Tame Impala and Flaming Lips are set to record an EP together.The band will cover two of each others’ tracks for a four-track vinyl EP, which will be sold at the shows the bands are joint headlining in October and November in Boston, Philadelphia, New York and Columbia.“…doing a Tame Impala does Flaming Lips songs and Flaming Lips do Tame Impala songs 4 song vinyl!!,” Wayne Coyne wrote on Instagram under a photo of lyrics to Tame Impala’s track “Runway, Houses, City, Clouds”.Pitchfork report that for the EP, Flaming Lips have covered Australian psych rockers’ ‘Runway, Houses, City, Clouds’ and Tame Impala appear to be doing The Flaming Lips’ ‘Are You a Hypnotist?’ and ‘Silver Trembling Hands’ – covers they have recently been testing out in a live setting.Tame Impala’s Kevin Parker recently admitted the idea of recording a follow-up to 2012’s ‘Lonerism’ doesn’t excite him. Asked what the next album will sound like, Parker responded: “Right now, doing another album doesn’t excite me. There’s something narrow-minded about thinking an album is the only way you can put out music, especially in the world we’re in at the moment. Anything is possible. There’s so many people doing interesting things with the internet and technology, there could be so many ways of making music and listening to it.”
Flaming Lips meanwhile, are working on an “extended play 6 song thang..” to go with the track they’ve written for the upcoming film adaptation of military science fiction novel [i]Enders game[/a], Coyne recently tweeted.
Julian Casablancas interview
An interview with Julian and Alex in Australia during the Phrazes Tour on Nova 96.9
02 Nov 2013
Du Arena, Abu Dhabi, United Arab Emirates
30 Nov 2013
Perth Arena, Perth, Australia
04 Dec 2013
Adelaide Entertainment Centre, Adelaide, Australia
06 Dec 2013
Rod Laver Arena, Melbourne, Australia
07 Dec 2013
Rod Laver Arena, Melbourne, Australia
10 Dec 2013
Arena Brisbane, Brisbane, Australia
13 Dec 2013
Allphones Arena, Sydney, Australia
Gone But Never Forgotten
Charismatic, enigmatic, Michael Hutchence was the personification of the classic rock and roll star and, seemingly, had it all. His death in 1997 robbed the world of a unique and fragile talent. ‘The Loved One’ traces Hutchence and INXS’ rise from obscure Sydney bar rooms and clubs to stadiums all over the world. Featuring interviews with many of Hutchence’s close friends and contemporaries, the film sensitively investigates the pressures and demons that spurred his success and ultimately led to his spiral into depression and eventual death. Featuring stunning footage of Michael performing on the stages of the world, ‘The Loved One’ is a poignant and ultimately uplifting tribute to both the singer and the band.
Michael Hutchence – The Loved One / Documentary [5 videos]
Fans Tributes – Gone But Never Forgotten, I
1960 – 1997
Uploaded on Nov 22, 2011
Gone But Never Forgotten, II
1960 – 1997
Everything (we did for each other)
The early nineties saw a brief overlap of musical tastes within the heavy rock genres, and by this point the grunge sounds of alternative rock had crossed-over to mainstream popular eighteen months earlier, and the hard rock/heavy metal/glam metal bands of the late eighties were coming to the end of their reign. At the top of the bill of a hard rock showcase’s most memorable concerts was the band who, along with Nirvana, could lay claim to the title of Biggest Rock Band in the World in 1992, Guns ‘n’ Roses.
When they arrived in Australia in 1993, the american band Guns ‘n’ Roses were bigger than any stadium. So they played racetracks, exceeding the noise mere cars could make with their epic head-banging rock. At Calder Park, 75,000 people turned up on a stinking 42-degree day to see charismatic singer Axl Rose rip through hits from the group’s million-selling albums “Appetite for Destruction,” “G N’ R Lies” and “Use Your Illusion.”
