Modern Rock MusicContemporary Rock
Contemporary Rock Music Radio is a game that is officially only and exclusively available for Android.
Story of rock music. English (Modern): Bibliography, Diskography, Reviews, Hyperlinks
Modern British was one of the most original representatives of British radio rock of the 80s. They made their Bauhaus debut with the single Drowning Man (1980) and especially with the nightmare album Mesh And Lace (4AD, 1981). Songs like Swans On Glass and Dust are among the most disturbing Dark Point productions.
With After The Snow (4AD, 1982) however, the band changed course, emphasizing the radio basics of dark-punk and superimposing catchy melodies, which led to an atmospheric form of disco music, L'ultra-occchiabile I might With You will remain their most famous track. The Ricochet Days (4AD, 1984) was a less commercial, but also less inspired record where Hands Across The Sea was in vain search of chart success.
The Gladhouse's 4AD (2000) is an anthology of these three albums. Please do not hesitate to get in touch with me if English is your native tongue and you could be able to provide a translation of this text.
Story of rock music. for Jonathan Richman: bio, diskography, reviews, hyperlinks
Richman is a singer-songwriter from Boston who came to light in the early days of the new waves and was associated with them. Indeed, his music (a cheerful and Spartan people telling stories of teenagers) had little or nothing to do with the noise and rage of rock punks or even the intellectual poses of the new waves.
Over the years Richard put on a "mask" of a shy and complex boy who observes his contemporaries and himself in the style of a satirical fool. He is the most direct heir to the chronicle of the suit, inaugurated by Chuck Berry, in which the rock singer takes his cue from a more or less banal fact, transforms it into a parable that is valid for his entire generation and makes this metaphorical value entertain the audience.
This season Richard, very isolated, does not find the right musical accompaniment. In the rock music scene Richard has stood aside around his open satirical streak, his honest provincial optimism and his devotion to urban folklore. Walking through the workshops of John Cale and Kim Fowley and the squares of Boston, Richard went to the forefront of Modern Lovers (Beserkley, 1976 - Rhino, 1986) on the CD, a complex (with Jerry Harrison on keyboards and David Robinson on drums) that for five years suggested the hypnotic and agonizing style of the sourest and metropolitan Velvet Underground.
Some tapes produced years earlier by John Cale came to light after the explosion of Punkrock and dedicated the band to the classics of rebirth. Other unpublished works are published years later in Original Modern Lovers (Bomp, 1981) and Precise Modern Lovers Order (Bomp, 1994). The first explains how the original style (published by Fowley in 1972) was even more brutal than that of Cale in 1976.
Picasso is a fight boogey piano on which the recited grey and distanced Richard stands. All in all, they reproduce the dark and bleak atmosphere of subterranean nightclubs and are among the most hallucinatory finds of our time. However, Richman's original musical conception did not emerge until the singer, with a unique and sudden transformation, decided to stay in a grotesque instrumental and vocal poverty (to the point of acoustic sound and singing without bends) in one of the most sensational cases of infantile regression.
The Modern Lovers (Beserkley, 1977) is a jewel of bizarre and carefree youth in which paradox and senselessness coexist admirably, a clean-looking David Peel and an aphonic Todd Rundgren. The result was extraordinary cartoons of teen music, rock and roller coaster melodies inspired by children's rhymes and sarcastically telling scenes from everyday youth hummed by a smiling young man with short hair and a nasal voice:
The New England, a cheerful doo-wop who will remain his most peppery satire, Hey There Little Insect, tribal and crackling, the funeral and warlike Lonely Financial Zone, the other great satire of the hideous snowman in the supermarket, sung with the naive rage of a David Peel, the Street Suffle Here Come Tha Martian Martians, the Swinging Rockin' Shopping Center, the other, more romantic, Doo-Wop Important In Your Life, and the South American Folk Song, a beautiful mix of Ennio Morricone and a complex Reggae.
Always halfway between the regrets of the carefree'60s and the fool satire (in the part of the idiot more intelligent than those who laugh at him), richman speculates about the funny and kitschy, masters of fiction and deception, and lives like Alice in a wonderland populated by little insects, little planes and little dinosaurs.
