The disgraced 1970s pop star, 64, is due to be released from a prison in southern Vietnam on Tuesday, and is expected to be deported to Britain.

I wish I could feel that Glitter had learned his lesson, but all signs point to his being an unrepentant pederast who seems to think that because Jimmy Page and David Bowie had sex with underage models back in the Seventies, he's off the hook for being a child rapist now.  Here's hoping he doesn't get to live out his dream of moving to "Singapore or Hong Kong."

Members Matthew and Gunnar, the twin sons of Ricky Nelson -- who, in turn was the son of Ozzy and Harriet Nelson, have the distinction of belonging to a family that has had #1 hits in each of these three successive generations. This seems important enough to mention in the Guiness Book of Records, since they are the only family to have accomplished this.

This second album, "Because they Can", released in 1995, five years after their first album, did not produce a #1 hit, and Geffen stopped promoting them.

Erotic Terrorism is the 1998 album produced by the British hip-hop group Fun-Da-Mental.

They have released seven albums since their inception in 1995. This album is their third, and the latest was "All Is War", released in 2006.

I may be a little slow on the uptake here, but I can't for the life of me figure out how depictions of violence and anger can serve the cause of peace. These people are purportedly against violence. Their website even has a "dollar ticker" representing the cost of the Iraq war. But it is just my word against a whole hip-hop/gangsta rap culture. To me, it just looks like immature and hypocritical grandstanding. Sorry, I simply don't get it.

As for the terrorist angle, guns are now considered a relic of the 20th century. Nowadays if you are not a suicide bomber, all you need is an exacto blade and maybe other sharp office equipment, board a plane and hijack it! I saw that on TV back in 2001.

On a lighter note, there is no information on Foster Edwards, his orchestra, or his album which dates around 1966.

But it must have been a low-budget affair, since the band members worked for peanuts (now, you knew that one was coming).

They would even wear Beatle wigs to appear trendy to mid-60s fashions.

Covers of this song.

At any rate, I sure missed everyone. 

Give me a few days to catch up on my blogroll.

Poison vocalist Bret Michaels is sick of the feud that has expanded from a few bad words to the threat of physical violence. Speaking in an interview with thetourbus.com, Bret says he is done with it all. Actually, Bret says a lot ... but, basically, in a nutshell, he says:

"I don't wanna fight with them (Def Leppard). I like their music."

Nothing about whether Def Lep singer Joe Elliott answered Rikki Rockett's challenge of a man-to-man fight.

It all started with Joe Elliott defensively saying Def Leppard could never be categorized as a hair metal band, and how bands like Poison have "no substance in their music."

C'mon, Joe. "Pour Some Sugar On Me" is not exactly the love sonnets of Shakespeare. Not that there's anything wrong with that but c'mon!

Your songs are like bad Def Leppard . . . bad Def Leppard’s not what I need . . . oh-oh-oh . . .

That’s right—it’s time for another chapter in the Evil’s ongoing ponderings concerning at-work satellite radio programming . . .

Here’s what happened: whilst walking to the water fountain, Evil passed directly under the intercom and missed a step. Why? Because a song he never, seriously never, thought he’d hear again was playing. Was, in fact, being piped in and rained over hundreds of innocent worker bees. That song? “Bad Medicine” by Bon Jovi.

As a child of the '80s, a surly teenager of the early '90s, a smirking collegian of the late '90s, and the voice of the new millennium, the Evil (surprise!) has a few thoughts on the matter.

There was a time, having banished his suddenly-embarrassing Poison and Crüe tapes to a box in the closet, when the Evil felt sure the songs he had, ahem, “rocked out” to throughout his early years (come on; how hard can one rock out at 14?) would never be heard again. Remember that feeling? It seemed educational, didn’t it, like hearing your history teacher drone on about fallen empires, countries erased from the map? You were taking part in history! . . . at least insofar as the editing-of goes. And even then you couldn’t pretend to feel full disdain for your now-obsolete music collection. Even if you wouldn’t, couldn’t admit it for fear of social banishment, you knew a world without “Round and Round” [Ratt] or “Pour Some Sugar On Me” [Def Leppard] would be a barren, windswept place.

—Wait! Wait! This isn’t turning into an '80s nostalgia piece! Stay with the Evil! Alls he’s trying to say is that, as far as adolescent certainties go, Evil felt pretty sure he’d never hear “Burning Like a Flame” [Dokken] again. (And he hasn’t.)

