50 years ago, in 1968, Melanie released her debut album on Buddah. The following year she performed seven songs at the historic Woodstock music festival. Melanie shares stories of her beginnings and celebrates the 40th anniversary of her 1978 Phonogenic album. …
The post Fabulous Flip Sides – Melanie 50th Anniversary Interview and Woodstock appeared first on Goldmine Magazine.
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The Graham Bonnet Band’s second album “Meanwhile, Back in the Garage” sounds like the second coming of Alcatrazz. And it’s not that garagey! Mr. Bonnet tells Goldmine the scoop.
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À mon chevet is a series of posts featuring a quote from whatever book is on my nightstand at the moment.
Otherwise the Club was pretty much empty. For reasons of prestige, the top correspondents steered clear of the place anyway. A few businessmen, who came for the flavour pressmen give; a few girls, who came for the men. A couple of war tourists in fake battle-drill. And in his customary
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Originally born out of the New York punk rock scene of the mid-1970s, the band made a surprising shift toward more pop-oriented material on this album, a deft mix of new wave, pop and disco produced by Mike Chapman.
In a sense, that time has long passed: Blondie, like contemporaries such as the Cars and the UK’s earliest New Pop artists specialized in whipsmart chart music created by and for adults, a trick that has all but vanished from the pop landscape. Parallel Lines, however, is practically a blueprint for the stuff: “Picture This” and “One Way or Another” are exuberant new wave, far looser than the stiff, herky-jerky tracks that would go on to characterize that sound in the 80s; “Will Anything Happen?” and the band’s cover of the Nerves’ “Hanging on the Telephone” are headstrong rock; “11:59” does run-for-the-horizon drama, while “Sunday Girl” conveys a sense of elegance. The record’s closest thing to a ballad, the noirish “Fade Away and Radiate”, owes a heavy debt to the art-pop of Roxy Music.
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