GG Allin is the Beatles compared to the Mentors. Or Radio Werewolf.

#1116 Nostalgia...I know I've been guilty of this from time to time. Hey, don't argue with 'em. Somehow the logic works, and when it doesn't, you get whacked with the cane.

Man, I hope the tapes are rolling and the cameras clicking tonight when Jones plays with Supersilent.

I'll end the night with three more good ones from Zero 7... Sia does her magic with "Distractions" from "Simple Things": http://www.youtube.com/watch?v=i6rAdmR2WGw&feature=youtube_gdata_player The silky smooth Mozez gives us "Warm Sound" from "When it Falls": http://www.youtube.com/watch?v=Pm2pTKi9Me4&feature=youtube_gdata_player Last but certainly not least, all 3 ladies...Sia, Sophie and Tina...serenade you with this live @ Glastonbury performance of "Destiny", again from the first album, "Simple Things": Good night...

Back on point...here's some Zero 7 clips that focus on the other singers besides Sia...Sophie, Mozez and Tina. Sophie Barker singing "Passing By" from "When it Falls": http://www.youtube.com/watch?v=K9lSzDlN9iE&feature=youtube_gdata_player Mozez singing "This World" from the debut "Simple Things": Tina Dico doing "The Space Between" from "When It Falls":

^^^ ABSO-FUCKING-LUTELY!!! I'm with The Dude on this one... http://www.youtube.com/watch?v=cVaiRLDM628&feature=youtube_gdata_player

Awww man, no Head Down, which may be my fave Soundgarden song. And Wolfie, can you tell me what the Mars Volta lineup is like these days? It's been a few years since I've last seen them...is Jon Theodore and Ikey still with them?

I like the High Llamas...but I have a hunch more people are familiar with the High Llamas' Sean O'Hagen's work with Stereolab, another band similar to the High Llamas, and excellent in their own right. But yeah, Missy, like Jahfin says, feel free to post about any band, no matter how obscure you may think they may be. I personally prefer the more obscure band threads...it helps break up the dull monotony of having 3 or 4 Deep Purple/Blackmore threads going simultaneously. I mean, what's left to be said about the Doors and the Stones at this point? I'm all talked out about those bands. That's why I find the Garage rock, Wilco or this thread more interesting to follow and offer my contributions.

And now a sample of songs from "Colour the Small One"...I guess I should have posted this first before the "We Are Born" post...oh yeah, it's because the freaking evil bastards at EMI have just about blocked anything from "Colour the Small One" from youtube. "Sunday": "Sea Shells": "Rewrite" - Live @ KCRW: http://youtu.be/QGQ4Ur8SEq4

To give you a taste of what "We Are Born" is like, here's some songs from the album: "I'm In Here": "Clap Your Hands": "Cloud":

ABSOLUTELY! Start with her first, "Colour the Small One". I wanted to post "The Church of What's Happening Now" from that album, but EMI has blocked it from being on youtube. This also has the "Six Feet Under" song, "Breathe Me", which just about every woman I meet loves. The next album "We Are Born" is merely good compared to the other two. There's a live album called "Lady Croissant", recorded at a Bowery Ballroom, NY show...she does Zero 7 songs as well as some from her solo album. Only 9 songs, but it's good and can be bought pretty cheap. Actually, her "FIRST" solo record was one she did way back in 2002, called "Healing Is Difficult"...but it apparently didn't get much of a release over here. The only edition I have is an import Australian edition, and now it's out of print, so it may be hard and expensive to find. Plus, it's a lot different from her Zero 7 and current solo stuff, so you may not dig it anyway.

