After reuniting with Ultravox and recording an album together, Midge Ure is touring the U.S. for the first time in decades. While he is set to play in major cities for the bulk of his time in the states, Ure made a stop to perform at Bearsville Theater in the upstate New York town of Woodstock.
Before Ure made his way to the stage, his backup band, Right the Stars, also served as the opening act. The 80s-influenced group of young fellows won the crowd over quickly, reminding new wave fans that their music lives on. They carried the spirit of New Romantic with a bit of a modern touch.
The crowd at Bearsville was eager to see Ure perform, the ages ranged from longtime fans to youngsters who weren’t born before “If I Was” ruled the U.K. charts. Ure took to the mic with an all black outfit and quite stylish blood-red tie as he led off with “I See Hope in the Morning Light,” from his 1991 Breathe Album. Ure mixed classics from Ultravox, his solo work and his biggest Visage hit, “Fade to Grey” throughout his set. The selection did not feature all of the Ultravox chart-busters, although crowd-pleasing classics like “Vienna,” If I Was” and “Dear God” were among those highlighted. Ure, like many early new wavers, knew his concert-goers would appreciate some of his deeper cuts in between the ones he and his bands were most known for.
Ure is the kind of performer who does not need to move around stage or make dramatic poses to command an audience. He makes that kind of skill look simple as if the crowd is his from the first note. It was as evident at Bearsville Theater in 2013 as it was at Live Aid in 1985. Still, he was very personable with his fans at the show and his comical quips and anecdotes seemed genuine and not forced or generic.Concert-watchers responded vocally and with some rather snazzy dance moves in front of the platform.
For his encore, Ure treated his faithful with an acoustic version of “Do They Know It’s Christmas,” the song he co-wrote for the Band Aid project (of which he is the trustee).
Ure says he is very happy to be back performing on the western side of the Atlantic: “It has been fantastic so far, people are so incredibly gracious… incredibly warming.”
He also says he plans to get more things rolling with Ultravox: “That’s the plan… I’m not going to give up, I’m going to keep hacking away until it happens,”
Ure started his U.S. tour on January 9 at New York’s Iridium Theater and will be on the road through hsi January 26th show at the Del Rey Theater in Los Angeles, CA. The latter show is a special one-off with Bow Wow Wow and Gene Loves Jezebel.
The second night of Concrete Blonde’s December 2012 Eastern U.S. tour saw the band play to a crowd of fierce fans at New York City’s Irving Plaza. As the alt-rockers were hardly conventional from their Dream 6 days onward, the same can be said for their most devoted fans and what they want to hear. Knowing this, the band eschewed conventional concert wisdom when it came to arranging their show to reflect their most hard-core fans.
The opening act, Jim Bianco, was a jovial sort in a new-punk kind of way. He was funny, interacted playfully with the audience and performed powerfully during his one-man set. Bianco proved to live up to the raves he received from Johnette Napolitano during a recent interview on Revenge of the 80s Radio.
As most 80s-era bands would tend to lead off their set with a classic song, using their new music later in the set and saving their most popular one for last, Concrete Blonde went in an entirely different direction: they started with their newest single, the somber country ballad, “Rosalie,” followed it Midnight Oil’s “Beds Are Burning” (with a heavy guitar-driven sound led by James Mankey), went into the flip side of their new single, “I Know the Ghost” and then played their biggest chart-hit, “Joey.” This showed the genius of the band, as they were well tuned into what their most devoted fans wanted to see.
For the rest of the set, Concrete Blonde mixed original music from each of heir albums with rock classics laced with their own musical flavor. Napolitano meshed her dark, hypnotic dark vocal style with classics from the likes of Talking Heads, the Rolling Stones and their own 2004 cover of “Ghost Riders in the Sky.”
The band weaved in their most well-known tracks throughout the show, but closed out with an encore that pleased the crowd of their most dedicated fans immensely: the title track to their 1990 Bloodletting album.
