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borrowed from cdbaby.com :
It was really only a matter of time before Buttercup went nuts.
Of course, lotsa folks figured the San Antonio foursome was kinda already there from the get-go. Certainly frontman/guitarist Erik Sanden was always at least borderline crazy, going back to “Dial-a-Song” days when he wrote and recorded a tune a week just for anyone with enough time on their hands to call a special hotline and hear a song over the telephone. Not to mention the stunt where he committed to playing a single song over and over again for 24 hours, just to see if he could. And the bass player, Odie? Goodness, where does one start? Sweetest dude you’ll ever meet, but not “normal” even by the most liberal definition of the word. As for the two straight guys, drummer Jamie Roadman and lead guitarist Joe Reyes … they’d have to be nuts to hang around with the other two, right?
And let us not forget all those “Grackle Mundys” — Buttercup’s handle for their legendary, no-two-alike, what-will-they-possibly-think-of-next very special … events. Concerts, if you will — though they were more like performance art music socials. They were usually held in some tiny art studio in or around downtown San Antone. Or maybe in somebody’s living room or, every now and then, just to fuck with the status quo, an actual rock club. What happened at Grackle Mundys? We could tell you, but unless you were there, you wouldn’t believe it. Come to think of it, most folks who were there — band members included —didn’t believe it, either.
But they did learn to believe in a band that through years of strange gigs, countless songs, and more than a little practice has grown into a moody, melodic, powerful rock band with a sound that is somewhere between the Kinks at their most depressed and Neil Young at his most ecstatic.
Four loons, five-years worth of “Grackle Mundys,” and, just last year, a damn good sophomore album that they actually saddled with the name, um, Hot Love. So yeah, Buttercup has been on the road to madness for a while now. But as Sanden outlines the band’s schedule for the year ahead, it’s clear they’ve now officially gone certifiable.
With two albums under their belt (the aforementioned giddy Hot Love and the previous year’s moodier Sick Yellow Flower), Buttercup will triple their catalog in 2007 by writing, recording and releasing four CDs (three generous EPs and one full-length) before the end of the year. From scratch. First out of the gate is the freewheelin’ rock ’n’ roll EP Captains of Industry — its very title a cheeky nod to the band’s lunatic ambition. Hot on its heels will be the largely acoustic Living Again (July), followed by August’s Camp Zama, an “experimental” live album which may or may not be recorded somewhere in West Texas, far from the band’s San Antonio/Austin comfort zone. The as-yet-untitled full-length, schedule for October … well, there’s no telling what shape and sound that one will take. The band’s kinda making this all up as they go. Truth be told, the whole campaign was pretty much decided on a whim with a quarter of 2007 already in the rear-view mirror.
It’s an ambitious little to-do list, to say the least — and a cynic (realist?) would surely point out that they’ll never pull it off. But there were doubters at quite a few of those Grackle Mundy fetes, too: lured to the shows by friends or curiosity over what all the buzz was about, but ready to call “bullshit” the moment the band broke out the ukuleles, asked the crowd to watch the show on monitors at the bottom of oil drums or led the whole audience outside for a musical parade through a dicey part of town. By evening’s end, though, cynicism was invariably dropped in favor of the warm, fuzzy embrace of the “Buttercult.” Buttercup fans learn fast that this is a band that thrives on the unexpected and taking risks. And they’ve watched this band grow into one of the best, most solid rock bands around.
“We needed to move the goalposts a bit,” says Sanden of the Buttercup’s four-records-in-a-year gameplan, noting that Buttercup’s previous one-album-a-year schedule felt like a snail’s pace to the band. “I think doing this was my idea at first, but nobody in the band needed any convincing. They were all like, ‘Let’s do it! Why not?’”
Ah yes, the Buttercup battle cry: “Why not,” every bit as much as their songwriting and musical chops, is what makes this band tick. It’s what made Sanden, Odie and Roadman — three-quarters of San Antonio’s late, great Evergeen — decide to regroup after a year or two apart and pick up nowhere near where they left off: With the slacker, goof-off rhythm guitarist (Sanden) recast as a take-charge visionary and dynamic frontman, and the whole Stones swagger traded for an unabashedly more fey and whimsical but ultimately more daring and mercurial Kinks fetish. “Why not” is also the mindset that made Reyes, formerly half of the acclaimed Alamo City flamenco duo Lara & Reyes and a Grammy-winning producer (for Freddy Fender, R.I.P.), decide to throw caution to the wind and expand his musical horizons with a group of guys long on originality but initially short on prospects. A few years and countless laughs and musical dares later, “why not” remains Buttercup’s answer to pretty any challenge they set their minds to.