It was a brilliant disaster, culminating in a State Ombudsman report to Parliament. The Calder Park gig was pure chaos. Women were forced to urinate on the ground in view of other concert-goers, one teenager became comatose after her medication was confiscated by security guards and there was no shade for volunteer first aid staff treating the 1,726 people who became dehydrated — a severe shortage of drinking water forced people to sip from toilet water supplies. Finally, police argued with public transport officials after thousands were stranded and later dumped in the city late at night.
Guns ‘n’ Roses had evolved from a raw L.A. based five piece amalgam of Rolling Stones/Aerosmith blues-based riff rock, classic heavy metal, and punk fury, to a bloated but polished stage show augmented by a keyboard player, female backing vocalists, and a horn section, mixing intricate big production numbers and ballads with their original frantic hard rock.
The band’s highly anticipated twin album set “Use Your Illusion I & II” had been released in September 1991, and two months later founding member rhythm guitarist Izzy Stradlin left the band, taking with him his songwriting talents and raspy backing vocals as well as his Stones/Faces style rhythm thrust. He was replaced by the similarly imaged Gilby Clarke, who along with keyboard player Dizzy Reed was added to the core of lead guitarist Slash, drummer Matt Sorum, bass player Duff McKagan, and frontman/vocalist Axl Rose. Rose’s ego had spun so far out of control by this point that he travelled separately from the rest of the band, and it was rumored that he was helicoptered in at the last minute especially for this performance.
The day of the gig was a scorching 42 degrees celcius in Melbourne, and the punters in the shadeless, open raceway sweltered in long lines for expensive bottled water and inadequate toilet facilities, as local sleeze-metallers Pearls and Swine opened the days proceedings, featuring their current single “Where Can I Get Arrested”. They were followed by the reformed Rose tattoo, led by Angry Anderson, who were a leading influence on the formative Guns ‘n’ Roses. GNR had included a cover of the Tatts’ “Nice Boys (Don’t Play Rock ‘n’ Roll)” on their “Live Live a Suicide” EP and “GNR Lies” album, and that song was performed on the day by Rose Tattoo. After a strong set including the classic “Bad Boy For Love”, the Tatts’ struck up to play “Nice Boys” just as lightning cracked in the sky behind them.
The change came in the break between Rose Tattoo and Skid Row, the pouring rain turning the banks of the raceway to mud, adding the spectacle of sliding headbangers to the day’s entertainment, along with calls of “more tits, more tits” in response to the dampened T-shirts of female punters. Skid Row, led by the giant frontman Sebastian Bach with his flowing blonde locks, played an awesome set of classic heavy metal – showcasing their current EP, “B-sides Themselves” along with many songs from the brilliant “Slave to The Grind”, as well as the hits from their 1989 debut, such as “I Remember You” and “18 and Life”.
As day became night, Guns ‘n’ Roses took the stage in a blaze of their classic-era glory with the anger of “Welcome to the Jungle”, and the heavy-groove-crunch of “Mr Brownstone”. The super-charged dramatics of the Paul McCartney & Wings James Bond theme “Live and Let Die” followed, before McKagan injected a dash of punk with his furious Misfits cover “Attitude”. “Patience” and “Civil War” were well-received classics, before Rose took to the piano for “It’s Alright” and “November Rain”. Drum and guitar solos bookended the hard rocking first “Illusion” single “You Could Be Mine”, followed by the breakthrough hit “Sweet Child O’ Mine” which was met with a huge response from the massive audience. Another cover closed the main set, the live favorite, Dylan’s ”Knockin’ on Heavens Door” (with an intro from Alice Cooper’s “Only Women Bleed”). Two more big GNR classics provided the encores, the ballad ”Don’t Cry” and “Paradise City” which gave an appropriate climax to the show. The long commute home as thousands piled out of the arena simultaneously for a packed car-pack and under-supplied buses, is best forgotten, but the day’s music will live in legend.
The Illusion toured finally came to an end in July at Buenos Aires after 28 months and 194 shows, and was the last time the original Guns ‘n’ Roses performed together. The covers album “The Spaghetti Incident” appeared later in the year, but the magic was gone and Guns ‘n’ Rose splintered and fragmented, with Rose continuing the name with Reed and a host of new musicians. Slash officially left the band in 1996, and McKagan finally announced his departure in 1997, however the band had been inactive since 1994.
