LANEGAN & DULLI reparten clase y amor

Sikander escribió:

Ripple. escribió:Ya tenemos nuevo cd en vivo a la venta durante esta minigira con Isobel, se trata de un concierto secreto que dio Lanegan el 31 de agosto en Dinamarca, acompañado de la banda Desoto Caucus (Giant Sand), y en el cual solo tocaron temas de Field songs y Bubblegum...

The Beauty, The Man of Darkness, and the Aarhus rockers made it all come together.

Among the highlights of last year’s Aarhus Festival was the Aarhus group The Desoto Caucus’ concerts – headlined as “The Medium Rare Sessions” – with different soloists like Josh Rouse, Isobel Campbell, and last but not least C.V. Jørgensen.

This year The Desoto Caucus repeats the success with two concerts. The first took place Tuesday night with Danish Agnes Obel and American Mark Lanegan in an almost sold out Voxhall.

Before the two soloists, we were treated to a couple of live songs by American Howe Gelb, who usually plays with the The Desoto Caucus musicians in Giant Sand. So the parties knew each other very well, thus giving the audience some well played desert rock with Gelb’s dry vocal and equally dry comments between the songs.

http://www.aarhusfestuge.dk/node/3478

Umm, mucha curiosidad por cómo sonará ese Fix. Aunque ahora que lo pienso dice que es con banda, no en acústico.

Si sabes de algún sitio donde se pueda catar ya sabes

Standalone Motherfucker:
A Conversation With Twilight Singers Leader Greg Dulli

By Bob Gendron

As soon as I learned what ten-digit phone number to dial—the three middle figures were “666”—I knew the call with Greg Dulli would be a doozy. Not that there was ever a doubt. Conversations with the globetrotting Twilight Singers vocalist/guitarist are always refreshingly humorous, unsparingly honest, revealingly unpredictable, and full of awakening pop-culture references.

Reached at his home in Los Angeles three weeks before the release of his group’s excellent Dynamite Steps, the provocative frontman talked about subjects ranging from photography to the Polar Bear Club to performing, songwriting, traveling, and smoking. The new Sub Pop set represents Dulli’s first new record since he co-helmed the Gutter Twins’ opus Saturnalia, and the talk was our first since we met in the summer of 2007 in New Orleans while I was working on my 33 1/3 series book Gentlemen.

B: Alright, I have to ask: Is this your personal cell phone number?

G: No, it’s my landline. My father arranged it for me. Guess who my father is?

B: Yep, I noticed the 666. Satan.

G: [Laughs] That’s my real father.

B: Talking to you already reminds me that I need to go back to the Royal Street Inn & The R Bar [Dulli’s bar/inn in New Orleans] now that you’ve got everything completed.

G: We finally finished it. Being a first-time innkeeper, the one thing that I had never seen is that with people constantly being there, they beat everything down. Just three and a half years in, we’ve already had to swap furniture because it’s constantly used. At my houses, because I live in two different towns, I get more wear out of things because I’m only home for certain amounts of time. In some of the more popular inn rooms, we’ve already swapped out coffee tables twice. I’m like, ‘What the fuck is going on in here?’ I’m not part of the cleaning crew, but I always ask: ‘What did you find?’ [Laughs]

B: And?

G: Blood, ropes, handcuffs, bindles [small envelopes used for powdered drugs], including people flat out forgetting large amounts of whatever they bought and all that stuff. God, wow. I’m glad I’ve moved past all that. I’d be following the maid: ‘What did you find? What did you find?’

B: Sounds like everything is going well.

G: Oh, it’s going great. The only sad thing is that I used to come into town, and I have a great house, but I always liked to stay in the big room—the big rock and roll room. I used to stay there for two or three days upon arrival and it would be my home vacation. But I can never stay in that room now. It’s always sold-out. I haven’t stayed in it in six months.

B: Do you still have the same house at which I visited you in New Orleans?

G: No. I moved to a much nicer house. And I didn’t really like that other one. That was my business partner’s house, and it wasn’t for me. I’m not a duplex-y guy. I don’t need to hear the fighting or the fucking going on on the other side of the wall. I’m a standalone motherfucker. [Laughs]

B: Is the new house the one portrayed in the “blue picture” that’s in the booklet of Dynamite Steps?

G: That’s my house in LA. We had a bunch of recording happen in that room. [Guitarist] Dave Rosser took that picture. Do you have a final copy of the record? I don’t have it.

B: Yes. It arrived a few days ago.

G: With the artwork and shit? Fuck man, I don’t have that! How come I don’t have that? And furthermore, [Sub Pop owner] Jonathan [Poneman] and Megan were in my fucking house yesterday. Goddammit. [Laughs] Well, I took the rest of the photos in there.

B: I’ve also taken a look at your photos on Facebook. In addition to barkeeping and innkeeping, are you furthering your pursuit of amateur photography?

G: Amateur photography and now, for the first time since I’m a teenager, I’ve begun to paint. I’m following along a long line of old farts that start painting again.

B: You mentioned you recorded several tracks for Dynamite Steps in LA. But when we talked in New Orleans, in August 2007, you were working on material in a studio there as well. Was that for Twilight Singers?

G: Yeah, maybe, but I think was still pretty deep in the Gutter Twins. I can tell you that I recorded the last songs of August 2010. That means that I must have begun in the fall of 2008. Eighteen or twenty months of songwriting, whipping things up, tossing them away. Two of the songs were at one point ditched because I couldn’t unlock what needed to be unlocked on the songs. I brought them to a certain point and just got frustrated and quit. It was always a person who had heard the song and said, ‘Dude, what happened to “Get Lucky?”’ And I said, ‘“Get Lucky.” I got frustrated with “Get Lucky.”’ And they’d say, ‘You should go back to it. That was a good one.’ And then I’d go back. “Get Lucky” sat around for six months unfinished, because I didn’t know how to finish it. It was someone else’s enthusiasm for the song that made me want to complete it. “Last Night In Town” was the same kind of thing. I couldn’t figure out how to finish that one either. There was a chorus of people who were all over that one. So I had to really grind on those two. Certain songs were really easy and written in a day. Like “Never Seen No Devil.” “She Was Stolen” was written in an afternoon. Certain songs write themselves and they’re ready to go. They are as is; some songs you have to sweat for a little bit.

B: Dynamite Steps has that trademark Greg Dulli atmospheric feel. And there’s a nasty streak running through some of the material that evokes your famously provocative personality. Does any of the vengeance relate to circumstances that were happening in your life?

