Wow. Wow. Seriously...as eloquently as I usually am able to describe my feelings about music, I feel shell-shocked by hearing one of the most gorgeous songs I've heard from Tori Amos. The song is called "Peeping Tommi" and it will be on the Piano Boxed Set, coming out on September 26. So, how come I've already heard this previously unreleased track? Well, it came about when I was searching myspace.com for a new track to up up on my page. I knew that "Here In My Head" is the unofficial Tori Amos fansite on myspace since the people who run her official page NEVER change the songs. Its a crime, considering her recorded songs range into the hundreds and beyond.
But anyway, I open up the page to find two new Tori tracks that will be released in the Piano Boxed set. The other was "Ode to My Clothes", but it was the sheer simplistic beauty of "Peeping Tommi" that enchanted me, reminding me of the way I felt the first time I listened to Little Earthquakes four years ago. Maybe people on the toriforums are comparing this song to "Yes, Anastasia" and I can see why. From my understanding, this was a song cut from Under the Pink, hence its similarity in vocals and delicate piano riffs.
Here are the lyrics:
Looking past branches past fresh mown grass dirt licking my elbows I watch his hand move up up up her dress
Don't run away from me now
Don't run away from me now
She's down on the ground she gives the boy smile I think of you I think of the man all the while you see my dreams are filled with him his face shows up up up in my favourite danish
Don't run away from me now she's willing just breathe willing one day I'll be
Don't run away from me now she's willing just breathe willing one day I'll be
Sail through my ears I heard you fine the first time time to let it go time to give my gun a nice surprise surprise
Saw Tool on Tuesday in Vancouver. 20th row beside stage. Sweet seats, sweet view of the band. Fucking sweetest show EVER.
The opening act was a band I'd never heard of, called Isis. However, due to shitty timing on the Skytrain, I didn't get to the venue in time for their set. :-(
... Made it right on time for Tool, though!
Stinkfist / The Pot / 46 & 2 / Jambi / Schism / Lost Keys & Rosetta Stoned / Lateralus / Right In Two / Sober / Vicarious / Aenima (encore)
Flawless performance all the way -- the sound was immense, loud, and clear. Yeah, I'm biased though. They could have sat down and done Dueling Banjos for two hours, and I still would have grinned like an idiot.
Maybe I should have attempted this when my brain is not so trashed from the strain of work. I'll go more in depth once I'm running on more than four hours' sleep! I promise the ultimate moment by moment commentary on the show once I've slept, but I thought the quick version would be good.
"Timmy and dad and a purple monkey, are all down at Bobby's House"
Just thought I'd share a bit of my other passion in life: art. It doesn't get better for me as an artist when I can blend music and the visual arts together in my work. I did this piece to really study Tori Amos' face and work on shading and my pencil drawing. I couldn't resist adding a bit of red water color wash to her hair and then I just ended up painting about as much as I drew with pencil on this piece. I hope you all enjoy it. Don't hesitate to ask me to do portrait commissions since I live to draw portraits.
Let me know what you think and if you'd like to see any more of my stuff, I could possibly give you the link to my deviant art site, but it does contain mature content (my pin-up and nude studies) so I only give the link to those I trust. Those I don't know are no threat to me personally, that's why I don't feel endangered putting that stuff up on deviantart.com since it is an artist's community.
There is something incredibly compelling about artists who make their lives a complete trainwreck. We seek them out like morbid onlookers at a ghastly car crash. We know the scene is ugly and that we should look away....but there is no way our brain will compell are necks to rotate and turn our heads the other way. Maybe this explains my recent obession with Courtney Love's 1994 tune, "Doll Parts." The song was written before the Kurt Cobain suicide (or murder)...so it doesn't have the taint of that as her later work does. I'm not here to condemn or condone Courtney Love. Its between her and her maker if she killed Kurt or aided in his demise. Until there is SOLID proof she was 100% involved in his death, I'll have to give her the benifit of the doubt because the U.S. is a democracy the last time I checked.
