Father's Weekend

I’m thoroughly looking forward to this weekend. Not only is it the London Feis festival tomorrow, with Bob Dylan headlining, but Sunday being Father’s Day, my treat is a visit to the SF exhibition at the British Library.

Let’s hope it all goes well; the weather forecast is rain, and at least three-quarters of the family are poorly.

Emusic Followup

eMusic got back to me. As I said, I emailed them to complain about the disappearance of re-downloading.

Randall, from eMusic Customer Support, said:

It would be great if we could offer the privilege of re-downloading music for free to our members, but the truth of the matter is that our agreements with our labels prohibit us from doing so

which is not surprising. But why the recent change?

while we have not had the tracking systems in place to enforce it before, we do now.

I see. He went on to say:

we believe it is the best policy for everyone involved because ultimately it benefits the artists that we all love.

I’m not convinced. It is in the sense that, if I want to get the albums I lost, I’ll have to buy them again, so the artists get paid again. But I’d be surprised if many artists really want to get paid more because of something that could be seen as ripping off their fans.

Though I suppose the comparison would be that if I had broken or lost a CD (or scratched a record, for us old types) I wouldn’t get it replaced for free.

But digital files, being so ephemeral, just feel like they belong in a different category.

Emusic and Re-downloading

OK, everyone knows about Emusic, right? Good site for downloading mainly independent stuff. You often find that you can only get recent stuff by bands and artists who used to be on major labels and have been dropped (or have split up and reformed).

Anyway, I am 98.763% convinced that they used to let you re-download tracks that you had downloaded before. So imagine my dismay, when taking, I thought, the final few steps in recovering from my recent disk replacement. Just download the recent Emusic tracks that I hadn’t backed up, right?

Oh, no. Not any more. Re-downloading is only for failed downloads.

I’ve emailed them about it, but I’m not expecting much. Not happy, Emusic. Not happy.

Come Gather Round, People

If you're like me, you've never seen Bob Dylan live, and you'd like to, sometime before he dies.

So here’s your chance, if you’re in or near London, or can get here: The London Feis, which seems to be the modern version of the Fleadh.

And not just Dylan; The Waterboys, The Undertones, Nanci Griffith… £70 for adults, and children go free. Booking fee is crazy, but, you know: Dylan!

Tank-Tops and Dolls

On our recent drive south from the Highlands there was a song that briefly seemed to be following us. First at an emergency food stop in a McDonald’s in Carlisle, and then the next day on XFM, as we rolled back into London.

Its key feature was the the refrain, which seemed to say, repeatedly: “You own a tank-top.”

While I can see the logic of outing someone for that particular crime against fashion, I was fairly sure it was a mondegreen.

So when I was back at a computer, I searched for “you own a tank top” lyrics mondegreen. No hits.

I removed the word “lyrics”, which gave me a single hit. Some IRC log. But it was enough. The song is, apparently, ‘You Overdid it Doll‘ by The Courteeners.

It’s kind of disappointing to know the truth. I’m listening to it as I type, and I can’t hear it saying “you own a tank-top” any more. Still, it has entered family lore, and will always be known that way to us.

In the interests of full disclosure, I should note that I once owned a tank-top. In my defence, it was the seventies, and I was seven.

Also, my nephew, Paul, who is travelling around Australia and other far-off places, and blogging about it, once tried to introduce me to The Courteeners. I wasn’t super-impressed, but I quite like this track.

On the same short drive Paul introduced me to Vampire Weekend, who I love, and you should listen to. And either way, you should read his blog.

The Day After Hallowe'en

Well, midnight on the 31st of October is fast rolling round. We're not long back from a week in the Highlands of Scotland (very wet, but great, thanks). It'll soon be the 1st of November, which means two things this year.

  1. We'll be able to buy Mitch Benn's mighty 'I'm Proud of the BBC' in downloadable single format. So head off and do that now, and help it to chart. I'll wait.

    Actually, it’s not yet midnight as I type, and I’ve just downloaded it.

  2. NaNoWriMo is about to start. I'm having a go this year. Wish me luck.

    I last tried it in 2004, which is much longer ago than I thought. I sort of had a half-hearted poke at it last year, but soon stopped. I’m hoping that expressing my intention in public like this will help to keep me going.

    We’ll see, of course.

    I see that the approaching start has brought the NaNoWriMo site to its knees. Oh well. Hopefully they'll get things back together.