G: [Pauses] Anything kind of vitriolic, it had a target. Once I completed it, I called it even with the target. [Laughs] That said, there are parts of this record in particular that I think are optimistic and even transcendent. But I had a couple of things to work out. And I worked them out. And I will repeat that I’m going to call it square with the targets now.

B: You mention transcendence. Some of the music, especially the scope and sweep of the symphonic arrangements, sounds like you recorded the album to be played back on a big film screen in a movie theater. Was this intentional?

G: Yes. It also helps that I had great musicians. Amy Farris came in to play violin and cello; Petra Haden played violin. I have timpani and strings, because upon hearing it, I decided some songs needed strings. Some of the music just builds and builds. And Dave Rosser is fucking great on guitar. He’s one of my favorite musicians I’ve ever worked with.

B: The sequencing also seems deliberate. Dynamite Steps sounds like it’s meant to be heard from start to finish.

G: Yeah, I designed it that way. But I also kept playing with the song order. It’s not meant as a story, but the songs have a flow, beginning with the slow entrance of “Last Night In Town” and finishing with the grandness of “Dynamite Steps.”

B: Given the theatrical trajectory, are you considering playing the entire record live?

G: I don’t know yet. I’m thinking about it. But I’m actually really excited about all of the other stuff I get to play. We’ve got five albums now, and there are a lot of songs I haven’t played in nearly five years. I went on tour with the Gutter Twins in 2008 and 2009. And I just finished my solo tour. So I’m ready to go back to Twilight Singers material. Besides, I haven’t played with a full band in more than two years. It was just Lanegan and I in 2009. Playing with him really taught me a lot about singing, and how to blend voices.

B: Did you learn anything new from playing the acoustic solo tour last fall?

G: To be honest with you, man, I never thought I’d want to do anything like that. For years, people kept telling me I should do it, and I’m like, ‘No, that isn’t for me.’ But it ended up being great. Still, I never would want to go up there [onstage] alone. [Rosser and multi-instrumentalist Rick Nelson joined Dulli.] And it was great to play those shows with [former Afghan Whigs bassist] John Curley. And you know, I didn’t play anywhere big, but we sold-out the whole tour.

B: Anything happen that surprised you?

G: I played “Let Me Lie To You” on a couple of dates, and the first time I did it, I started thinking that I wrote that like, what, when I was only 26 years old? And I’m like, ‘this is a really good song.’ So it was cool to realize that the material held up well.

B: Compared to 1992, your voice still sounds tremendous and unaffected by age. Your falsetto and range on Dynamite Steps are as good as they’ve ever been. Are you doing anything to keep your voice in shape?

G: I quit smoking a few years ago.

B: I heard you quit because you got to smoke in an elevator and didn’t think you could ever top that.

G: Yeah, I was in Turkey. Everybody smokes there. There’s a reason cigarette packages say “Turkish Blend.” And I’m in an elevator. And they fucking have ashtrays in the elevator. I’m like, ‘Man, I reached the peak of smoking.’ What more could I do?

B: So you’re feeling the benefits of quitting?

G: Oh yeah. All the time. I feel it when I go up the steps. And when I sing. But there are times that I really miss it. Sometimes I’ll see someone with a cigarette and it’s like seeing your ex-girlfriend with another guy. And when I’m having a drink. They go hand in hand. People think I quit drinking, too. I’ve read a few times where people said, ‘Oh, I saw him with a drink.’ And they’re shocked. I haven’t quit. If I quit, I’d sell the bars [Dulli owns three bars]. What would be the point of having them?

B: Speaking of drinking, since your prototypical onstage persona involved smoking, boozing, and a debonair stance, are you enjoying Mad Men?

G: You know what? I have watched only one episode but I can tell you this: Whenever I do bus tours, that’s when I stockpile those shows. I watched four seasons of Lost and all five seasons of The Wire on the Gutter Twins tour. Which is great for me because of my television-watching habits. The only shows that I’m hooked on right now, and that I wait for from week to week, are Breaking Bad—a masterpiece of a show—and Bored to Death on HBO. I think it’s amazing; Ted Danson in particular is fucking hilarious. Eastbound and Down, I like it, but I want to like it more. The shows I’m going to watch on the upcoming tour are Mad Men, Deadwood, and my friend Donal [Logue]’s show that got cancelled, Terriers.

B: I haven’t seen Terriers but I’ve heard it’s excellent.

G: Donal is my old roommate and one of my best friends of all time. I remember when he told me the name of the show. And he asked me what I thought. And I said, ‘Well, as long as you don’t mind alienating the 18- to 50-year-old fan base that you’re going to alienate with that title, you should be fine.’ The advertising they did for it told you nothing about what the show was about. I watched the first episode and it was great. The performances were great, Donal was great, the other dude was great. But the creator could not be swayed on the title. It’s what happens when you call something a weird name. Trust me: Afghan Whigs, if I had that one to do all over again, I would have. But that’s [former Afghan Whigs bassist] John Curley. That’s not mine. I had Twilight Singers and then that fucking vampire bitch came along. What could I do? Gun in my mouth. [Laughs]

B: Regarding the Whigs, I just want to say congratulations for spurning the 90s alt-rock nostalgia reunion wave that’s claimed almost every other period band. Thank you.

G: You’re welcome. You can thank Bob Mould [Husker Du], Paul Westerberg [Replacements], and the late Joe Strummer, too.

B: Rather than spend your time on a reunion jaunt, you spoke to me last time about wanting to eventually hang out in and play at a piano bar in Hawaii. Is that still the plan?

G: I sort of still have visions on it. But now I’m kind of digging the Mexican coast. I’ve been frequently hanging out on the West coast of Mexico on the beach. That is ripe for the get-down down there too. One way or the other, I’ll be an old beach dude.

B: Your houses, bars, and the inn are in warm weather cities.

G: I don’t like cold weather. Our record comes out February 15, and they’re like, alright, you’re going on tour then. And I’m like, ‘In South America?’ And they’re like, ‘No, Europe.’ And I said, ‘Fuck that, man. Hell no.’ I’ll go in March. And that’ll be bad enough. It’s cold, but at least I’ll get to wear some of my good clothes, which I never get to wear. But February? I cannot do that. I have to stay in my zones. Norway is not one of my February zones. But I tell you what. I am masochistic enough to Polar Bear Club. If I was around, and it was going down, I bet you I’d do it. They used to do it in the Ohio River on New Year’s Day in Cincinnati. But they did it on January 1st at 9 in the morning, and I would’ve just passed out an hour before that. I don’t know if they would’ve wanted to pull my corpse out of the water after it having gone into shock from all the booze that was in me the night before. [Former Minutemen leader and current Stooges bassist] Mike Watt does it every year in San Pedro. I’m on his email list. He was in Japan this last New Year’s and regretted that he could not show his Polar Bear Club shirt. But I’m like, ‘Dude, you Polar Beared in California. Why don’t you Polar Bear in Minnesota?’ They do Polar Bear Club in International Falls. That’s the coldest place in America. And that’s where if you leave your car there all year and it still starts, hell yeah! Remember that battery commercial that used to be on TV in the old days? When they showed pictures of the battery, I was like, ‘I’m going to get that brand for my car.’

