This looks fun! Careful, this is the red band trailer.
READY OR NOT follows a young bride (Samara Weaving) as she joins her new husband’s (Mark O’Brien) rich, eccentric family (Adam Brody, Henry Czerny, Andie MacDowell) in a time-honored tradition that turns into a lethal game with everyone fighting for their survival.
Mick and Keef gave Richard Ashcroft back the rights to Bitter Sweet Symphony. Which is nice, because they could probably use the money. Story from Dickfork here.
It’s such a fine line between stupid and clever. Somehow, this song manages to be both. I’ve heard “Werewolves of London” on the radio most of my life without ever giving it much thought – until today.
You might know that this was the first single off Excitable Boy, Zevon’s third solo album. You might even know that it stayed in the Billboard Top 40 for a month, reaching number 21 on the Hot 100 in May of 1978. But did you know Mick Fleetwood and John McVie are playing on it? Wikipedia, where you at?
The song began as a joke by Phil Everly (of The Everly Brothers) to Zevon in 1975, three years before the recording sessions for Excitable Boy. Everly had watched a television broadcast of the 1935 film Werewolf of London and “suggested to Zevon that he adapt the title for a song and dance craze.” Zevon, LeRoy Marinel and Waddy Wachtel played with the idea and wrote the song in about 15 minutes, all contributing lyrics that were transcribed by Zevon’s then-wife Crystal. The song is in the key of G major, with a three-chord progression that runs throughout. However, none of them took the song seriously.
Not long after, Jackson Browne saw the lyrics and thought it had potential, so he started playing “Werewolves” live. (T-Bone Burnett also played it on the first leg of Bob Dylan’s Rolling Thunder Review in 1975.) Zevon thought about putting it on his second solo album in 1976, but for some reason, decided against it.
According to Wachtel, “Werewolves of London” was “the hardest song to get down in the studio I’ve ever worked on.” They tried at least seven different configurations of musicians in the recording studio before being satisfied with McVie and Fleetwood’s contributions. The protracted studio time and musicians’ fees led to the song eating up most of the album’s budget.
Zevon later said of the song, “I don’t know why that became such a hit. We didn’t think it was suitable to be played on the radio. It didn’t become an albatross. It’s better that I bring something to mind than nothing. I still think it’s funny.” He also described “Werewolves of London” as a novelty song, “[but] not a novelty the way, say, Steve Martin’s ‘King Tut’ is a novelty.”
Come on, we’ve all seen it. Right?
And if you haven’t read the book, we can’t be friends anymore.
Please Kill Me: Voices from the Archives
Two one-hour documentaries that explore an America that birthed the new order of today.
20 years ago journalists and music historians Gillian McCain and Legs McNeil recorded interviews with the icons of Punk for their New York Times best-selling book “Please Kill Me – The Uncensored History of Punk.” Now, these rare, candid interviews have been meticulously restored for Public Radio and compiled to create an oral history of the Punk movement in Please Kill Me – Voices From the Archives.
The stories of these bands are more than music, they’re the cultural evolution of America:
the end of the 60s
the ferment of the 70s
Watergate to the Women’s Movement.
Part One -The Pioneers of Punk
How the Warhol 60’s morphed into the Punk 70’s, marginalized inhabitants of a near-bankrupt New York City, changed 20th century culture, and influenced the World.
Part Two – The Punk Invasion
The music of the Velvet Underground, Iggy and the Stooges,The New York Dolls, and others were meeting fierce resistance in the US. With no other options open to them, during the July 4rth weekend of 1976, as America was celebrating it’s bicentennial, the Ramones went to London and launched punk rock. In England, punk would explode and become a cultural force to be reckoned with.
Features exclusive, never-before-heard interviews with Iggy Pop, Patti Smith, Debbie Harry, the Ramones and many more.
Very funny, and very much NSFW.
From Our RoboCop Remake, a project undertaken by a group of filmmakers pissed off about the 2014 RoboCop remake …
Our RoboCop Remake is a crowd-sourced feature based on the 1987 Paul Verhoeven movie. Pooling our resources through various filmmaking channels (including Channel 101) we are 50 filmmakers (amateur and professional) from Los Angeles and New York who have split the original RoboCop into individual chunks, remaking the movie ourselves. Not necessarily a shot-for-shot remake, but a scene-for-scene recreation. We’re big fans of the original RoboCop, and as filmmakers and film fans kinda rolling our eyes at the Hollywood remake machine, we’ve elected to do this remake thing our own way.
