Given the excess of coverage and plethora of media portrayals of Diana, the late Princess of Wales, that Chilean director Pablo Larraín would choose her as the subject of his new film feels somewhat odd. Do we really need another look at Diana and the royal family and all their dysfunction? If you’re a fan of The Crown, you may already have had your fill, but if you’re still curious for even more on the inner workings of the Windsors and Diana’s psyche, then Larraín’s Spencer may be for you.
As Spinning Platters has managed to continue for far longer than anyone would’ve expected us to, so has this list. Here are records 11-30 from the first decade of Spinning Platters. For those looking to read #31-50, click here!
There’s an interesting conundrum that a new band faces when one of its members is a well-known and deeply admired member of the music world, but theirs is not a front-and-center role in said new band. While it is pleasing and exciting to know that the group will gain attention and followers simply by this connection, it’s frustrating or sometimes embarrassing when the enjoyment and appreciation from their fans is entirely directed at the aforementioned member, with the other bandmates struggling to pull the limelight back to themselves. It helps, therefore, to bring a set of people with you who are delightfully talented and demonstrating show-stopping performances in and of themselves. Thus, it was a delightful treat when a small contingent of Radiohead fans, drawn to the Independent to see the new work of their long-time producer Nigel Godrich, were surprisingly dazzled and mesmerized by all three members of English outfit Ultraísta, which Godrich formed with fellow musicians Joey Waronker (drummer for Atoms For Peace, R.E.M. and Beck) and fresh new face Laura Bettinson earlier this year.
Welcome to April… The beginning of Fauxchella, when all of those bands that were paid an obscene amount of money to perform in the desert for rich kids on copious amounts of drugs get to play for normal people, in normal venues, where you get to hear a band with a soundcheck and a real venue. Not to say that festivals don’t have their place- I have a lot of fun at these things. But I both couldn’t afford a Coachella ticket, nor could I take the time off my day job. Which means that I’m seeing fIREHOSE at Slim’s. (Sorry Radiohead!)
What surprises did Thom have that aren't listed? Read on to find out!
An international man of mystery. No, not that one. Thom Yorke’s experimental genius continues to grow over the years and has culminated into his current project entitled “Atoms For Peace.” Bay Area music fans were treated to two performances on what has been a very brief and selective tour, ending with a headlining performance at this year’s Coachella music festival. As most ticket holders to Wednesday’s performance have already claimed, they did not leave disappointed. It would be safe to assume that a large majority of Thursday’s audience were veterans of the previous night’s performance. Given the opportunity, who wouldn’t allow Thom and his new group of lads to dazzle them two nights in a row?
Peter Gabriel’s new covers album Scratch My Back is the beginning of a “song exchange” project. This means that every artist covered on this album is being asked to cover one of Peter Gabriel’s songs in exchange. This collection will then be released under the title …And I’ll Scratch Yours. That’s the intention. Whether or not the second part ends up happening seems to be up in the air so far, but Stephin Merrit has already recorded “Not One of Us” as a b-side to Peter Gabriel’s Magnetic Fields cover,”Book of Love,” so the project has begun. Continue reading “Album Review: Peter Gabriel — Scratch My Back”
This is how you would have had to search for music in 1997. It's easier now.
Have no clue what to do? Has a large green creature come and snagged all the good presents away? Don’t fret because the Spinning Platters elves have present ideas to fill up Santa’s sleigh…
It seems it’s that time of the year when the days in number
seem to fall off the calendar into slumber.
And there is only one thing you could possibly find,
that wouldn’t be on kind people’s minds.
It’s better than socks. It’s better than butter. It’s better than delightful hot cocoa with a candy marshmallow ring.
It rocks so hardly in summer,
maybe even some with a mutter,
and it’s let you go along, allowing you to dance and sing.
It’s pure but complicated, not dirty or replicated.
It’s as tasty as fresh warm bread
even those that are of leaven,
it’s just what you always thought it was, it’s the music of 1997!
There’s this fun little website called The Top 13 Albums Project. For the last two years, they’ve invited anyone who’s interested to enter their top 13 albums for the year into the database. They then compile all of these lists into one master top 13 list for the year. Why 13? I have no idea. All I know is it tends to be a pretty good look at what the blogs are loving that year. Fleet Foxes and The Boxer by The National were the top albums in the last two years. Now, they’re doing a Top 13 of the decade, and in order to participate, you need to submit your list by October 2nd. Of course I’m participating. Follow me now as I run through my personal list. Continue reading “Choosing My Top 13 Albums of the Decade”
Because I could never go home empty handed, I ended up with this
For most of my life as a music nerd, Tuesdays were always my favorite day of the week. On Tuesdays, I’d stop at Strawberries Records in West Springfield, MA and shop the new release rack. I wouldn’t let myself leave without buying at least one thing. This is how I ended up with The Bends, as I had liked “Creep” but not Pablo Honey, but there really wasn’t anything else interesting out that week. As time has passed, Tuesdays have become less and less important, because now the release date for an album is somewhat random: when it shows up online, it’s released. Yet for some reason, the record labels are clinging to these release dates. And in many cases, they still release albums on different dates in different countries. This, for obvious file-sharing reasons, is beyond lunacy. This post is a plea for record labels to end the archaic practice of release dates. Not to help me–I’m well served by the Internet–but to help themselves.
The company I work for in my everyday life has a saying: “We make it easy for our Customers to buy from us.” When will the record labels adopt this attitude?
