Paper - Portland Vows - Play Nicely (Cassette, Album)

Talking of Ghost Box, the label has a really cool new release out by a name completely unfamilar to me - ToiToiToi. Who turns out to be a German fellow a first for the label, I believe Indeed I wonder if they've ever put out anything by someone who wasn't British? Appropriately they use the term "wunderkammer" - German for cabinet of curiosities - to describe Im Hag. Which seems bang-on, for th e previous Ghost Box release it reminds me of a tiny bit is The Transactional Dharma of Roj - which itself very much felt like a cabinet of ungainly marvels I also think sometimes of Mouse On Mars's buoyant and airy dinkytronica.

Release Rationale:. Its a wunderkammer of an album crammed with original ideas. All at once managing to be witty, spooky, melodic and abstract. The music and design explores the polarities of folklore vs modernity, and wilderness vs civilization. He was smart and a smooth talker. As Charlie climbed the Columbia ladder, he always reminded me of my passing on him.

Thanks Bob, I ask the same questions too, not only about sexual discrimination and harassment, but also about privilege in general. I think this is born from that privilege. I started working jobs when I was 17 to help my family pay for food and shelter, while I dreamed of being a musician. Privilege means not having to have faced these struggles on a daily basis, while still being mistreated in one way or another.

Perhaps that is why we have misguided men and some women. What sets music apart from every other business except porn, is that our product is sex. TV has sex, Films have sex, but music is sex. Men and women get into the business for it. We were all in it for the girls. I think it is equally as important to mention that allegations do not and should not always equate to guilt.

A line has been crossed, and the pendulum now swings the opposite way. Where women were once voiceless and all allegations were often discounted as false, we are now seeing the opposite occur, where any woman can make any allegation against any man with power and everyone believes it to be true, regardless of whether or not the alleged acted this way.

Charlie may or may not have done what this lady alleged he has done. I have an artist, most would describe as gorgeous named Dylyn that has spent a good amount of time with Charlie a couple years back.

Monte and Charlie were fans and friend with Dylyn and often invited her out with them. She went to private karaoke with them and watched Psy perform, during his Gangnam Style fame. She hung out with them backstage at a handful of shows including The Weeknd when he blew up and swears they were both very kind and fun to be with. She always spoke so highly of Charlie and Monte.

She is an artist and he is a music mogul that was very much in a powerful position and never once made her uncomfortable. They may be true.

This man can lose everything he has with reckless discourse about him. For our latest installment, Prof. Pictured above: Barney Kessel. Jamaican pianist Alexander has a bright, flowing and lyrical approach to his instrument. But yet the approach never feels busy. Be warned, however, that the titular Beatles classic is transformed beyond recognition.

MPS does its by now expected top-flight job of repackaging and reissuing another timeless classic from nearly a half century ago. The band explores a variety of tempos and textures, but at its heart, A Message From Garcia is fairly consistent in its musical approach: the guitarist plays single-note melodic runs while the band provides subtle support.

The Modern Harmonic reissue of this relative rarity features top-notch sleeve reproduction and colored vinyl. Acclaimed jazz guitarist Barney Kessel only began his career as a band leader around By that time he had made quite a name for himself thanks to his work on recordings featuring Billie Holiday, Benny Carter and others. This second volume the first was released a couple of years ago features surprisingly good audio quality.

The German guitarist worked in a number of musical idioms including soul jazz and jazz-rock fusion. With a nasty fuzztone, percussion that may remind some of Low Spark of High Heeled Boys -era Traffic and a kinetic bottom end featuring acoustic and electric bass as well as celloSpectrum is a scorcher.

Two years later Kriegel would form a band named after this LP. The album is newly reissued from MPS and is enthusiastically recommended. One could say that Herbie Mann was the Rodney Dangerfield of jazz: he got no respect.

Part of that was his own doing; he resolutely refused to be boxed in with regard to what is and is not jazz. His work is wonderfully accessible and irresistibly catchy. Truth be known, he was at the forefront of the world music movement, though few will afford him the credit he deserves for it. And anybody hip enough to hire Larry Coryell and Sonny Sharrock is okay by me. This collection — annotated by my pal, the esteemed author and esteemed music journalist Pat Thomas — is a lot of fun.

The tracks here are featured in their single edits, most making their first appearance on digital media of any kind. And its North Texas Jazz label has released a sizable catalog of music, featuring instructors, students and alumni.

Trumpeter and band leader Jay Saunders recently retired from his position at UNT, where he taught classes and directed bands. It draws from six earlier releases by the ever-shifting ensemble. This time capsule in the form of a colored vinyl LP is a true delight.