Our RoboCop Remake premiered in Los Angeles on January 26th 2014 and New York on February 5th. On February 6th, it was released online.
Because if anyone is going to ruin RoboCop, it’s us.
Recorded January 14, 1978, at the Winterland Ballroom in San Francisco, CA.
0:00:00 – God Save The Queen
0:04:13 – I Wanna Be Me
0:08:19 – I’m A Lazy Sod
0:10:42 – New York
0:14:25 – EMI
0:18:09 – Belsen Was A Gas
0:20:22 – Bodies
0:25:15 – Holidays In The Sun
0:29:19 – Liar
0:34:15 – No Feelings
0:37:18 – Problems
0:41:56 – Pretty Vacant
0:45:14 – Anarchy In The UK
0:49:00 – No Fun
The Winterland Ballroom, originally called the New Dreamland Auditorium, opened on June 29, 1928. It initially served as a venue for boxing, opera, and tennis matches, but sometime in the late 1930s, it began to be used as an ice skating rink too – hence the name change.
In 1966, world-renowned asshole Bill Graham began renting the 37,675 square foot space for the rock ‘n’ roll, and it hosted concerts by artists including Bruce Springsteen, The Rolling Stones, The J. Geils Band, The Who, Queen, Slade, Boston, Cream, Yes, Kiss, The Doors, Jimi Hendrix, Steppenwolf, Lynyrd Skynyrd, Styx, Van Morrison, The Allman Brothers Band, Big Brother and the Holding Company with Janis Joplin, Jethro Tull, Pink Floyd, Ten Years After, Rush, Electric Light Orchestra, Genesis, Jefferson Airplane, Traffic, Golden Earring, Grand Funk Railroad, Humble Pie, Bob Seger and the Silver Bullet Band, Robin Trower, Emerson, Lake & Palmer, Loggins and Messina, Lee Michaels, Heart, Journey, Deep Purple, J.J. Cale, Frank Zappa and the Mothers of Invention, Foghat, Mountain, B.B. King, Elvis Costello, and the incomparable Sha Na Na.
Legal capacity was 5,400 souls, so the Winterland was decent-sized but cozy. It was where Zeppelin first performed “Whole Lotta Love,” Scorsese shot The Last Waltz, and parts of “Frampton Comes Alive” were recorded.
Unfortunately, it also served as a sort of home base for The Grateful Dead, so it had to be torn down. Okay, not really. It was purchased by Consolidated Capitol Inc in 1978, demolished in 1985, and replaced with apartments.
Something of interest for you, perhaps?
Memoir by the cofounder and former lead guitarist of heavy metal giants Judas Priest
Judas Priest formed in the industrial city of Birmingham, England, in 1969. With its distinctive twin-guitar sound, studs-and-leather image, and international sales of over 50 million records, Judas Priest became the archetypal heavy metal band in the 1980s. Iconic tracks like “Breaking the Law,” “Living after Midnight,” and “You’ve Got Another Thing Comin'” helped the band achieve extraordinary success, but no one from the band has stepped out to tell their or the band’s story until now.
As the band approaches its golden anniversary, fans will at last be able to delve backstage into the decades of shocking, hilarious, and haunting stories that surround the heavy metal institution. In Heavy Duty, guitarist K.K. Downing discusses the complex personality conflicts, the business screw-ups, the acrimonious relationship with fellow heavy metal band Iron Maiden, as well as how Judas Priest found itself at the epicenter of a storm of parental outrage that targeted heavy metal in the ’80s. He also describes his role in cementing the band’s trademark black leather and studs image that would not only become synonymous with the entire genre, but would also give singer Rob Halford a viable outlet by which to express his sexuality. Lastly, he recounts the life-changing moment when he looked at his bandmates on stage during a 2009 concert and thought, “This is the last show.” Whatever the topic, whoever’s involved, K.K. doesn’t hold back.