Now. The years have ground on, and '80s hair metal is back-ish. Evil remembers the day he heard the first glam song played in public since . . . oh, about October, 1991. Five or so years ago, he was playing pool in a bar mostly filled with children of the '90s (wretched creatures!) when “Every Rose Has Its Thorn” [Poison] started playing. In fact, someone had paid to play it! Evil gazed about in astonishment, saw the looks on those children’s faces, and realized they felt about glam rock the way Evil feels about disco: it’s harmless, before his time, and didn’t wreck his musical life. No big deal! It’s funny if you didn’t live through it! Like Vietnam!

Since then, the “classic” '80s anthems—your “Pour Some Sugars”, your “Home Sweet Homes” [Mötley Crüe]—have seemingly slipped back into the accepted musical lexicon. And at the same time, your “Every Roses” and your “Turn Up the Radios” [Autograph] have been reborn as kitsch. Evil accepts all of this with a heroic equanimity.

But—we’re finally back to “Bad Medicine” now—there are definitely songs from that era he still didn’t expect, desire, or welcome back into the aural fold. “Bad Medicine” is a nice example. It’s not kitschy (or at least, not any more than a thousand other songs), it doesn’t noticeably rock, and it pales in comparison to the same band’s other songs. Evil would rather hear “You Give Love a Bad Name” a thousand times than “Bad Medicine” once. Just as he accepts “Dr. Feelgood” but rejects “S.O.S. (Same Old Situation)” [again with the Crüe]. Or “The Final Countdown” over “Carrie” [Europe] . . . you get the point. Sure, we’re a generation fairly choking on our own nostalgia, but not every song from the '80s is worth playing now—even for a laugh.

. . . Just like not every sweater Cosby wore was awesome. Sorry to be the one to say that, but it’s true. Deal with it. Move on.

How about it, FOEs? Are there songs from that era you thought you would never hear again, only to find yourself cringing and incredulous when you did?

1. Religion is no longer something I want to discuss with my parents. (However, I get more and more resentful that I have to sit and wait while they pray before dinner. At least I have breakfast and lunch elsewhere, and with co-workers who, while religious, don't shove their beliefs in my face.)
2. Workplace drama isn't all that interesting. It's mostly bitchy co-workers making rumors about me, like I'm fucking my married boss, et cetera. Tedious.
3. I don't have much time to go online, and when I do I'm usually feeding my crush on Steven Weber and Casey from Make Me a Supermodel. (He's a Buddhist! He thinks that "the whole peace and love thing is, like...awesome"! Is it weird that I find that totally sexy?)

Now, I did mention that workplace drama isn't all that blog-worthy, but I've experienced some new, weird reactions to my admitting my atheism.

Once, I was talking about a dire-but-funny situation with Gary, 36, and for some reason he asks...

Gary: "So, are you a Catholic or a Born Again Christian?"

TA: "Atheist, why?"

Gary: "Oh, never mind."

TA: "No, really, why were you asking?"

Gary: "It's nothing."

Then just yesterday, I was walking home with Marc, 28, and we were talking about his close encounter with a different married boss whom he's crushing on big-time.

Marc: "Are you a Catholic, or...?"

TA: "Atheist."

Marc: "Oh okay, nevermind."

TA: "Why?"

Marc: "No, I was just asking."

It's weird how they get eerily quiet about it, like there was a joke they wanted to tell you but they refrained from it because people of your "kind" probably wouldn't get it. What does this reaction even mean? It's good that they're not going into some idiotic argument about how I should see the light or whatever, but are they scared to offend me now? I like offensive jokes as much as the next guy. Take this hilarious skit from Judd Apatow and friends.

...Man, I love me some Jews. (And Justin Long! Woohoo!)

On the tangent of interesting things I found on the Intarwebz, I'd been Googling Christian Bale since watching him in The Dark Knight (unpopular opinion: I liked Heath Ledger's Joker, but my favorite performance in that movie was Aaron Eckhart as Two-Face). Much digging led to my discovery of a full recording of the less successful of Todd Haynes' two rock-star-inspired films,Velvet Goldmine.

Now, the movie itself wasn't the greatest thing ever, but it was definitely interesting, and worth watching just for Ewan McGregor's brilliant turn as the Iggy Pop avatar Curt Wild. He was a revelation! I'd been "eh" about him before, but after seeing the awesomeness that is Curt Wild, I am all over this boy. Plus, he's one of the very few men who look hot in platinum blond hair and guyliner. Is anyone else as psyched to see I Love You Phillip Morris as I am?