Originally released in on the Dawn label, Jazz for Hi-Fi Lovers is a various artists collection presented in wonderful hi-fi read: monaural. The cover art is a gas, too. Come for the packaging, and stay for the music. Pictured above: Sweet Apple. FYI: links to key audio and video tracks follow the main text. Boston seems like it should be a town too intellectual and gentile to kick out any jams, but plenty of balls-out rawk has come from that town.

Meanwhile, L. The legendary status of the Raspberries in the power pop community obscures the fact that the Cleveland band was quite popular during their early 70s heyday, regularly lobbing hit singles into the charts.

Regardless of standing in the nebulous cloud of the music industry, the original quartet reunited in the first decade of the new millennium to show the young whippersnappers how it was done during the years when the Beatles, the Kinks and the Who were their only role models. Pop Art Live Omnivore captures a fiery gig from in front of a hometown crowd, all four original members included. That mainly means some extra echo and tremolo here and there and some obvious affection for the 80s British psych pop scene, but the focus remains squarely on the songs and hooks.

Five songs in eleven minutes, not a one less than immediately catchy and appealing. Five Horse Johnson plows much the same furrow as Cruiser, but if the latter uses a rake and a hoe, the musclebound Toledo quintet prefers a backhoe and occasional dynamite to make the earth move.

Off the Hiphis sixth album and second with his backing combo The New Vindictiveswould rule. People forget, however, that the North Carolina combo was a trio when it made its full-length vinyl debut.

Covers of the usual early rock suspects Bo Diddley, Fats Domino, Elvis Presley, Wanda Jackson sidle up to a handful of originals, but the real surprises come in the outtakes.

So many, in fact, that the Missouri rocker compiled a two-disk anthology covering his 37! When the final chapter is writ, one of my greatest regrets will be having never seen Fred Cole perform live. Losing our musical heroes has become increasingly, depressingly, commonplace, and each of us deal with it in different ways—pulling out the albums, of course, or attending a candlelight vigil at a relevant shrine, or even organizing a tribute concert where other musicians can also work through their grief.

What follows, then, is a pair of interviews I conducted with Fred Cole, along with his wife and longtime bass-playing musical foil in both Dead Moon and Pierced Arrows, Toody Cole. Unbeknownst to me at the time, Dead Moon was on its last legs. It has been a journey we will always treasure and feel that a worldwide family has emerged in its place.

Dead Moon became much bigger than the band itself, it became a DYI underground hopeful for a lot of people. The candle is still burning! Although it soon became clear that Fred and Toody remained very much a personal and musical unit, because while drummer Andrew Loomis was now out of the picture sadly, in he would pass away, from lung cancerby May of the following year the Coles were back in business as Pierced Arrows, tapping Kelly Haliburton for kit duties.

By there was a Tombstone-issued Pierced Arrows album, with more records to come. What was once around words is now nearly I still have the LP and, of course, the note. Then he thanked me profusely for being one of the writers who had stuck with the band over the years.

It appears now that the campaign far surpassed its goal and that a release date has been set for next April. Author F. Slithering outta the Portland, Ore. For Cole, he of the leather-lunged, Arthur Lee-meets-Roky Erickson howl, serial killer riffs and outside-of-society lyrics, and a staunch DIY lifer, these past two decades must have been a hugely gratifying second act.

Cole continued to make music in Portland, but meanwhile, he was also enjoying the domestic life. You gotta understand, I was a sweet Catholic girl, and he had a notorious reputation. So it was an oil and water thing. I totally expected him to be the biggest egocentric airhead from hell. I remember when her dad finally met me, and I stuck my head in his car window and all he saw was all my hair, and his eyes got real wide, like on the Little Rascals.

The Cole-Connor union which recently celebrated its 39 th anniversary and to date has resulted in three children and seven grandkids would yield more than just marital bliss. But I just love it! So he picked the right time, and started me with something pretty basic. He just kinda wanted a bunch of amateurs to get up there, hammer away, and see what happens. Luckily for me he pressured me into it. Toody countered with Dead Moon, and the name stuck. Fred remembered a talented Portland drummer, Andrew Loomis, late of a Plimsouls-like new wave combo called the Boy Wonders, then working at local punk club Satyricon, and an audition was arranged.

Instant chemistry. Now, even at their most vibrant, local music scenes can be pitiless towards new bands, even those fronted by a more or less known quantity such as Fred Cole. And Dead Moon definitely paid their dues early on, playing mostly cover tunes and taking gigs at any regional dive that would have them. But in a lot of ways it made us who we are. It was a very humbling experience, and to this day we appreciate it when people show up.