Napolitano’s ability to match her voice with the character she is playing or the person about whom she is singing shines when she is on stage. She conveys sympathy as the girlfriend in “Joey,” power in “I Know the Ghost” and “Bloodletting,” comfort to the lonely cowboy’s girl in “Rosalie” and somewhat snarky pessimism in the band’s cover of Leonard Cohen’s “Everybody Knows.” On the axe, Mankey drove the set and its tempo as he seamlessly switched between more mellow and ultra-heavy guitar leads. His solos buzzed from the stage as a chainsaw would if there could be a chainsaw virtuoso that could also move the emotions of the people listening.
Of his first U.S. tour in over 20 years last year, Ivan Doroschuk said he had a blast performing his classic hits. Thus, it is natural that Love in the Age of War would be a virtual throwback to Men Without Hats’ years of early success, with high energy synth tracks reminiscent of Rhythm of Youth and Folk of the 80s (Part III). Back are the raw, upbeat keyboard melodies and bass lines that anchored the MWH signature sound as Doroschuk superbly employs his signature baritone voice, one-beat falsettos and ability to stretch out a one syllable word into several (‘everybody kno-o-ows”).
The lead track, “Devil Comes Round” hits the listener with early new-wave “space age” effects and retro-style pitch bending before Doroschuck’s booming voice comes in, a voice that mellows out a bit for “Head Above Water,” the first single from the album. The latter mixes a more modern pop approach to the classic MWH style. Those cuts are contrasted by the title song, which cunningly switches from the instrumentally raw (similar to the reprise version of “The Great Ones Remember” and “Things in My Life” from Rhythm of Youth) to a chorus that pays homage to the band’s Pop Goes the World and …In the 21st Century albums.
A master of the avant garde, Pascal Languirand brought his unusual brand of music to the mainstream in 1983 with “Living on Video” two years after writing it. Little did he know it would become a new wave dance classic. Nearly three decades later, Languirand brings his Trans-X project back to life with a new album, Hi-NRG.
After “Living on Video’s” international success, Languirand made the surprising move away from trying to produce hit music. In a recent interview on Revenge of the 80s Radio, he said he was not happy with the attitude of industry leadership: “all the record companies were mostly into selling a record fast and not developing an act… I got out of the music business altogether for about ten years.” Languirand continued to cerate pieces stemming from the cosmic genre he originated.
As innovative as Thomas Dolby was in the 1980s, his visionary edge to music and presentation continues to impress as the synth-whiz brings his latest imaginative concoction, a time capsule, on his current U.S. tour.
On March 29, 2012, Dolby brought his keyboards, band and his clever contraption to New York City’s Canal Room.
One might ask: “How might a man who became arguably the face of synth-new wave, developed an efficient music downloading format, blindsided fans with a superb eclectic new album and accompanied that with an interactive internet game top all of that?” Dolby’s longtime fans found out that night as the capsule rolled in, attached to the his tour bus after a stellar night of classics, stories and new music from the man who brought them tales of submarines, pirate twins and hyperactivity.
Over six years since her last new studio album, Kate Bush is back with 50 Words For Snow, a beautifully-composed set of tracks from one of history’s most unique musical minds combining wintertime imagery, romance, drama, wonder and a touch of whimsy.
Each of the seven tracks in 50 Words For Snow is chilling in its musical imagery, but with the comforting sounds of Bush’s teasingly enchanting voice. For the album, she recruited top-notch jazz-rock greats Danny Thompson (bass) and Steve Gadd (drums) to form a studio supergroup while some other famous friends made guest appearances.
The lead track, “Snowflake,” sets the tone of the album as Bush’s sensual vocals bring to life a calming snowfall mesmerizing an otherwise noisy town to a blissful serenity. We are also treated to Bush’s talented son, Albert, singing the high part. Each of the tracks continues the wintry theme as one naturally segues into the next. Bush’s haunting intro to “Lake Tahoe” brilliantly foreshadows her gently…
Julie Brown has been very busy over the years with video projects that it could, for some, be hard to believe that it has been 24 years since the release of her last full-length studio album. While she has won acclaim for several movie and television projects she created and starred in, it was comedy music that exposed the talented comedienne to the entire nation. Today, Julie Brown continues to be a master of the art of pop-culture parody. With her new musical re-release, Smell the Glamour: The Diamond Tierra Edition, Brown offers a stunning and hilarious mix of modern and vintage Julie.