Check out his rocktastic take on "TV Eye" (warning: NSFW!):

Velvet Goldmine had me as wistful as Christian Bale's character in the movie, even though I wasn't even alive in the 70's. It was more centered around the sexual freedom of the era, which made me sad in realizing the truth: that we'd experienced a regression since then. Whatever happened to the days when being gay or bisexual was cool?

And then I get to thinking, was it easier to be an atheist back then, as well?

Reviewed by Kit Burns

“Underdog Appeal” is soaked in glam-era flamboyant riffola; I haven’t heard guitars this big since Spinal Tap. However, it’s all unpolished, the rawness giving a true mule kick to your ear. The layers of fuzz and explosive singing on “Make Some Noise” are definitely in the caveman spirit of Iggy and the Stooges. The best cut, the singalong anthem “Unsigned and Proud,” relishes in its garage-rock stomp with a delirious psychedelic pull. It’s not for everyone, and Alright won’t be winning over the short attention span crowd with the nine-minute closer “Record Store Blues,” but Alright’s uncompromising nature and the unpredictability of his songs has me in his corner.

http://www.alienalright.com

...quem disse que os KISS na década de 80 não fizeram nada de jeito?

Crash Kelly - One More Heart Attack (2008, Warrior Records)

Track Listing:
1. "One More Heart Attack" ... 3:55
2. "Jenny Jet" ... 4:40
3. "Old Habits Die Hard (And The Good Die Young)" ... 3:56
4. "The Devil You Know" ... 3:32
5. "Love Won't Die" ... 4:31
6. "Nottingham Rock City Blues" ... 2:48
7. "Right Girl, Wrong Time" ... 3:58
8. "Trash Talk" ... 3:03
9. "Falling In And Out" ... 3:18
10. "16 On A Summer Night" ... 4:05

Band:
Sean Kelly - Vocals, Guitar, Bass
Gene Scarpelli - Guitar
Allister Thompson - Bass
Tim Timleck - Drums

Additional Musicians:
Gilby Clarke - Percussion, Guitar
Rudy Sarzo - Bass
Brian Tichy - Drums
Chad Richardson - Harmony Vocals
Craig McConnell - Bass, Keyboards

Produced by: Gilby Clarke (Tracks 1-5), Sean Kelly & Craig McConnell (Tracks 6-10)

This is a fun, breezy listen perfect for summer and I've found myself listening to it a lot in the past few days. The more I listen to it, the more I'm enjoying the songs. The cool people at Warrior Records were kinda enough to pass this along to me and I'm really enjoying it. I've know *of* this band for sometime, but I've never listened to them and I'm glad I was afforded the luxury to do so.

There's no denying the influences here: 70s glam rock and power-pop. The album art is an fun tribute to Alice Cooper's School's Out and the Cooper influence shows up again with the vocals during "Trash Talk" and there's touches of Slade and Thin Lizzy to be heard on the album as well. "Falling In and Out" is probably the most commercial sounding song, a good piece of modern power-pop that would sound fine playing over the radio.

Highlights: "One More Heart Attack", "Jenny Jet", "Love Won't Die", "Right Girl, Wrong Time", "Trash Talk", "Falling In and Out", "16 On A Summer Night"

www.crashkelly.ca
www.myspace.com/crashkelly

Tino Casal fue un artista en toda la extensión de la palabra. Nacido en Asturias, comenzó su carrera musical en 1963 (con 13 años). Su éxito llegó en los 80, durante ‘la movida’.

Tino Casal es el máximo exponente de música ‘Glam’ española, una de los mejores voces españolas. Además, sus innovadoras canciones estaban muy adelantadas a su época y todavía hoy gozan de reconocimiento.

El tema ‘Eloise’ fue su mayor éxito. La canción, de 1988, era una versión de un tema de Barry Ryan (que había tenido éxito a nivel mundal en 1968). La canción de Ryan tenía el mismo nombre.

Tino Casal - Eloise

Pulled out Samantha Mumba's Body II Body, something that brings back great tweenage memories of watching MTV (when Britney's sober and sane 24/7 and Justin Timberlake still has his ugly mop of orange hair) and drinking Britney-endorsed Pepsi on a hot pre-global-warming-hype summer day. Those were the days. Something jumped out at me, and instantly I could hear the strains of Ashes To Ashes in Body II Body. I wasn't particularly fond of 'Body II Body'. It dawned on me in a split second that I fell in love with David Bowie way before I discovered him amongst the glam rock gems of the 70s. Maybe, I'm an old soul at heart after all. And I'm proud to not have succumbed to the poorly conceived sounds of today. Yes, hit me, here's a music snob talking.