Second and third albums Unknown Passage and Defiance followed in short order, each to similar underground press raves. Kesteloo, a die-hard garage freak a Fred Cole fan, had met Greg Sage of the Wipers while on tour in Europe; Sage, who knew the Coles from their Rats days and also frequented their Portland instrument store, Tombstone Music, agreed to put Kesteloo in touch with Dead Moon.

Kesteloo subsequently licensed some Dead Moon tracks for a pair of Music Maniac compilations, and when the band landed in Europe inFred, Toody and Andrew were treated like conquering heroes.

He showed up at the airport with this huge fucking van and 14 guitar stands in the back. Same with a lot of different bands, like the Gories, that would go over and the Europeans just loved. Meanwhile, having a loyal European fanbase allows them to return home with a profit, which partly explains why U. Dead Moon tours, while not necessarily rare, are neither as frequent nor as extensive.

We used to have this rep for playing three hour shows! Fans observe this devotion each night when the band undertakes a pre-performance ritual. The Handshake is a way to touch bases and let us all know that we love each other.

Back home, in between tours, the Coles devote their energies to running their record label, operating a maze of other income-generating businesses Tombstone Music, their instrument shop; Tombstone General Store, a convenience-type mart; and several nearby rental propertiesand of course recording Dead Moon records. In mono, natch. Then it became almost like a mentoring thing. All right, now a couple of weeks went by because it takes me a while to get around to writing these blogs and I have a lot of other stuff going on.

Then I got an email from Eleanor yesterday. And I cannot just go to the store and buy it. And I need it pronto. Likewise, you should pay for things that other people create, or you should content yourself with the free and legal options available to you. You know, you never actually answered my original question. In order to download something online legally, a credit card is required and I do not have one of those.

Therefore, I cannot buy it. And it is nothing like going to see a show. And you know it. How are you supporting me by stealing my song off the Internet? Why are you entitled to get the sheet music for free? He listens and decides that he really likes the song. Bill goes home that night and downloads the entire Songs for a New World album off iTunes. He also tells his friend Sally about it and they decide to go and see the show together the next time it comes around.

But, since I was able to get it, how much more money was made? It happens. And who knows how they got the music? I answered your question. Do you have any intention of ever answering mine? What question of yours did I avoid answering? And your answer is sophistry, Brenna. That same scenario could take place exactly the same way if you paid for the music.

Would it be wrong for me to make a copy of some sheet music and give it to a close friend of mine for an audition? Of course not. In fact, it would be considered nasty of me to refuse. But to trade sheet music online is bad? This website is not even technically illegal. I know what can happen online. And third, you think the same scenario could have taken place exactly the same way?

It could theoretically take place the same way. The question is would it? And the answer is probably not.

Well, I have just explained that it is not illegal, so we will leave that alone. First story: Friend of mine is building a house. And what if someone likes my house and wants me to build one for them?

This seems unfair to me. The screwdriver he wants is a tool that he is using to further his own aims. I went out, I bought a screwdriver, now I should just give it away to someone? Sheet music represents almost half of my yearly income. You seem to be saying that you should be able to take that song, that screwdriver, just take it for free, and go build your career and your happiness without ever compensating me. Second story: I collect first edition copies of the works of Thornton Wilder.

This one looks cool. It would be rude of me not to let him borrow my book to read, after all. I call my friend, ask him for my book back. Make me a copy! Why would I do that? He can just go to the bookstore and get a copy of his own.

The logical endpoint of that argument is fairly obvious to me, and I hope to you: If no one buys any of the books, then the publishing companies will stop printing them, and then the authors will have no way to make their livings as authors.

I then ripped that CD on to my hard drive so I can listen to it on my iPod in my car. I should have to buy two copies? Copyright does not prohibit all copying or replication. The statute does not clearly define fair use, but instead gives four non-exclusive factors to consider in a fair use analysis. Those factors are: the purpose and character of the use; the nature of the copyrighted work; the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and the effect of the use upon the potential market for or value of the copyrighted work.

Of all places! It really sucks to be a teenager. I wrote a whole show about it. As long as it shows off what you can do and who you are, it will suffice because you are a teenager and the people who you are auditioning for will cut you slack on that account.

All of us who write music for the theater are very much concerned that the sheet music business will eventually go the same way as the record business. If you want me to talk to your parents and ask them to buy you the sheet music, just have them write me an email. You know how to find me.

I look forward to any thoughts you all might have, and a lively discussion. And thank you, Eleanor, for letting me put our argument on this site. I have printed every single comment that came in to this site with the exception of four or five that seemed to me to be unnecessarily personal attacks on Eleanor, and a couple that were just silly pranks.

