Modern historians often speculate on the idea of witnessing past historic tragedies: the Bubonic plague, the sinking of the Titanic, the Hindenberg disaster, etc. But on Wednesday night, Later… with Jools Holland captured the most recent tragedy, this time on-stage: Lou Reed and Metallica. Their first live performance in support of Lulu, the eccentric collective dished out a rendition of the album track “Iced Honey”. Watch the video replay below.

Update: How’s this for a surprise: Lou and Metallica also performed a cover of The Velvet Underground’s “White Light/White Heat”. Check out the video below.

Lulu is out now.

Photo courtesy of Cité de la Musique’s Flickr

The Velvet Underground’s 1967 debut album The Velvet Underground & Nico is a massively important album, a 2006 addition to the Library of Congress’ National Recording Registry and the No. 5 album on our list the 100 Greatest Albums of All Time. As such, an album of its groundbreaking magnitude deserves only the most elite of collaborators for a tribute concert, which it got during last month’s The Velvet Underground Revisited concert in Paris.

Featuring Radiohead’s Colin Greenwood, Soap&Skin, Air’s Nicolas Godin, and The Hotrats (Radiohead’s Nigel Godrich alongside Gaz Coombes and Danny Goffey of Supergrass), the super-supergroup performed the classic album in its entirety. For a taste, check out their rendition of “Femme Fatale” featuring guest vocalist Leslie Feist (courtesy of TwentyFourBit). The track may have been covered by everyone from R.E.M. to Girl in a Coma beforehand, but here’s where the original is respectfully recreated at its most alluring.

Throughout the five boroughs, New York has been both a home and source of inspiration for many musicians over the years. There are few (if any) cities that have been written about as much as New York has. But which songs belong at the top? Which numbers show the style and the swagger? The class and the crass? Which can move between the skyscrapers and the subway?

You’re probably wondering: Why celebrate New York now? Shouldn’t you have posted this after the Yankees won last year? Yes, the opportunity seems a bit late, but not really if you think about it. New York thrives on “keeping it real” and trademarks itself on setting the precedent for everything. So, to answer your question, there is never a better time to write about New York City. Simply because, New York City always “is.”

Well, let’s be honest. With the Northside Festival next weekend, we’re pretty stoked about being around Brooklyn lately. Not only do we get to have our own lil’ soiree, but we get to enjoy the likes of Titus Andronicus, Wavves, Fucked Up, Liars, High Places, and a slew of other pretty hot acts. We might just have to dig out our “I Love New York” shirts for the weekend.

Just kidding. Anyways, here are your top 10 songs about the world’s cultural mecca.

10. Jay-Z and Alicia Keys – “Empire State of Mind”

While Jay-Z been a superstar for quite some time now, he took it to a new level with this ode to the city he was raised in. With a soulful piano provided by Alicia Keys, “Empire State of Mind” brilliantly has Jay-Z’s verses reflecting his rise to the top along with the different areas of New York he spends his time in. From the streets of Brooklyn to the celeb neighborhood of TriBeCa, Jay-Z essentially wrote a sequel to Frank Sinatra’s “New York, New York”, showing how he made it where he is, and even having the New York attitude to suggest that he makes “the Yankee cap more famous than a Yankee can.” Keys belts out a more traditional chorus about how inspirational the streets of New York can be. Since it’s less than a year old, “Empire State of Mind” still has to withstand the test of time, but it doesn’t look like it’s going away any time soon.

9. Bob Dylan – “Talkin’ New York”

One of the two original compositions from Bob Dylan’s first album, “Talkin’ New York” is standard Dylan fare with a fairly frantic acoustic strumming and harmonica interludes. But the lyrics are spit out rapidly with Dylan only taking a break before the last line of each verse. The story of his arrival in New York takes in everything, from the city’s size to his search for a job. However, it’s the second to last verse that shows the development of Dylan’s wit, when he says “A lot of people don’t have much food on their table/But they got a lot of forks ’n’ knives/And they gotta cut somethin’.” From a stranger’s perspective, New York can appear both exhilarating and terrifying. Dylan manages to show both of these sides in just the course of three minutes.

8. Billy Joel – “New York State of Mind”

Probably one of the most famous songs about New York, Billy Joel’s ode to the city is based on his return to the East Coast after spending the last three years in L.A. The slow, jazzy piano evokes images of a smoky lounge in Greenwich Village. Joel’s delivery and lyrics all paint the city as a lost love that he’s finally returning to. While he could be partying on the West Coast, he needs “A little give and take/The New York Times, The Daily News.” The sense of normalcy that comes from the bustling streets of Manhattan offers a unique experience that Joel can’t do without. While he may travel the world, it looks like he’ll always make his way back to New York.

7. The Ramones – “53rd and 3rd”

While many of the above songs have hinted at the dark underbelly of New York, The Ramones “53rd and 3rd” really came across as gritty in every way. From the angry guitars to the shouting delivery to the lyrics, this song isn’t from the band’s point of view. Instead, it’s the story of a Green Beret who served in Vietnam who falls to prostitution as he tries to pick up customers from the street corner mentioned in the title. When Joey Ramones sings, “Don’t it make you feel sick?” he almost vomits the words out, adding to the character’s disgust at how far he’s fallen. The entire song shows that not everyone is cut out for New York and many wind up falling into an underworld of crime in an attempt to make ends meet.