It is difficult for an artist of the 1980s to break from being known mainly for his or her work during that era. Julie Brown could easily have remained content with being remembered for her video for “The Homecoming Queen’s Got a Gun” and her movie Earth Girls Are Easy. She could also have chosen to ditch her 80s Valley Girl-attitude character in favor of the flavorless comedy and musical styles seen regularly today. Brown did neither, with every post-Earth Girls project (Medusa – Dare to be Truthful, Attack of the 5′ 2″ Women, Strip Mall, etc), she incorporated some classic Julie with the new attitudes she found and lambasted. This is evident and exceptionally executed in Smell the Glamour.
Continue reading on Examiner.com Review: Julie Brown's "Smell the Glamour" has a zesty aroma - National Alternative Music | Examiner.com http://www.examiner.com/alternative-music-in-national/review-julie-brown-s-smell-the-glamour-has-a-zesty-aroma-review#ixzz1VK6HhUi0
Proving rumors of a new album to be true, original Cars members Ric Ocasek, Eliot Easton, Greg Hawkes and David Robinson (Benjamin Orr died as the result of cancer in 2000) release Move Like This, their first new album since their 1988 breakup.
Move Like This is less reminiscent of their more pop-oriented work from Heartbeat City and afterward, but more of a throwback to the band’s late 70s/early 80s raw Boston new wave sound. Thus us quickly evident in the album’s first track, “Blue Tip,” a funky-ish commentary on wannabes, conformity and current style fads “Well, keep your hat on backward and keep your lips tucked in/the world is full of quackers, and belly button rings.”
Part of what made The Cars special to their fans has been their ability to write and perform catchy tunes that switch from being synth-dominant and guitar-oriented, yet somehow keeping a consistent sound recognizable to music listeners as their own.. It would also seem that, by design, the band purposely triggers memories of past hits with the intros to some of the tracks: on example is the initial guitar riff in “Sad Song,” which sounds a lot like the intro to “My Best Friend’s Girl.”
Continue reading on Examiner.com CD Review: The Cars stay true to their original sound with Move Like This – National Alternative Music | Examiner.com http://www.examiner.com/alternative-music-in-national/cd-review-the-cars-stay-true-to-their-original-sound-with-move-like-this-review#ixzz1OtMYMF00
With her unmistakable voice and unique mixture of classic new wave and psychedelic guitar twang, Josie Cotton is back with her first album since 2007’s Invasion of the B-Girls. While that was comprised of covers from classic B-movie soundtracks, Cotton beguiles her fans with sultry, yet fun and danceable originals in her latest offering, Pussycat Babylon.
Cotton’s first track, “Calling All Girls,” sets up the rest of the CD quite suitably by introducing to the listeners aspects of what goes through her creative mind with lyrics describing kittens driving spaceships, dressing as a sexy x-ray technician and having Halloween killer Michael Myers as a boyfriend. While “Calling All Girls” features Cotton’s natural voice with 80s synth-lazer effects, the next track, “Recipe for Disaster,” is more guitar-heavy with some well-mixed vocal distortion and effects. The differences on the first two tracks alone prepare the listener for the rest of the album’s alluring combination of Cotton’s post-60s girl group influences,and her distinctive sound encompassing power-pop elements from the 60s, 70s and 80s.
A concert featuring one of new wave’s iconic bands with a new alt-rock supergroup sounds like an excellent way to spend an evening. That is what a huge crowd at New York’s Nokia Theater thought as well when Blondie brought its “Endangered Species Tour” with special guests (and Revenge of the 80s favorites) Gorevette to the corner of 44th and Broadway on August 31st. They were right.
Photos by Elizabeth Lynch
As Jack Hues said to me in an interview before 2009’s Regeneration Tour, Wang Chung is back and with a bit of a new sound. This year, he and Nick Feldman are headlining a tour to support their latest new EP, Abducted By the 80s, and two more being planned for later this year. With all the style and exuberance of their prime years and the several eclectic Post-WC musical projects between them, Hues and Feldman add more to the unique sound the band invented and became known for. They recently performed new tracks with some slightly-altered renditions of their classics at B.B. Kings Blues Club in New York City.