Thank you all for participating. I also heard from her mother. And her brother. And I have heard from many very wonderfully kind and supportive people who pledged to do what they could, even if only in their own houses, to stop the rampant illegal and unpaid use of intellectual property, sheet music being only one example.

Have a good 4th of July weekend. Finally, one of the techies came to my aid with a beautifully clear response to my blogwhich then as you can see from the comments on his page brought the crazies to HIM, and he dealt with them far better than I could. Thanks, George! Next ». Thanks for going out of your way to have a few of these conversations, despite their apparent futility.

As an English teacher it makes my blood boil. Almost as much as plagiarism and copyright infringement. And thanks for plugging the inter library loan system! Oh Eleanor. Pet peeve. Totally agree. Had Eleanor actually ever bought a sheet music book she would have noticed the notice prohibiting copying. Most shops here I refer to Dress Circle in London as the one I go to usually even have policies in place which prohibit sheet music being returned as people apparently cannot be trusted not to just make a copy and then return the book.

Theatre work needs our support more than crazily popular top ten artists do and without it they will not have the means to continue with the work we love. Excellent arguments, Jason — this whole blog post breaks the issues down quite nicely. Somehow I doubt you convinced Eleanor and stemmed the tide of illegal downloads, but every little bit helps. I try to do my part and pay for all my music downloads. You probably loved Thornton Wilder even before our high school production of The Skin of Our Teethbut my love for his work started there.

I have some very funny mental images of you in that show embedded permanently in my memory. Total fair point. However, it would be a shame to see that website disappear as its a great resource for out of print and therefore unobtainable music which presumably falls under a different branch of copyright when it is permanently removed from the market?

The fair use doctrine does provide some helpful guidelines on the point of out-of-print material. In my defense, I try to make sure before I do that the song is now out of print. There are lots of people now who will transcribe sheet music from a recording. Heck, even when I was a kid there were people okay, me who would just learn a song by ear and play it for friends. Where on the spectrum does this example fall? Transcribing is a weird sidebar here.

I think transcribing a song for yourself is certainly just fine, and hiring someone or being hired to transcribe an otherwise unavailable song seems like a necessary evil and not a bad way to pay the rent, speaking from experience. The trick comes in what happens to that transcription afterwards.

At any rate, this essay is certainly not about transcriptions, as you know. I wonder what her cellphone bill is per month? Two comments stand out. The astonishing thing about this exchange is that you had to teach Eleanor the entire theory of copyright, royalties, fair dealing etc. The system is about to become easier for copyright infringers. We need a new system, easy and fast enough for Eleanor, but still fair to composers and lyricists.

Thank you for posting this exchange. It goes to show the crazy lengths people will go to to justify their immorality. You need to save your energy for creating beautiful music! The reason out-of-print is a gray area for me is that the decision to put something in or out of print has not always rested with the creators, and those creators may be just as frustrated that a work of theirs is unavailable as the potential consumers.

I think the standard has to be pretty high. Brown, you rock. Thank you for standing up against illegal music!

Awesome points, and well said! Eleanor seems smart and sassy… I think you guys should meet during some kind of a reality show and talk it out. You are a genius in more ways than one. And patient. Thanks for posting. Between you and Georgia, you might just be making the world safe for artists and content producers again.

Many thanks to you both. This was priceless, if sad. Not pointless, however. Great work getting to the heart of the issue, both of you. They put down the road without speed limits posted and see how fast people drive for a few days under normal conditions. On the other hand, we all have sped by accident or on purpose at some point. Certainly if a loved one was about to give birth, would you or anyone exceed the speed guidelines? Surely, but not without taking reasonable regard to the safety of pedestrians doing 35 MPH on a residential road, not 55 MPH.

Eleanor is the typical consumer case, although she betrays her age by hiding a very practical and sensible argument in terms too moralistic for its purpose. Eleanor is much like early adopters of Napster. They saw the efficiency of having massive music library stored on their computer, but found that ripping large CD files to achieve that end was with the technology at the time bulky and impractical without a Peer-to-Peer P2P network of easily downloaded, shared music.

Of course, those losses were the result of a failure to adapt to this new paradigm in consumer demand. Eleanor here is a target demographic.

She may be a demographic of one I suspect she is not. Regardless, Eleanor had a need, and you had an audience who desired your product but found themselves unable to access it.

We can sling figures at each other about how much artists lose or how much they gain in profits due to online proliferation of sheet music or the digitization of music in generalbut that is peripheral to the fact that it seems like Eleanor would not have purchased your product anyway. If you are not prepared to develop a way to get sheet music in a relatively affordable way to high schoolers without credit cards, I would suggest that Eleanor or as it may be, an individual like her is just following her own internal moral speedometer, and has determined that there exists no other way to get their hands on your product in a way that perhaps breaks the rules, but does no harm because there are no alternatives.

