A couple of years ago, Ringo Starr announced that he would no longer be signing any autographs on items that were sent in the mail to him. Now, another drummer has made the same decision.
John Densmore of the Doors has taken to the forum on his site to say that he will no longer be fulfilling autograph requests that are sent to him.
My Dear Fans:
This is a hard paragraph for me to write, but necessary. It is about autographs. The last several years I have been so flooded with requests that it is interfering with my personal life, and I am going to have to stop. Fans (or opportunists from ebay) track me when I land at any airport, follow me into the bathroom, and hang around my hotel, looking for my John Henry. It is unfortunate, but I have to draw the line. I will still do the occasional autograph, and of course at any ‘official’ signing I will oblige, but I must say no to the stacks of letters and photos that are sent to me personally, as I must retrieve my privacy. If anyone requests an autograph in the future, they should send the request to The Doors offices, and they will hold them there until we can go through them on a semi-regular basis. Anything else will not be answered. Thanks very much for understanding, jd. As was the case with Ringo, Densmore has pointed out the very active market for autographs on eBay and other sites. There was a day when an autograph was truly a keepsake for the person who sought it out. Unfortunately, greed has taken over and ruined it for the real fan.
Pennsylvanian independent artist finds enormous support for his music on his latest social networking presence.
With his blend of folk, country, and psychadelic rock, US singer songwriter David Louthan has wowed the fans at his latest social network destination He is currently at #14 in his local chart for Palmyra on the Reverbnation site, and is enjoying the journey of discovery social networks are offering to him as an independent artist. Commenting on his latest social media project, David said today, “I really love the Reverbnation site, its great for the widgets for blogger and facebook which is helping me build a loyal fanbase. I’m tracking a lot of hits through it already after just a few weeks”. Simon Adams, of leading music promotion site MyMusicSuccess.Com also commented on the determination and hard work that David Louthan puts into his social networking efforts as an independent musician. “David Louthan must be by far the most prolific social networking artist I have come across. David has fast tracked a loyal following of fans across all the social networks and with his recent addition of Reverbnation viral widgets, I can only see his following continue to grow at a tremendous speed. It takes determination and real effort to succeed with your music online, and David Louthan is a shining example of combining great music, hard work, and new technology to build his music career fan by fan.”
About David Louthan
Growing up in Darlington Pennsylvania, David Louthan started out developing his musical skills by picking up a guitar at age 13, and this self produced singer songwriter has never looked back. David cites a diverse range of influences on his MySpace page, from the retro sounds of Tom petty, Led Zeppelin, The Beatles, Jim Hendrix, The Doors, to the slightly later sound of bands like The Red Hot Chili Peppers.
eHarmony’s Perfect Mixtape Challenge has identified Kings of Leon’s ‘Sex On Fire’ as Britain’s favourite love song. The online challenge, helping to breathe fresh life into the art of the ‘mixtape’, today reveals the ultimate mixtape collection based on user downloads. From love ballad classics to modern-day favourites, the ultimate mixtape is compiled from over 400 mixtapes created at perfectmixtape.co.uk. The final playlist begins with the Kings of Leon, but transitions quickly in to smoother grooves, with the top three love songs completed by ‘Let’s Get It On’ by Marvin Gaye and Al Green’s ‘Let’s Stay Together’. Created to launch eHarmony’s relationship service within the UK, the Perfect Continue reading →
In many ways, the 1980s never really died. Many modern bands use a few power chords typical to ‘80s rock, while others play around with the styles and themes of progressive rock. It does come as a bit of a surprise, though, that Green Day would take up this trend in their newest album “21st Century Breakdown.” Perhaps this assertion is a tad unclear. It is not the case that “21st Century Breakdown” is itself some sort of compilation of ‘80s rock. The album does, however, use a great deal of musical tools reminiscent of the era. The prog stylings of an album with a story line makes some sense, what with Green Day’s previous album “American Idiot” doing the same. What makes much less sense, though, is the usage of riffs and styles commonly associated with ‘80s hair metal. Perhaps lead singer and band frontman Billy Joe Armstrong sat in a room listening to bands such as Winger, Poison and Twisted Sister before