Hoky Smokes! It's ninelives...I haven't seen you in ages! How've you been? Well, hopefully these Sia clips I'm about to post is from the solo album you have. They are all songs from her second solo album, "Some People Have Real Problems", which is my favourite out of the three albums she's done so far. First up is Sia's "Beautiful Calm Driving": http://youtu.be/1Xp5w-CcUws Another one from "Some People...", this is a live performance of "You Have Been Loved" that she did at KCRW: http://youtu.be/4YiJKJL8QDM Finally, it's the lovely "Lullaby":

Well, whaddyaknow...there IS a Zero 7 thread here on the board! Sorry I missed this, Missy, when you first posted it...I wasn't on the board very much during January. Otherwise, I would have been all over this, as I LOVED Zero 7 when they came on the scene, which coincidentally was when Portishead was just starting to go on their haitus before they came back a few years ago. Unfortunately for you, Missy, and any other latecomers, Zero 7 is not the band they used to be. For one thing, most, if not ALL the singers from the first two crucial albums are gone; Sia Furler being the most conspicious and well-known singer to go solo on her own(it was her "Breathe Me" that was used in the last episode of "Six Feet Under"). Mozez, Sia Furler, Sophie Barker, and Tina Dico(who joined them for "When It Falls") are no longer with them. It was 2001 when I first heard Zero 7's first album "Simple Things", when Nic Harcourt played it on KCRW's "Morning Becomes Eclectic" show. I fell in love with the chilled-out soulful soundscapes immediately. Later that year Zero 7 played the El Rey Theatre, and I went....I think it was their first LA show. Now, I had only heard the record, and had not seen any photos of the band yet, so given the soulful nature of the singing, I had assumed that all the singers were African-American, or black. Therefore, I was in for a surprise when, aside from the male vocalist Mozez, all the female vocalists were white as can be. Sia was even from Australia fer chrissakes. That show, and "Simple Things" were great, but the second record, 2004's "When It Falls", is a chill-out classic, and the concert they did that tour at the John Anson Ford Amphitheatre in Hollywood is one of my favourite concert memories from the past decade. During "Somersault", Sia, Sophie and Tina did this simple little dance that was like a farmer's daughter or milkmaid doing a peasant dance...and it was sexier than anything Beyonce, Britney, Christina Aguilara, Rhianna, Miley and all the rest of the pop tarts have ever done! No stripper pole, no trashy lingerie, no boobs or ass falling out...just pure talent and knowing that being sexy doesn't have to entail disrobing. By 2006's "The Garden", only Sia was left of the original vocalists...and she was soon gone too. Anyway, it was fun while it lasted. I'm glad I got to see them twice at least. I've since seen Sia on her own a few times and she is great and has put out some amazing records, too But I wish all the Zero 7 gang would get back together...it was blissful magic they created. I feel sorry for those that missed out. So, Missy, and others...here's a few clips from the prime era of Zero 7: 2001-2004. First up is Sia and Tina doing their milkmaid dance...it's "Somersault" from Zero 7's appearance at the 2004 Glastonbury Festival: http://youtu.be/ipg_V375JEU Next it is Sophie Barker's turn to shine in a performance of "In the Waiting Line" from "Later with Jools Holland" TV show: http://youtu.be/O6ntfISHTbY Finally, Mozez gets his turn with this amazing song from the "When It Falls" album, "Morning Song"...I couldn't find a decent live clip, but I did find this amazing fan-made video: http://youtu.be/tJiQ3tevDQM I'll be back with some Sia Furler solo clips...and some more Zero 7.

Pretty cool to finally see some stage set-up shots. I believe the Rolling Stones were the first band I saw hang their PA above the stage(as early as 1972), while it was a while before Led Zeppelin did it. Thanks for sharing Brent Ramsey.

I can only guess that I am one of those people you are referring to in the above post, and if so, there is an explanation. I was stationed for nearly 3 years in Germany, where I spent most of my free time travelling around Europe and the United Kingdom, picking up English habits along the way. After a while, the English-english subconsciously integrated with my American-english to the point that it is now just out of habit that I use the "ou" spelling of certain words, or use a particular English turn-of-phrase instead of the American vernacular. For instance, "fancy a shag?" instead of "wanna fuck?"