6. Beastie Boys – “No Sleep till Brooklyn”

The most fun song here is by none other than New York natives, the Beastie Boys. Different than most other tracks on this list, the lyrics contain hardly any references to the city. Instead, it’s all about the band’s life away from home. The touring, the hotels, the partying. All of these lines on what a great time they’re having traveling around the world are the complete opposite of the “No! Sleep! Till Brooklyn!” chorus, which is a call to go home. Maybe they’re saying they love playing live in their hometown the best. Maybe they want a break from their all their adventures to spend time at home. Who knows? But the fact that the line has become part of everyday vocabulary (no sleep till insert location here), coupled together with that kickass riff, cements its place in the top New York songs.

5. Interpol – “NYC”

Interpol’s tribute to New York is a decidedly sad affair in which the protagonist only finds hope from the city itself. Despite the fact that the feeling doesn’t appear mutual (“The subway is a porno/The pavements they are a mess/I know you’ve supported me for a long time/Somehow I’m not impressed”), the city is still there for him, day in and day out. The sluggish guitar riff gives a feeling of wandering aimlessly through the city streets at night. At the end of the song, the realization comes that New York’s done its part to support those who live there. Now it’s the inhabitant’s turn to make something of it (“It is up to me now, turn on the bright lights”).

4. John Lennon – “New York City”

If there’s any song that showed the juxtaposition of the five boroughs, it’s “New York City” by John Lennon. From David Peel smoking some pot to the policeman trying to do his job to the crazed preacher, the scene is familiar to anyone who lives in New York. Seeing homeless people asking for change across the street from Lincoln Center is part of everyday reality for New Yorkers. As we’re so focused on our own packed schedules, we have trouble noticing the people around us. Lennon mentions this as well, singing “Tried to shake our image/Just a cycling through the village/But found that we had left it back in London/Well nobody came to bug us/Hustle us or shove us/So we decided to make it our home.” For those of you wondering why New York is a hot spot for celebs, this is one of the biggest reasons.

3. The Velvet Underground – “I’m Waiting For The Man”

If “53rd and 3rd” came across as a gritty look at New York’s dark underbelly, “I’m Waiting For The Man” grabs you by the throat and shoves you face-first into that grimy environment. With the instruments sounding a little dirty, the music evokes images of a heroin addict struggling to make it up Lexington Avenue to meet his dealer for his next fix. The song also goes into race relations within Harlem during the 1970s. While the user has to wait for the man, he does get his fix (“He’s got the works, gives you sweet taste/then you gotta split because you got no time to waste) and will go on until he needs his next one. Though this track has a similar theme as The Ramones’ New York song, it takes to a far deeper level of dependence by throwing drug usage into the mix. It displays some of the worst the city has to offer, highlighting the crime and none of the class.

2. U2 – “The Hands That Built America”

While U2 wrote this song for Martin Scorcese’s Gangs of New York, “The Hands That Built America” goes far beyond that time period. Each of the song’s verses represent a different era in New York’s history. The first verse has the strongest connection to the film as Bono sings about the emigration of millions of Irish to America due to the Potato Famine and the change that awaits them there. The second verse relates love to the American Dream and that hard work can lead to prosperity. The final verse brings the song to the near-present, talking about 9/11 and “Innocence dragged across a yellow line.” While it’s not the most popular U2 song about New York, it is the most powerful, dealing with some of the best and worst time periods in the city’s history.

1. Frank Sinatra – “Theme From New York, New York”

Yeah, it’s a cheesy and obvious pick. But Frank Sinatra’s version (it was originally written for Liza Minnelli) of this song is the quintessential New York track. From the opening line of “Start spreadin’ the news, I’m leaving today/I want to be a part of it: New York, New York,” you’re instantly transported to midtown Manhattan. It’s heard everywhere in the city, including after every game at Yankee Stadium, or after the ball drops in Times Square on New Year’s, or during Columbia & NYU’s commencement ceremonies. Yet there’s a good reason for this. The song perfectly illustrates New York’s classy and ballsy attitude. New Yorkers know that since they made it there, they can make it anywhere. But they’d rather stay right where they are, just like how Sinatra wants to “wake up in a city that never sleeps.” Showing all of its good sides, “Theme From New York, New York” is the best song about the city. Bar none.

Luckily for movie fans and for the creative forces behind Adventureland (notably writer/director Greg Mottola), the film seems to be finding its audience on DVD and could grab a significant cult following in the years to come. In one of the most memorable scenes, protagonist James Brennan reflects on what his friend Joel has told him about Herman Melville being called by the wrong name after he died and notes: “he wrote a seven-hundred page allegorical novel about the whaling industry. I think he was a pretty passionate guy, Joel. I hope they call me Henry when I die, too.” “One can only hope,” replies Joel.

