Anyone?
Velvet Revolver roll call
Nope. I woulda if tickets lasted more than five minutes. No biggie though.
Count me in. It looks like theyâ??re playing 3 GNR covers on this tour, Mr. Brownstone, Used to Love Her & Itâ??s so Easy.
Setlist from 05/15/04 (Minneapolis, MN @ Quest):
01> Sucker Train Blues
02> Do It for the Kids
03> Head Space
04> Crackerman
05> Illegal I
06> It's So Easy *
07> Fall To Pieces
08> Big Machine
09> Set Me Free
10> Used To Love Her *
11> Slither
12> Sex Type Thing **
13> Mr.Brownstone *
14> Negative Creep **
–
* : GNR song
** : STP song
*** : Nirvana song
01> Sucker Train Blues
02> Do It for the Kids
03> Head Space
04> Crackerman
05> Illegal I
06> It's So Easy *
07> Fall To Pieces
08> Big Machine
09> Set Me Free
10> Used To Love Her *
11> Slither
12> Sex Type Thing **
13> Mr.Brownstone *
14> Negative Creep **
–
* : GNR song
** : STP song
*** : Nirvana song
They were on Letterman a couple of nights ago and I must say for a band that is made up of half GnR and half STP, they sound exactly like a band made up of half GnR and half STP. It was uncanny.
And when did Scott Weiland become the next Mick Jagger?
And when did Scott Weiland become the next Mick Jagger?
Originally posted by vansmack:That's exactly how I felt about Audioslave.
They were on Letterman a couple of nights ago and I must say for a band that is made up of half GnR and half STP, they sound exactly like a band made up of half GnR and half STP. It was uncanny.
I'll be at home watching this bad documentry that they're in.
On 'Frontline,' Playing the Same Old Song
By Teresa Wiltz
Washington Post Staff Writer
Thursday, May 27, 2004; Page C01
If you listen to the radio, own a remote control and a satellite dish, or have read a business page, the new Frontline documentary, "The Way the Music Died," won't be news to you. But if you stopped paying attention to pop music, oh, let's say, back in '77, have we got a primer for you.
Sure, "The Way the Music Died" – playing off a line from the Don McLean classic "American Pie" – does a credible job illustrating the demise of the industry, from the heyday of Woodstock to the Y2K apocalypse of mass firings and bankruptcy filings. As producer-director Michael Kirk sees it, there's plenty of blame to go around: Mega-record companies such as Universal and BMG gobbling up the little guys; Internet theft from digital downloads; controlling radio behemoths like Clear Channel playing the same five songs; and let us not forget MTV, which turned music into eye candy for the pimpled masses.
To bolster his case in the documentary (it airs at 9 tonight on Channel 22 and 10 p.m. on Channel 26), Kirk's got talking heads reciting scary numbers: Of the 30,000 records made in a year, only 100 or so are hits. Roughly 85 percent of all records fail. Sales in the industry have fallen from $40 billion to $28 billion in the last three years. And to keep the viewer from completely falling asleep, he's sprinkled in some actual music, with footage of artists past and present performing both in the studio and on the stage.
Yet, for sexiness of the subject matter, and for all the hand-wringing and cries of "The sky is falling" by industry insiders and journalists, "The Way" never advances the argument.
It's not such a stretch to say that corporations and creativity often make for an uneasy mix. But this documentary hits one note and doesn't veer from it in what is a much more complex, multi-note story.
Music is struggling, the industry is in the tank, sure.
But the film doesn't, for example, look at the phenomenon of the underground: Many musicians, who either can't get or don't want the attention of corporate radio/labels, are going the true indie route. They're carving out a credible living thanks to the word-of-mouth world of the Internet, peddling their CDs and selling out concert venues around the country.
Perhaps more egregious is the virtual blindness toward any musicians of color. Instead, in an attempt to create some narrative tension, Kirk chose to follow the careers of Crosby, Stills & Nash; Mark Hudson of "The Hudson Brothers" and '70s TV fame; Sarah Hudson – daughter of Mark, cousin of Kate and niece of Goldie Hawn – who has a new album and wants to be a real artist but also wants to sell records; and the "new" rock supergroup Velvet Revolver, composed of veterans of Guns N' Roses (Slash, Duff McKagan, Matt Sorum) and Stone Temple Pilots (Scott Weiland).
And so, watching this, you'd think that the only people making music today were preternaturally pale rockers with a penchant for bad dye jobs, the better to hide a receding hairline.
Hip-hop gets a cursory nod, but it's cast more in a historical context, as in, "Wow! That rap music sure was something, wasn't it?" Where's the mention of the considerable influence of country music, or Latin, or gospel? After all, as of this writing, Usher, a hip-hop-influenced R&B crooner, and Gretchen Wilson, a new country singer, top their Billboard album charts.
But that makes for a much more nuanced story, perhaps one that cannot be contained in a 60-minute format.
What we get instead are members of the choir: The rare A&R rep who really, really cares and wants to make sure that the "cool chicks" get a chance, and not just the "perfect and beautiful" Britneys and Jessicas and Jennifers. The lone disc jockey fighting a corporate tide of indifference, ferreting out fresh talent. Sensitive music attorneys fighting for their artists' integrity.