It seems like you may have an underserved market in these high schoolers, JRB! Good for you, Jason, for trying to engage this young woman in a discussion. It seems to me she has several options: try to get the music from a library, ask a trusted adult to speak to her parents, offer to do chores around the house or check around the neighborhood to earn the money for the music.

Jason, Wow. That was great to put out there. I am a singer, but I also write music. Your points are dead on. The last tour I was on, we debated this subject on the bus for hours. Is there a way to beat the system? Document tracing maybe? Class-action law suits- Composers vs. Or a strike—the TV writers did it recently, why not composers?

Take Care, Brian. There are money cards available through WalMart. There are always ways to figure things out without stealing! She is choosing the easy way out. This is an amazing exchange. I really hope your actions get around and inspire other artists to stand up for themselves. It would be great to see a lot more big names musicians, composers and writers poking their heads into the other file sharing communities. What I admire most about this is that you did not threaten her with legal action.

You put things into perspective for her. If I were standing in her shoes right now, my face would be as red as the background on your page.

Good for you J. All the best, Jay Gogel. This blog entry made my day. There was a moment that I recall, however, that altered my perception of this topic. The moment I completed the first song in my musical.

I felt wholeheartedly convicted and after writing and producing my original musical a year later. I already aspire to be half the composer you are, Mr. I did not like the way you talked with this girl. Beyond the rational arguments there is a style and you lose it at many points in your conversation with Eleanor.

I admire your music but after reading your quite arrogant comments I think I like it less. I am a bit disappointed. I am not from U. Would you prefer not to be known at all in such place? I do not think so. You should tell in this context if you have real money problems like many people have or if you just think that you are not rich enough.

This would be an important remark. Best regards. My net worth is not the point. Does that answer your question? You were patient, sympathetic, and then got right to the point. First, just to get it out of the way, I do think copying commercially available material is unethical.

I do have a couple of quibbles, though. The digital world messes with our notion of materiality. If Eleanor uses her computer to automatically transcribe all of the data about an image of a piece of sheet music, both Eleanor and her provider can continue to use the information in whatever way they like. The original provider just repeated something JRB originally expressed presumably citing her sourceand Eleanor copied it down.

Copyright, then, is more about payment for service than an exchange of goods. Artists like JRB spend hours and hours perfecting their works of art, and for at least years or so our society has decided artists should be compensated for their work. In fact, this was more or less what copyright meant originally—the creator has the sole right to sell their work, but anyone can speak it freely.

Still, artists do need to be paid, so I think the best solution is to make it easier for people to pay them for their art. Our earliest copies of Shakespeare the Quartos are probably pirated editions, but hardly anyone performs these versions anymore.

People will use authorized channels if they are available. There are many explanations for why the recording industry is dying, but I believe one of the biggest stems from their slowness to adapt to the model Napster demonstrated.

It took years between the technical possibility and the reality of iTunes because the recording industry desperately wanted to cling to their old models, and so piracy, the only real option for accessing large music collections, became the norm. But now, despite piracy, iTunes, eMusic, and the like seem to be profitable. Also, I assume Eleanor is a student. If we want our students to become the next generation of excellent artists and thinkers, we need to ensure they have access to the best that has been thought and said.

JRB writes that she is not entitled to have his sheet music, but entitlement is sort of an artificial construct and is largely defined Paper - Portland Vows - Play Nicely (Cassette the moment and society. Our society tends to believe children are entitled to a good education. We need better, more expansive, and more clearly defined copyright law for education and archival work. Too much is rotting away on shelves because educators and archivists like myself who respect copyright law have no legal way to make the material accessible and the copyright is now so long that material is often lost before it can be made accessible.

In fact, learning and defining ethical behavior is as much if not more of a critical component of higher education than the literary or musical theater canon. The publishers, furthermore, are indeed adopting new strategies for making the work available; I had to push Hal Leonard to do it, but all of my published work is now downloadable on sheetmusicdirect. When the consumer is educated, and most importantly held to a higher standard of ethical behavior, I do think positive changes can be made.

These are great workarounds that allow minors to purchase items online without needing a credit line or bank account. However, along the lines of being an ethical consumer, I might recommend purchasing these gift cards at some place other than Wal-Mart. Just trying to suggest another avenue for teenagers to make online purchases. A quick concession before I too must bow out and return to the work I should be doing: Yes, consumers do need to learn ethical behavior and to respect an artists right to be paid.

And yes, I see modeling and teaching that ethic as an important part of my work. After all, I want you to consider it worth your while to write something new and soon! You make completely valid points. And legitimately just convinved me to stop using said trading sites. I think they suck. One more thing. You constantly say in your interviews that the best way to become a better writer is to extensively study the work of those before you. Maybe a little more selectivity would be helpful!

