead single from Billy Squier’s 1984 album Signs of Life, as the ultimate momentum-killer. And it’s easy to see why.
Wow, look at that dancing. Hell, look at the set. It’s awash in purples and pinks. What rock star sleeps in a room of purples and pinks? God, now he’s crawling on the floor. Someone save him from himself, please. Ironically, this proved to be Squier’s biggest hit, reaching #15 on the singles chart and #1 on the rock chart. It was, however, also Squier’s last Top 40 hit, and after notching two Top 10 albums with his previous efforts, Signs of Life peaked at #11, and its follow-up, 1986’s Enough Is Enough, stalled a whopping 50 spots lower. So if you’ve ever asked yourself why Billy Squier didn’t have a bigger career than he did, here’s Exhibit A.
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