The Cowboy Junkies recorded their 1988 breakthrough album, The Trinity Session, on a minuscule budget and with one microphone inside an historic Toronto church. It is likely they did not at the time realize it would catapult them to having a following across the US and their native Canada that would travel with them for the next 23 years and beyond. Now and still together, the band continues to tour and record new music. On Saturday May 8th, they took the pilgrimage to the original Woodstock concert site at the Bethel Woods Center for the Arts and played in front of a sold-out crowd at its museum stage.
Melding two different eras of Detroit Rock and four very different stage personalities, Gorevette begins its first tour as a band after forming a year ago and playing several dates together in Detroit.
Expectations are high when a Detroit punk legend and a Motor City garage band queen team up to form an alt-rock supergroup. Gorevette, formed by Nikki Corvette (Nikki and the Corvettes) and Amy Gore (Gore Gore Girls), deliver solidly with their first EP, Lustfully Yours.
Photos by Elizabeth Lynch
Dave Wakeling’s English Beat rolled into the Mexicali Blues Cafe in Teaneck, New Jersey on November 22nd as part of his current North American Tour. After our recent interview with Wakeling on Revenge of the 80s Radio, we took the trip to see the last of his tri-state area stops in the current concert series.
Tha podcast edit for our 11/6/09 Revenge of the 80s Radio show is up and available at the end of this post.
This week, we are proud to present the World Radio Premiere of Louise Robey‘s new single: “A Woman Scorned.” I had the honor of Louise, Stan Schaffer, Fred Lauver (Manager) and Suzanne Tripaldi (Robey’s agent) offering us the opportunity to be the first to air this superb dance track. Our review on the song can be found in this post from earlier this week.
It was over two decades ago when The Little Girls took the LA new wave scene by storm — or natural disaster — with their hit “The Earthquake Song.” The video for their follow-up single, “How To Pick Up Girls,” was one of the first every played on MTV. Sisters Caron and Michele Maso electrified audiences with their dynamic performances during live shows and the group, which had more guys than girls, looked like they were on their way to alt-pop stardom. Unfortunately, their success was short lived as the band broke up after trying to sign up with a large record company in 1985, leaving music fans without a bounty of unreleased upbeat and energetic tracks that might have been lost forever until now.
Regeneration Tour 2009 rolled into New York on June 18th in front of a standing room only crowd at the Fillmore. This year’s lineup featured The Cutting Crew, Wang Chung, Terri Nunn & Berlin and ABC. The show show boasts great performances from top classic alternative artists with some new music and several interesting surprises.
Leading off the concert was Nick Van Eede and his new incarnation of the Cutting Crew. Van Eede and company brought with them a sense of humor throughout his set from playing along with some sound adjustment problems in the beginning to kidding around with the audience about their wanting to hear the more familiar songs. The band seemed to have a loose attitude on stage and played as if they were a free-wheeling 70s classic rock band. Four songs in, however, Van Eede reminded everyone at the Fillmore of why he is considered one of the better balladeers of the 1980s with his early hit “I’ve Been In Love Before.” This was after one of the band’s deeper cuts and a selection from their forthcoming Spectra records album (due out this fall) called “Shot of Democracy,” as the band tool a political tone here — a turn from their more romantic approach of the 80s and 90s. They saved their two most well-known hits for last as they played “One For the Mockingbird” before closing out with “I Just Died In Your Arms Last Night; the latter featured a more classic rock-reminiscent surprise guitar solo by Asif Illyas.