B: So you’re not going to recreate the White Stripes’ tour of outpost Canadian towns?

G: Dude, I don’t think we’re playing Canada, period. [Laughs] Canada makes it a big-ass hassle to get there. They want to go through your shit and ask you a bunch of questions. And I’m like, ‘What the fuck? We’re your neighbors. Let me in. Run my fingerprints. I’m fine. I’m not taking my pants off for you. N. O.’ Mexico doesn’t make me take my pants down, you know? Canada is just kind of a hassle. Until they drop the hassle, I’m going to pass. I like Canada. Once you’re in, it’s great. Toronto? Beautiful. Montreal? Beautiful. Calgary? Beautiful. Ottawa is pretty good too. But it’s getting in there that’s the bummer. I’ll put it to you this way: I’m going to cruise around Europe, 16 countries, and where they used to have checkpoints back in the old days, it still wasn’t that big of a hassle. Except for France, who are total bitches. Now, I’m going from Belgium into Holland, Holland into Germany, Germany into Denmark, they’re not fucking Canada-ing me. Here’s the deal: I will give you my passport, I will you give you my fingerprints, you can do a fucking retina scan. I don’t give a fuck. I did nothing wrong. Either let me in or I just won’t be in to coming back here.

B: Last question. In Chicago, you played at Metro with the Gutter Twins and went onstage at around 1:30am. Then you returned and played in the afternoon daylight at Lollapalooza. An enormous contrast. Seems that meeting in the middle would be best.

G: To be honest with you, if you play at 1am in New Orleans, that’s normal. If you play at 1am in Madrid, that’s normal too. You play 1am anywhere else, and it’s a bummer for people, even if it’s a weekend. Especially if it’s on a Friday night. People that come to your gig had to be at work at 8:30 or 9am. They’ve been up since 6:30am. And unless you’re jacking yourself full of Red Bull or unmentionables, fuck that. 11 o’clock is time to rock. And I even like 10 o’clock. I even like 9pm. It’s just got to be dark out. 1 o’clock in the morning is New Orleans or Madrid, the two places you can pull that off. Because the Spanish love it really late; they’re just getting going then. And in New Orleans you take naps, probably against your will. You know what? I have never been into super-late shows. Whenever I see it, I’m like ‘fuck, really?’ It happened with Twilight Singers in Chicago in the wintertime, so it’s freezing outside. People are waiting in line and they’re tired and cold. That doesn’t make for a good time, so fuck that. And I tell you what: We’re very excited about the particular show that we’re going to be playing. It will be a triumphant evening.
–Bob Gendron

Sikander escribió:
Umm, mucha curiosidad por cómo sonará ese Fix. Aunque ahora que lo pienso dice que es con banda, no en acústico.

Ripple. escribió:

Sikander escribió:
Umm, mucha curiosidad por cómo sonará ese Fix. Aunque ahora que lo pienso dice que es con banda, no en acústico.

Oye camarada si te interesa saber como suena ese Fix en acustico, he dejado en su sitio una grabacion para a radio del 2001 en plena gira de Field songs, donde lo interpretan mano a mano con dos acusticas, impresionante como siempre...


Mark Lanegan
Live at Patchanka

Radio Popolare Network, FM 107.6
Milan, Italy
December 07, 2001

01.talk
02.One Way Street
03.talk
04.No Easy Action
05.talk
06.Fix
07.talk

Mark Lanegan - vocals
Mike Johnson - acoustic guitar
Brett Netson - Acoustic guitar

Ripple. escribió:

Sikander escribió:

Ripple. escribió:Ya tenemos nuevo cd en vivo a la venta durante esta minigira con Isobel, se trata de un concierto secreto que dio Lanegan el 31 de agosto en Dinamarca, acompañado de la banda Desoto Caucus (Giant Sand), y en el cual solo tocaron temas de Field songs y Bubblegum...

The Beauty, The Man of Darkness, and the Aarhus rockers made it all come together.

Among the highlights of last year’s Aarhus Festival was the Aarhus group The Desoto Caucus’ concerts – headlined as “The Medium Rare Sessions” – with different soloists like Josh Rouse, Isobel Campbell, and last but not least C.V. Jørgensen.

This year The Desoto Caucus repeats the success with two concerts. The first took place Tuesday night with Danish Agnes Obel and American Mark Lanegan in an almost sold out Voxhall.

Before the two soloists, we were treated to a couple of live songs by American Howe Gelb, who usually plays with the The Desoto Caucus musicians in Giant Sand. So the parties knew each other very well, thus giving the audience some well played desert rock with Gelb’s dry vocal and equally dry comments between the songs.

http://www.aarhusfestuge.dk/node/3478

Umm, mucha curiosidad por cómo sonará ese Fix. Aunque ahora que lo pienso dice que es con banda, no en acústico.

Si sabes de algún sitio donde se pueda catar ya sabes

Tengo los tentaculos puestos sobre ese directo, espero que aparezca tarde o temprano como con el resto de estos directos autoeditados, se que en su pagina oficial http://www.gomerch.com/shop/body.php?module=store&id=215, los estan vendiendo tambien. Decir que el set list no esta completo, faltan 3 o 4 temas del set original, ya sea por espacio, o porque son precisamente sobre los que no tiene derechos.

