Safely ensconced within the Prudential Center, protected from the blustery winds of southern New Jersey, the somewhat aged fans of the Spice Girls awaited the return of their childhood idols. The mission of these enthusiasts has always remained the same: to spice up the world.
The new phase of this mission began with an image of five little girls projected onto the Center’s screens, a reminder of simpler days. This nostalgia characterized much of Sunday night’s show, an extravaganza of girl power, friendship, peace, love and platforms.
Yo la Tengo is known for its diverse sound. The Hoboken trio is constantly experimenting with different styles, moving easily from pop melodies to jazz grooves. At the best of times, YLT’s eclecticism has produced wonderfully complex yet unified music as on their 1993 album, Painful. Sunday’s show at Barton Hall was not one of these fortunate moments. Despite some glimpses of the integrated technique they have employed in the past, YLT’s set was marked by jarring discontinuities and limited dynamics.
I hesitate to give anything a glowing review because I generally don’t put much stock in them. Although, sitting here, next to a tissue box, not entirely because of my outrageous allergies, I think I will give it a go.
The world of Rufus Wainwright has always been one of glamorous passion and classic celebrity, and frequently maudlin melodies. On Release the Stars, Wainwright’s new release, the glamour and sparkle have, at last, been met with clear emotional resonance.
Late this past July, I reminded my dad that there was an extremely significant event on the horizon. Yes, it was exactly what you might guess: I had procured tickets to witness the triumphant return of Meat Loaf to the Theatre at Madison Square Garden. I first heard Meat Loaf at a music workshop and was immediately hooked. His music had all the epic qualities that I felt were often lacking in mainstream music. The keyboard was terrifying yet sweet, the guitar was the narrative of a story that was both ordinary and spectacular.
Daze chats with Ithaca radio mainstay about anniversary
Cornell’s campus has seen many eras come and go, but rarely do we get an authentic glimpse of this history. There is, however, a living landmark that remains which reawakens the sprit of the ’60s and ’70s every Sunday in Anabel Taylor Hall. This is, of course, Phil Shapiro’s folk music broadcast, Bound for Glory. Shapiro earned a Masters of Arts in the spring of 1967 at Cornell and has played folk music on WVBR since that time. Every Sunday, Bound for Glory broadcasts live acts out of Anabel Taylor. As Bound for Glory enters its 40th year on campus, Daze asked Mr. Shapiro a few questions about folk music, the origins of the show and where it is today:
Legendary King of Rock ’N Soul Graces State Theatre
I was first introduced to soul music as a kid, riding in the car with my parents, wondering just who the hell would name their son Fats Domino or Wilson Pickett. Despite that initial reluctance, I have come to see the brilliance of the men and women who generated the soul sound. Solomon Burke is one of the few members of this illustrious group still performing.