So, I just wanted everyone to know that the reason I post this video has nothing to do with my opinion of Courtney Love's life. Hey, I even on occasion enjoy some of Charles Manson's music...does that mean I want to talk with him over coffee about ritual killings? Hardly...I just have the ability to seperate the artist from the actual person. If I just ignored every musician or artist who had something freaky and or extremely questionable about their personal lives, my walls would deviod of artwork. I suppose that's why they say there's such a short divide between genius and insanity...and maybe music is supposed to bridge that. Anyway, here's hoping that Courtney will clean up her act for good because she has a daughter to raise (Frances Bean). And I have to admit her early 90's stuff is actually some of the best female grunge I've ever heard, aside from PJ Harvey of course.
I know this is supposed to be strictly a "rock music" blog, but I got an idea from a friend for a post I should write that has to do with classical music. Now, I know what your'e probably thinking (what a snooze fest), but really, I'm not going to pretend to be an expert on opera or the "1812 Overture." So just hold your horses, because yes this entry is about Wagner's operas, but it is also about our favorite loveable, kooky 70 year old rabbit: Bugs Bunny. Yes, you read that last sentence correctly: Bugs Bunny.
I'm sure many of you readers have grown up with with the antics and shenanigans of the Looney Tunes characters. Back before everything became so bland and "PC" for children, I couldn't wait till Roadrunner found a way to twart Wile E. Coyote and send him flying over the nearest cliff. I always thought Daffy Duck was a bit too close to the edge of insanity with his angry, quacking rants and tirades...but I still enjoyed every moment he shared with my television set.
Until recently though, I had forgotton about my childhood friends, forsaking them for newer cartoons like Daria,Invader Zim, andDrawn Together. Then, I was chatting with a friend the other day, asking him what I should write next for this blog. He ended up sending me a video for "What's Opera Doc" and said I should write a piece on that. I decided, sure, why not? What a great way to travel back to my childhood and my first real exposure to classical music. I know that I feel really satisfied and happy when my mind reverts to my childhood, back to days when my most important priority was waking up early enough on Saturday morning so I could catch all the Saturday cartoons before my parents made me go outside and play in the sandbox.
What's Opera Doc: The Story Behind One of the Greatest Cartoons
Chuck Jones, a renowned animator for Warner Brothers, was best known for creating the characters Pepe' Le Pew, Roadrunner, and Wile E. Coyote. Before Jones created these humorous and beloved characters, he was stuck trying to recreate the cutesy animation style of the Disney shorts of the day. It wasn't until the cartoon, The Dover Boys, that Chuck Jones said he "learned to be funny." That particular cartoon was also very inovative, because up until that point, animators had been trying to copy Disney's realistic animation style (example: Walt Disney's Snow White). Chuck decided to stylize his drawing, making it seem more outlandish and fun for viewers. He understood that the point of cartoons wasn't to mantain realism, but to transport viewers to another world altogether...one in which the trees don't look like the ones knocking against our windows.
In the early 1940's, Chuck Jones worked with Theodore Geisel (Dr. Seus) on "Private Snafu" for a time, creating edgy educational films for WWII soldiers. Also, without Chuck's collaboration with Seus, who knows if the Christmas classic, How the Grinch Stole Christmas, would have been the same film we know and love today?
His most highly regarded work were the cartoons he created that were written and conceived by Michael Maltese. His trilogy of greatness includes the three following critically acclaimed six minute cartoons: Duck Amuck, One Froggy Evening, and (the cartoon on which this article is based) What's Opera Doc?.
The basic plot of "What's Opera Doc" revolves around some key themes:
Parody of Wagner's Operas and the over-dramatization of opera plots
Parody of Disney's Fantasia (which I admit took itself too seriously)
The stylized dancing of ballet
The basic, over played "Elmer must kill Bugs" plot
This cartoon, created in 1957, spiced up the by then tired Elmer Fudd and Bugs routine of hunter vs. rabbit by incorporating high brow entertainment such as opera and ballet into the perfect comic atmosphere for Elmer and Bugs Bunny to interact in. Michael Maltese should be commended for exposing children to classical music. He made Wagner's operas comical and adapted the lyrics hysterically. Today, as I discover more and more that I don't want to run screaming at the sound of an orchestra, I begin to wonder what opened my mind. I think part of the reason I enjoy classical music now has to do with the realization of how familar the classical music seemed when I really listened to it. I guess I have animators like Chuck Jones and writers like Michael Maltese to thank for that.