* When Your Number Isn't Up
* One Way Street
* No Easy Action
* I'll Take Care Of You
* Clear Spot
* Wedding Dress
* Don't Forget Me
* One Hundred Days
* Driving Death Valley Blues
* Sleep With Me
* On Jesus' Program
* Hit The City
* ---
* Fix
* Wayfaring Stranger

LINEUP
Agnes Obel: Sang, flygel
Mark Lanegan: Sang
Marianne Lewandowsi: Kor
Howe Gelb: Sang, guitar, flygel
Anders Pedersen: Guitar, kor
Nikolaj Heyman: Guitar
Thøger Tetens Lund: Bas
Peter Dombernowsky: Trommer, percussion
Palle Hjorth: Keyboard, orgel
Jakob Buchanan: Trompet

Fabes escribió:del feisbuk

Mark Lanegan
Check out Burning Jacobs Ladder, a new track from Mark Lanegan, in the trailer for id Software's new game RAGE.

http://www.rage.com/es/media/media-videos

John Custer escribió:

Fabes escribió:del feisbuk

Mark Lanegan
Check out Burning Jacobs Ladder, a new track from Mark Lanegan, in the trailer for id Software's new game RAGE.

http://www.rage.com/es/media/media-videos

Surrealista total jajaja

La casnción mola de todos modos.

Sikander escribió:

John Custer escribió:

Fabes escribió:del feisbuk

Mark Lanegan
Check out Burning Jacobs Ladder, a new track from Mark Lanegan, in the trailer for id Software's new game RAGE.

http://www.rage.com/es/media/media-videos

Surrealista total jajaja

La casnción mola de todos modos.

Pues la verdad es que sí, nunca hubiera imaginado que esta iba a ser la forma de escuchar una nueva canción por fin de Lanegan.

Premio al que la consiga! Y la comparta, claro.

Ripple. escribió:

Sikander escribió:

John Custer escribió:

Fabes escribió:del feisbuk

Mark Lanegan
Check out Burning Jacobs Ladder, a new track from Mark Lanegan, in the trailer for id Software's new game RAGE.

http://www.rage.com/es/media/media-videos

Surrealista total jajaja

La casnción mola de todos modos.

Pues la verdad es que sí, nunca hubiera imaginado que esta iba a ser la forma de escuchar una nueva canción por fin de Lanegan.

Premio al que la consiga! Y la comparta, claro.

Todavia no doy credito, no se si formara parte de su album en solitario, pero de ser asi todo indica a que va a seguir por senderos post-bubblegum...

Sikander escribió:

Ripple. escribió:

Sikander escribió:

John Custer escribió:

Fabes escribió:del feisbuk

Mark Lanegan
Check out Burning Jacobs Ladder, a new track from Mark Lanegan, in the trailer for id Software's new game RAGE.

http://www.rage.com/es/media/media-videos

Surrealista total jajaja

La casnción mola de todos modos.

Pues la verdad es que sí, nunca hubiera imaginado que esta iba a ser la forma de escuchar una nueva canción por fin de Lanegan.

Premio al que la consiga! Y la comparta, claro.

Todavia no doy credito, no se si formara parte de su album en solitario, pero de ser asi todo indica a que va a seguir por senderos post-bubblegum...

Ripple, confío en ti para tener el primer mp3 que se cuelgue en la red

Ripple. escribió:

Sikander escribió:

Ripple. escribió:

Sikander escribió:

John Custer escribió:

Fabes escribió:del feisbuk

Mark Lanegan
Check out Burning Jacobs Ladder, a new track from Mark Lanegan, in the trailer for id Software's new game RAGE.

http://www.rage.com/es/media/media-videos

Surrealista total jajaja

La casnción mola de todos modos.

Pues la verdad es que sí, nunca hubiera imaginado que esta iba a ser la forma de escuchar una nueva canción por fin de Lanegan.

Premio al que la consiga! Y la comparta, claro.

Todavia no doy credito, no se si formara parte de su album en solitario, pero de ser asi todo indica a que va a seguir por senderos post-bubblegum...

Ripple, confío en ti para tener el primer mp3 que se cuelgue en la red

Los nuevos acolitos me han cogido ventaja, ni doy exclusivas ya


Oye muy buena tu recomendacion de los Black Angels, el ultimo lleva siendo mi disco de cabecera desde hace 2 semanas...

Ripple. escribió:VIDEO Isobel Campbell & Mark Lanegan en direct de la Route du Rock (00:55:51)
Filmé le 19/02/2011



http://liveweb.arte.tv/fr/video/Isobel_Campbell___Mark_Lanegan_en_direct_de_la_Route_du_Rock/

We’re not going to lie: here at The Daily Swarm, we are unequivocal fans of every phase of Greg Dulli’s career – from his years fronting The Afghan Whigs to The Gutter Twins (a collaboration with another iconic maverick, Mark Lanegan) to The Twilight Singers, his longest running project, which made its debut in 2000 with Twilight As Played By The Twilight Singers. The Village Voice recently called Dulli “one of the most rewarding, formally inventive, and charismatic songwriters and performers to emerge from ‘90s alternative rock.” Indeed, today, Tuesday February 15th, marks the release of the Twilight Singers’ Dynamite Steps – the group’s acclaimed fifth full-length and, arguably, a pinnacle in Dulli’s oeuvre. SPIN called it “his strongest, most widescreen set since the Whigs’ mid-‘90s heyday,” and Rolling Stone said of the album, “Unleashing a persona that’s part barroom romantic, part serial killer, Greg Dulli’s Twilight Singers project has now eclipsed his Nineties soul-grunge outfit Afghan Whigs”; Pitchfork, meanwhile, noted ”Dynamite Steps is Dulli’s best collection since Blackberry Belle.” (This week, The Twilight Singers perform two rare in-store appearances – today, February 15th at 6:00 p.m. at the Los Angeles location of Amoeba, and at Amoeba’s San Francisco branch on Thursday, February 17th).

“Dark” is a word that gets tossed around when discussing Dulli’s music and persona, and “soul” is another; “cinematic” is the one that proves the stickiest, however. This is due in no small part to Dulli’s own emphasis: since the 1992 release of The Afghan Whigs’ Uptown Avondale E.P., his recorded efforts have replaced the standard “Produced by” with “Shot on location.” This also reflects the almost literary sense of place his songs exude, alternately evoking his coming of age in Ohio’s iconic American Midwest setting, to his adopted homes of Los Angeles and New Orleans, to more exotic climes spanning the Joshua Tree desert to Hawaii (Twilight As Played By The Twilight Singers is dedicated to Hawaii’s tragic Princess Ka’iulani). Our conversation used Dulli’s sense of place as a starting point for a freewheeling, epic exchange into the making of Dynamite Steps and its connection to his entire body of work.

The Daily Swarm: When did you first start saying “shot on location”?

Greg Dulli: Uptown Avondale, 1992. Music had always been extremely visual to me, and it was the best way I could parlay that feeling. I did that for me, not anyone else. I do it to express myself—unlike Young Jeezy, who does it for the ‘hood.

What have been the touchstone places throughout your career?