As with any nostalgia film, music plays a major role in setting the mood of the time. For movies set in the 1980′s, this can be both a blessing and a curse. When done well (think Donnie Darko), it can not only create an interesting interpretation of the past, but can also turn a new generation of listeners on to music that may have slipped under their radar. Especially now, music of the 80′s is something that will not really be appreciated until the music listener reaches the college-age. For me, until I was about 20, 80′s music was all hair metal and new wave. Madonna, Michael Jackson, The Police: this was pretty much it. Bands like The Replacements and Hüsker Dü were just names I heard that didn’t really sound that interesting. Black Flag and The Misfits I imagined to be pretty intense. Crowded House and the Pixies sounded like easy listening. Then, when you’re ready to hear all this music, it finds you and changes your world. Adventureland shows that it wasn’t that much different for people of the time it portrays. James Brennan leaves college with an appreciation for Lou Reed, an appreciation he admires in others. There is a reason “indie” used to be known as “college rock.”

Regardless, it should be clear within the first five minutes of Adventureland that music is going to play a major role in the film. The Replacements’ “Bastards of Young” (one of the best songs ever, period) plays over the intro credits. Then, after a brief opening party sequence, we get The Velvet Underground’s “Here She Comes Now”. Add to this a credit that states that original music will be provided by Yo La Tengo, and you get a big “what the fuck kind of teen comedy am I watching” reaction. Well, strangely, it’s more of a comedic drama. And it’s not about teens. Oh, they look like teens. But these people are all in their early 20′s (Note to casting directors: I commend actually casting young actors for young characters).

From there, you get about three songs a minute for the next hour. In fact, 41 songs were licensed for use in the film. And while this covers everything from a Foreigner cover band to Judas Priest’s “Breaking the Law” in a chase sequence, for the most part, the music of Adventureland would be a great jumping off point for someone wanting to delve deeper into the music of the 80′s. Some highlights include “Just Like Heaven” from The Cure as a few of the young people eat pot cookies and enjoy the rides of the park, “Don’t Dream It’s Over” by Crowded House during a fireworks scene, and David Bowie’s “Modern Love” in the introduction to the theme park. These are songs that I take for granted at this point in my life, but have to acknowledge that many people have never heard them and really wouldn’t have access to them without movie soundtracks and internet blogs.

I really appreciated the use of music in the film’s car scenes. When James begins working at Adventureland, he instantly gravitates towards Em, in part because she wears Lou Reed and Hüsker Dü shirts. The interest is sealed though, in their first car ride together, her tape deck playing Hüsker Dü’s “Don’t Want To Know If You Are Lonely”. The two share a glance and both reach toward the stereo at the same time. She presumably was going to turn it down, but he gets there first and turns her radio up, showing approval of her music taste, and, because she obviously places such a high premium on the music she likes, this also shows approval and interest in her. The reciprocal of this scene would be the car scene shared by James and Connell, where the awkwardness of talking about a girl the two share in common and a lie Connell repeatedly tells is alleviated by the turning up of the radio, in this case playing “Satellite Of Love” by Lou Reed. These scenes show the power that music in a car can play. We are jammed in this tight space with people, sharing the same moment and same sounds. We can turn up the volume and drift into a shared emotion together. Or, we can merely turn up the volume to shut the other person up.

But the best use of car music comes from James’ “Bummer Songs” mix tape he makes Em, which they listen to on the way back from a bar. The featured song is The Velvet Underground’s “Pale Blue Eyes”, and James stares at Em as she drives and listens to the song. When he asks her “if they can go somewhere,” she obliges, and they share a kiss that is unexpected, passionate, and romantic. The song is equally beautiful and used perfectly.

The rest of the music doesn’t disappoint. When James rides into New York, we get “Unsatisfied” by The Replacements. Big Star plays in Em’s bedroom and The Jesus and Mary Chain when Connell visits. As for Yo La Tengo’s original score, it is a fitting homage to a movie obsessed with Lou Reed, as most of the songs could be mistaken for Reed originals. As the movie plays on and the comedy fades away, so do the tunes. There is a time and place for 80′s nostalgia music, but there is also a time for everything to get quiet and let the emotions of the characters speak for themselves. And though most of the stuff that happens in the movie seems like a bummer at the time, the end credits jam of “Don’t Change” by INXS serves as a reminder that even when you are young and things seem heavy, they will still be remembered fondly because of you were young. This is what nostalgia is. Just don’t market it as fuckin’ Superbad 2.

“Anyone who wants to reform The Velvet Underground for a series of concerts, to make some money, I understand that, but you can’t do that. We don’t have Sterling [Morrison] any more. If I said that was something I was intrigued by, people would think I was cynical.”

– Former Velvet Underground member John Cale explains (via Spinner) why he’s not into the idea of reforming with his former bandmates. Not even for a discussion at the library.

While often sonically displeasing, Metal Machine Music‘s wall of sound and revolutionary recording techniques helped give rise to the industrial side of rock music. According to Reed, the upcoming concerts won’t duplicate the original album, which consists entirely of guitar feedback played at different speeds, but will instead opt for entirely new unique music, noise, and soundscapes. Each date will also guarantee a completely new experience, as the trio will keep the performances completely improvisational and free of any vocals.

The tour will consist of only nine shows, beginning April 17th in Cambridge, prior to heading through Europe and concluding April 30th in Palma, Spain. While Reed has not hinted at any US dates, the European tour will coincide with the release of a newly re-mastered edition of the original 1975 Metal Machine Music album in 5.1 surround sound on 180-gram double gatefold vinyl, Audio DVD & Blu-ray. The re-release will blow your mind, and possibly your speakers.