What's Opera Doc? is particualry special to me as artist because the animation is extremely well done. If the screen were lacking the characters, I would probably be just as entraced by the beautiful, majestic background work done by artist, Maurice Noble. Its no suprise to me that this was the first animated short to be be deemed culturally significant by the Library of Congress. What's particualary notable about this cartoon is that this is one of the few times Elmer Fudd actually captures Bugs Bunny. But, as Bugs Bunny says at the end of the cartoon, "Well, what did you expect in an opera? A happy ending?"
Syd Barrett, the "crazy diamond" guitarist who shaped the early Pink Floyd psychedelic sound, has died nearly 40 years after becoming one of rock music's most dramatic casualties.
He turned into a recluse after an LSD-induced breakdown and in recent years suffered from complications due to diabetes.
After becoming severely ill last week, Barrett was admitted to Addenbrooke's hospital, Cambridge. He was discharged on Thursday and died the following day at his home, in St Margaret's Square, which he shared with his mother until she died a few years ago. He was 60.
His brother, Alan, said: "He died peacefully at home. There will be a private family funeral in the next few days."
Barrett walked away from fame as a cult figure, vanishing behind the blinds of his mother's semi-detached house, preferring to tend his garden, visit Sainsbury's on a bike and mutter inanities to unwelcome visitors.
Barrett reportedly entered a mental home at one stage, and latterly always avoided anybody who called on him. Wearing only his underpants he met his biographer Tim Willis at his front door and said: "I'm just looking after this place for the moment. I'm not going to stay here forever."
However, he is thought to have left a fortune. David Gilmour, drafted in to Pink Floyd during a period in which Barrett was behaving erratically, made sure that royalties on his compositions flowed steadily into his bank account.
Even though he was only with the band for its first three years and appeared on just one album, Piper At The Gates of Dawn, Barrett's quarterly income was still into seven figures. Friends said he was happy never to mention his cult status, adding that he was neither poor nor sad.
Rock stars paid tribute to him last night. David Bowie described Barrett as a "major inspiration", saying: "I can't tell you how sad I feel.
"The few times I saw him perform in London at UFO and the Marquee clubs during the 1960s will forever be etched in my mind. He was so charismatic and such a startlingly original songwriter. His impact on my thinking was enormous. A major regret is that I never got to know him. A diamond indeed."
A statement from Pink Floyd said: "The band are naturally very upset and sad to learn of Syd's death. He was the guiding light of the early band line-up and leaves a legacy which continues to inspire."
The former Blur guitarist Graham Coxon released a statement saying: "Lost him again ... For bang on 20 years Syd led me to better places."
BBC's Radio Cambridgeshire played the Floyd's Wish You Were Here, with its opening lyric, "So, so you think you can tell Heaven from Hell, blue skies from pain". The recording, in 1975, was the last time the band saw Barrett.
He ambled into the studio to listen and, initially, nobody recognised him, as the former 9st guitarist had become a shambolic, 16st balding man.
At first, Pink Floyd was Syd's band, made in his image, and making singular music with its quintessentially English take on psychedelia. But the feeling is that Barrett was a fragile figure from the first, and LSD, with its increasingly uncontrollable trips, put him over the edge.
Gilmour said he thought that Barrett's breakdown was always on the cards. "It was a deep-rooted thing. But I'll say the psychedelic experience might well have acted as a catalyst.
I just don't think he could deal with the vision of success and all the things that went with it."
Joe Boyd, his first producer, said: "It is a very sad and lonely tale. With the band and him, you had the feeling you were in the presence of people who were a soundtrack of a revolutionary period. I don't know what Swinging London would have been without him."
Think of it...its the late 80's, you're in Seattle, Washington cupping your ears, trying to figure out the "new" sound that seems to be everywhere. You already thought that George Michael was beginning to seem like the anti-christ of rock All the glam pop/rock of the late 70's is dying out, and something darker and heavier is fusing with the remains. No longer is every band trying to get on the space ship with Ziggy Stardust and the Spiders from Mars; they are trying to find a space somewhere grounded on this planet. Their elevation comes instead from a wall of muddy sound coursing through Marshall amps as tall as small buildings. The aura of the music has the sneer of Sid Viscious and the stage antics of the over-the-top Elton John. Who shall herald in this change, be the ringleader with the magic guitar pick of gold...and the voice that can be heard above the thunderous crowds?