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Wang Chung to the stage next with their first appearance together in New York since 1987. Jack Hues and Nick Feldman reunited and are set to release their new album, Abducted by the 80s, in 2010. During our interview a few weeks ago, Hues indicated he and Feldmnan would take a jeans-and-acoustic approach to the Regeneration Tour; with that, the duo delivered a new hybrid of the Wang Chung fans know best and the eclectic musical backgrounds of both Hues and Feldman. They led off with “Don’t Let Go,” performing it with a blues/rock influence and a heavy guitar sound. Keyboards were again exchanged for strings in “Let’s Go,” which took surprisingly well to the different sound. The set seemed to be heavily influenced by the twosome’s post-Wang Chung projects, including Hues’ new jazz band, The Quartet. Old time fans, however, might remember the Huang Chung days of more guitar and percussion-oriented sound ahead of the keyboard stylings of the Points and Mosaic albums.
When Adriana Kaegi, the Original “Mama Coconut” and co-founder of Kid Creole and the Coconuts, was on Revenge of the 80s in March, we teased her upcoming album, TAG, which she recently released (our discussion can be found here).
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Adriana Kaegi’s career might be best described as that of a superstar NBA point guard who controls the game and makes his teammates better. It is arguable that there may never have been a “Kid Creole” without her; Adriana was the driving force behind The Coconuts and Boomerang, the trio she formed with Cheryl Lee Porier and Perri Lister. She has supported a vast array of musical acts though her voice, costume design, and choreography skills. As the President of Dear Addy Productions, Adriana showcases and publicizes work from other artists and top events. Now, with TAG, Adriana Kaegi is finally in the spotlight.
Adriana is a special performer in many ways: she is multi-lingual, has a beautiful speaking and singing voice, and adds a higher level of style and class to all of the projects she contributes to either out front or behind-the-scenes.
The band No Doubt seemed to be the stereotypical 90s “angst band” when they stormed the mainstream music scene with their release of 1995’s Tragic Kingdom album. Two prior releases, however, revealed the ska/post-punk roots of the band and their potential for a more esoteric mix of styles. Much of No Doubt’s work, in fact, was heavily influenced by classic alternative music of the 1980s. They later covered the Talk Talk hit “It’s My Life” with great chart success and homage to the original but not without their own stamp on the track. Another interesting 80’s band parallel is the concept of their “Don’t Speak” video being reminiscent of “Til Tuesday’s “Looking Over My Shoulder” where the band was upset with the music industry suits’ intense focus on the lead singer with little regard for the rest of the group and the subsequent guilt felt by the photogenic female lead.
The band took a short break in 2004, where Stefani found an interesting solo run, and reassembled in 2008. They are putting together a tour and upcoming album. One of their new projects is a cover of the Adam and the Ants classic “Stand and Deliver” intended for an episode of the “Gossip Girl” television show. While the expected skepticism over the woman who brought us “Holloback Girl” and the melodramatic “Don’t Speak” encroaching work by New Wave royalty is understood here, Stephani’s ability to cross several genres as a vocalist coupled with the band’s well-respected musicians should warrant an honest listen before visions of Celine Dion destroying Roy Orbison’s “I Drove All Night” dominate the collective wavers’ though processes. No Doubt should also be given positive credit for recording a real classic alternative tune and not going the “easy route” by re-hashing a proven U.S. hit like “Goody Two Shoes.”
Copies of the No Doubt recording of “Stand and Deliver” have leaked out and were the subject of a recent Rolling Stone magazine article. It is available on Youtube in some forms until site watchdogs remove uploads as they have in the past week (as of the time of this post, most of the quality uploads of the song have been eliminated).
Any Adam and the Ants song would be extremely difficult for the vast majority of today’s bands to perform mainly because of the unique style of “Ant Music” and the personality that goes into their creations. No Doubt was clearly up to the task: drummer Adrian Young matched the intensity of the African-inspired beats while Stefani shows another angle to her already-diverse repertoire. Her voice tackles the demands of emulating Ant’s chanting style as she adds her own melodic flavor to the chorus. While this reviewer had some doubts about No Doubt covering a song as important to the history of alt-new wave as “Stand and Deliver” is, the band actually adheres to what the title demands.
Adam Ant’s “Stand and Deliver” will continue to be the version preferred by purists, but No Doubt might be able to turn it into a huge mainstream hit as producers added several studio elements to appeal to the current club-going young music listeners. For them, it would be an improvement over a lot of what they have been fed by record label suits over the past many years.