Metal Machine Trio 2010 Tour Dates:
04/17 – Cambridge, UK @ The Junction
04/18 – Oxford, UK @ 02 Academy
04/19 – London, UK @ Royal Festival Hall
04/21 – Paris, FR @ La Cigale
04/22 – Brussels, BE @ Domino Festival – Ancienne Belgique
04/24 – Copenhagen, DK @ DR Koncerthuset
04/26 - Oslo, NO @ Sentrum Scene
04/27 – Bergen, NO @ Ole Bull Scene
04/30 – Mallorca, SP @ Festival Alternatilla – Teatre Principal de Palma

As for 2009? Well, the Dirty Projectors became a household name, as did Twitter, Girl Talk turned into a gimmick, Kanye continued to be an asshole, online music streaming got big (and bought), and the sales of digital and vinyl releases continued to increase, while the Virgin Megastores and Sam Goody’s of the world went bye bye.

And that’s not even scratching the surface. Before we turn the page on the 2000s, we wanted to take one more look at the year that was the last 365 days. Music, here was your 2009…

Top Albums of 2009

As selected by the CoS Staff…

01. Animal Collective – Merriweather Post Pavillion

02. Passion Pit – Manners

03. The Avett Brothers – I and Love and You

04. The Decemberists – The Hazards of Love

05. Phoenix – Wolfgang Amadeus Phoenix

06. Yeah Yeah Yeahs – It’s Blitz!

07. Kittens Ablaze – The Monstrous Vanguard

08. Wale – Attention Deficit

09. The Antlers – Hospice

10. The Dead Weather – Horehound

Click here for #11 – #100

Top Songs of 2009

As selected by the CoS Staff…

01. Phoenix – “1901″

02. Animal Collective – “Summertime Clothes”

03. Passion Pit – “Sleepyhead”

04. Grizzly Bear – “Two Weeks”

05. Phoenix – “Lisztomania”

06. Wale – “Triumph”

07. Jay-Z – “Run This Town” (feat. Kanye West and Rihanna)

08. Yeah Yeah Yeahs – “Heads Will Roll”

09. Girls – “Lust for Life”

10. Animal Collective – “My Girls”

Click here for #11 – #50

Headline Grabbers

There is always a few particular artists who seem to appear in the headlines more than others. Take these three for example:

Lil Wayne appeared on ESPN, began work on a rock ‘n’ roll album, talked gangsta with Katie Couric, won some Grammys, released the worst song ever, pushed back the release of his rock ‘n’ roll album, pushed back the release of his rock ‘n’ roll album again, told kids to stay in school, teamed up with Madonna, collaborated with Kanye, Eminem, and Drake, promised two albums before the year was out, plead guilty to weapon possession, released a stellar mixtape, watched his mom get a TV show, had his rock ‘n’ roll album mistakenly leaked, and got arrested again, all while actually failing to release any studio albums at all before the year was out. And to cap it all off, he’s going to prison in February!

For a band that didn’t release an album in 2009, Radiohead sure managed to grab quite a few headlines. Capitol Records reissued their discography, Thom Yorke debuted a new song, as well as contributed to the New Moon soundtrack, Ed O’Brien and Phil Selway collaborated with Neil Finn and Wilco, the entire band got together to release a tribute song for Harry Patch, the last surviving World War I combat soldier, Thom Yorke covered Mark Mulcahy’s “All for the Best”, the entire band got together again to release a track titled “These Are My Twisted Words”, Thom Yorke offered a secret 12″, Thom Yorke formed a new band and played some shows, the entire band got together for a third time to begin work on a new studio album, and Thom Yorke became really pissed about climate change.

You either loved or hated the amount of U2 present in 2009. Bono and crew got on their boots, played the Grammys, resided on Letterman, released a new album, teamed up with Brandon Flowers and Chris Martin, started talking another new album, took to Fordham University for a secret show, embarked on the first leg of their claw-featuring global 360 tour, tapped Muse as an opener, wrote a Broadway musical about Spider-Man, pissed off David Byrne, got reviewed in Chicago, reissued The Unforgettable Fire, apparently made no money, played the Rock ‘n’ Roll Hall-of-Fame anniversary, titled their next album, wanted to be like The Beatles, plotted more tour dates for 2010, played a free Berlin Wall concert behind the backdrop of a different wall constructed by MTV to prevent those without tickets from watching U2 play a free Berlin Wall concert, teamed up with Jay-Z, got tapped for Glastonbury 2010, and announced a remix album.

Music Festivals

Despite a recession which saw a number of mid-tier summer music festivals call it quits, the big boys were as grand as ever. Coachella rounded up McCartney, Bonnaroo brought The Boss and Phish, and Lollapalooza finally saw Perry using his festival to his advantage. What’s more, Outside Lands proved once again that its a festival to be reckon with, while Sasquatch! demonstrated that Washington state can also rock hard. Hova was able to save All Points West from a mud filled weekend, Pitchfork continued to serve as a hipster’s wet dream, and the Virgin Mobile Festival reminded us that some good things can be free. Finally, Consequence of Sound hit South by Southwest for the first time, celebrating with events featuring the likes of Astronautalis, Gringo Star, Shad, 13ghosts, Kittens Ablaze, Catfish Haven, and Blueblood. Oh, and did we mention we have already begun planning for next year?

