I have spent tons of money on music... first with vinyl albums and 12" singles, then CDs. Often, I bought the CD version of the album, especially if there were bonus songs on it. I love my IPOD and use it everytime I am at the gym. Still, I have been slow to adapt to digital music. I know that it is the direction of the industry, and that CDs will become less and less popular. But there is something I enjoy about having something tangible. I like the album/cover art and liner notes -- and the fact that I will still have the music should my hard drive crash. As a result, I find myself buying used CDs vs digital music -- often times, I can get the CD less expensive than the digital version - especially if the album has been out for a while. Amazoncom loves me, and I love Amazon.com back as that is where I purchase and sell my music. Everyone expected vinyl records to become valuable once CDs took over but that didn't happen - aside from music that never made it CD. And it doesn't look like CDs will become valuable as they disappear - unless it never gets licensed for digital use.
I have way too many CDs and need to pare down as I don't really listen to them. My idea was to rip them to my computer, then sell the CD for whatever I could get. Of course, I would hold onto CDs that were out of print or had special meaning to me. I spent $1500 on a metal locking cabinet to hold the 2,000 CDs I have. Probably a waste but it does look nicer in the living room than open spinning towers. Alas, even with being unemployed I have not ripped many CDs -- I wish there was a device I could load 100 CDs at a time and have it automatically rip into digital files. I would definitely invest in that!
Friday, September 25, 2009
Wednesday, September 16, 2009
415 Records Concert
Over Labor Day weekend, I got to check out a few of the influential bands that were on 415 Records in the early to mid-80's. The bill included Wire Train, Translator, and Deborah Iyall from Romeo Void. Romeo Void's Benefactor album and Never Say Never EP were records I played a lot in 1983 - 1984. That album was incredible as it really had a defined sound -- part punk, part new wave with a dash of sax. Incredible album. And Wire Train's first record, "In A Chamber" is infamously great. In 1995, a CD was released that contained Wire Train's first 2 albums, and soon after went out of print. This CD which I have a copy of, sells for $80 - $200 on Amazon.com or eBay. Luckily, I have 2 copies, but will probably sell one for fear that another label like Rhino will pick up the rights to redistribute the album.
Deborah Iyall was great -- she did a new song, plus many Romeo Void classics. Her personality was huge - and made the show fun.
Translator was good, but I only knew one of their songs.
Wire Train was good too, but the lead singer's voice wasn't as sharp as it had been. Still, I was greatful to see this band live having waited 25 years to see them!
Deborah Iyall was great -- she did a new song, plus many Romeo Void classics. Her personality was huge - and made the show fun.
Translator was good, but I only knew one of their songs.
Wire Train was good too, but the lead singer's voice wasn't as sharp as it had been. Still, I was greatful to see this band live having waited 25 years to see them!
Friday, July 24, 2009
Not just about Concerts
Before I continue on the Concerts track, I figure I should cover something about the other topics in my blog description - 80s and Britpop.
My taste in music seems to change as I age for better or for worse:
teens: classic rock/ heavy metal
college: new wave/ hardcore punk/ 80s alt./dance
20s - 30s: indie rock/ dream pop/ house/ electronica/ britpop
40s: alt rock/some new music but mostly relistening to prior favorite music
The genres I listened to and saw the most live shows were 80s and Britpop/Indie Pop. Britpop bands like House of Love, Adorable, Charlatans UK, Chameleons, Wonderstuff, Ned's Atomic Dustbin, Jesus Jones, Inspiral Carpets, The Shamen, Happy Mondays, Ride, Stone Roses plus many classic Brit modern rock/dance bands like New Order, the Beloved, Joy Division. ....bands that were popular in the 80s to 90s before Grunge/Alt Rock/ Electronica became the big sounds. Many of these bands didn't achieve popular success and as a result won't even bother trying to reunite to cash in on all the middle-aged folks looking to relive the past. Music evolves and people look for the next new sound/group. I often wonder what do all these bands do after their short-lived careers? Do they teach music? Or hold a job in the music industry? Or are they over it all and move on to an entirely different career?