hitting the studio. Certainly one may ask if Armstrong has had a listen to Queensrÿche’s “Operation: Mindcrime,” as much of “21st Century Breakdown”’s story is delivered in a manner similar to Queensrÿche’s own concept album. Whatever the case, Green Day certainly does more than simply experiment with new styles. Now, this album is not nearly as silly as something by, say, Cinderella, but musically the guitar is both powerful and at times over-the-top. Songs like “21 Guns” and “Last Night on Earth” sound delightfully like power ballads relived, their musical style told anew by Green Day, and “Horseshoes and Handgrenades” embodies a kind of AC/DC rock swagger. It does stand that Green Day covered The Who’s “A Quick One While He’s Away,” which can be found on iTunes. Armstrong himself mentioned parts of the album were inspired by bands such as The Doors and Meatloaf. Musically, this sort of style blending could be disastrous. Such an attempt is a great leap for any band, but Green Day manages to retain its own style while forging a new sound. One of the most noticeable songs on the album is “East Jesus Nowhere” (and not entirely because of the title) for its successful blending of aggressive ‘80s style and the sweeping punk-like lyrics and chorus. Fans of more classic Green Day will be pleased with “The Static Age,” which sounds much like a flashback to some of its earlier albums. The aforementioned “21 Guns” may be the album’s best, with its stop-and-start guitar during the chorus and the spacey vocals Armstrong delivers. On the lyrical end, one could not ask for more. The lyrics can be at times somewhat intense, and as such, seekers of more easy listening may wish to find music elsewhere. The only major problem on the lyrical end is Armstrong’s own slurring voice. He is, as usual, difficult to understand in his pronunciation and level of clarity. Listeners would be well advised to read the lyrics along with the music on the first listen, as many of the more clever, thoughtful and emotive lines can be completely lost in translation. The album also loosely contains a story. The story in this album, though, is not nearly as thick as in some concept albums; at times the album seems more like a collection of songs with interrelated characters than a linear tale. This is, in its own way, somewhat refreshing — it certainly trumps being beaten over the head with the album’s “hidden meaning,” a tactic favored by bands like Styx. The songs stand on their own as well, so going out of order does not carry too great a penalty. It is certainly an experience in itself to piece together a story in an album, but it is not required. Some find Green Day a tad preachy, though this album does not seem to come across that way. It seems more like a social commentary, which one can use how he or she wishes. Ultimately, the album does a spectacular job for its genre — it is not the “next big thing,” but it is certainly delightful to hear a band trying new things musically
Since the ’60s, Los Angeles has served as home to several of the most eccentric-sounding and influential acts in the history of American pop. The Sunset Strip was the psychedelic rock capital of Southern California, giving birth to bands like the Doors and the underappreciated proto-punk group Love. Above the Strip looms Laurel Canyon, where musicians like Joni Mitchell, British bluesman John Mayall, the Byrds and Crosby, Stills and Nash hung out together and developed their folk-rock sounds (author Michael Walker wrote about the Laurel Canyon scene in his 2006 book, Laurel Canyon: The Inside Story of Rock-and-Roll’s Legendary Neighborhood). Over in East L.A., a Chicano rock scene arose (and has been kept alive by the likes of the Plugz, Los Lobos, and in more recent years, Ozomatli).
The next two decades for L.A. saw the emergence of punk (X, Black Flag, Suicidal Tendencies), modern rock (the Go-Go’s, Oingo Boingo, Jane’s Addiction), metal (Mötley Crüe, Guns N’ Roses, the more funk-influenced Red Hot Chili Peppers) and the short-lived “paisley underground” sound—a psychedelic revival movement that begat the Bangles and Mazzy Star. Meanwhile, over in South Central L.A.—where the area’s most noteworthy pre-’80s contribution to pop was the funk band War—the gangsta rap scene exploded, thanks to acts like Ice-T, Cypress Hill and N.W.A., whose gritty, profane albums angered media watchdogs and politicians but sold like pancakes (remarkably without any airplay on top 40 radio). Two N.W.A. members—Ice Cube and Dr. Dre—grew disenchanted with the group and found greater success as solo artists. The laid-back “G-funk” sound of Dre’s solo albums redefined West Coast mainstream rap. Alt-rock also grew to prominence at the same time as gangsta rap’s explosion. Singer/songwriter Beck, the now-defunct, politically conscious metal group Rage Against the Machine and critics’ darling (and music supervisors’ favorite) Rilo Kiley are examples of popular alt-rock acts who hail from L.A.