Supergroups

By the time December rolled around, there were as many supergroups in existence as there were non-supergroups…

Dave Grohl + John Paul Jones + Josh Homme = Them Crooked Vultures, Conor Oberst + M. Ward + Jim James = Monsters of Folk, Jack White + Alison Mosshart + Jack Lawrence + Dean Fertita = The Dead Weather, Thom Yorke + Flea + Nigel Godrich + Joey Waronker + Mauro Refosco = ???, Phil Lesh + Bob Weir = Furthur, Coldplay + Mew + a-ha = Apparatjik, Supergrass + Radiohead = The Hot Rats, Joe Budden + Joell Ortiz + Royce da 5’9″ + Crooked I = Slaughterhouse, King Khan + Black Lips = The Almighty Defenders, New Order + Blur = Bad Lieutenant, Sammy Hagar + Michael Anthony + Joe Satriani + Chad Smith = Chickenfoot

Reunions, Hiatuses, and Nothing at All!

Two 2009′s biggest themes were bands reuniting and bands calling it quits (or announcing extended hiatuses). And then there were those that couldn’t make up their mind at all.

Blur began its reunion, The Stooges revived Raw Power, Pixies gave it another go, Creed came back!, No Doubt did too, Faith No More hit Europe, Phish returned, The Murder City Devils reunited for Coachella, Sunny Day Real Estate returned for some grunge, Deadheads got the best Christmas present ever, Blink-182 got back together for the kids, Spinal Tap released a new album for the first time in 17 years, Sublime played a show and then got sued, Eminem reunited with D12, Simon and Garfunkel became friends, Limp Bizkit dusted off the red cap, Three members of the Velvet Underground got together for a discussion, Orbital celebrated its 20th anniversary with a reunion, Jawbox made its first live performance since 1997 on J-Fal, Faces reunited without Rod Stewart, while Take That did reunite with Robbie Williams, John Lydon moved on to Public Image Ltd., Cee-Lo got back together with Goodie Mob, The Jayhawks reunited, as did The Gories, and Ben Lee resurrected Noise Addict. Oh yeah, and some band named Pavement announced plans for a busy 2010.

On the other hand, Blur also ended its reunion, The Verve broke up again, Oasis had a fight, Flight of the Conchords called it quits, Music journalism died, Nine Inch Nails said goodbye, as did Harlem Shakes, The Broken West, and Pela, and Bruce Springsteen & the E Street Band, Fall Out Boy, Foo Fighters, Blitzen Trapper, Bon Iver, Lily Allen, Deerhunter, and TV on the Radio all announced lengthy hiatuses.

Plus, we learned an At The Drive-In reunion apparently wasn’t a possibility, nor was the rumored Stone Roses comeback, Spacemen 3 got an offer, but declined, The Kinks kept thinking about it but still didn’t do anything, contrary to Courtney Love’s comments, Hole didn’t reunite, Pulp teased and then unteased, and Swans thought about it and didn’t. And not surprisingly, The Libertines, The Smiths, and Neutral Milk Hotel all continued to tease to no fruition, while Led Zeppelin continued the suspense.

Soundtracks with benefits

There’s nothing like a nice movie soundtrack or benefit album featuring some of our favorite musicians. 2009 exemplified this fact to the max…

Grizzly Bear, LCD Soundsystem, Badly Drawn Boy, Arcade Fire, Karen O and friends, Daft Punk, Nick Cave & Warren Ellis, Beck, Jay Farrar & Ben Gibbard, British Sea Power, Dengue Fever all provided sounds for the silver screen, as did the inane number of musicians appearing on the New Moon soundtrack.

Ben Gibbard, Fleet Foxes, and The Cave singers contributed to the Give Seattle charity album, while Tom Waits, Pete Seeger, and Jim James lent their talents to Preservation, an Album Benefiting Preservation Hall and Its Music Outreach Program. Our friends at Ear Farm rounded up Tom Tom Club, Sean Bones, tUnE-yArDs for their pro-Xmas Do you EAR what I EAR?. Peter Bjorn & John, Juliette Lewis, and White Rabbits helped fight malaria. The Climate change benefiting Rhythms Del Mundo Classics saw contributions from The Killers, The Rolling Stones, and Amy Winehouse. Stars (like Yorke and The National) collided for Mark Mulcahy. Hot Chip, The Hold Steady, and Lily Allen shared reinterpretations on War Child Heroes. And let’s not forget about Dark Was The Night, the tantalizing 31-track effort featuring the Dirty Projectors with David Byrne, Feist with Ben Gibbard, Sufjan Stevens, My Morning Jacket, and more, all in benefit of The Red Hot Organization and AIDS awareness.

Our Most Memorable Features

In addition to everything else that went down, 2009 also saw Consequence of Sound further expanded our feature stories. The following are some of our favorites/most memorable:

We brought you interviews with Pavement, Ms. Consequence of Sound herself, Regina Spektor, Tom Jones, Passion Pit, Slayer, Ben Kweller, The Gaslight Anthem, Flogging Molly, Anti-Flag, Margot & the Nuclear So and So’s, Hot Water Music, The Von Bondies, The Screaming Blue Messiahs, The Antlers, Boots Riley, Cymbals Eat Guitars, and Fleet Foxes’ J. Tillman. Oh and we talked with Los Campesinos! not once, but twice.