The first one would be Cincinnati – that’s where we did Uptown Avondale, and where the conception of [Afghan Whigs’ 1993 masterpiece] Gentlemen began. I had actually moved out of Cincinnati five times by then; it’s a harbor for me – I know everybody, I feel safe there, and it’s where I became who I am. But we were on tour all the time. I actually wrote Gentlemen on the road – [Afghan Whigs guitarist Rick McCollum] and I wrote “Be Sweet” in Paris; I wrote the riff to “What Jail Is Like” in San Sebastian, Spain; I wrote the first verse of the song “Gentlemen” in Tampa, Florida; I wrote “Debonair” in Minneapolis. Then we got down to Memphis, where it all expanded anew. Writing a song, you’re creating a memory within yourself, and you’re self-mythologizing as well.

Self-mythologizing has never had anything to do with your career…

[Laughs] Oh, come on! I won’t even let that one fly by.

In truth, that’s actually been a big part of the fun of following your career, knowing there’s some self-mythologizing going on—that the snapshots in the lyrics are at least partially fictionalized. It’s the difference between raw footage and cinema, I guess.

Cinema verité, man. There’s City of God and there’s City of Lost Children: two different places: one’s a little more tangible, while the other you’d probably rather be in – although those chicks in City of God are beautiful!

On Dynamite Steps, what were some of the primary locations that influenced its creation?

I currently have two homes, Los Angeles and New Orleans. How much time I spend in each depends on what year it is: a couple years ago, I spent most of the year in New Orleans. The majority of this record, though, was done in Los Angeles and Joshua Tree, with side trips to New Orleans and Bogalusa, Louisiana, which is a whole other world seventy miles north of New Orleans, up on the Mississippi border. As Joshua Tree is to Los Angeles, Bogalusa is to New Orleans: it’s about the same distance, and provides a similar escape hatch. The studio I use in Bogalusa is called “Studio In The Country,” and being there you understand how so many classic albums have been made there: you are really out in the country, under the beautiful trees, and everything’s quiet away from the urban environment.

How do those different environments affect your creative process?

I love extremes. I’ve always loved cities – I’ve lived in seven or eight of ‘em, including ones in other countries. You get enough of one city, you move on and balance yourself with another. New Orleans was familiar to me immediately. In the creative sense, if you go from L.A. to Joshua Tree, you’re taking L.A. with you; you go to Bogalusa, you’re taking New Orleans with you. But you’re taking it out in the quiet, laying it out on your bed, and getting a new perspective on it that you can’t get when you’re in it. A quarter of Dynamite Steps, maybe even half, was written in Joshua Tree, at [desert rock legend] David Catching’s studio, Rancho de la Luna. The seeds of what the album became were planted there – songs like “On the Corner,” “Blackbird and the Fox,” and “She Was Stolen.” “On the Corner” began as an accident: the drum machine that starts the song is from one of those organs like they used to have in the mall. I turned it on, and couldn’t figure out how to turn it off; I started playing with it instead of letting it drive me insane. You take it where you can get it: I wrote the first verse and melody on the spot, spontaneously.



When did you first experience Joshua Tree?

I first visited Joshua Tree in 1984, when I was 19. I went with some friends of mine I worked with at Tower Records. They were Gram Parsons fans, but honestly, I didn’t know who the fuck he was – I didn’t even know his whole connection with the Rolling Stones then. But on the way out there we listened to both of Gram’s solo albums, Grievous Angel and GP, and he sounded good to me. I thought “Love Hurts” was by Nazareth, so I was when I heard his version I was blown away. Seeing the desert for the first time was incredible: when you’re growing up in the Midwest, the desert is camels and sand dunes, so I was receiving an education – this desert looked more like “Roadrunner” cartoons to me. I was more fascinated with the local topography than its place in rock history: I knew about the area’s unique trees, and that Joshua Tree had once been completely underwater. On that trip, we camped out in the park and tripped, and I communed with the desert; I’m a communer with wherever I go. Joshua Tree has an interesting vibe. There’s toothless trouble about – the shadow of meth culture is hidden in the background – but it’s less in your face because everyone is so spread out: you’re not watching someone pull a grocery cart full of their life down the street the way you might in, say, downtown Los Angeles.

When did Joshua Tree become more of a focus in your creative endeavors?

I didn’t go back to Joshua Tree for a long time – maybe ten, fifteen years. I only went back when I became friends with Dave Catching [Queens of the Stone Age, Eagles of Death Metal, Masters of Reality], and he is one of the nicest people I ever met. I started to go out there to visit him in 1999. I had been aware of Kyuss, and what was happening out there musically – I’d seen them when Josh [Homme] was a teenager; they were on Elektra around the same time I was. But I wasn’t necessarily obsessed with that scene, because I never get obsessed with any scene; I’ve always been more polyamorous musically.

That kind of relates to your relationship with grunge. You came up around the same time as many of the grunge icons, played the same circuit, recorded on the same label, but your music avoided many of the aesthetic tropes associated with that era.

I wasn’t from Seattle, so just by nature of where I was from, I was regionally distinct. I appreciate The Sonics and The Wipers, but I never really listened to ‘em: I was into Hüsker Dü, Squirrel Bait, and the Ohio Players. I was getting into music from where I was from, which was the Midwest. I remember when I first saw the Violent Femmes: I loved them and had never seen anything like that. And when I first moved to Los Angeles, I saw Rain Parade, Black Flag, X, but I was especially drawn to The Dream Syndicate. I really connected with [Dream Syndicate mastermind] Steve Wynn as a songwriter, and The Days of Wine and Roses is a masterpiece of an album.

When did you first start working in New Orleans? To my mind, the songs you write in New Orleans have the most vivid sense of place: in a literary sense, they really transport the listener there.

As Let It Be was recorded before Abbey Road, I did the first Twilight Singers demos there before I made [The Afghan Whigs final album] 1965. I’d wanted to record there for a long time. I had been hanging out in New Orleans for over ten years, had friends there, and it was very attractive to me; after that, I never really left. I love the architecture, the smell in the air, the sky that you can touch, that descends on you, the music everywhere. When I think of New Orleans, I think of the Meters, James Booker, Dr. John… Dr. John’s album Gris-Gris made me want to go to New Orleans: he really mythologized the world down there – the whole spooky, swampy voodoo vibe.