My taste in music seems to change as I age for better or for worse:
teens: classic rock/ heavy metal
college: new wave/ hardcore punk/ 80s alt./dance
20s - 30s: indie rock/ dream pop/ house/ electronica/ britpop
40s: alt rock/some new music but mostly relistening to prior favorite music
The genres I listened to and saw the most live shows were 80s and Britpop/Indie Pop. Britpop bands like House of Love, Adorable, Charlatans UK, Chameleons, Wonderstuff, Ned's Atomic Dustbin, Jesus Jones, Inspiral Carpets, The Shamen, Happy Mondays, Ride, Stone Roses plus many classic Brit modern rock/dance bands like New Order, the Beloved, Joy Division. ....bands that were popular in the 80s to 90s before Grunge/Alt Rock/ Electronica became the big sounds. Many of these bands didn't achieve popular success and as a result won't even bother trying to reunite to cash in on all the middle-aged folks looking to relive the past. Music evolves and people look for the next new sound/group. I often wonder what do all these bands do after their short-lived careers? Do they teach music? Or hold a job in the music industry? Or are they over it all and move on to an entirely different career?
Thursday, July 23, 2009
Concert #8 - Soft Cell
Soft Cell, London, 2001
Marc Almond, San Francisco Pride, 2003
My most extravagant concert experience in terms of travel/cost was flying to London to see the Soft Cell reunion shows. I was a big fan of Soft Cell, and bigger fan of Marc Almond's solo work. I never saw Soft Cell before they disbanded in 1984. Their reunion show (actually two shows) after 17 years apart was held in London at a new venue called the Ocean. Airfares were unusually low as it was shortly after 9/11 -- so I decided to do a 4-day weekend trip to London to see them. The show was amazing, and the crowd was very much into them. After the show, in the rainy, cold weather outside, the venue had a fireworks display to celebrate its grand opening and a huge display that said "Thank You".
Fast Forward one year -- a coworker of mine was an active member of SF Pride. I inquired about how they select performers and suggested Marc Almond may be a good choice (not just because I wanted to see him perform but that he has done Pride events in London). He connected me to the SF Pride entertainment director who asked if I have an "in" with Marc Almond's management. I didn't but I sent an email to Marc's manager, inquiring if Marc would be interested. His manager replied "Yes if terms are right" so I connected him with the SF Pride Entertainment Director and as luck has it -- a deal was reached. Given my involvement, the Entertainment Director asked if I wanted to be the SF Pride Handler for Marc during his stay. My job would be picking him up in a limo at SFO, checking him into his hotel, making sure he attended a couple Pride-sponsored events, coordinating his trip to Civic Center on day of performance, and then making sure he made it back to SFO for his flight. Needless to say, I was non-stop ecstatic dancing about all of this.
His manager arranged for Marc to perform at Club Universe the night before, so I went and got up close to the stage. During his performance, he recognized me in the audience and inbetween lyrics, pointed at me, and said "Greg!".
Meeting Marc and his manager, accompanying around town in a limo and actually chatting one-on-one with him was a dream come true. He signed memorabilia I had including his Autobiography, and wrote kind words thanking me. And he was kind, friendly and sincere -- someone I will always remember!
PS -- I repeated my "Handler" activities for SF Pride for Jennifer Holliday and Graham Norton, who I even got to ride in his car in the Pride parade.
Marc Almond, San Francisco Pride, 2003
My most extravagant concert experience in terms of travel/cost was flying to London to see the Soft Cell reunion shows. I was a big fan of Soft Cell, and bigger fan of Marc Almond's solo work. I never saw Soft Cell before they disbanded in 1984. Their reunion show (actually two shows) after 17 years apart was held in London at a new venue called the Ocean. Airfares were unusually low as it was shortly after 9/11 -- so I decided to do a 4-day weekend trip to London to see them. The show was amazing, and the crowd was very much into them. After the show, in the rainy, cold weather outside, the venue had a fireworks display to celebrate its grand opening and a huge display that said "Thank You".
