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สนใจติดต่อ 08- 3399172 ณัฐพล
วันอังคารที่ 26 กุมภาพันธ์ พ.ศ. 2551
วันจันทร์ที่ 18 กุมภาพันธ์ พ.ศ. 2551
Veteran Act Returnes To Its Smaller Venue Roots
Sometimes, there is nothi
ng more disheartening than seeing a band move up from the clubs to the arenas, only to get swallowed up in the sheer enormity of it all. Luckily, the reverse of that situation -- a seasoned arena band coming back down to rock a more intimate venue -- usually results in something pretty awesome. Counting Crows, veterans of any number of giant stadium shows, certainly didn't disappoint on Sunday night (Feb. 10) at New York's Bowery Ballroom, which holds 575 people. In fact, they pretty much blew the doors off the place.The band kicked off the main set with 1999's "Colorblind," followed by "Have You Seen Me Lately" from 1996's "Recovering the Satellites." Both were fan favorites judging by the lusty sing along from the assembled masses. Looking fit and relaxed and often stopping to joke with the crowd, frontman Adam Duritz led the band through a series of hits from their four previous studio records, including "Rain King," "Miami," "Round Here," and "A Long December."It was a curious choice of setlist for the veteran group because most bands with new records to promote stay away from leaning heavily on their old songs. Did the fact that Counting Crows did the exact opposite -- even for a small audience of major fans -- betray a lack of faith in the new album, "Saturday Nights & Sunday Mornings"?The answer became clear when the band came back after an encore break and announced that, instead of a traditional encore, they would be playing almost the entire new record, with lengthy intros preceding each song. The album, which is due in March, is broken into two parts. "Saturday Night" deals with excess and hitting rock bottom, and "Sunday Morning" which deals with the repercussions of that lifestyle. Highlights from "Saturday Morning" at the show included "Los Angeles" and "Cowboys."The "Sunday Morning" portion of the setlist kicked off with "Washington Square" and continued with the band's first single from the new record, "You Can't Count on Me." By the time they closed with "Come Around," they had been on-stage for almost two hours and while the new material was impressive, the band's stamina was even more so.
ng more disheartening than seeing a band move up from the clubs to the arenas, only to get swallowed up in the sheer enormity of it all. Luckily, the reverse of that situation -- a seasoned arena band coming back down to rock a more intimate venue -- usually results in something pretty awesome. Counting Crows, veterans of any number of giant stadium shows, certainly didn't disappoint on Sunday night (Feb. 10) at New York's Bowery Ballroom, which holds 575 people. In fact, they pretty much blew the doors off the place.The band kicked off the main set with 1999's "Colorblind," followed by "Have You Seen Me Lately" from 1996's "Recovering the Satellites." Both were fan favorites judging by the lusty sing along from the assembled masses. Looking fit and relaxed and often stopping to joke with the crowd, frontman Adam Duritz led the band through a series of hits from their four previous studio records, including "Rain King," "Miami," "Round Here," and "A Long December."It was a curious choice of setlist for the veteran group because most bands with new records to promote stay away from leaning heavily on their old songs. Did the fact that Counting Crows did the exact opposite -- even for a small audience of major fans -- betray a lack of faith in the new album, "Saturday Nights & Sunday Mornings"?The answer became clear when the band came back after an encore break and announced that, instead of a traditional encore, they would be playing almost the entire new record, with lengthy intros preceding each song. The album, which is due in March, is broken into two parts. "Saturday Night" deals with excess and hitting rock bottom, and "Sunday Morning" which deals with the repercussions of that lifestyle. Highlights from "Saturday Morning" at the show included "Los Angeles" and "Cowboys."The "Sunday Morning" portion of the setlist kicked off with "Washington Square" and continued with the band's first single from the new record, "You Can't Count on Me." By the time they closed with "Come Around," they had been on-stage for almost two hours and while the new material was impressive, the band's stamina was even more so.วันเสาร์ที่ 16 กุมภาพันธ์ พ.ศ. 2551
Lates Music Album Reviews.
RAY DAVIES
Less than a minute into Carla Bruni's second album, you're just like the French president: hopelessly seduced. The former supermodel has the gossamer alto of so many other singing beauties—Bridgette Bardot, Marianne Faithfull, Francoise Hardy. But Bruni's source material isn't her own elegant malaise. It's 11 of the world's most celebrated English-language poems, set to her own simple, seaside folk. "Come let me sing into your ear/Those dancing days are gone," she lilts on the harmonica-laden opener, lyrics courtesy of William Butler Yeats. It's an achievement just to fit the heady verbiage into a verse-chorus structure. But to do it in a way that seems as natural as the paparazzi at her back is a show of artistic prowess. As mature as it is playful, this album is pure pleasure. —Kerri Mason
Kanye Helps Fellow Chicagoan Kid Sister Make Some Noise
Mariel Concepcion, N.Y.