David Bowie es una de las figuras más respetadas del panorama musical de las últimas cuatro décadas. ‘El Camaleón del Rock’ ha abarcado muchos (y muy diferentes) estilos a lo largo de su carrera, pero será recordado por su etapa ‘Glam’ (principio de los 70).

David Bowie lideraría (junto al líder de T. Rex, Marc Bolan) la música ‘Glam Rock’.

Ésta música, basada en el espectáculo, tiene como características la ambigüedad sexual y unas apoteósicas temáticas en sus canciones. No hubiese sido lo mismo sin David Bowie.

David Bowie alcanzaría el punto más alto de éste estilo con el álbum ‘The Rise and Fall of Ziggy Stardust and the Spider from Mars’ (uno de los mejores discos de la historia), pero antes de esto, Bowie sacó otro álbum (igual de revelador) el año anterior, Hunky Dory, 1971. El álbum contenía dos de sus grandes éxitos ‘Changes’ y ‘Life on Mars?’.

David Bowie - Changes

David Bowie - Life On Mars?

Les dejo con el video, que tengan excelente día y Feliz inicio de finde!!!

Dancing with myself

On the floor of Tokyo
Or down in London town to go, go
With the record selection
With the mirror reflection
I'm dancing with myself

Oh dancing with myself
Oh dancing with myself
If I had the chance
I'd ask the world to dance
If I had the chance
I'd ask the world to dance
If I had the chance
I'd ask the world to dance

Puesto número 60.

David Bowie. Space Oddity.

Puesto número 59.

The Beatles. She loves you.

Puesto número 58.

Billy Joel. Piano man.

Puesto número 57.

The Beatles. Twist and shout.

Puesto número 56.

Bob Dylan. Blowin' in the wind.

 The 70's were a good decade for someone as experimental and "out there" as Lou Reed. Releasing no less than eleven albums in ten years, he was probably at his creative zenith during this time (although 1984's "New Sensations" showed Lou wasn't yet ready to pack it in, and he still isn't!). Two of rocks greatest albums, "Transformer" ('72) and the live "Rock and Roll Animal" ('74), combined with the 1971 single "Walk On The Wild Side" cemented Reed's place in rock history right then and there. They also highlighted the fact that Lou was (and remains) one of the truly "cool" guys in rock 'n roll, or anywhere. Give another listen to any of the above, or to the succeeding 70's releases "Sally Can't Dance", "Coney Island Baby", or "Rock and Roll Heart", and you'll understand. That unpretentious, understated monotone of his, those straightforward riffs, and those sometimes hard-to-swallow lyrics are not your typical "presentation", they're Lou. Remember kids, nobody who tries to be cool ("hip", "phat" etc.) can ever be cool. Now go put "Sweet Jane" on the iPod, crank it, and absorb.

Some Lou Reed facts:

• in his teens, Lou endured a series of electro-shock therapy treatments for his "homosexual behavior"
• Lou attended Syracuse University and later received an honorary English degree from the institution
• Contrary to the popular belief that 1975's "Metal Machine Music" album was an attempt to break his contract with RCA, Lou claims it was a "genuine artistic effort."
• Lou is skilled photographer who has recently published his second book of images
• In April, 2008, Lou married longtime companion, musician Laurie Anderson ("Oh, Superman")

Apropos of this blog's moniker, here is T. Rex/ Marc Bolan performing (albeit lip-synching) "Bang A Gong (Get It On)" sometime in...yes...the 70's. In the U.K., where it was originally released, the song was titled "Get It On (Bang A Gong)". The emphasis was flip-flopped in the states to supposedly be "less offensive" and the title became "Bang A Gong (Get It On)". Got that? With lyrics like "well you're built like a car, you got a hubcap diamond star halo...you're dirty, sweet, and you're my girl", I'm not sure it mattered where the emphasis was put. From it's simple yet tasty off-the-beat riff to Marc Bolan's glammy presence, this song is quintessential 70's. I'll have more on T. Rex and Bolan soon. In the meantime, dig this classic.

Bueno les dejo el video y ojala que lo disfruten ya mañana les postearé una nueva sexo historia.