Pitchas A Comin' and Kenny in the House
I just expanded the number archives to 5, but I'm greedy, I need more. I want pictures, theatere pictures, pictures of plays, of people, of pets, of anything involving Theatre or its people, I'll scan the pictures and return them in a day. That's my promise to you. Also, in addition to our new format, I have also included a link on the main page that advertises Men Who Look Like Kenny Rogers.com, the newest fad site that I'm trying to promote, it's really well-designed and a novel concept. Everybody should visit, dig?Album Review: "The Best of The Velvet Underground: Words and Music of Lou Reed" by The Velvet Underground
Let me explain to you how I got this tape, a fellow at Half-Price-Books handed it to me (When you go as much as I do, you don't shop, they save stuff for you). The tape was warped, the holes were turned into ovals, the tape was cracked, it was covered in gunk on one side, discolored on the other. I knew this was a REAL Velvet Underground tape. As I sunk into the seedy underground balladry, this tape affirmed all that Lou Reed can be and all his solo career wasn't. The tape dumps you into the mind of Lou, where young Bodivistas struggle towards a state of "All Right"-ness, life is a drag, and there's always a morbid old sun to light your path. It begins with the bluesy, "Waiting For the Man," where the black alter-ego Reed developed in his solo career first comes into play. Great easy-going songwriting. After the sub-par femme fatale (Not the fault of the VU, I blame Nico, the annoying female vocalist they dumped after one album), the frantic, demi-twangy "Run, Run, Run" sets the stage for what is to come (And is their first Rockabillyish song). "Herion" is THE VU song. This meditative look into the mind of an H addict is noticeably devoid of "All Right"-ness, the subtle twang of fingerpicking, hyperact -ively skippy rhythm, Beatish lyrics, etc. make it stick in your head without a great hook or any other pop staples. Ignoring more Nico crap, we come to White Light/White Heat, a feindish little rockabilly song, then "Stephanie Says" shines as their first jab at the upper-middle class. It works well without being pretentious or whiny, it lets the irony tell the tale. Onto side B with the pleasent rocker: "What Goes On," then the emotive ballad "Pale Blue Eyes." It shines as their only real love song, and damn does it work, so tender and emotive, Cash and Springsteen would be jealous. The fact that Reed makes this is all the more impress -ive. Then, "Begining to See the Light" an odly positive tune that works well on its own or as a contrast, where Reed meets himself and assures us that it was, indeed, "All Right." Then comes I can't stand it, another great rocker, Stephanie's sequal "Lisa Says," the story an equally del -usional escapist. Then, they rock hard on sweet jane, and end with Rock and Roll, probably one of the most fun songs on an album that seems to be the anti-fun. The sound is great. Excepting Nico, they all play well, twanging away on Gretsches (Which fit their sound so much better than the Strats Reed used later). They show an amazing amount of restraint and ensamble for and indie band. I would give them a five, but for being for to listen to Nico, I give them a: SCORE:
.5 of 5 penguins.
Haiku For the Taco Bell Chicken Quesedia (Corporate Whore Edition)
Feat of Strength #17
The Feat of Strength competition is a test to see how ballin' my Thespian brothers are. Each week's winner (The first to mail me the correct/best answer) will recieve a nominal prize. This week's prize is: Two Rare Pieces of Dirk Keaton Memorabelia (Not Spelled Right) This week's MATH feat is: If a stich in time will save nine. A stitch in X will save ten. (You have until next 0600 Thursday GMT (Or midnight Wednesday, here), or more likely, whenever the hell I get to making a new newsletter (My release dates are bad, but they ain't worse than Spence), to e-mail me the answer.Until Next Week... Have fun and give it up to the Dutch.
