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Topic: And you thought Glam was Dead.....
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Slaytanic
VoivodFan
Member # 28
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posted June 19, 2002 20:01
    
Here is my one-and-a-half cent on the issue.From my beginning in music (circa '82 or '83), I never cared too much 'bout imagery. Well, I did. I was impressed with the Priest and the Motörhead (Lemmy!) imagery, especially. That made me have interest in their music, which I found to be none less than fantastic! So, for this angle, image is a valid thing in music. But eventually I grew out of that. I do still care a lot 'bout Priest or Motörhead (I still buy every new album they release!), but I went for the music. That was exactly when thrash metal arrived here in Brazil, with Metallica, Anthrax, Slayer, Kreator, Destruction, Nuclear Assault... But then, even not to have an image is kind of imagery... Nowadays I can say I like a band for their music, aside from their looks, sexual preferences or whatever. And that is the best way to enjoy music, IMHO. Image can be part of the business, but if the music is no good, the band won't last long... But then (again), KISS is a bright exception to that... And life goes on. Thanks.
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schroeder
VoivodFan
Member # 5
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posted June 20, 2002 05:53
KKS, it's great you're into Porcupine Tree! It took me about a year before it really 'clicked' for me and their music, and now I'm like a fuckin' PT junkie ( http://home.mchsi.com/~schro/ ). Going to the TLA in Philly on July 26 to see them. Bottom line is, that in the music 'buisness' image sells records. No matter what that image is: leather, flannel, costumes, make-up, big hair, pop-slut, hardcore drugged out dope head... It's something the PR people can use to cram in the publics eyes! Puffy pirates shirts is a proven way how NOT to sell metal...even though for the real music fans it didn't matter, it was still about the tunes.
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El Indio
VoivodFan
Member # 18
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posted June 20, 2002 20:17
Hey SlaytanicWehrmacht, have you ever heard of a Brazilian Yngwie Malmsteen impersonator who, a couple years ago, sent out to various labels, distributors, musicians, etc., a C.D. called "Andy's Force - Power Tracks"? I gather that this Andy fellow lives in a town called Florianopolis in Brazil. I wish I could play Malmsteen inspired guitar riffs like Andy! Seems the more I practice, the worse I become!  Hi hypergrrl, I'm all for being rubbed up and down and all around by The Donnas! Especially the one Donna with the dangerous leer! 
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Slaytanic
VoivodFan
Member # 28
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posted June 27, 2002 17:41
quote:
Originally posted by El Indio:
Hey SlaytanicWehrmacht, have you ever heard of a Brazilian Yngwie Malmsteen impersonator who, a couple years ago, sent out to various labels, distributors, musicians, etc., a C.D. called "Andy's Force - Power Tracks"? I gather that this Andy fellow lives in a town called Florianopolis in Brazil. I wish I could play Malmsteen inspired guitar riffs like Andy! Seems the more I practice, the worse I become!
Err... Looks like you're more into the Brazilian underground scene than I... Shame! No, I never heard of him, maybe because I'm not that much into Yngwie's style of metal. But I'll check it out. Thanks for the tip, Indio!
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nia
VoivodFan
Member # 9
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posted July 01, 2002 12:14
Another dose of heavy-metal PoisonBy ALAN NIESTER
Special to The Globe and Mail
Monday, July 1, 2002 The Hollyweird Tour Featuring Poison, Cinderella, Winger and Faster Pussycat at The Molson Ampitheatre in Toronto on Friday Some stories get better in the retelling. Those tequila-fuelled nights in college may have been stupid, dangerous and messy at the time, but in retrospect they rank right up there with Mel Brooks's finest moments. Los Angeles-based rock quartet Poison is fast becoming the musical equivalent of this truism. Dismissed as the worst offenders of the so-called Hair Metal movement of the mid-eighties, Poison has somehow managed not only to survive, but to prosper. Friday night, the glam-rockers topped off the four-band Hollyweird Tour with a handful of old hits and a display of brazen showmanship that made it seem, however briefly, as if this was a band that at one time really mattered. God, time plays strange tricks. Poison is led by front man Bret Michaels. Michaels is a man whom, when Burton Cummings sang, "for $37,000 you can look like your sister tonight," took it as a promise, not a warning. While he has, thankfully, ditched the spandex, he still shows up for song one in a three-quarter-length white fur coat and wide headband that makes him look like a cross-dressing version of Axl Rose. And Michaels wasn't so much born to rock as he was born to preach. He spends as much time centre stage feeding the eager crowd on tired clichés as he does actually singing. "You know what this flag means?" Michaels asked the beer-soaked crowd, holding a large Canadian flag aloft. No, not freedom, democracy, fairness, peacekeeping. Not even hockey supremacy. But, "Canada . . . rocks." Huzzahs all around meant that Michaels had made his point once again. Brash, yes. Stupid, no. Even Poison's handful of mid-eighties hits stood up well. Led by the hyperkinetic guitar work of C.C. Deville (a man who makes Alvin Lee sound like Wes Montgomery), Poison flipped through such trademark crowd-pleasers as Look What the Cat Dragged In, Talk Dirty to Me and Poison's own version of Loggins and Messina's Your Mama Don't Dance. (Yes, of all the classic rock songs in the world to cover, Poison picks this one.) And while Poison didn't invent the concept of the power ballad, they certainly did perfect it. Numbers such as Every Rose Has Its Thorn and Something to Believe In had the crowd crooning along, and even a few Bic lighters made an appearance, just in case anybody forgot that this was, after all, an eighties band. In case anyone missed the fact that Poison was the headliner, the band had a cute way of reminding both audience and undercard exactly who the top cats were. This was done by apportioning the stage depending on band value. With Poison's stage half-constructed at the outset, there was only limited space for the others to set up. So, 6 p.m. openers Faster Pussycat virtually played on the lip of the stage. One false move, and they would have been part of the audience. Second-billed Winger got a bit more room, but still had to perform in a line reminiscent of a 1700s British battle formation, while tertiary act Cinderella at least got enough of the stage to set up a few flash pots and such. But when Poison appeared with their pyrotechnics, ramps and backing screen, it made the pecking order seem all the more obvious. Eighties Hair Metal may be a pretty small pond, but there could be no doubt whatsoever who the big fish were.
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posted June 20, 2002 17:51
posted June 21, 2002 11:37
)))
I thought he was moving into the progressive, world music/adult contemporary, Yanni territory.