Many say that Nirvana broke through with the most innovative force, and they would be quite wrong. Kurt even admitted on numerous occasions that his music was greatly influenced by other artists such as the Pixies and The Melvins. So he was pretty much putting a megaphone up to sounds already circulating the alternative music scene. Yes, there was Soundgarden, The Melvins, Alice In Chains, Nirvana...but there was also one band that stood out amongst them all: the infamous Mother Love Bone.
Never heard of them? Well, that could be because they never got the chance to shine like so many of the other Seattle bands. Like so many other sad rock n' roll stories, their lead singer Andrew Wood (from the band Malfunkshun), died of a heroin overdose before the release of their first album, Apple. The other reason you might still be scratching your head could be because two of the band members went on to form an even more sucessful band, some would say the most powerful rock band fame wise other than U2: Pearl Jam.
Stone Gossard and Jeff Ament, while best known as guitarist/bassist for Pearl Jam, actually wrote some of their greatest stuff musically during their short lived musical project, Mother Love Bone. Mother Love Bone mixed the beautiful piano arrangements of Elton John withAndrew Wood's vocal stylings (somewhere between the sexual howl of Robert Plant and the flambuoyant energy of Freddie Mercury). On top of all that, add the scorching guitar licks of Stone Gossard in his post-glam/punk glory, and you have the best band to come out of the Seattle scene. Or at least, the band with the most outright potential for earth shattering rock. I suppose we'll never know for sure what could have been since there is only one album, some bootlegs, and some old frayed concert t-shirts.
I write this article not to say I have less love for bands like Pearl Jam, I just think that many grunge fans are missing out if they don't also have a place for Mother Love Bone beside Pearl Jam's debut Ten. Since I'm not the kind of girl who wants to leave her readers hanging, I'm going to leave you with two music videos. The first is Pearl Jam covering my favorite Mother Love Bone song by far, "Chloe Dancer-Crown of Thorns." Then, I'll leave with you with Star Dog Champion, a rare video from Mother Love Bone. Let me know what you think, seriously. I'm way suprised nobody in here ever mentioned this band before because I know most of you are obessesed with grunge and Pearl Jam.
Some trivia for you: did you know that the band Temple of the Dog was formed to create such tribute songs as "Say Hello to Heaven" for the late Andrew Wood of Mother Love Bone who was Chris Cornell's roomate? The band included members of Sound Garden and Pearl Jam. Also, Eddie Vedder sings lead vocals on "Hungerstrike."
"Chloe Dancer/Crown of Thorns" Mother Love Bone cover performed by Pearl Jam; from the 2003 DVD, Live at the Garden.
"Stardog Champion" rare video by Mother Love Bone circa 1989
Today I decided to feature "Jeremy" by Pearl Jam because I remember being profoundly effected by the video when I first saw it as a young child. I was too naive when I first heard the song to really understand its meaning, but I knew there was something evil and sinister that happened to this Jeremy boy. It made me, for the first time in my short life, doubt the saftey of my own home and community. I no longer thought my daddy could protect me from everything, especially evil more real and more invisible than the boogeyman who hid in my closet.
I hadn't seen this video for years, and then I watched it today and it just floored me. Especially after growing up with the Colombine shootings in 1999, this video in turn seemed somewhat eeriely prophetic and even more chilling than before. What I didn't know prior to today, was that "Jeremy" was actually inspired by real events. A boy named Jeremy Delle killed himself in 1991 in front of a classroom of 16 peers and his teacher. Doesn't that make lyrics like these resonate even more deeply in the base of your spine?:
Jeremy spoke in class today Try to forget this... Try to erase this... From the blackboard.
I'm going to include the actual newspaper report written up about this event because I think its important that when we listen to "Jeremy" we realize that this song is in memory of a boy who didn't know any other way out. I think Pearl Jam's purpose in putting this song out there isn't to scare us, but to make us realize how precious every life is, even the kid who sits in the back of the classroom, talking to himself and scribbling into a journal that is more real to him than the people who taunt him. We need to battle this invisible evil that is apathy, that is there everytime a child feels alone and unloved in this world. I think Kurt Vonnegut gave some pretty good advice on how to fight apathy, and stop senseless suicides from occuring when he wrote the following words in his novel, The Sirens of Titan: "A purpose of human life, no matter who is controlling it, is to love whoever is around to be loved."
