Cat Mother and the All Night Newsboys: The Street Giveth and the Street Taketh Away (Polydor 24-4001, 1969).
This is pretty generic 1969 white boy boogie but Lester Bangs reviewed it favorably for Rolling Stone so I picked it up when I saw it cheap. Bangs lumped them in with “non-innovative, journeymen groups [who] don’t feel compelled to try so hard” but to him that was a compliment. I bet he never played it again after writing it up. I won’t either.
BOC
Blue Oyster Cult released their self-titled debut album on January 16, 1972. Legendary rock writer Lester Bangs, writing for Rolling Stone, said, ... New York has produced its first authentic boogie beast, and with any luck this one should be around for awhile --- I don't think you should miss this album. Listen to the debut album from Blue Oyster Cult on Amazon Music ... #blueoystercult #rock #70srock #classicrock #lesterbangs #rock #rockmusic #music @musicsky…
本名では２冊目の訳書となる『レスター・バングス―伝説のロック評論家、その言葉と生涯』（ジム・デロガティス著／TONCACHI刊）の出版が明後日（4/30）です。
出版元のTONKACHI（トンカチ）のサイト内に特設ページが用意されていますので、ぜひチェックしてみてください。
特設ページには著者のショートインタビューや本書の概要、関係者のコメント、オリジナルの英語版に寄せられた書評（抜粋）なども掲載されています。
特に米国のポピュラーカルチャーに関心がある人にとって興味深い内容の評伝だと思います。
#LesterBangs #Creem #creemmagazine #レスター・バングス #レスターバングス #ロック評論家 #ロック評論 #RockCritique
1000 Day Album Challenge (#14) The Clash: The Clash (1977) [14.01.24]
we're a garage band we come from garageland…
while we’re on the subject of great debut albums, I want to talk about one of the very finest ever, The Clash’s eponymous opening salvo. I don’t think I bought a Clash record until London Calling came out in early 1980, but by the time I bought the import version of Sandinista! in late 1981 I owned all of them. I was all-in on The Clash. for me, they really were, “The Only Band That Matters.”
The Clash, both the band and the album, are pure energy. listening as I write this I feel a bit like a kid again. I might be sitting on a chair at a table in front of my laptop, but in my head I’m bouncing around playing air guitar. the ringing guitar sound strikes deep for me as fo the words. “I’m so bored with the USA / now what can I do?!” the pace is relentless - one terse ball of fire followed by another. there’s barely enough room to catch one’s breath.
The Clash was import only in the U.S. until a reconfigured version appeared in 1979, eight months after Give ‘Em Enough Rope (1978). I guess the record company thought we weren’t ready for The Clash. Deny, Cheat, Protex Blue and 48 Hours were replaced by five single-only songs, a-sides and b-sdes. even though two of the replacements, Complete Control and (White Man) In Hammersmith Palais might both rank among the five best Clash songs ever, I tend to be a purist about these things. I prefer the original version as the band intended.
I highly recommend Lester Bangs’ Six Days on the Road to the Promised Land (http://bit.ly/3vwrkhH), a three part series he wrote about The Clash for NME in late 1977. I read it years ago and plan on reading it again later today. for those who are unaware of Lester Bangs, he was one of the greatest music writers ever. he was also the character played by Philip Seymour Hoffman in Cameron Crowe’s Almost Famous (2000).
#1000DayAlbumChallenge #TheClash #TheOnlyBandThatMatters #LesterBangs #PhilipSeymourHoffman #AlmostFamous #CameronCrowe
The Clash thought they could change the world. They never did, but they created some of the greatest rock music of all time in the attempt.Clash interviews were mesmerizing. Infused with the messianic spirit of punk, the Clash engaged with the press like no rock group before or since, treating interviews almost as addresses to the nation. Their pronouncements were welcomed but were hardly uncritically reported. The Clash's back pages are voluminous, crackle with controversy, and constitute a snapshot of a uniquely thoughtful and fractious period in modern history. Included in this compendium are the Clash's encounters with the most brilliant music writers of their time, including Lester Bangs, Nick Kent, Mikal Gilmore, Chris Salewicz, Charles Shaar Murray, Mick Farren, Kris Needs, and Lenny Kaye.Whether it be their audience with the (mainly) simpatico likes of punk fanzine Sniffin' Glue, their testy encounters with the correspondents of pious UK weeklies like New Musical Express, Melody Maker, and Sounds, or their friendlier but no less eyebrow-raising conversations with US periodicals like Creem and Rolling Stone, the Clash consistently created copy that lived up to their sobriquet "The Only Band That Matters."
#otd 30 April 1982: #LesterBangs (*1948)
US-American music journalist, critic, author, and musician; wrote for Creem and Rolling Stone magazines; fired from Rolling Stone for "disrespecting musicians"
conducted the legendary interview with #Kraftwerk for Creem and New Musical Express in 1975 that further shaped the group's image and reception outside Germany: https://pophistory.hypotheses.org/3378
~ accidentally overdosed self-medication for a severe case of flu
Nothing is more German than Kraftwerk, not even Germans themselves. Kraftwerk has long since risen to national myth, with significant help from English-speaking writers with a certain affinity for everything German. The obituaries that appeared after the recent death of … Continue reading →
philipperecordsandbooks
Jake
Robin Bannks
Bleep
Mike Reed
mario tauchi
dj zenn
Speed Paste Robot
Florian Völker
Garlo