Our Editor-in-Chief Michael Roffman gave us the entire story of The Thermals, contributing writer Alyssa Spiel spoke with 311 about its 20th anniversary, and the one and only Cap Blackard spent the day with Astronautalis.

We listed everything from the Top 11 Influential Minds of Industrial Metal and Top 10 Grunge Albums to the  Top 10 Fake Bands and Top 10 Sleepiest Albums. We did some Audio Archaeology, dusted off some ol’ classics, shared our guilty pleasures, introduced you to some great new bands, and continued teaching Rock History 101.

As for the most commented posts of the year? That honor goes to Laina Dawes’ review of 311′s Uplifter.

The Year’s Most “Unique” Moments

We thought we’d close on a light note, as in this year’s stories and moments that, well, left us scratching our heads the most…

Bill Corgan wrote a song for the Super Bowl, Bruce Springsteen apologized for selling music through Walmart, Live Nation and Ticketmaster merged, Mandy Moore married Ryan Adams, Lil Wayne released “Prom Queen”, we wrote a post about the Jonas Brothers, Crystal Castles had a meltdown, Santogold had to change her name to Santigold, Manu Chao pissed off Mexico, Chickenfoot was actually real, Prince released a $2,100 iPod, Billy Corgan made a wrestling promo, Tupac revealed he might still be alive, Creed released a new album, Billy Corgan hired a 19-year-old drummer, Kanye West helped kids stay in school, Ron Artest paid homage to Michael Jackson, Reading Music Festival banned flags, Kidz Bop covered Kanye West, Ryan Adams became a video game reviewer, R. Kelly forgot to title his new album, Oasis broke up, Liam Gallagher formed Oasis 2.0, 30 Seconds to Mars and Kanye West released a song together, 7-Eleven reissued The Beatles, Snoop Dogg got himself a new name, Rivers Cuomo was interviewed by a dog, Diddy appeared on the Home Shopping Network, Morrissey and Johnny Marr emailed, Marilyn Manson got swine flu, Radiohead didn’t break up, Elvis Presley’s grandson scored a record deal, Starfucker changed its name, Fall Out Boy formed a metal band, and Pete Doherty sang a Nazi song.

Thank you!

Before we end our 2009 recap, we would just like to take one last moment to thank the individuals who have helped Consequence of Sound become what it is today. Thank you to the publicists who work hand-in-hand with us each and everyday, thank you to the festival promoters who continue to work with us despite the fact we ruin your lineup announcements, thank you to the message boards which provide such a bevy of information, thank you to those who email us news tips and music submissions, thank you to our fellow bloggers, thank you to our amazing and tireless staff, and thank you to our readers who have put trust in us and our the reason we keep at this 24 hours a day, 365 days a year.

2009 was an amazing year for Consequence of Sound, but 2010 will be even better. Stay tuned for a number of brand new features, including that much needed change we’ve all been eagerly awaiting.

As part of New York Public Library’s Live! program series, Lou Reed, Maureen Tucker, and Doug Yule made their first joint public appearance together this decade for a discussion/Q&A with Rolling Stone editor David Fricke. A vinyl recording of “Heroin” opened the evening before the three Velvets took the stage to a thunderous, standing ovation. Despite the energy, however, the opening minutes proved to be a bit awkward, with Reed and Tucker responding to most of Fricke’s questions with one word answers. Fortunately, comfort would set in, as would stories ranging in topic from Andy Warhol to the band’s first gig in a New Jersey gymnasium.

Particular highlights included Reed’s impression of Warhol, which really cannot be described by words, and a rather humorous back-and-forth between the Velvet frontman and Fricke over a negative 1966 Rolling Stone review on the band. A segment for fan submitted Q&A’s was quite lackluster, but did lead to the members discussing their views on New York City (1960s vs. today) and whether or not The Velvet Underground would succeed in today’s music climate (they thought so).

And that was that. 90 minutes after taking the stage, it was all over. There was no hope for the future. There were no thoughts on what could be next. These three legendary rockers had come to talk about “what was,” not “what could be.” But even so, “what was” was the reason this discussion had sold out in three minutes and why each and every member of the audience was glued to what was unfolding in front of them. It was thee Velvet Underground present, thee Velvet Underground discussing its history — a history that by all measures was immeasurably perfect. So, perhaps it’s only right to discuss and continue to discuss this band in the past tense, to remember when, and realize why. After all, any other thoughts, any other hopes couldn’t even begin to touch this, The Velvet Underground, as we will forever know them.

Photo via Limewire Music Blog (via NYPL)

The event will take place in New York City at the Celeste Bartos Forum in the NYPL’s Stephen A. Schwarzman Building on 5th Ave. and 42nd St. Tickets sold out minutes after the event was announced, meaning you’ll have to rely on Craigslist from this point on. Either that, or wait for our full recap of the event on the morning following the event.

The reunion, which will essentially mark the first VU appearance since the band’s induction into the Rock and Roll Hall of Fame in 1996, will come on the heels of a new box set, The Velvet Underground Singles 1966–69, and two publications, Rizzoli’s The Velvet Underground: New York Art and Jim DeRogatis’ The Velvet Underground: An Illustrated History of A Walk on the Wild Side,

In addition to The Velvet Underground Singles 1966–69, a brand new box set dedicated to the band’s singles, September will also bring with it the release of an illustrated box set that looks to chronicle the history of NYC’s original hipsters.