Ian Birnie, who has been head of the film program at LACMA since 1996, was recently pushed out, or "fired" if you will, in a shake-up by LACMA's new Director Michael Govan. Needless to say, many of us cinephiles in Los Angeles were not happy. Upon my return from Europe and settling in Hollywood in the 80's, attending LACMA's weekend film series was my graduate film studies course. First, with the legendary Ron Haver curating the films and then, after Ron's death, Ian Birnie guiding the ship magnificently. I still remember the weekend I, and a thousand or so other lucky Angeleno's, got a chance to see Abel Gance's epic "Napoleon", in the original multi-strip format that Gance shot the film in(three cameras filming simultaneously side-by-side-by-side and then the films projected the same way...an early version of cinemascope). To see such imagery on the big screen, in pristine restoration, is a feast for the eyes. You cannot get the same effect watching it on a dvd. It's like the difference between reading an actual book and a book on kindle. Well, for Ian's last hurrah, he's curated his final film program that began screening this month at LACMA, and to give you some idea how beloved Ian is here in L.A., here's an article from the LA Weekly that Scott Foundas wrote about Ian. LACMA Film: Remembering Ian Birnie By Scott Foundas Thursday, Jul 7 2011 The series "Celebrating Classic Cinema: Curator and Audience Favorites" would be just as well served by the title of one of the films it includes: The Long Goodbye. For the next four weeks, LACMA's outgoing film curator, Ian Birnie, will bid adieu to himself with a 21-film "carte blanche" — an extended farewell that truly began in July 2009, when the museum announced it would be terminating its 40-year-old film program due to declining attendance and revenue. And though film at LACMA has been kept on life support these past two years through a combination of public outrage and modest corporate sponsorship, the writing never truly vanished from the museum's wall. As announced earlier this year, following Birnie's departure LACMA will hand over the reins of the film program to Film Independent, the nonprofit organization that produces the Los Angeles Film Festival and the annual Spirit Awards. In the introductory notes to his final series, Birnie is typically coy, explaining that he "sidestepped the task of devising a list of 'favorite' or 'desert island' films ... in favor of a nostalgic look back at the program itself" — movies that played one or more times in previous museum series and were well attended by the public. But to deny that other themes and through lines abound would be like ignoring the thick fog that envelops the remote Scottish isle at the center of Michael Powell and Emeric Pressburger's glorious I Know Where I'm Going (which opens the series, paired with F.W. Murnau's Sunrise, on Fri., July 8). Stroll down this particular memory lane with Birnie and you will encounter multiple tales of people trapped in doomed relationships (Max Ophuls' The Earrings of Madame de ... , Nicholas Ray's In a Lonely Place) or simply trapped, like the immobilized dinner guests of Luis Buñuel's The Exterminating Angel. Also favored are chronicles of disappearance and the loss of identity, from the missing woman quickly forgotten by her friends in Michelangelo Antonioni's L'Avventura to the two femme fatales who freely swap identities in David Lynch's Mulholland Dr. Even the ostensible comedies here — Ernst Lubitsch's To Be or Not to Be and Preston Sturges' Sullivan's Travels — are set against the Holocaust and the Great Depression, respectively. All, in their way, are stories of people who think they know where they're going, but, like most of us, haven't got a clue. Birnie came to Los Angeles in the summer of 1996 from his native Canada, where he had been one of the programmers for the Toronto International Film Festival, and set about following in the formidable footsteps of the late Ron Haver, who had stewarded the LACMA film program from the early 1970s until his death in 1993. (Because Haver's death coincided with LACMA's prolonged search for a new museum director, the film program was forced to subsist for more than two years on a series of guest curators.) As a budding cinephile myself recently transplanted to L.A., the ambitious filmmaker retrospectives and thematic series presented at LACMA (including those on the blacklist, the evolution of sound design and Hollywood anti-Nazi movies) in the early days of Birnie's tenure were as crucial to my own cinematic education as anything gleaned in the hallowed halls of the (since renamed) USC School of Cinema-Television. Profiled by the Los Angeles Times a few weeks into the job, Birnie told reporter Robert Koehler that he aspired to create "a sense of living history for an audience," and those words as well as any capture the spirit of Birnie's programming over the subsequent decade and a half. If LACMA is but one of the many jewels in L.A.'s robust repertory cinema crown, it has long been the one most assiduously devoted to what we might call "the canon." So while the American Cinematheque blazed trails into the annals of B movies and other marginal cinemas, and UCLA performed its miraculous preservation work , it was at LACMA that you were most likely to find major surveys of world-class auteurs (Altman, Bergman, Oshima), iconic stars (Bogart, Olivia de Havilland, Audrey and Katharine Hepburn) and — because the canon isn't a closed object — important figures on the leading edge of world cinema today, from the South Koreans Lee Chang-Dong and Hong Sang-Soo to Mexico's Carlos Reygadas. Time and again the conventional wisdom that says Los Angeles moviegoers are less art film–savvy