Had a sudden desire to see and hear Tim Finn's Coca-Cola commercial from the film, The Coca-Cola Kid. Satire writ large!
Indeed. That vid is from the same show; that whole concert is online and is worth the full view. Terry Kath wa stunningly under rated. Even I had forgotten primarily due to the pablum they became noted for in those later years. I tuned into a channel on Sirius yesterday during the middle of the guitar solo and was like, "damn!" It had been years since I even thought of Chicago. Those first three albums were great.
Totally agree. I saw them several times in 1969 and your post is a great example (and great quality!) of how they were back then. They played the Colisium in April (was there), then played on back to back nights at the beloved Catacombs (a club) in early May (saw them 1 of the 2 nights), returning to Texas at the end of August for the Texas International Pop Festival August 30, 31 (saw them both times, since I was there for the whole festival). That was a great year for them, as was 1970. Saw them at the Music Hall in January of that year, the only time they played Houston in 1970. Couldn't complain, since they appeared so many times the year before. Yes, Terry Kath was amazing! Just realized something else, @Rashmon and @GIGO. This is a great example of what I've said here probably half a dozen times, at least. The old videos of these famous bands, usually, are lousy. The LP's were sometimes recorded in lousy recording studios (The 13th Floor Elevators a good example), and the LP's would have perhaps a 4 minute song on a 42 minute LP, but in concert, especially if you were the headliner or in a club, the same song might be 8, 10, 14 minutes long and the sound was GREAT! That's what so many of a younger age who love the music, but just weren't lucky enough to be around at the time, are missing. It lives on in the heads of people like me. It's why I love to see high quality concert footage from back then, as rare as it is.
My older brother saw them at the Coliseum in '71 and came home raving about how great a show they put on. I was only 12 but I do believe he was chemically enhanced.
Swell Maps - A Trip to Marineville The Fall - This Nation's Saving Grace Au Pairs - Playing With a Different Sex
Alternative TV - The Image Has Cracked The Comsat Angels - Waiting for a Miracle The Soft Boys - Underwater Moonlight Virgin Prunes - If I Die, I Die ESG - Come Away With ESG The Wipers - Over the Edge Echo & the Bunnymen - Crocodiles
new album from the best band of the last 30 years. https://www.npr.org/2018/08/30/6415...ign=npr&utm_term=nprnews&utm_content=20180831 First Listen: Spiritualized, 'And Nothing Hurt' August 30, 20185:00 AM ET Spiritualized's And Nothing Hurt comes out Sept. 7. Juliette Larthelo/Courtesy of the artist J. Spaceman makes music that can fill Royal Albert Hall. (In fact, it did.) For nearly three decades, his band Spiritualized has turned space-rock into a spectacle worthy of crystal chandeliers and velvet seats, complete with choral, horn and string arrangements. The last 10 years, in particular, have yielded the positively lush records Songs in A&E and Sweet Heart Sweet Light, which throw back to the orchestral bluster of late-'60s Scott Walker and The Beatles at their most extravagant. But when making a new record, J. Spaceman (a.k.a. Jason Pierce), like every other musician struggling in an economy unkind to artistry, could not afford excess time in a lavish studio. So he bought a laptop and got to work. Not that you would know it just by listening, but And Nothing Hurt makes a living room sound like a cathedral. "I wanted to make like a 1960s Columbia Studios recording, but without ever going to the studio to put that thing together," he told KEXP. "And it seemed kind of dumb. I don't know what went down. I became so obsessed." J. Spaceman learned the ins and outs of home recording in his East London abode, using a cast of musicians just as ambitious as on his standard fare, painstakingly layering sound on sound to get bigger and bigger. (To complicate the process, he had to book 10 different studios to record instruments he couldn't quite capture at home.) "I'm Your Man" is a sterling example of his ambition: Its warm, Stax-style horns are swirled in psychedelic R&B, culminating in a sky-high guitar solo. "Let's Dance" is deceptively stripped back, a charming space waltz that builds with piano here, guitar there, and then slowly adds a Beach Boys-style boom boom tsh to what eventually becomes a synth-and-horns carnival of sound. There are a few rockers, as well, perhaps in a nod to 2001's Let It Come Down. Both "On the Sunshine" and "The Morning After" set the R&B rave-up to raging speeds, culminating in a cacophony of feedback, free-jazz saxophone and drums. But J. Spaceman is quick to temper the noise with something like church, especially in the spectral slow burn of "The Prize." J. Spaceman's soulful quiver has sometimes blended into the sonic wallpaper of past Spiritualized records. And Nothing Hurt almost foregrounds him by necessity — you can imagine the Englishman hunching over a microphone in his home as he tenderly sings the album's closer: "If I could hold it down / I would sail on through for you / If I weren't loaded down / I would sail on through for you." Like much of the record, it's not necessarily hopeful, but he knows there's something ahead.
Phish is killing it at Dick's right now (Sat, Sept 1st). Trying to make up for Curveball getting cancelled two weeks ago. This was predicted. Might go down as one of the best Summer Tour shows in awhile. Highly recommend buying it at Livephish, for those who want to add to their Live-show playlist.