I think Eddie Vedder said it best though, when he was interviewed about the song: "you kill yourself and you make a big old sacrifice and try to get your revenge. That all you're gonna end up with is a paragraph in a newspaper. [...] it does nothing … nothing changes. The world goes on and you're gone. The best revenge is to live on and prove yourself. Be stronger than those people. And then you can come back".
Richardson Teen-Ager Kills Himself in Front of Classmates
by Bobbi Miller, Annette Nevins
RICHARDSON - A Richardson High School sophomore, described as a loner who had been in counseling, fatally shot himself Tuesday in front of a classroom of about 30 students. Jeremy Wade Delle, 16, who had transferred from a Dallas school, died instantly after firing a .357-caliber Magnum into his mouth about 9:45 a.m. police said.
Because he had missed class, the teacher in his second-period English class told Jeremy to get an admittance slip from the school office. Instead, he returned with the gun, police said. He walked directly to the front of the classroom. "Miss, I got what I really went for," he said, then placed the barrel in his mouth and fired, according to Sgt. Ray Pennington, a police spokesman.
The shooting occurred before the students or teacher Fay Barnett could react, said school district spokeswoman Susan Dacus-Wilson. It stunned students and faculty members throughout the school at 1250 W. Belt Line Road. Brian Jackson, 16, said he was working the combination on his locker just outside Jeremy's English class when he heard a loud bang "like someone had just slammed a book on a desk."
"I thought they were doing a play or something," he said. "But then I heard a scream and a blond girl came running out of the classroom and she was crying."
Frightened, but curious, Brian looked into the classroom and saw Jeremy lying on the floor bleeding. "The teacher was standing against the wall crying and shaking," Brian said. "Some people were standing around her holding her as if to keep her from falling."
Another student, Howard Perre Felman, and 11th-grader, was in government class when he heard the shot. At first students joked about the noise, thinking that someone was playing around, he said.
"But then we heard a girl running down the hall screaming," he said. "It was a scream from the heart."
Sgt. Pennington said Jeremy apparently had given some thought to his actions because he left a suicide note with a classmate. Investigators would not disclose its contents. Principal Jerry Bishop said Jeremy's class attendance had been sporadic. Mr. Bishop said he had met with the boy and his father to discuss the problem. Police said that Jeremy had been in counseling with his father, but they did not know the specifics.
Sgt. Pennington said police did not know where the youth got the gun and had no clue why he would kill himself in a crowded classroom. The classmates who witnessed the shooting were immediately ushered to a secluded room for counseling. About 30 members of the school district's volunteer crisis team arrived to counsel students.
Classes continued throughout the day. Some students were allowed to leave early, but counselors encouraged them to stay at school and discuss their feelings. Few students knew Jeremy well because he had attended Bryan Adams High School in Dallas last year and had enrolled in the Richardson school in October. They described him as a loner.
"He was real quiet and he acted down at times. He acted sad," said Koury Kashiem, 15.
Lisa Moore, 16, said she knew Jeremy from the in-school suspension program. "He and I would pass notes back and forth and he would talk about life and stuff," she said. She said Jeremy wanted to discuss the boy she was dating and also mentioned that he was having trouble with one of his teachers. He signed all of his notes, "Write back." But on Monday he wrote, "Later days."
"I didn't know what to make of it," she said. "But I never thought this would happen."
However, Sean Forrester, 17, remembered Jeremy as friendly with no outward signs of turmoil.
"He never looked like he had anything wrong with him. . .He always made a joke over everything," Sean said.
Jeremy was the son of Joseph R. Delle of Richardson, with whom he lived, and Wanda Crane. The couple divorced in 1979, according to Dallas County court records. Mr. Delle could not be reached for comment. Ms. Crane, through a spokesman, declined to comment.
Tuesday's shooting was the first known teen suicide in a Richardson school. It was the first by a Richardson student since 1988, when student suicides prompted the creation of the crisis intervention program in May that year.