Fast Forward one year -- a coworker of mine was an active member of SF Pride. I inquired about how they select performers and suggested Marc Almond may be a good choice (not just because I wanted to see him perform but that he has done Pride events in London). He connected me to the SF Pride entertainment director who asked if I have an "in" with Marc Almond's management. I didn't but I sent an email to Marc's manager, inquiring if Marc would be interested. His manager replied "Yes if terms are right" so I connected him with the SF Pride Entertainment Director and as luck has it -- a deal was reached. Given my involvement, the Entertainment Director asked if I wanted to be the SF Pride Handler for Marc during his stay. My job would be picking him up in a limo at SFO, checking him into his hotel, making sure he attended a couple Pride-sponsored events, coordinating his trip to Civic Center on day of performance, and then making sure he made it back to SFO for his flight. Needless to say, I was non-stop ecstatic dancing about all of this.
His manager arranged for Marc to perform at Club Universe the night before, so I went and got up close to the stage. During his performance, he recognized me in the audience and inbetween lyrics, pointed at me, and said "Greg!".
Meeting Marc and his manager, accompanying around town in a limo and actually chatting one-on-one with him was a dream come true. He signed memorabilia I had including his Autobiography, and wrote kind words thanking me. And he was kind, friendly and sincere -- someone I will always remember!
PS -- I repeated my "Handler" activities for SF Pride for Jennifer Holliday and Graham Norton, who I even got to ride in his car in the Pride parade.
Wednesday, July 22, 2009
Concert #7 - Sisters Of Mercy/ Killing Joke
Sisters of Mercy, Chicago, 1991
Killing Joke, Chicago 1991
I'm covering two concerts here because they were close in dates to each other and both at the Riveria theatre.
First up, Sisters of Mercy, the first time I saw them. Of course, the audience had a huge Goth contingent and the heavy use of fog from the stage enveloped the audience. The audience went wild with the opening riff from the first album's title track, First and Last and Always. But what set this concert apart for me is that it is the concert where I actually feared for my safety. Why? In the audience, behind me, were members of a rough biker gang. They were rowdy and loud. Their idea of entertainment was to buy cups of beer and chuck them over my head into the audience, and to go up to people and shove them from behind. They pushed the person behind me and he fell into me. I turned around, looked at the biker guy and said "What's the problem here?". He replied "Problem? There's no problem. Is there a problem?" baiting me to engage in dialog. I turned back around and the girl I was with said "I don't have a good feeling, let's just stand somewhere else." Which is all well and dandy, since I am not a fighter - much less against a biker guy decked out in leather and missing a few teeth.
Killing Joke was noteworthy because the show started late, very late. Supposed to start at 8:00pm, the band came on at 11:00pm to an audience that was tired of waiting. They started and it was clear that more than a few members of the band were under the influence of drugs, and the band sounded like crap. After three songs, we were so disappointed in the sound, we left. I refused to see this band again on future tours.
Killing Joke, Chicago 1991
I'm covering two concerts here because they were close in dates to each other and both at the Riveria theatre.
First up, Sisters of Mercy, the first time I saw them. Of course, the audience had a huge Goth contingent and the heavy use of fog from the stage enveloped the audience. The audience went wild with the opening riff from the first album's title track, First and Last and Always. But what set this concert apart for me is that it is the concert where I actually feared for my safety. Why? In the audience, behind me, were members of a rough biker gang. They were rowdy and loud. Their idea of entertainment was to buy cups of beer and chuck them over my head into the audience, and to go up to people and shove them from behind. They pushed the person behind me and he fell into me. I turned around, looked at the biker guy and said "What's the problem here?". He replied "Problem? There's no problem. Is there a problem?" baiting me to engage in dialog. I turned back around and the girl I was with said "I don't have a good feeling, let's just stand somewhere else." Which is all well and dandy, since I am not a fighter - much less against a biker guy decked out in leather and missing a few teeth.
Killing Joke was noteworthy because the show started late, very late. Supposed to start at 8:00pm, the band came on at 11:00pm to an audience that was tired of waiting. They started and it was clear that more than a few members of the band were under the influence of drugs, and the band sounded like crap. After three songs, we were so disappointed in the sound, we left. I refused to see this band again on future tours.