Unfortunately, it is not just teenagers who think that way. The illogic amazes me. Good luck! On the other hand, a friend and I have split the cost of a CD and then both ripped it to our computers. It seems to me that that still falls under fair use, but on the other hand it does seem like a bit of gray area. That said, perhaps a good rule of thumb is that a household functions together, and therefore items purchased for a household can be considered a sort of collective property.

Hey JRB, You are totally right about the sheet music, a guy has to make a living right? I hope we soon see your next masterpiece very soon, your work really makes people understand life better than they did before particularly Last 5 Years.

Much love, SD. The thing that makes this whole exchange utterly frustrating is the sense of entitlement that Eleanor exhibits throughout. Her entire argument for illegally exchanging and using copyrighted materials when you really get down to it is that she can do it instantly and anonymously, seemingly without consequence after all, even when confronted by the composer himself, she claims that it could not just be an empty threat from someone pretending to be him, deflecting from the real issue at hand.

I think this is symptomatic of a generation that is still struggling to understand the implications of using the internet, people that are still struggling to balance the rewards of instant gratification with the consequences that inevitably come with it.

With all these sheet music sites up, Eleanor could have gotten access to the music she needed instantly. True, financial or familial reasons came into play, but what about an aspiring high school actress who may not even have access to a computer?

Is it unethical to share those? Would it be unethical for me to scan some of these songs from microfiche into a pdf file, and if friends ask me to use them, share it? It would be virtually impossible for them to get these songs, unless they live in Wisconsin and have access to the microfiche in his archives. In fact, it occurs to me that the only people qualified to answer this question are the people at the Blitzstein estate. None of us can have all the things we want.

When I was a teen, I gave up buying comic books to save up money for theater tickets; it was a choice I made. Before I could use credit cards or had my own checking account, I learned I could use cash to buy a money order from the post Paper - Portland Vows - Play Nicely (Cassette, and buy things through the mail that way; that option still exists. If Eleanor does not have a Paypal account, chances are that one of her friends does.

If they wanted to, they could buy something for her online and she could reimburse them with cash. She would RATHER spend her cash on something other than sheet music, which she perceives as something she can get for free. But a lot of younger people think of music generally as something they can get for free—which is scary. Thanks again. I hope she writes you again. I almost wish that I would have reacted this way instead of just being like yup no problem.

I will be completely honest. Before reading this I was one of those music sharers. I never thought about what you and other composers feel like. After reading this I was so disgusted that I quickly deleted my sharing account. I want to apologize to you for my insensitivity. Quick sidenote — much love from the 13 Ohio premiere cast! Hi Jason! I feel like I have to share this with you. I really never thought about music trading in this way before. I mean it in the least cheesy way possible when I say you have inspired me to do better.

Thank you so much for treating this girl, who asked many of the same questions in my head, as patiently as you did, and for speaking to her like an adult. So few adults do that. Most of the crowd watching the band even parted to make a circle pit where one crazy dude was flailing around like cirque du soleil or something. It was quite comical to watch. He wore out after a few songs, and then the throng started to congregate toward the stage. The next band was The Plot in You, a decidedly non-Christian band the occasional F-bombs dropped by the singer between songs was a dead giveawayand they were decent but not great.

Better than Willows, but not as good as the next band. They did about five songs before giving way to Cancer Bats. This band was my favorite of the night aside from Demon Hunterand while I would never probably buy one of their CDs, I really enjoyed their music. Without really being able to understand what they were singing about, we could just concentrate on the music and headbang the night away! Also, the mix for this band was probably the best of the night.

For some reason, all the other bands were mixed with the bass guitar and kick drum s out front, so the bottom end nearly drowned out all the other stuff.

But Cancer Bats were mixed perfectly and we could really hear the guitarist who was excellent. They played mostly fast, thrash-type metal but also had some slower power metal riffs that were simply awesome. He actually was sincere and had great interaction with the crowd. The band included a female keyboard player and a frontman who wore nothing but a pair of gym shorts and about a million tattoos.

He, too, had a propensity for using foul language and even apologized for it at one point and had the rock star attitude to boot. For whatever reason, the band decided to use a couple portable construction lights they really illuminated an otherwise dark stagewhich raised the temperature by about 10 degrees in the building.

He was drenched in sweat. And we were too, although not as drenched as we would be about half-way through the headline act. But before I get to them, I must add that this is where the mix really got messed up.