Like the Beatles did when they were together, long-standing Irish band U2 understood that keeping up with musical trends did not have to mean they could not also evolve their musical talents and become leaders in the industry. There was a time when Bono Vox’s band could barely play their instruments, yet even then they were able to produce their own distinct sound. U2 has just released its latest offering to the public: No Line on the Hudson. The collection is produced by Brian Eno and Danny Lanois, who first teamed up with U2 for the band’s Unforgettable Fire album.
I had in the past been a critic of the band’s delving into a mix of pop-grunge and borderline AC-format music in the 1990s, but in hindsight that era seemed to be a creative bridge to some of their finer musical outputs like Atomic Bomb.
No Line of the Horizon offers its share of U2 signature sound mixed in with interesting ballads like “White as Snow” and “Moment of Surrender” as well as some treats for faithful U2 fans (“Stand Up Comedy” and “Breathe”) and the more pop-oriented tracks like “No Line on the Horizon” and “Get On Your Boots.” The CD rightfully places emphasis on U2’s greatest strengths: Bono’s passionate singing and spreading around the showcasing of each member’s musical talents. perhaps this is one of the things that kept the band around for so long in an era where creative differences and business squabbles have been the downfall of several potentially legendary groups.
As for the reception, many U2 fans have already picked up their treasure and raved about it on their respective chat boards and other internet forums while the entertainment media has offered mixed reviews form concurring with the big fans to a sort of “I’ve tasted better” reaction (in all fairness, it might be hard for U2 to match such efforts as The Joshua Tree or Atomic Bomb. Here are some different critics’ perceptions of No Line On the Horizon:
- Steve Latrell of the Las Vegas Music Examiner raves about the new album
- Dave Tianen of the Milwaukee Journal-Sentinel is cautious about calling the album a masterpiece, but credits its quality where due.
- Joey Guerra of the Houston Chronicle pays homage to U2’s drive and willingness to explore with their music on this and the other albums
- Gent Stout of the Seattle Post Intelligencer understands that this CD may take some a few listens before one can truly appreciate U2’s efforts here.
U2’s hardest fans will not be disappointed because, for them, it’s less about the music and songs than the effort, care and passion that U2 puts into them. I tend to agree with Stout on the “it takes some time” principle with this one, but everything that we all have come to kow and love about U2 is in there.
A musical master strikes again: Andy Prieboy has released three new tracks in addition to the five he previously put out, some of which were featured on Revenge of the 80s last month.
During our interview with Prieboy in November, he said he prefers to release music this way rather than in a regular album/CD format as most other artists do. The latest creations go from the tragic to the sarcastically celebratory.
With “From Pauper to a King,” Prieboy tells the tragic story of a man who had nothing, was blessed with riches and power and squandered everything through his own misuse of his gains. His vocals may sound dark and somewhat gothic on the surface, a few more listens to the track offer one a chance to empathize with the sorrowful figure — a talent that Prieboy has that had always solidified an edge to his music. His haunting keyboards in the background help bring out the feelings of the tragic figure as Prieboy adds references from Shakespeare and Ancient Mythology to strengthen his story.
While he made us sympathize with the man featured in “From Pauper to a King,” we get an opposite perspective in “Hearty Drinking Men.” The song starts off as reminiscent of the songs sung by soldiers and secret society nobles of the Middle Ages as they quaff several ales and bottles of rum, luring many of us to enjoy and sing along. As Andy reels the listeners in with a rousing French Horn sound and the first lines causing one to be thinking about raising a pint of Guiness with him, he quickly attacks with a left-hook of disdain toward modern drunkards who act like overgrown frat-boys with lyrics like “we’re happy, high Retard-ians” and later describing the harassment of a female Guatemalan doughnut shop owner. Listening to it a few times might remind some of us about our old College days. For others, it might have been last week.