Tuesday, July 21, 2009
Concert #6 - The Cure
The Cure, Chicago, 1989
A long time fan of the band, The Cure, I saw them for the second time on their "Disintegration" tour - and they sold out 2 nights at the Rosemont Horizon (20k seats). Disintegration is considered to be one of their best albums. My friend scored 10th row center seats. The stage set was a multi-media visual combined with medieval castle and bellfry set complementing the band's goth look and music. While nothing unusual happenned, the performance - lights, stage show, music - was simply amazing and The Cure played 2.5 hours. Again, seeing a band at their musical high made this concert noteworthy.
A long time fan of the band, The Cure, I saw them for the second time on their "Disintegration" tour - and they sold out 2 nights at the Rosemont Horizon (20k seats). Disintegration is considered to be one of their best albums. My friend scored 10th row center seats. The stage set was a multi-media visual combined with medieval castle and bellfry set complementing the band's goth look and music. While nothing unusual happenned, the performance - lights, stage show, music - was simply amazing and The Cure played 2.5 hours. Again, seeing a band at their musical high made this concert noteworthy.
Monday, July 20, 2009
Concert #5 - The Smiths
The Smiths, 1986, Milwaukee & Chicago
The Smiths are my all-time favorite band, and when they toured in support "The Queen Is Dead". I gave away my waiter shifts for the entire weekend (when you make the most tips) so I could see them first in Chicago and then the next night in Milwaukee. In Chicago, the sold-out crowd at the Aragon Ballroom had pent up anticipation so when the opening band finished their last song, the crowd surged toward the stage, toppling folding chairs set up as floor seating and crushing people up against the stage. My friends and I balanced on top of chairs -- I'll never forget Morrissey draped over a floor monitor thrashing gladiolas as he sang "I'm alone, I'm alone, I'm alone, and I never ever had nobody ever". The crowd was crazy.
Milwaukee's performance was at the Performing Arts Center, a stark contrast to the Ballroom setting in Chicago. Red plush velvet seats in an acoustically perfect, modern venue. We had seats 11 rows back and I wanted to be closer, much closer. After their first song, Morrissey said "Please don't be shy, come forward" and with that I climbed on top of and over seats and made my way right up against the stage, which had no bouncers in front of it (they were at side stage). I was wearing a Morrissey t-shirt a friend brought back from London for me, which had a picture of Morrissey holding a typewriter in the air. The show was amazing of course, but what made it for me, an impressionable lad in his early twenties was Morrissey shaking my hand during the set. After their final encore, Morrissey was walking off the stage, stopped, turned around and came up to me (and only me!) and said "Thank you" and shook my hand again before departing the stage. Envious fans around me looked at me wondering what made me so special. OMG - Morrissey shook my hand not once but twice. There is no better high than seeing your all-time favorite band perform live up close and personal during the height of their career.
The Smiths are my all-time favorite band, and when they toured in support "The Queen Is Dead". I gave away my waiter shifts for the entire weekend (when you make the most tips) so I could see them first in Chicago and then the next night in Milwaukee. In Chicago, the sold-out crowd at the Aragon Ballroom had pent up anticipation so when the opening band finished their last song, the crowd surged toward the stage, toppling folding chairs set up as floor seating and crushing people up against the stage. My friends and I balanced on top of chairs -- I'll never forget Morrissey draped over a floor monitor thrashing gladiolas as he sang "I'm alone, I'm alone, I'm alone, and I never ever had nobody ever". The crowd was crazy.
Milwaukee's performance was at the Performing Arts Center, a stark contrast to the Ballroom setting in Chicago. Red plush velvet seats in an acoustically perfect, modern venue. We had seats 11 rows back and I wanted to be closer, much closer. After their first song, Morrissey said "Please don't be shy, come forward" and with that I climbed on top of and over seats and made my way right up against the stage, which had no bouncers in front of it (they were at side stage). I was wearing a Morrissey t-shirt a friend brought back from London for me, which had a picture of Morrissey holding a typewriter in the air. The show was amazing of course, but what made it for me, an impressionable lad in his early twenties was Morrissey shaking my hand during the set. After their final encore, Morrissey was walking off the stage, stopped, turned around and came up to me (and only me!) and said "Thank you" and shook my hand again before departing the stage. Envious fans around me looked at me wondering what made me so special. OMG - Morrissey shook my hand not once but twice. There is no better high than seeing your all-time favorite band perform live up close and personal during the height of their career.
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