You can't help but wish that, for balance, or for mere entertainment, for cripes sake, the filmmakers had thrown in some comments from some of those evil bean counters that everyone spends so much time excoriating. A little footage of some self-important suit banging on a desk and declaring, as David Crosby imagines, "Get me a lead singer. He's got to be sort of androgynous, blond hair, very pretty. . . . Get me a pound of bass player, pound of drummer." Now that would make for some interesting television.
On 'Frontline,' Playing the Same Old Song
By Teresa Wiltz
Washington Post Staff Writer
Thursday, May 27, 2004; Page C01
If you listen to the radio, own a remote control and a satellite dish, or have read a business page, the new Frontline documentary, "The Way the Music Died," won't be news to you. But if you stopped paying attention to pop music, oh, let's say, back in '77, have we got a primer for you.
Sure, "The Way the Music Died" – playing off a line from the Don McLean classic "American Pie" – does a credible job illustrating the demise of the industry, from the heyday of Woodstock to the Y2K apocalypse of mass firings and bankruptcy filings. As producer-director Michael Kirk sees it, there's plenty of blame to go around: Mega-record companies such as Universal and BMG gobbling up the little guys; Internet theft from digital downloads; controlling radio behemoths like Clear Channel playing the same five songs; and let us not forget MTV, which turned music into eye candy for the pimpled masses.
To bolster his case in the documentary (it airs at 9 tonight on Channel 22 and 10 p.m. on Channel 26), Kirk's got talking heads reciting scary numbers: Of the 30,000 records made in a year, only 100 or so are hits. Roughly 85 percent of all records fail. Sales in the industry have fallen from $40 billion to $28 billion in the last three years. And to keep the viewer from completely falling asleep, he's sprinkled in some actual music, with footage of artists past and present performing both in the studio and on the stage.
Yet, for sexiness of the subject matter, and for all the hand-wringing and cries of "The sky is falling" by industry insiders and journalists, "The Way" never advances the argument.
It's not such a stretch to say that corporations and creativity often make for an uneasy mix. But this documentary hits one note and doesn't veer from it in what is a much more complex, multi-note story.
Music is struggling, the industry is in the tank, sure.
But the film doesn't, for example, look at the phenomenon of the underground: Many musicians, who either can't get or don't want the attention of corporate radio/labels, are going the true indie route. They're carving out a credible living thanks to the word-of-mouth world of the Internet, peddling their CDs and selling out concert venues around the country.
Perhaps more egregious is the virtual blindness toward any musicians of color. Instead, in an attempt to create some narrative tension, Kirk chose to follow the careers of Crosby, Stills & Nash; Mark Hudson of "The Hudson Brothers" and '70s TV fame; Sarah Hudson – daughter of Mark, cousin of Kate and niece of Goldie Hawn – who has a new album and wants to be a real artist but also wants to sell records; and the "new" rock supergroup Velvet Revolver, composed of veterans of Guns N' Roses (Slash, Duff McKagan, Matt Sorum) and Stone Temple Pilots (Scott Weiland).
And so, watching this, you'd think that the only people making music today were preternaturally pale rockers with a penchant for bad dye jobs, the better to hide a receding hairline.
Hip-hop gets a cursory nod, but it's cast more in a historical context, as in, "Wow! That rap music sure was something, wasn't it?" Where's the mention of the considerable influence of country music, or Latin, or gospel? After all, as of this writing, Usher, a hip-hop-influenced R&B crooner, and Gretchen Wilson, a new country singer, top their Billboard album charts.
But that makes for a much more nuanced story, perhaps one that cannot be contained in a 60-minute format.
What we get instead are members of the choir: The rare A&R rep who really, really cares and wants to make sure that the "cool chicks" get a chance, and not just the "perfect and beautiful" Britneys and Jessicas and Jennifers. The lone disc jockey fighting a corporate tide of indifference, ferreting out fresh talent. Sensitive music attorneys fighting for their artists' integrity.
You can't help but wish that, for balance, or for mere entertainment, for cripes sake, the filmmakers had thrown in some comments from some of those evil bean counters that everyone spends so much time excoriating. A little footage of some self-important suit banging on a desk and declaring, as David Crosby imagines, "Get me a lead singer. He's got to be sort of androgynous, blond hair, very pretty. . . . Get me a pound of bass player, pound of drummer." Now that would make for some interesting television.
Originally posted by vansmack:This is exactly what I thought. But I was bored by them anyway. Whoopee.
[QB] They were on Letterman a couple of nights ago and I must say for a band that is made up of half GnR and half STP, they sound exactly like a band made up of half GnR and half STP. It was uncanny.
Originally posted by vansmack:He's always been a prancing ponce.
And when did Scott Weiland become the next Mick Jagger?
How'd I know nobody on this board would like them. :roll:
Last night's Velvet Revolver show was one of the best rock concerts I've ever seen. Total fun, great sound, high energy from the band and the crowd. It was an excellent rock experience.