Titled The Velvet Underground: An Illustrated History of A Walk on the Wild Side, the book is the work of Jim DeRogatis, the Chicago Sun-Times’ Pop Music Critic who is perhaps best known for pissing Perry Farrell off by leaking the Lollapalooza lineup each year. It is billed as “the first complete illustrated history published” on the Underground and packs 192 pages of text and never-before-seen photos.

The book also sports excerpts from Andy Warhol’s memoirs, rare interviews with the band, photographs from Exploding Plastic Inevitable dancer Gerard Malanga, and rare images from Factory photographers Nat Finkelstein, Stephen Shore, and Billy Name. And then there’s the additional color concert and candid photography, as well as vintage posters, handbills, memorabilia, and other items not mentioned.

The book sells for about $24 via Voyageur Press, so even PBR-drinking art school dropouts can afford a copy.

We’re happy to report (via Tiny Mix Tapes) that September 15th will see Sundazed Records releasing a brand new box set titled The Velvet Underground Singles 1966–69. As the title indicates, the set will be centered around singles released by the Underground between 1966 and 1969, seven to be exact. Among those included will be four originally released in the U.S. on the Verve and MGM labels, plus an additional pair of singles that were prepared for release but never made it to the marketplace and a special radio-only promotional single (see tracklist below).

All the singles will be “exact reproductions,” presented on 7″ vinyl, and packaged in a “distinctively designed” box, along with rare vintage photos and new liner notes by Rolling Stone’s David Fricke. The set will cost you $39.98 and is available for pre-order via sundazed.com.

Now, Run Run Run and go get your copy!

The Velvet Underground Singles 1966–69 Tracklist:
01. All Tomorrow’s Parties b/w I’ll Be Your Mirror (Verve VK-10427)
02. Sunday Morning b/w Femme Fatale (Verve VK-10466)
03. White Light/White Heat b/w Here She Comes Now (Verve VK-10560)
04. White Light/White Heat b/w I Heard Her Call My Name (Cancelled single)
05. Temptation Inside Your Heart b/w Stephanie Says (Cancelled single)
06. What Goes On b/w Jesus (MGM K-14057)
07. VU Radio Spot b/w VU Radio Spot 2 (MGM VU-1)

And the best part about all of this? We didn’t have to wait all that long to hear the finished product. Beck has already unveiled song #1 of the “Record Club,” which is not surprising, the first track of The Velvet Underground & Nico, “Sunday Morning”. According to Beck, Nigel Godrich, Joey Waronker, Brian Lebarton, Bram Inscore, Yo, Giovanni Ribisi, Chris Holmes and Icelandic singer Thorunn Magnusdottir are among the participants for this particular go around, which you can check out below…

Don’t forget, a new “Record Club” song is expected to be revealed each week, meaning the awesomeness is only going to continue!

For the many that can not make it however, there is a remedy. In fact, more than a few bands known for their live performances have chosen to release a live record and ultimately, be it bootleg or professional recording, these albums have become cherished pieces for music lovers everywhere. While too many to count have been released by this point in time (thanks Pearl Jam), I give you below, a top 10 list of the must-listen live recordings.

10.) Metallica – S&M

This two disc epic is what you get when you combine metal royalty with San Francisco’s Symphony Orchestra. Recorded over two days in April of 1999 at the Berkeley Community Theater in California, the two disc set is some of the bands best work as it takes every one of their hits up a notch with excellent conducting work thanks to composer Michael Kamen. Selections cover tracks from Ride the Lightning to the dual releases of Load and Reload. The songs that every Metallica fan have been listening to for years were given new life, and will never be heard the same way again. I still have no idea how they pulled off “Battery” the way they did.

9.) Foo Fighters – Skin and Bones

Following the release of their double album effort In Your Honor, Grohl and company hit the road to cover the rock half with Weezer. After that long stint, they felt the need to cover their softer side live, so the guys headed out again, but this time they brought out the acoustics… and few more friends. With the new “afoostic” summer tour underway, a live album was cut covering 15 tracks over three nights in L.A. You have never heard the band quite like this as you get brand new renditions of old and new songs, as well as Grohl’s famous charisma.

8.) Pearl Jam – Live at the Gorge

Epic is the only word that comes to mind when thinking of the feat that was pulled off by the Seattle grunge kings. Over the course of three days at Washington’s famed amphitheater, Eddy Vedder and crew did the unthinkable, and seemingly unrepeatable. They played every song in their catalog and recorded the entire event over a seven disc set. While the band is no stranger to the live record, this one is for the books. To listen is a journey within itself as literally everything the band has written is covered. You may need to block out the whole night for this one.

7.) Velvet Underground – Live at Max’s Kansas City

This captures Lou Reeds’s last performance with the band he helped start as they finished off a nine week stint at Max’s Kansas City in New York. Being that a friend of then manager Andy Warhol recorded it using a mono tape recorder, you get the entire night uncut from the music to the drink orders. The early 70’s were a hell of time weren’t they?

6.) Jimi Hendrix – Live at Woodstock

This double-disk set captures the legend in his prime at the legendary festival. Insane improvisation is rampant through out the set that also includes his famous rendition of the “Star Spangled Banner”. You can just imagine him setting his guitar on fire after making sweet love to it.