“St. Gregory” was written in New Orleans; “The Twilite Kid,” “King Only, “Forty Dollars,” “I Wish I Was,” “Fat City,” “Decatur Street” – those are all New Orleans songs. I wrote “Last Night In Town” and “Gunshots” from the new album there – “Gunshots” is all about my impressions of the city, down to the title. The poetry I was trying to find was all around me: that happens there a lot. You don’t go to New Orleans to feel innocent, but to be who you really are. It’s also a small town, and a transient town: lots of people come to both New Orleans and Los Angeles to escape something. The characters in those songs are all escaping something: I’ve been escaping since I came out the womb!

The first Twilight Singers album displayed your deepest electronic-music influence up to that point (Twilight As Played By The Twilight Singers was actually largely co-produced by U.K. downtempo duo Fila Brazillia). And while Dynamite Steps often features a very organic, band-style interplay, at times it also references the new electronic-music sounds of Los Angeles – Gonjasufi, Gaslamp Killer, Flying Lotus…

I like all those artists, but I have to say, it was Black Light by Groove Armada that loomed largest in my mind as an influence on Dynamite Steps. I’d heard Groove Armada before, but I really bonded with Black Light: as soon as I got it, I listened to it all the time. I loved the different singers, from Bryan Ferry and Nick Littlemore to Saint Saviour and Jess Larrabee. Jess Larrabee’s now a friend of mine; her band She Keeps Bees played with us in New York at the Bowery Ballroom. She and Nick Littlemore were huge vocal influences on me: they’re why I went for it vocally on Dynamite Steps.



Nick Littlemore’s songs on Black Light are so confessional, but in a way that contrasted so aptly with the album’s sound: the music is welcoming and rhythmic, but if you really listen to his lyrics, you feel uncomfortable…

I don’t know that guy personally, but I know that feeling, and it was clear from the songs he was working some shit out. That record was a moment in time for me – it came along at the right time: I had a passionate affair with it.

Dynamite Steps is kind of like that: it’s one of your most sonically welcoming records, but get to the core of it, and it’s just as dark as anything you’ve ever done. The contrast is what gives it vitality.

The darkness never leaves. You have to learn how to let the sunshine in and get your Vitamin C on. You don’t want to find yourself running to stand still: you want to see a new road ahead. I keep finding ways to keep myself inspired and interested. Last week, I got to meet someone I never thought I would meet: Steve Kilbey, the singer of The Church. I first heard The Church when I was a teenager, and loved them. No one sounds like the Church but the Church.

Christopher Walken once said something to the effect of, “When they are looking for a ‘Christopher Walken type,’ they have to call me.”

If I find myself ten years from now still being open to life the way Steve Kilbey is, then I’m going to be a lucky guy. Kilbey’s probably a decade older than me, and has been through a lot of life, but came out the other end and is still doing what he loves. He’s still making fresh music – he’s one of the most prolific cats in the world. Anyone who’s slept on Kilbey, that’s your loss.

I can hear a lot of what you do in, say, the expansiveness of the Church’s production – that kaleidoscopic yet very human sound.

When the Church got to Heyday, where they brought in the horns and the strings and the orchestra stuff, I was really struck. This was an Australian psychedelic band that was experiencing the same ambition that Curtis Mayfield, Isaac Hayes, or even the Beatles did when they wanted to bring in other colors. Heyday has some of the hardest rocking Church songs on it, like “Tantalized,” which is monstrous. I can draw a line directly from “Tantalized” to a song like “John The Baptist.” I can also draw a line from “Move On Up” to “John The Baptist”: they’re two different influences from opposite ends of the spectrum. I’m not trying to canonize myself here, but as a songwriter I’m not trying to do anything different than Curtis Mayfield or Steve Kilbey did.



I’ve never thought of it before, but “Under The Milky Way” by The Church also has a kind of classically Dulli-esque chord progression…

The first three songs Afghan Whigs played as a band were “Psychedelic Shack” by The Temptations, “One Day” by The Church, and “The Rover” by Led Zeppelin.

And from the twain of all of those sprung the Afghan Whigs sound…

There you go. That’s not even apocryphal: I was there, and the other guys would tell you the same thing.

You first came to Los Angeles in the mid-‘80s. What was the vibe when you arrived?

At the time, I felt like you were either into the Velvet Underground or the Doors: “The West is the best/Come here and we’ll do the rest…” I loved The Doors, and have always been a fan – I loved their drama, their pageantry, their sexuality. Chicks loved The Doors: you could float on that shit. I came from Ohio, and L.A. is The Doors when you’re a kid. When I first got to L.A., I saw The Minutemen; I saw Red Hot Chili Peppers at the Music Machine; I saw Guns ‘N Roses at the Country Club in Reseda, pre-Appetite For Destruction; I saw X. Seeing bands like that brought me together with people that had a common interest.

With all of those bands, you saw them accruing a larger and larger audience in real time. It was really an idea from the L.A.-area bands like Black Flag and the Minutemen.

Yes. Watching people get in vans and drive around and play for ten people, that was really romantic to me; then you’d see Violent Femmes or Hüsker Dü or The Replacements get out of the van and play for 1,000 people. I saw Black Flag in Ohio, even before I saw them in California. I’ll tell you what, though: seeing Hüsker Dü on the New Day Rising tour must have been like seeing the Who in the ‘60s. I’d seen the Zen Arcade tour, but with New Day Rising they went to an even more intense place – it blew my mind. I saw that show at this place in Newport, Kentucky called the Jockey Club, which was very famous. The Jockey Club was a seminal place for me, and what I became: I saw The Damned there, I saw Johnny Thunders there, I saw The Ramones there, I saw Black Flag there, I saw Killing Joke there, I saw the Violent Femmes there. At the same time, I was sitting back at my house and playing Controversy, 1999, and Off The Wall.

On Dynamite Steps and throughout your career, you can hear the influence of L.A. noir in your work, from Raymond Chandler, to James Ellroy, to even Dr. Dre. L.A. has these amazing contrasts of constant sunshine mixed with death, drugs, corruption, sensuality…

And Joan Rivers – I’m a huge fan. Really, New York is the beginning, and L.A. is the end. Except for the Polynesians, the Spanish, and the Martians, they all came across from the East, and California was land’s end. It’s the North American Patagonia, the end of the road – the next stop was Hawaii.

What songs have you written that reflect Los Angeles most for you?