The guitarist and bassist for Bleeding Through looked like they were quite the shredders fingers were a blur on the fretboardbut because the bass and kick drums were mixed so forward, I could barely hear the guitar and the chick on the keyboard was virtually nonexistent. Ok, now on to Demon Hunter. When asking myself that question after this show, I could easily say that it was well worth the three-hour drive, the hotter-than-Hades venue and the wild metalheads stage diving and moshing.

Demon Hunter was everything I expected — heavy freaking metal! I always wondered about that with Demon Hunter since they use a lot of odd electronic guitar effects and orchestral arrangements and angelic singing voices. With Demon Hunter, it was all good! Starting out like that only meant that this was going to be a great show! The band played only nine songs and then left the stage like the concert was over.

The song gets pretty heavy part-way through, so the rest of the band returned to the stage and came in on cue. Eleven songs and about 50 minutes of music, but it felt like they played only 20 minutes. But by now, though, we were drenched in sweat and thoroughly exhausted. We hung around a little bit after the show to buy a couple CDs, and the band ended up coming out into the theater. We got to meet each one of them, shake hands and give them kudos for a great show. Like the guys from Becoming the Archetype that we met at Creation see my previous blog entrythey all were very nice and appreciative of our coming out to support them.

In recalling the set, Garrett and I figured they did five songs from the new album and the rest was older material. It was great to hear some of the classics being performed live. The first concert started at p. This was my first foray to Enumclaw since when a short-lived festival called Summerfest was staged there.

My friends and I were especially interested in seeing them because we had a band at the time that covered a lot of their material. The crowd was fairly sparse for the first act, Bread of Stone, which neither of us had heard before.

They were pretty good, but definitely were the mellowest of the bands that day. Next up was arguably the heaviest band of the day, Becoming the Archetype. From where we were standing near the stage, we were right in front of their lead guitarist, Daniel Gailey. This guy can shred!

These guys rock beyond rock! But despite their aggressive sound, these guys are true gentlemen. We had the opportunity to meet them during a break, and they were all very gracious and appreciative of our attendance and comments about their show.

That was a neat experience. Their lead singer or, more appropriately, vocalist had a pretty crazy stage presence, knocking himself off balance a couple times although recovering quite nicely to prevent actually hitting the deck. At one point late in the set, he flung water from a bottle out into the crowd remember, it was hot so one of the stage techs ran out to rescue the center stage monitor. In the course of rushing it off stage, he got a little too close to the singer and knocked him down with the monitor.

He also attempted some crowd surfing but was quickly pulled back and chastised by the security crew, who also put the brakes on some attempted circle pit action. And, since the sets at Creation have a strict time limit, the band actually ended up getting the sound system shut off during their last song which was quite awkward.

After a quick lunch, it was back to the stage to listen to the rest of the speaker and get ready for the second half of the day. They are fronted by a female vocalist who has a beautiful singing voice but can also scream with the best of them. These guys and gal were really good as well.

Not as technical as BTA, but great songs with killer riffs. We ended up buying their CD too. Next was the most unique act of the day, ShonLock. Amidst all the metal, here came a hip-hop artist. But a good one, at that. But I actually enjoyed ShonLock. For those unfamiliar with him as I washe was a rapper-singer with TobyMac for ten years and only recently went solo.

He said his band was taking some time off back in Atlanta, so it was just him and his computer band. Well, his computer decided to take some time off as well; it decided to malfunction during his second song. After fiddling with it for a few minutes, he returned to the mic to declare it was time for some freestyle! Then he did a pretty cool freestyle rap that sounded like his testimony.

He was ready to do another when someone fixed his computer. Then he went into a little dance routine that was kinda cool, too. The final act of the day was the band everyone was there to see — Disciple. And I mean everyone. The crowd was pretty big — several hundred by now, but I still had a good view of the stage about four people deep Album) the fence. So he decided to retreat to the fence area where our blanket and other stuff was being stashed to the right of the stage.

I felt bad for him afterward. Anyway, Disciple rocked the place! The coolest part, though, was about four songs into Paper - Portland Vows - Play Nicely (Cassette set, the band cleared the stage except for vocalist Kevin Young who proceeded to tell a story about a dream he had the night before.

Then he dovetailed that dream into a sort of impromptu altar call and had everyone grab hands while he prayed. Kevin also announced that guitarist Andrew Welch would be leaving the band in September, so this Creation would be his last with Disciple. It was a sad moment. Plus we found out that just about every band we saw is releasing a new album this fall, so we have plenty of new music to look forward to. Rock on! Well, I know this is a little late, but I figure better late than never, right?