5.) Concert for Bangladesh hosted by George Harrison and Ravi Shankar

This all-star line up for charity is mind blowing. The event was held on August 1, 1971 for the Bangladesh refugees that were left stranded after a cyclone had killed 500,000 people during the Bangladesh Liberation War. Hosts Harrison and Shankar pulled together an all star line up that included ex-Beatle Ringo Starr as well as Eric Clapton, and Bob Dylan to name only a few.

4.) The Who – Live at Leeds

Another one from 1970, this was the Brits’ first live record and is considered by many to be one of the best live recordings of all time. It even made it into the book 1001 Recording You Must Hear Before You Die as it is the ultimate in rock and roll experience that must be played loud just as anything by The Who should.

3.) Rolling Stones – Get Yer Ya-Ya’s Out!

Another first for rock and roll, this is considered to be the bands’ first live recording, and is by far their best. The album covers two concerts, one in New York, the other in Maryland in 1969 just before the release of the album Let It Bleed. The tour that the recording is based off of is also the first time you hear Mick Taylor with the band after the death of Brian Jones just a few months earlier.

2.) Bob Dylan – Live at the Royal Alberta Hall 1966

After a motorcycle accident that nearly took Dylan’s life, he decided to call it quits from touring. That soon ended, however, when he took the stage in 1966 for his most infamous performance. It was on this night in England that Dylan, after an acoustic first half, took his new electric sound live in spite of the heckles and boos. At one point he is called Judas, but Dylan keeps on going through his set. This reaction would carry through to folk purists in the states, but only after this performance, which was captured via bootleg, never actually being released officially. There is video footage as well, which is startling to say the least. If only the audience really knew what they were witnessing.

1.) The Band – The Last Waltz

When Bob Dylan’s back up band hit the road and recorded as themselves, they exploded. The music community at that time loved them, and for a short moment they were on top of the rock and roll world. When it was time to call it quits, they did so in style with one last performance that would referred to by many as the be all and end all of live recordings, and with good reason. The collaboration list reads like a night at the Grammy’s. Dylan of course showed up for a few songs, but so did Aretha Franklin, Eric Clapton, Neil Young, Muddy Waters, and Van Morrison. After 16 years of touring, it was time to hand up the hat, and with some help from Martin Scorsese, they were able to capture what was appropriately called The Last Waltz. For anyone who enjoys rock and roll, this is the one live record that I will say is required listening, and if you can, pick up the movie.

So, that’s it. Fire away!

Originally set at ten cuts for release in 1972, the LP omits much of the in between banter, but in 2004 the show was re-released as a two CD set. What it captured was the entire night, from tuning instruments to the band members ordering drinks and talking with friends. Live At Max’s Kansas City is vivid and real, giving one of the most intimate looks into one of the worlds most revered bands.

“Good evening, and this is The Velvet Underground. You are allowed to dance if you want to”, Reed humbly announced as he opened the night. After a quick story to describe the opening number, the first track “I’m Waiting for The Man” kicks in. The sound captured that night is evidently impressive given the recording equipment, a mono tape recorder. Reeds voice is even more intense as he sings and at times strains through the words with passion. The songs are quick but never short, with Reed and Doug Yule narrating the stories of love and drug abuse. “I’m Set Free” slows things down early. It has been a long few months, and the band knows how to pace themselves for a long night.

Live, these songs open up more. The musical personalities of each member become deeper and more approachable, and the words gain even more solidarity in their meaning. “Go get me a double” is shouted before launching into “Sweet Jane”, the second track on the original release. The song is talked up as easy with a “great ending”, and it is just that with Yule helping out on the vocals. The track then builds into its two-chord rock and roll frenzy for the wild finish.

The then new track, “Lonesome Cowboy Bill”, shows off the group’s early rock influences with a surfer flair. What is interesting about the song is that it’s one of the tracks that obviously links the band’s influence on punk rock with its speed, simplicity, and sloppier than usual vocals. At the same time, however, it could also be seen as a throw back to the earliest influences of rock and blues. It serves as a reminder of how all rock and roll is related. Finishing off the first side, “Beginning To See The Light” keeps in the style of VU, this time with Yule on lead vocals which come across as distant when compared to Reed’s, but that mostly is due to the sound recording, not personal style. Yule’s style is distinctly different in that he is the missing link between rock and punk rock for the band. He is the sloppier element with strains on the verge of a scream, but without taking it all the way.

Live rarities, “I’ll Be Your Mirror” and “Pale Blue Eyes”, slow down the whirlwind pace and show VU’s softer side. The latter of the two features vocals parts that are at times the best you could have heard from the band, with a soft bluesy solo bridging the song to the end of the heartbreaking story.  A ’50s theme takes over showing their toned down side with “Femme Fatal”, a comical ode to being a bitch. “After Hours” finishes Reed’s version of the night originally, but on the re-release it appears higher in the set list. You can tell why he made the move though, as its name suggests, it is an appropriate closer. The song glides the mood from saddening to an upbeat goodbye with the help of an old school country influence.

The Velvet Underground is known for being groundbreaking, and they prove it with their simplicity. You don’t have to be complicated to shake up the status quo. We know that very well now, but it is thanks to them that we have that creative knowledge. As time goes, the influence of this band will only continue to unroll, and with this album we have the opportunity to peer into their lives and music as it was then.

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