Youssou N'Dour, Philip Glass, The Kronos Quartet, and Bela Lugosi

Most, but not all of them at one event.

Jamaica and Senegal Make Music

A couple of weeks ago we went to the Barbican to see Youssou N’Dour. In support were an acoustic reggae band called Inna da Yard. They were fabulous fun, and reminded me that I’ve been missing out on reggae since John Peel died.

Youssou and his band were amazing. They had more percussionists on stage than most bands have members (five, counting the drummer), which amused me.

The total number of musicians on stage was about sixteen. Plus they had a couple of amazing dancers.

And the professionals weren’t the only ones dancing on the stage. Several times members of the audience got up and joined in. Yes, a veritable stage invasion in the Barbican. The security people looked vaguely worried; I didn’t know the Barbican even had security.

I won’t try to dance about architecture and describe the music, but let’s just say it was the rockingest gig I’ve been to at that venue.

The Glass Eye

A few days later it was off to the Hackney Empire, where we saw the original 1931 Dracula, with a live soundtrack. Which was composed by Philip Glass, and performed by him, Michael Riesman, and The Kronos Quartet. That’s a pretty stellar lineup from the modern classical world.

I had at first thought that the film was silent, but it isn’t (I think I was confusing it with Nosferatu). Apparently it didn’t originally have a musical soundtrack, though.

While it’s clear that the film is the origin (or an origin) of many horror film clichés, and the story is of course very familiar, I don’t think I had ever seen it before – though I thought I had.

I thoroughly enjoyed the whole thing, though the film volume could have done with being louder, as the music drowned out the dialogue at times. And on a related note, I’m not convinced that the music was always only there to serve the film, as a true soundtrack should be.

But all in all a fascinating night.

Magnetism

On Monday I took my son to the Barbican to see The Magnetic Fields. It was his first proper gig. And an experience quite unlike most gigs I've been to before.

For a start it was entirely seated, and I’ve not been to one of those in a long time - and not just the audience, the band too. Secondly, it was in the Barbican Centre. We’ve been there a few times in the last few months for classical concerts and a dance performance, but it’s a strange venue for rock ‘n’ roll.

But then, rock ‘n’ roll isn’t exactly what The Magnetic Fields play.

Their 69 Love Songs is, as I was tweeting recently, one of the finest albums ever. It’s from 1999, it turns out, but I’ve only known it for a year or two. The first half of Monday’s show contained a good number of songs from it, and also some from the recent Distortion.

The highlight for my boy wasn’t even a Magnetic Fields song at all, but rather one by The Gothic Archies, one of their several alter egos. It also featured the only instance in the evening of singing along with the band; and that was just him, quietly singing ‘Shipwrecked’.

We were right up at the back of the balcony, but despite the distance and low volume, we could still hear everything perfectly. Well, except when they spoke between songs. The vocal mix wasn’t really designed for making that kind of thing audible at the back.

In fact Merritt’s vocals were at their best during the final song, when he took the mike off the stand and walked about. That got him closer to the mike, which suits his croonerish voice.

So they sent us off into the night with a fabulous ‘Papa was a Rodeo’.

A quote from Amanda Palmer: asking for money for your art is not selling out

ASKING FOR MONEY FOR YOUR ART IS NOT SELLING OUT.

selling out is when you go against your own heart, ideals and authenticity to make money.

selling out is an action, a 180 from a stated position.

i don’t consider pop stars to be sell-outs. the lady gagas, britneys and madonnas of the world are UNABASHED about why they got in this game: fame, money, über-success, chart-topping hits.

but if neil young were to suddenly hire the matrix to write him a thumpin' dance album and then appear on saturday night live snogging bob dylan, i’d have reservations about his integrity.

From Virtual Crowdsurfing

Live Jello show

Yeah, I know, that sounds like something kinky. But I just got this from the Academy mailing list (that's "O2 Academy Brixton and O2 Academy Islington"; the former used to be called the Brixton Academy):

O2 Academy Islington: Tue 8 Sep: Jello Biafra and the Guantanamo School of Medicine. A longtime leader in the punk and alternative rock scenes, Jello Biafra is back in the recording studio and in the live arena.

Which is surprising and interesting and stuff. I never saw the Dead Kennedys when they were around; as far as I know they never came to Britain. Certainly not to Scotland.

Apparently Jello (or Eric, I now know) is 50. I feel old.