Three Richardson students committed suicide during the first half of 1988. They included a sixth-grader and two sophomores at J. J. Pearce High School. One of the sophomores hanged himself from a tree behind Mohawk Elementary School during a weekend.
In 1985, a 17-year-old Arlington student shot himself in front of four fellow students in the drama classroom at Arlington High School. Earlier, and outbreak of teen suicides in Plano, where eight youths killed themselves in 1983 and 1984, helped focus national attention on the plight of suicidal teen-agers.
Students and counselors agreed that the shock of Jeremy's public demise would have a lingering effect on the Richardson students, particularly the witnesses.
"They are going to go through a ton of sadness, anxiety and fear," said Sheryl Pender, a counselor with Willow Park Hospital in Plano and former director of the Suicide and Crisis Center in Dallas.
Staff writer Jeffrey Weiss contributed to this report.
If you want to learn more about Jermey Delle, check out the following links:
There has been much coming and going of the authors here at Vintage Rock. If you have not posted an entry in over two months, I'm either deleting you from Vintage Rock or marking you as inactive on the side-bar. I don't think its fair to give authors credit here if they don't post any entries. Its nothing personal, I'm sure you all understand.
Shay (non active co-founder)
Jess (non active co-founder)
Morgan (non active co-founder)
What Is "Vintage Rock" About?
Vintage Rock has officially been on the internet in various forms for about five years now. I started it on a whim of boredom at the terrible, bolt.com. I met some great friends there, and we ended up forming a super-group; a forum where it was okay to speak our minds about anything and everything music. And since there were multiple authors here, we were able to learn about an eclectic variety of music news, recommendations, and bands.
In the last few years, many of the authors who helped co-found this blog quit posting entries. I'm not bitter about their absence, because I know it takes a lot of time and dedication to write quality articles and posts. I will never forget them, but I think its time I quit expecting them to come back. I'd really like to see Vintage Rock turn back into the place it once was. I really don't forsee that happening though. I do however think it is valid for me to keep up this blog in hopes I can inspire even one person to realize that MTV is not the only way to define one's musical tastes. I know its difficult, and takes a lot of research, but there are amazing bands out there just waiting to be discovered. And that is the purpose of this blog. I've never made one penny for running Vintage Rock, and that's okay. Its worth all the hard work when I hear one person say, "Hey, that band kicks ass!" So yes, if you like Vintage Rock and what we stand for, don't be afraid to comment on an entry or say hi on the tag-board. The more input from you readers, the more likely I am to be inspired to post more entries.
Anyway, I'm off my soap-box for today. I just thought I'd let you know that things are going to be a bit different here. I'm taking the focus off the side bar and deleting a lot of things I don't find relevant anymore.
Our Beloved Revolutionary Sweetheart closed with Lowery singing about how "Life Is Grand" in pointed response to "those of you who have appointed yourselves to expect us to say something darker." So when Key Lime Pie came out, its moodier music and imagery, not to mention that soon after the fact the band fell apart on the tour for the album, led more than one person to think those darker times had finally arrived. As it is, the group had already gone through one major shake-up between the two albums -- founding member Segel had taken a powder to concentrate on other efforts, with Morgan Fichter brought in as a replacement violinist. Her abilities were certainly praiseworthy, as the album-starting instrumental "Opening Theme" shows quite well. However, it's definitely not the same band that did Telephone Free Landslide Victory a mere four years previous -- things are more straightforwardly rock here most of the time, perhaps not too surprising in light of Lowery's subsequent work in Cracker. As it is, though, it's excellently conceived rock, with space, moodiness, and more to spare. Consider "Jack Ruby," with its wordless backing vocals, tense rhythms, and thick soloing, or "Laundromat" and its steady but unnerving crunch. It's not all potential melancholia, though -- "June" in particular is an underrated number, celebrating the early summer with sweetness and love (at least up to the increasingly stranger ending). Lowery's singing is his best yet, perhaps a little less prone to wackiness but an emergent, distinct voice all the same, and certainly prone to sing a quirky lyric or two still. The oddest thing of all was that the band actually gained a little mainstream attention on MTV and radio via a cover of Status Quo's psych-era nugget "Pictures of Matchstick Men."--- Ned Raggett