than their East Coast counterparts was disproved, with LACMA retrospectives of Robert Bresson, Hou Hsiao-Hsien and Krzysztof Kieslowski generating sold-out crowds in the 600-seat Bing Theatre, a venue more than double the size of the largest auditoriums at such stalwart New York cinephile haunts as BAM, Film Forum and the Film Society of Lincoln Center. Of course, Birnie's LACMA years coincided with the rise of DVD, on-demand video, HD technology and other similar breakthroughs that make it easier than ever to dial up a century of cinema from the comfort of our living rooms. So what will really be on exhibit over the next month is a look back not just at a certain style of film programming but at a certain style of moviegoing, too. As Martin Scorsese rhetorically asked in his now-famous L.A. Times editorial, published in the immediate wake of the museum's 2009 film crisis, "Without places like LACMA and other museums, archives and festivals where people can still see a wide variety of films projected on screen with an audience, what do we lose? We lose what makes the movies so powerful and such a pervasive cultural influence. If this is not valued in Hollywood, what does that say about the future of the art form?" Indeed, now we have more movies at our disposal than two lifetimes will allow us to see, and ever smaller screens on which to watch them, but the collective viewing experience has never felt so endangered, and with it the presence of expert voices like Birnie's to guide us. For most of the past decade, as the Weekly's film critic/editor, I assigned dozens of articles about LACMA film programs to myself and other writers — never enough for my own satisfaction (or, I suspect, the museum's), but then these were the dog days of print journalism, with their incredibly shrinking page counts and freelance budgets. Working for a newspaper at the dawn of the 21st century, it was easy to feel that one had arrived at the tail end of something formerly great and glorious. Working for a film programming organization, as I have since leaving the Weekly in 2010, I've been dogged by a similarly uncertain feeling. Good prints of older films are harder than ever to come by, and by "older" I mean anything made before 1990. Studio archival divisions have been decimated by layoffs and belt-tightening. The hoped-for digital revolution that will make projection-quality HD masters available for more than just a few hundred canonical classics is still years, if not decades, away. Let me try, however, to end on something other than a funerary note. Elvis Mitchell, a friend and fellow Weekly alum, will oversee the new LACMA program for Film Independent, and I salute him as he joins the ever-growing fraternity of critics turned programmers, even as I suspect he has his work cut out for him. Despite an April 7 L.A. Times report that characterized the LACMA/Film Independent partnership as an "expansion" of the museum's movie offerings, sources close to the discussions confirm that, at least initially, the series will consist of only a single weekly screening, presented on Thursday evenings, starting in the fall. Are 52 screenings a year enough to give moviegoers the sense of "living history" that past LACMA film curators strived so diligently to foster? I hope so, for the history of cinema, like that of any art form, is a narrative unto itself, and we need good programmers (and critics) to help tell that story, lest we become hopelessly lost in the dark. So, this past Friday night, it was Preston Sturges' "Sullivan's Travels"... Joel McCrea plays a film director tired of making fluffy comedies...he wants to make "serious" films, and wants to make a movie called "O Brother, Where Art Thou?"(yes, this is where the Coen brothers got the idea to name their movie "O Brother Where Art Thou"). He decides to go undercover as a hobo, a bum, to see what real poverty is like, and in one of my favourite scenes, he meets Veronica Lake in this Hollywood diner: http://youtu.be/ndV9xth1zoI and Ernst Lubitsch's "To Be or Not to Be"... This was Carole Lombard's last movie before she died in a plane crash. here's the first 10 minutes of the movie...don't let the German credits fool you, it's in English: http://youtu.be/0NbkJe2FBt8 Of course, you might already know about these films...but if you don't, you should rent them, if you're looking for a good laugh. Both Preston Sturges and Ernst Lubitsch are recognized comedy masters. There's even an in-joke in "Sullivan's Travels" regarding Lubitsch, whose films were often described as having the "Lubitsch touch". Another great Sturges classic, and possibly my favourite Sturges film, is "The Lady Eve", with Barbara Stanwyck and Henry Fonda. And my favourite Ernst Lubitsch is probably "Ninotchka", with the sublime Greta Garbo. "The Shop Around the Corner", with Jimmy Stewart, is also great. Just in case you're tired of comic-book characters and sub-literate dialogue in today's summer movies. In other news, I went to see the new "Harry Potter" movie again last night...this time in 3-D, and with a different group of friends. The 3-D isn't all that integral to the film, so don't feel you have to spend the extra dough on the 3-D to see it....it's perfectly fine in 2-D. One of our group got a little verklempt, a little teary-eyed at the end. And much as I felt with the two "Kill Bill" movies, I think I would have preferred having both parts screen as one big movie. All in all, probably the best one of the whole series of "Potter" films. Yes, as in all the previous films, there were changes and omissions in the adaptation from book to film, but to film everything that happens in the books, you'd have to have a 52-week mini-series. Or make each movie 6 or 7 hours long.