“Bonnie Brae” and “Martin Eden.” The book Martin Eden by Jack London inspired me to write the song because it reminded me of Elliott Smith: it’s a story about a writer who becomes famous and disenchanted at the same time. It’s part of me, too: I had begun to draw the line. When we bought the Short Stop [a bar in Los Angeles’ Echo Park neighborhood in which Dulli is an partner owner], I was one of the bartenders for the first year; I worked Monday nights, and Elliott lived up the street. It became a thing: Elliott and I would hang when no one was there, so Elliott could be in peace. I spent a lot of Mondays with Elliott – I’d close the bar, and we’d stay and listen to the jukebox and just kick it; at one point, we had five Beatles records in the jukebox, and I give him full credit for that. He certainly loved the Beatles, and knew a lot about them: he was fun to talk music with – just a really kind, intelligent, beautiful cat. I knew him for only a short time, but he was one of the most interesting people I’d ever met. I’d met him years before for the first time at Satyricon in Portland, when he was in Heatmiser. I lost touch with him; honestly, his stardom kinda crept up on me. I wasn’t really paying attention, but when I peeked back out, Elliott was already a star – he was on the Oscars! I had stopped playing music and he was a big reason why I started playing again: I had receded, and he was very encouraging.



Speaking of Portland, you recently covered the song “Don’t Call” by a group called Desire, who record for that city’s Italians Do It Better label. That choice surprised me, especially how you transformed the song.

One of the main guys behind Italians Do It Better is a guy named Johnny Jewel: he writes songs under three guises – Glass Candy, Chromatics, and Desire – and I love them all. All three have chick singers, but they’re all different. Desire has a song called “Don’t Call,” which starts out with the “Billie Jean” drumbeat, then goes into an orchestral string hook that I’ve heard in my dreams; I hear it and think, “I’ve been here before.” The original is so party style; but sort of like when the Whigs did the covers on Uptown Avondale, the loneliness and isolation of the words hit me when I just looked at them on paper, separate from the music. I had to take it there.

There is one last location that has proven important to your work, especially recently with Dynamite Steps: the Internet…

Absolutely. The first time I did an Internet collaboration was after Hurricane Katrina: I was in New Orleans, and Mike Napolitano and Ani DiFranco and I were working together on [the previous Twilight Singers album, 2006’s] Powder Burns. A lot of the music we made was done on the corner of Esplanade Avenue and Frenchman, above Checkpoint Charlie’s: there are six apartments in that building – I’ve recorded in five of them, and slept in all of them. I was beginning to record “Candy Cane Crawl,” which went through a bunch of changes. There was a midnight curfew, and there would be brownouts every night to keep you inside. We had a click track, a Rhodes part, and Ani and I had already sung our vocals. That night, I sent the track via email to Greg Wieczorek in New York to put drums on it, to [former Afghan Whigs bassist] John Curley in Ohio to lay down bass, and to Scott Bennett in L.A., who sings with Brian Wilson; I’d imagined this Beach Boys kind of thing that I knew Scott would nail perfectly. Weirdly, all three sent their tracks back within twelve hours; we finished that song and never had to leave the building. By the next afternoon, we had everything completed, and mixed that night; in forty-eight hours, that was song was finished, over five states and three different time zones, with only me, Ani and Mike ever working in the same room. We’d also sampled “Methamphetamine Blues” by Mark Lanegan, so Mark’s presence was on the song, too.

Lanegan and Nick McCabe, the great guitarist from The Verve, appear together with you on a new song, “Be Invited,” off of Dynamite Steps. How did that come about?

I’d never met Nick before – still haven’t. I’ve talked to him on the phone twice; he’s really nice guy. I sent him the track, and Nick sent me multiple parts back. He created a “thing” – he’s an alchemist who can play guitar without it sounding like a guitar. You know that weightlessness scene in 2001: A Space Odyssey? Well, Nick brought zero gravity to “Be Invited” – he made it float in space; then Mark Lanegan’s part kicks in, which brings you back down to earth. They were the yin and yang of the song, and I was Libra balancing the scales.

You’ve been around the world now so many times. Is it a grind, or does it still inspire?

It always rubs off on me. I wouldn’t do this if it wasn’t exciting. I’ll get off the bus and be like, “Fuckin’ Copenhagen – let’s do this!” Your experiences shape your worldview. I also went to South America twice during the making of Dynamite Steps, and I went to Mexico three times: I was open to a lot of local flavor, even if it doesn’t show up in obvious ways in the songs. There are no tangos on the record, but Buenos Aires is all over Dynamite Steps: that city means so much to me. I love Buenos Aires so much, I could live there: it has such a draw, a sanguine undertow. It’s a perfect amalgamation of all the great cities of the world – New York, New Orleans, Paris, Mexico City, Madrid. The architecture there, the fashion, the food, the music, the late-night culture, the friendliness of the people – that town’s on fire: I defy anyone to go down there and not get turned the fuck on. Everything I do is affected by the itinerant lifestyle I lead, doing this. I’ve lived in so many places: you like to think you’re still the same person, but you adapt to your environment, wherever you are. Traveling gives one perspective: I started to look at my life, and realized that I am doing in fact what I’ve always wanted to do. You turn that on, and you turn on the child inside you.

mr_mojorising escribió:una pregunta de un profano, por dónde empiezo con los AFGHAN, sólo conozco el Gentleman...

Ripple. escribió:

mr_mojorising escribió:una pregunta de un profano, por dónde empiezo con los AFGHAN, sólo conozco el Gentleman...

Si ya conoces el Gentlemen, te aconsejaria Black Love sinceramente, a mi ademas de ser mi favorito, me parece un escalon por encima del anterior.

Ripple. escribió:yankee a 110 comentando Dinamite Steps.

[youtube][/youtube]

fin del spam.

Hi all!
Just registered today, but I´ve been a fan of Mark since I first heard Sweet Oblivion in 1993. Still one of the best records ever… Unfortunately I never got to see Screaming Trees live.

Together with a couple of friends I was at the Isobel/Mark concert in Malmö, Sweden, on February 11. Very good! And he seemed in a surprisingly good mood, even smiling a couple of times…
After the show he signed the live CDs being sold (Voxhall/Union Chapel) and chatted to people, including us. He said The Mark Lanegan Band is working on the new album, which probably will be released next year. Long time to wait, I think!

Greg Dulli: “We tried to make a record without Lanegan. In the end I just could not do it"
Posted by Paul Neeson, Fri 04 Mar 2011
Chief Twilight Singer Greg Dulli tells of breaking old habits, freestyling in the studio, and what price for an Afghan Whigs reunion

“I think sometimes my duality will tilt one way or the other. It seems that it might be tilting a little brighter these days.” This is as far as the Twilight Singers’ front-man and ambassador of sexed-up rock n’ soul, Greg Dulli, will initially admits to the notion that his latest long-player, Dynamite Steps, may reflect a somewhat more optimistic artist at work.