We went to Seattle from Umatilla about a four-hour trip to see one of my favorite bands from my teenage years, Stryper. They released their first album, The Yellow and Black Attack, in on the secular Enigma record label. After Stryper, dozens of glam metal and even more extreme styles began to pop up in the Christian Album) scene. I had seen Stryper in concert on their Soldiers Under Command tour in earlyand they had one of the biggest stage shows I had ever seen.

Add to this that the opening band, a then-unknown band from Seattle named Bloodgood, totally rocked and had a great stage show, and I was in rock-n-roll heaven. I also earned my first heavy metal battle scar at that concert.

My friends and I were lucky enough to score seats in the second row, stage right, about 30 feet from the gigantic stack of house speakers. Viva la rock! Fast forward to June 3 of this year, and my year-old son and I are driving to Seattle to catch they yellow and black rockers in concert again.

He had seen CCM acts Casting Crowns and Third Day in the arena in Tri-Cities, and a handful of classic rock bands at the county fair, but this was going to be different — bona fide Christian heavy metal band. So while he was born well after Stryper went on its lengthy hiatus, he knew many of the songs and was excited for the concert. After having a nice dinner at the Hard Rock Cafe with my cousin Stephanie, we headed over to the venue to get in line for the show. Since three bands were on the under card, the stage was stacked clear from the back to about six feet from the front with amps and cabinets, and the drums were set up at stage left facing the stage.

It made for some fun entertainment watching the band and a handful of roadies dismantle the drums in a flash and have the next kit set up and miked in less than 10 minutes. The first band to play was Metameric, a relatively new band that played progressive metal. For me, they were the best band of the night, aside from the headliners. He was ridiculous! Theyhad a CD for sale at the show and Garrett tried to talk me into buying it. You can find a couple of songs on YouTube.

The next band was completely different. The vocalist was a really tall dude who had a style and sound reminiscent of the singer from The Cult, and he had the best stage presence of any of the opening frontmen. The drummer was solid and the bassist inconspicuously held down the bottom end. The guitarist was decent, although he had a fetish for over-using his Theramin effect. Not a bad act, but not my favorite. The final opening is that an oxymoron? The frontman, who both sang and played rhythm guitar, had an arrogance about him that was evident from the second they took the stage.

The drummer was a fill-in guy who was pretty good, and the lead guitarist was decent as well. Jimi Hendrix brought the tricks of playing behind his head to an art form, but he actually played his guitar that way. This guy would put his bass behind his head and just pedal on an open string. I can do that.

When You Cry - Tito & Tarantula - MP3 (CD), G M J P - The Mad Capsule Markets - The Mad Capsule Markets (CD, Album), I Dont Know Why (Jerome Disma-Ae Remix) - Various - Orbital Mix 5 (CD), On The Rebound - Apollo 100 - Melodies With A Beat (Vinyl, LP), Dejame En Paz - Various - Viejoteca #67 (File, MP3), C. J. Bolland* - Electronic Highway (Cassette, Album), In The Presence Of Enemies - Part I - Dream Theater - Systematic Chaos (CD, Album), Dangerous (Immortal Version) - Michael Jackson - Immortal (CD), I Found Love, Take Ova Da Show - Bombay (12) - I Told U (CD, Album), Shes A Girl & Im A Man - Lloyd Cole - The Collection (CD)

8 thoughts on “Paper - Portland Vows - Play Nicely (Cassette, Album)”

  1. Feb 15,  · Play Nicely by Portland Vows, released 15 February 1. The Next Three Decades 2. Cashiers 3. Paper 4. Malleable Spines 5. Applications 6. Sun Noise 7. For The Harmonium 8. 9. Root and Branch 9 more tracks of lush ambience from Portland Vows - Cassette includes a bonus track not available anywhere else.

  2. Read about Paper from Portland Vows's Play Nicely and see the artwork, lyrics and similar artists.

  3. View credits, reviews, tracks and shop for the File release of "Play Nicely" on Discogs.

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  5. Feb 17,  · Feb 17,  · Aberdeen-based philosopher/producer Bob Plant returns to Concrète Tapes with a second collection of slow moving, lush and blown-out post-everything electronica. Continuing where last year’s debut tape Living With Animals left off, Play Nicely presents a further nine tracks mining the same rich seam that earned the first album so many .

  6. Free download Portland Vows - Play Nicely FLAC album, track.» Electronic» Portland Vows - Play Nicely. Portland Vows - Play Nicely FLAC download. Portland Vows Ambient IDM Minimal Split cassette flac download; Macronympha - Live In Portland Oregon flac download; Monobox aka Robert Hood - M Plant flac download.

  7. Listen free to Portland Vows – Play Nicely (The Next Three Decades, Cashiers and more). 8 tracks (). Discover more music, concerts, videos, and pictures with the largest catalogue online at

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