Last night's Velvet Revolver show was one of the best rock concerts I've ever seen. Total fun, great sound, high energy from the band and the crowd. It was an excellent rock experience.
If there's anything NOT to like about them, it's Scott Weiland. What a wanker.
Still, I wish I had gone to the show. GNR opening for Areosmith was one of my first concerts, at Merriweather, back in the day. Appetite is one of the best debut albums of all time.
Still, I wish I had gone to the show. GNR opening for Areosmith was one of my first concerts, at Merriweather, back in the day. Appetite is one of the best debut albums of all time.
Originally posted by Rob_Gee_a.k.a _Guiny:
How'd I know nobody on this board would like them. :roll:
I liked Guns n' Roses when I was 12, I also liked Poison and Cinderella when I was 12. I don't get why everyone thinks so highly of them.
One of my friends was a Sex Pistols fans when he was 12 (circa 1979). But I think that he too moved on to better stuff.
Originally posted by pollard:
I liked Guns n' Roses when I was 12, I also liked Poison and Cinderella when I was 12. I don't get why everyone thinks so highly of them.
There are actually very few bands that I've ever stopped liking. I generally tend to add bands to my listening reptoire rather than take them off. GNR just has a huge nostalgic appeal to me. I wouldn't ever buy Chinese Democracy if it came out, but throw in Appetite for Destruction, and I'm a happy guy. Haven't listened to it in a while, but I still think it's a pretty great album.
Originally posted by pollard:
I liked Guns n' Roses when I was 12, I also liked Poison and Cinderella when I was 12. I don't get why everyone thinks so highly of them.
They don't play many songs, do they?
Originally posted by Sugartastic Tee Silk:
Setlist from 05/15/04 (Minneapolis, MN @ Quest):
01> Sucker Train Blues
02> Do It for the Kids
03> Head Space
04> Crackerman
05> Illegal I
06> It's So Easy *
07> Fall To Pieces
08> Big Machine
09> Set Me Free
10> Used To Love Her *
11> Slither
12> Sex Type Thing **
13> Mr.Brownstone *
14> Negative Creep **
–
* : GNR song
** : STP song
*** : Nirvana song
Typical baiting by Rhett….
Originally posted by Rhett Miller:
They don't play many songs, do they?
Originally posted by Sugartastic Tee Silk:
Setlist from 05/15/04 (Minneapolis, MN @ Quest):
01> Sucker Train Blues
02> Do It for the Kids
03> Head Space
04> Crackerman
05> Illegal I
06> It's So Easy *
07> Fall To Pieces
08> Big Machine
09> Set Me Free
10> Used To Love Her *
11> Slither
12> Sex Type Thing **
13> Mr.Brownstone *
14> Negative Creep **
–
* : GNR song
** : STP song
*** : Nirvana song
I guess I should have phrased it as a question:
Does this band play long songs, or are they shortchanging their fans on their hard earned $35 by giving them a short set?
I saw one of my favorites, BR549, do a two hour set of perhaps 25-30 songs last night, for $12. That's about what I'd expect in a good show.
Does this band play long songs, or are they shortchanging their fans on their hard earned $35 by giving them a short set?
I saw one of my favorites, BR549, do a two hour set of perhaps 25-30 songs last night, for $12. That's about what I'd expect in a good show.
Originally posted by chaz:
Typical baiting by Rhett….
Originally posted by Rhett Miller:
They don't play many songs, do they?
Originally posted by Sugartastic Tee Silk:
Setlist from 05/15/04 (Minneapolis, MN @ Quest):
01> Sucker Train Blues
02> Do It for the Kids
03> Head Space
04> Crackerman
05> Illegal I
06> It's So Easy *
07> Fall To Pieces
08> Big Machine
09> Set Me Free
10> Used To Love Her *
11> Slither
12> Sex Type Thing **
13> Mr.Brownstone *
14> Negative Creep **
–
* : GNR song
** : STP song
*** : Nirvana song
No they didn't play many songs. The setlist from the other show is pretty much what they stuck to last night. Yeah, if Axl could get his sh*t together, I'd prefer to have him as the frontman. GnR is nostalgic for me as well. I'm not big on Scott Weiland. When they play GnR, they sound like a mix of STP and GnR (given, I know). When they play STP, it's the voice of STP w/ a band. Again, obvious. Their songs soon to be released aren't bad. A couple are a little long, but really, the band can play some serious guitar and drums. They were all over with energy on the stage. Slash can talk. Their fans will like the album. I'd rather see them w/ a different lead singer. On stage prancing doesn't bother me. He's not the first lead singer to do this.
I liked the Nirvana cover the best. They brought it up from the original a few notches. The GnR songs were better than the STP songs.
Aside from the band, the sound at the club [last night] is one of the better shows I've heard.
Whoever was the DJ - good job.
I liked the Nirvana cover the best. They brought it up from the original a few notches. The GnR songs were better than the STP songs.
Aside from the band, the sound at the club [last night] is one of the better shows I've heard.
Whoever was the DJ - good job.