The suggestion, of course, isn’t that Dulli has created an album lacking in emotional sustenance; rather that in the grand scheme of the Grunge-era Godfather's long and illustrious career – strewn with personal tragedy, including the death of close friends Ted Demme and Elliott Smith, and a once crippling cocaine habit – it seems he might be in the sway of a subtle transition.

“The title Dynamite Steps for me is very positive," he offers under further coercion. “I came up with the title almost fifteen years ago. It’s been sitting in a drawer waiting for the moment it was ready to be used. I never forgot about it.” That it’s taken the prolific Dulli a decade and a half to find a sufficiently positive point in his life to employ a simple album title is indicative of the often ominously dark path that the singer has walked.

It also signifies a switch from Dynamite Steps' predecessor, Powder Burns: an album crafted and released over six years ago, amidst the social rubble of the New Orleans-levelling Hurricane Katrina. Whilst Powder Burns was an album on which time and place left an indelible mark, Dynamite Steps is driven more by an introspective mood.

Despite being billed and sold on the slant of being recorded on location – the album is split between the disparate bases of Los Angeles, New Orleans and Joshua Tree – Dulli doesn't attach much importance to place. "Sometimes a song will surprise you; it will sound like the place it was written. Although on this album it depends where I’m at with myself, rather than where I’m at geographically. The song Waves – which is one of the hardest sounding songs I’ve ever written – was the product of LA, and a very stressful week where I think I needed to get some poison out of me, so to speak,” he tellingly adds. “By the same token, Be Invited – which is slower and dreamy – was also written in LA."

On the question of Dynamite Steps’ defining themes, Dulli offers some priceless insight to his creative process. “I freestyle in front of the mic – it’s very phonetic. I then try to find sense in the phonetics and kind of freestyle it again – I freestyle again and again until it catches. It’s kinda hard for me to know what I’ve said because it’s not written down.”

Given the lucidity of his raw cuts of lyrical introspection, can it really be the case that Dulli’s confessionals are something of a subconscious outpouring? “To be honest, I don’t really know what a lot of my songs are about until months later,” he admits. “They’re kinda like abstract paintings for me that will come in to focus at the strangest times – driving the car, taking a walk, being on stage, singing the words and having a eureka moment.”

What he was conscious about when making the album was its duration, setting a very specific target of between 35 to 38 minutes. The thinking behind this simply seemed to be for the songwriter to set a fresh challenge. “If you get too stuck in your ways you can set parameters for yourself. If you do not bend you will break. I’ve always thought that about life,” Dulli elaborates. Although, at just over 43 minutes in duration, it seems that he failed? “I wanted to bring it in under 40 minutes, and then that damn title track got in the way,” he shrugs. “It came along and defied. It was a nice parameter to set for myself. That’s a good thing, even if you miss it.”

When we ask whether this truncated approach to his craft signals a conscious move away from his past, in particular the sometimes sprawling epics spawned by the Afghan Whigs – the band that made him famous – Dulli is quick to point out that he’s no longer at odds with the omnipresence of the cult heroes’ legacy. “I’ve come to terms with the fact that I was in the Whigs. I used to consciously walk away from it. Rather than take comparisons as a slight, I tend to celebrate it more these days. People will say to me, ‘That Twilight Singers song reminds me of the Whigs’. Now I just say, ‘Well coincidentally, I used to be in the Afghan Whigs and wrote all of their songs.”

Sensing the inevitable question, he gets straight to the point. "If someone offered me a trillion dollars to reunite the Whigs I would probably give everyone a call. Other than that...” he trails off. “I’ve set one trillion dollars as the price,” adding wryly, “for one show only.”

“We played our last show twelve years ago,” he reminds us, “I’ve now been a Twilight longer than an Afghan.” Shifting the conversation back to the evolution of Twilight Singers’ rotating cast, Dulli feels strongly that there’s now a small, bona fide nucleus at his band’s core. “What started as a collective with Blackberry Belle which had 25 players… well, I’ve slimmed it down considerably.”

Though Dynamite Steps is propped up by an inspired cast – from Ani DiFranco through Nick McCabe – he cites long-term associates Dave Rosser and Scott Ford as vital participants in the project now. “I like playing with people who understand me and jive with me emotionally as well as musically. Those two in particular – their contributions to the Twilight Singers sound are incalculable.”

But no post-millennial Dulli album would feel quite right without the presence of one particular player, as our maestro concedes. “We were going to try and make a record without Lanegan on it. In the end I just could not do it. He was the perfect guy for his part [on Be Invited, which also features McCabe, and later on Blackbird And The Fox] ... I suppose I could’ve called Leonard Cohen.”

Ripple. escribió:Pero Atila mejor dejarlo asi, si no se lleva con Rick McCollum despues de tanto tiempo, es mejor dejar el legado intacto. No me gustaria una reunion forzosa sin la formacion original, ademas que cuando cae una de Afghan ya sea con Twilight o Gutter Twins la disfrutas mucho mas si cabe...

Ripple. escribió:Release date : 2011-03-14


http://www.musiconvinyl.com/releases/Screaming_Trees/Dust

pinkpanther escribió:

Ripple. escribió:Release date : 2011-03-14


http://www.musiconvinyl.com/releases/Screaming_Trees/Dust

pinkpanther escribió:

Ripple. escribió:Release date : 2011-03-14


http://www.musiconvinyl.com/releases/Screaming_Trees/Dust

Ripple. escribió:querido Txomin Sorrigüeta, ¿esto que tal esta? Veo que es una audience recording
y eso me tira p'tras...

Ripple. escribió:Release date : 2011-03-14


http://www.musiconvinyl.com/releases/Screaming_Trees/Dust

Ripple. escribió:

pinkpanther escribió:

Ripple. escribió:Release date : 2011-03-14


http://www.musiconvinyl.com/releases/Screaming_Trees/Dust

Ahora toca un Screaming Trees to perform Dust Themed Tour y todos a cuadros...

William Cutting escribió:Burning Jacob's Ladder, la nueva canción de Mark Lanegan, creada para el tráiler RAGE UNTETHERED (publicado el 17 de febrero de 2011). Ahora en descarga directa gratis:

http://www.rage.com/extras-rage-mark-lanegan

almendrucos escribió:

William Cutting escribió:Burning Jacob's Ladder, la nueva canción de Mark Lanegan, creada para el tráiler RAGE UNTETHERED (publicado el 17 de febrero de 2011). Ahora en descarga directa gratis:

http://www.rage.com/extras-rage-mark-lanegan

Gracias William