The psycho-physical crisis of Rock And Roll (Beserkley, 1977) destroyed the sound to the limit of the only spoken word, mixing lullabies, doo-wop and street funk with even more childlike rage. Barzelletta songs like Ice Cream Man, his most melodic and carefree Doo-Wop (with ice bell), Dodge Veg-o-matic, another David Peel Street Suffle, with whiff of style, Salvation Army Bass Drum, Egyptian gong shots, drunken choir singers, the infamous La Bambaiff and a song / recitation worthy of beebop, and a lot more,
Rockin' Leprechauns, a ramshackle rock and roller for lower-level ensembles, Afternoon, a Florida Reggae with music choirs and Roller Coaster By The Sea's Novum Canora are minimalist choirs that are accompanied by a pharse-complex, worthy accompanying program to the ethno-music program for outdoor picnics; Richman proclaims his belief in a barely whispering rock to capture even the smallest nuances of youthful sensibility (in concert Richman often silences, with an almost imperceptible buzzing).
In 1978 the songbook was joined by three new songs: I'm A Little Airplane, a Berry Rock and Rock, I'm A Little Dinosaur, another Dion Doo-Wop and the My Little Kookenhaken County REGGA. In Your Life (Beserkley, 1979), Back In Yourife insists on a misunderstanding with ''Morning Of Our Lives'', a theme from Tea For Two that praises a philosophy of living reminiscent of the transcendentalism of his compatriot Ralph Waldo Emerson, My love is a flower me,
Acoustic ballad with choreography of the 50s, the cosy party In The Woods, the surreal knob of the natural mosquito, the sad and tender affection, his moral testament and another intoxicating panethnic outline of the music room, Abdul And Cleopatra. After moving to Berkeley (California), after a period of voluntary exile from the art world, Richman returned to Sings (Sire, 1983) with extreme naturalness and simplicity, without being changed by a comma, in eloquence and humor:
That kind of music could be a rock and roller of the 50's, Paris One More Chance give a rythm and blue with a horned stone, That Sommer feel a nostalgic popular ballad (perhaps the biggest of his career) and Those Conga Drums another innovation doo-wop. The frivolous worldliness of his caricatured doo-wop makes him the most important gnomish troadour of his time (Not Yet Three is a protest song that expresses the point of view of a child's adults).
Rockin' And Romance (Twin Tone, 1985) is even more relaxed and minimal (but with eight choirs!). The most naive and worldly singer-songwriter of rock looks at his own pair of denim shoes (My Jeans), praises the beach, conjures up exotic holidays (Down In Bermuda), along with other nostalgic ballads (Fenway) and another doo-wop melody (Vincent Van Gogh), the little St. Francis of the post-Pubertal world.
Actually, Richman stopped singing the 50s happily ever after. It is always the innocence that worries the funny Boston minnesinger, but the (present) innocence of the youngest, not the (past) innocence of the elders. With David Thomas he is the most relaxed and optimistic intellectual of the new generation. It' s You, the instrumental Yo Jo Jo, the most aggressive of his career, and the Ode Anti-Consumer Corner Store on It's Time For (Upside, 1986); the erotic song Gail Love Me, the surreal innovation When Harpo Played Hish Harp, the rock and roller at Holly Dancing At Night and the Garage-Rock California Desert Party on Modern Lovers 88 (Rounder, 1987);
an ode to the Fender Stratocaster and the comic nursery rhyme of Iat With Gusto for Jonathan Richman Stratocaster (Rounder, 1989), the most primitive and spartan of all. He used chewing gum music to the point of sickness, reproducing it with a monotonous and anonymous nose song, making it a deliberately improbable and inadequate vehicle for his delicate, youthful, romantic minimalism.
On the whole, nursery rhymes and instruments represent a rare selection of outdated music and everyday madness. Toys or whims, these pieces fit perfectly to the films of the brothers Marx and the novels of Vonnegut on the podium of the most useless comedy of American civilization, but with a focus on the man worthy of naturalism.
Recently, Richman showed signs of fatigue: After two Spartan albums that hadn't expanded their repertoire with important songs and a burglary in the land, Jonathan Goes County (Rounder, 1990), the eccentric Boston records Having A Party (Rounder, 1991), live with another rosary of hyper-realistic comic confessions, mainly dedicated to his marital misadventures (When She Kore's Me, Just For Fun), which today belong more to the genre of comic solos than rock (the musical accompaniment is really minimal).
Jonathan (Rounder, 1992), I confirm this somewhat nostalgic and paranoid mood, masked by the usual story telling gags (I Was Dancing In The Lesbian Bar, Party In The USA, Velvet Underground) and by at least one successful harmonic anomaly (A Higher Power). If Richman were honest with the title You Must Ask The Heart by Rounder (1995), he would stop recording.
Capitulation to Jonathan (Vapor, 1996) usually contains better arranged versions of some of his classics. They belong more and philosophy and than to music. My Little Girl's Got A Full-Time Daddy Now, Not Just A Plus One On The Guest List Anymore and Surrender are nice but, once again, they belong more to philosophy than to music.