In 2007 Guns ‘n’ Roses announced they were back for a June concert at Rod Laver Arena. As they did 14 years ago, rockers Skid Row and local heroes Rose Tattoo supported the controversial L.A. band who fell apart in spectacular fashion and haven’t released a studio album since 1991.
They announced a world tour which went by the name of the album that Rose — the only original member of the line-up that went to Australia — has dabbled with for more than a decade: Chinese Democracy.
Even by the record industry’s standards of insanity, ego and excess, the estimated $18 million that had been sunk into “Chinese Democracy” was a stunning achievement. Producers and executives despaired as Rose retreated to his Malibu mansion full of snakes, religious paraphernalia and weaponry. He became a recluse, reportedly sleeping all day, looking up his name on the internet and communicating almost entirely by email.
An internet post from the band’s tour manager announcing — not for the first time — that “recording for the album has been completed”.
But Rose has been active. Guns ‘n’ Roses played 80 shows on the first leg of their world tour. Only two needed to be rescheduled, said local promoter Paul Dainty, who was confident cancelled tours, false starts and no-shows were behind them.
“There’s no question as to their reputation (but) that’s more in the past,” he said. “They’ve done 80 shows in the northern hemisphere … that’s proven they can do it.”
Few bands have experienced as tumultuous a history as Guns ‘n’ Roses, yet its millions of fans witnessed the rise, fall, and stunning rebirth of the most notorious rock and roll band of the 1980s.
Official music video of Sweet Child O’ Mine, Guns n’ Roses. Remastered in Widescreen and High Definition (HD)
AS the months go by it becomes even clearer that Ashes & Fire, the album Ryan Adams released last year, is not just one of the best of 2011 but a classic album, full stop. It’s one that will be played and cherished for decades to come.
This performance at the Concert Hall will acquire mythical status: one of those “Were you there?” concerts like Dylan at Brisbane’s Festival Hall in ’66 and Leonard Cohen at the Entertainment Centre in 2009. This was songwriting and performance from the very top of the highest shelf.
Along with just his vintage guitars, harmonica and piano, he held a capacity audience spellbound. This was one of the best songwriters to emerge in the past 20 years, someone who writes with the enduring power of a Dylan or a Cohen, pouring his heart out in one timeless song after another.
Along the way he ranged from sublime versions of Ashes & Fire material such as Dirty Rain and Chains of Love, and back to songs from his early band Whiskeytown like 16 Days.
Sometimes it can be a trial to go to a show and have a disrespectful crowd natter away during the perfomance. There was no danger of that here, with the audience willing him on to deliver the kind of show that could match the power of his songcraft. Apart from Adams himself you could hear a pin drop as the audience drank up every word and note.
Over the years Adams has sometimes been a difficult character onstage, upset by calls from the audience, lights or other distractions. This time getting the tuning on his guitars just right proved difficult, although he soldiered through that and was in chatty good humour, at one point (apparently) improvising a possible heavy metal number, The Lair of the Minotaur, at another relaying an imagined meeting of returning from the gym to run into his guitar called Buck.
The jokes were good but it was the quality of the songs and that voice which brought everyone there. He opened with one of his best-loved songs, Oh My Sweet Carolina, played so quietly and intimately that the you felt drawn ever closer to him.
Adams started with the bar set high and kept it there, from an extraodinary version of Do I Wait from Ashes & Fire through old friends like Firecracker and My Winding Wheel, or interpreting New York, New York at the piano. And he made Come Pick Me Up sound as fresh as if he’d just written it at the soundcheck.
Some singers have great range, great technique, an inbuilt soulfullness. Adams has that plus what only the truly great ones have, a voice that just cuts through and connects with the listener in the head, the heart and the guts. The lucky ones at this show will be telling people about how they witnessed it for years to come.
March 02, 2012