Prieboy also released “Pricks Up Front Con Carne,” a new version of “Pricks Up Front” with an orchestral backing. It’s the same honest song with a more full instrumental backing that shows exactly how complex the former Wall of Voodoo frontman’s musical style is: one can put it to a rock, Americana, classical or most other genres and still have a high quality song without losing any of the intended effect or meaning to the work. Once again, Prieboy shows why he deserves a place among the great storytellers in American History — a list that includes not only musicians like Johnny Cash and Woody Guthrie, but other great writers like Mark Twain and John Steinbeck.
Edwin Vacek, who had previously crafted some interesting videos for Andy Prieboy’s new music for YouTube users, has two more. The first one is for “Hearty Drinking Men:”
This one is for a song not yet available for sale on Andy Prieboy’s site. This is “The Fate Awaiting Thee:”
As always, great work, Edwin!
The leader of the 80s girl band movement has teamed op with one of another top Detroit rocker to form a new superband: Gorevette. Nikki Corvette, known best as the leader of Nikki and the Corvettes, and Amy Gore, who started the Gore Gore Girls are now together with Bassist Lianna Castillo and drummer Al King to form a band reminiscent of the classic Detroit sound that Nikki, The Stooges, MC5 and The Ramrods introduced to the rest of the nation in the late 70s and early 80s — a sound that has regained its popularity in recent years.
At this time, three Gorevette tracks are available on the band’s MySpace page and they do not disappoint fans of either of the founders’ former bands. First, “Fake It” does not fake it. Gore’s hard, driving guitar and Castillo’s firm bass set the tone for what one can expect from the band. The two played together in the Gore Gore Girls and display the great musical chemistry needed between string-mates. King, the lone male, is a quick and skilled drummer.
While “Fake It” has the feel of the ladies’ more modern work, “Lustfully Yours” and “Let’s Rock” bring back the 1979-81 feel of Nikki and the Corvettes with Nikki’s “vox” style of that time sparking memories of “He’s a Mover,” “I Wanna Be Your Girlfriend” and her many other classics. She was one of the first to show that women do not have to sing wimpy “why did he leave me?” songs and inspired several great female rockers in the process. The band blends so well it would seem they were destined to play together at some point in time. This observance concurs with a group history post on Gorevette’s MySpace page:
When Robert Matheu of Creem Magazine introduced the two at Spaceland in Los Angeles in 2004, stars aligned. Corvette and Gore quickly became kindred spirits and started writing songs together once Corvette moved from LA to Detroit in 2005. What resulted becomes part of Detroit’s new R’n’R era
Gorevette is essentially a combination of the styles of Nikki and the Corvettes and the Gore Gore Girls, merging the classic hard-but-fun sound of Detroit’s 70s and 80s rock scene with the faster, heavier Motor City rock sound of today. The combination of talent here may very well be ushering in a new chapter in rock history.
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While political pundits talk about what they call an historic U.S. election, music history will be made as well this week: Andy Prieboy‘s latest song, “Shine (Red Bead Follows Blue)” will premiere on this week’s Revenge of the 80s Radio show. Prieboy had recently released four tracks to his long-awaited collection; we reviewed them here. As for the music history-making part: this song will also feature Stan Ridgway on harmonica. This marks the first time both former Wall of Voodoo frontmen performed on the same song.
Like much of Andy Prieboy’s work, the song is dynamic, fuses several genres and utilizes the music to help tell the somber story; helping the listener imagine they are in the body and surroundings of the person he sings about. Combined with Ridgway‘s harmonica, “Shine” offers the talents of two musical masters while Prieboy conveys the pain of the piece’s sympathetic subject in such a manner that it can be felt thoughtfully by the listener. All of Prieboy’s long-awaited new work is both masterful and insightful and recommended highly by Revenge of the 80s Radio.
Prieboy will also be a guest on an upcoming Revenge of the 80s Radio Show. Ridgway appeared with us earlier this year.
Revenge of the 80s host Chris Cordani and Associate Producer/Blog Photographer Elizabeth Lynch will head to Jones Beach tomorrow night to cover the Regeneration Tour’s stop in the NYC-Metro area.
We will post a review of the concert on Saturday and a special picture highlight page will be up over the weekend.
Ticket information for the August 22nd show at Jones Beach and future dates through August 31 is available on the Regeneration Tour’s website.