Either you're an idiot or an asshole...or both. Do you really not know the difference between a Jimmy Page solo album and a Led Zeppelin release? Bollocks to you quest.

Oh to be 30 again! Electro, I bet you don't look a day over 20...these days 30 is the new 20. Brad, I like your user name and avatar, but obviously we're far apart politically. If we could survive 8 years of Dubyah and his Sith Lord, Cheney, we can survive ANYTHING.

WOMEN'S WORLD CUP! U.S. vs. Japan!! GO USA!!! :cheer: Hope Solo is a STUD in goal and what more can you say about the Flying Abby Wambach? Oh, and Hope Solo has the greatest ponytail since Steffi Graf!

Okay, that's it...Sam, I'm throwing my hat in the ring. It's painfully obvious so far that Jimmy needs a fact-checker and proofreader for his site, and I'm volunteering. As a bonus, I come cheap. Last time I checked the site, he still hadn't "The Song Remains the Same" or Roy Harper's "Stormcock" listed in the discography. The concert dates were still missing the 9-20-83 ARMS show at RAH, and the times he played with Bad Company in 1974 and 1976. I know about 1976 because I was there...both Robert and Jimmy joined Bad Company for the encore at the LA Forum, May 26(or 28?...I don't have my archives handy), 1976. I believe it was Plant's first appearance on a stage since his accident. So Sam, tell Jimmy I'm available to go over everything with a fine-tooth comb.

I'm not saying SteveAJones is right about EVERYTHING, but if he says there's clearer footage in the archives, I'm apt to believe him. And hecube is right...it is borderline Spinal Tap-ish. I mentioned this over on the Seattle 1975 soundboard thread, but will reiterate my point here. The violin bow segment worked better within the context of Dazed and Confused. As for the theremin bit, it feels naked and stagnant without the propulsion of Bonham and Jones groove pushing it along with Plant's orgiastic wails when it was part of Whole Lotta Love.

Prince Charles' "manhood".

Jiminy Cricket and Hoky Smokes! 2012 hasn't even arrived and I'm already sick of it! Do you realize how lame and full of shit 2012 is going to be? The circus of the US Presidential election coupled with the hysterical hype of the end of the Mayan Calendar? Can we just skip ahead to 2013 please? Also, I turn 50 in 2012...somehow, I thought I'd be dead before then.