Kid Sister's days of riding her bicycle to multiple jobs are long gone, and the hundreds of people lined up outside New York's Museum Of Natural History to see the Chicago MC's performance on Jan. 25 were a testament to that fact. Until recently, Kid Sister peddled her two-wheeler to a trio of jobs including one as a sales clerk at a baby clothing store, but on this night she held court on the museum's stage after hip-hop duo the Cool Kids warmed up the crowd. During their three-song set, the Cool Kids' Mikey, a 19-year-old from Chicago's south suburbs, and 22-year-old Chuck from suburban Detroit, performed the chopped-and-screwed "Black Mags" and "Gold And A Pager" which samples an NWA beat.Sporting fingerwaves in her blonde-highlighted hair, a black and white layered dress and matching acrylic nails, an animated Kid Sister hit the stage with her boyfriend/producer/DJ, A Trak. She started off the show with "Telephone" as the lights from Planetarium illuminated the small stage.Other crowd favorites like "Control" and "Let Me Bang," both produced by Chicago mixmaster XXXChange, and the juke track "SwitchBoard," followed. "I got a Coca Cola shape with an onion in the back," Sister rhymed on the latter as she popped her back to the techno-laden hip-hop beat.The set would not have been complete without her hit , "Pro Nails," which features Kanye West. Much to everyone's surprise, a mink-coat clad West actually joined her on the stage for his verse. "You remind me of my old chick / on that '84 shit," West rapped. "Oh shit / did you see how she got her toes did?" The enthusiastic crowd included hipsters of all races and even a couple of guys in suits and ties.Kanye West stayed on to perform a few more songs for his thrilled audience, including "Can't Tell Me Nothing," "Good Life" and "Flashing Lights," but not before promising to premiere a video for the latter in coming weeks and asking the throng of concertgoers to make some noise for Kid Sister and Chi-town. Much obliged.
RAY DAVIES
You can take the boy out of Britain—and, apparently, a good deal of Britain out of the boy. Ray Davies, the once (and future?) Kinks frontman, has long been among rock's most strident social commentators, with a decidedly British flip to his characters and observations. But on his second proper solo album, Davies drops any sense of U.K. jive and draws on a residential tenure in New Orleans earlier this decade for what is decidedly the most "American" work of his more than four decades of recording. "Vietnam Cowboys" bursts forward with a gritty shuffle and
ruminations about the impact of the global economy on these shores. "Hymn for a New Age" is an Americana-styled anthem calling for spiritual overhaul, while "Imaginary Man" has a rootsy richness that echoes Muscle Shoals. The net result is smart, personal and potent.
No Promises
CARLA BRUNI
Less than a minute into Carla Bruni's second album, you're just like the French president: hopelessly seduced. The former supermodel has the gossamer alto of so many other singing beauties—Bridgette Bardot, Marianne Faithfull, Francoise Hardy. But Bruni's source material isn't her own elegant malaise. It's 11 of the world's most celebrated English-language poems, set to her own simple, seaside folk. "Come let me sing into your ear/Those dancing days are gone," she lilts on the harmonica-laden opener, lyrics courtesy of William Butler Yeats. It's an achievement just to fit the heady verbiage into a verse-chorus structure. But to do it in a way that seems as natural as the paparazzi at her back is a show of artistic prowess. As mature as it is playful, this album is pure pleasure. —Kerri MasonKid sister
Kanye Helps Fellow Chicagoan Kid Sister Make Some NoiseMariel Concepcion, N.Y.
Kid Sister's days of riding her bicycle to multiple jobs are long gone, and the hundreds of people lined up outside New York's Museum Of Natural History to see the Chicago MC's performance on Jan. 25 were a testament to that fact. Until recently, Kid Sister peddled her two-wheeler to a trio of jobs including one as a sales clerk at a baby clothing store, but on this night she held court on the museum's stage after hip-hop duo the Cool Kids warmed up the crowd. During their three-song set, the Cool Kids' Mikey, a 19-year-old from Chicago's south suburbs, and 22-year-old Chuck from suburban Detroit, performed the chopped-and-screwed "Black Mags" and "Gold And A Pager" which samples an NWA beat.Sporting fingerwaves in her blonde-highlighted hair, a black and white layered dress and matching acrylic nails, an animated Kid Sister hit the stage with her boyfriend/producer/DJ, A Trak. She started off the show with "Telephone" as the lights from Planetarium illuminated the small stage.Other crowd favorites like "Control" and "Let Me Bang," both produced by Chicago mixmaster XXXChange, and the juke track "SwitchBoard," followed. "I got a Coca Cola shape with an onion in the back," Sister rhymed on the latter as she popped her back to the techno-laden hip-hop beat.The set would not have been complete without her hit , "Pro Nails," which features Kanye West. Much to everyone's surprise, a mink-coat clad West actually joined her on the stage for his verse. "You remind me of my old chick / on that '84 shit," West rapped. "Oh shit / did you see how she got her toes did?" The enthusiastic crowd included hipsters of all races and even a couple of guys in suits and ties.Kanye West stayed on to perform a few more songs for his thrilled audience, including "Can't Tell Me Nothing," "Good Life" and "Flashing Lights," but not before promising to premiere a video for the latter in coming weeks and asking the throng of concertgoers to make some noise for Kid Sister and Chi-town. Much obliged.
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