It’s also the key to the characteristic insouciance that pervades their approach to songwriting, performance and, most recently, recording. The Captains of Industry EP marks Buttercup’s first attempt at producing themselves, with every note cooked up in Sanden’s freshly installed home studio. Reyes’ Grammy-certified production mettle notwithstanding, Sanden admits to finding the DIY method daunting — but ultimately exhilarating. After recording half a dozen tracks that went into the “delete pile,” the band had a bit of an epiphany while recording “Sun in the Sky,” a 7-minute epic reminiscent of the Pixies and Syd Barrett-era Pink Floyd that Sanden describes as “scream therapy on a boat.”
The epiphany came when they captured Reyes beating up Sanden’s bathroom — slamming the toilet seat cover and spilling all his hair care products into the bathtub. “To my ears, this was freedom,” enthuses Sanden. “This was a realization that we could do anything we wanted to, and that there were no rules that we had to obey.”
Nuts? Yeah. But like everything else Buttercup has ever done — or even attempted — it’s all in the name of fun. In the name Art, too, of course, but first and foremost, fun. And should they fail … well, it still promises to be an epic ride.
“If we should falter in our quest,” says Sanden (invoking one of his musical heroes, Jad Fair) “we solemnly promise to wear our clothes inside out for a one year period. On this you have our word!”
Além de fazer as unhas do desafio, resolvi fazer uma unha bem rock'n'roll pra homenagear o dia do Rock, que é uma "genre" de música que agrada a todos, seja lá que estilo de Rock você curta!
Optei por um estilo mais "vintage" e quis incorporar as tattoos dos anos 80.
Hoje foi um dia louco por que de manhã cedo sentei pra fazer as unhas do desafio de amanhã e a acabei fazendo a de Domingo tmb! ahahahha
Aí pelo meio da manhã minha mudança chegou lá em Miami e tive que ir buscar sozinha com a minha sogra, quebrei um monte de unhas carregando caixas, e cotoquei tudo quando cheguei em casa!
E aí ainda fui LOUCA fazer as unhas pro dia do Rock. Tô acabada gente. Deixa eu ir dormir por que amanhã tenho é que organizar tudo e colocar num galpão de storage até conseguirmos nossa própria casinha.
BEIJOS, e muito love, peace and rock'n'roll!!!!
This is what happens when I stay inside and don't straighten my hair. I've been working on my lab report all day, so I let my hair air dry this is what happened. I used to have suuuuch straight hair as a kid. Maybe it's an Alaska vs. Florida thing? I dunno.
Camera still broken. :(
COCHRAN Eddie 1938-1960
One of the "original" rock 'n' roll stars. Eddie Cochran (1938-1960) Started as a country and rockabilly singer and guitar player. His first hit was Sitting in the Balcony in 1957). Also Twenty Flight Rock in 1957 (also hit of Cliff Richard and the Shadows in England). His best know hits were Blue Suede Shoes by Carl Perkins and Summertime Blues.
He died in a car crash in England.
The very best of 1957-1960
1. C'mon Everybody (Cochran-Capehart) 1958 (1'57)
2. Three Steps To Heaven (B&E Cochran) 1960 (2'24)
3. Weekend (Post) p.1962 (1'52)
4. Skinny Jim (Cochran-Capehart) p.1962 (2'11)
5. Completely Sweet (Cochran-Capehart) 1957 (2'32)
6. Milk Cow Blues (Estes) p.1962 (2'41)
7. Cut Across Shorty (Wilkin-Walker) 1960 (1'52)
8. Hallelujah, I Love Her So (Charles) 1959 (2'17)
B-side
9. Somethin' Else (Sheeley-Cochran) 1959 (2'10)
10. Blue Suede Shoes (Perkins) p. 1962 (1'50)
11. Eddies Blues (instrumental; Cochran) p. 1964 (4')
12. Sitting In The Balcony (Dee) (1957) (1'58)
13. Summertime Blues (Cochran-Capehart) 1958 (1'58)
14. Twenty Flight Rock (Fairfield-Cochran) 1957 (1'44)
15. Three Stars (Dee) 1959 (3'42)
16. Cherished Memories (Sheeley) p. 1960 (1'51)
LP Liberty FA 3019 Mono
Bought the LP 4.3.1985 19 mk V-talo Malmi Helsinki
This was the weirdest fucking day!
I got up this morning, and checked my facebook. My best friend that I haven't seen in a year, is coming to town to see KISS tonight. Another friend says he's giving away two KISS tickets for the show tonight. WHAT LUCK!
My friend didn't even know until late last night that she was going, as someone gifted her tickets. I picked up the free tickets from my other friend after class and painted my face like Paul Stanley (I mean, when am I ever going to get to see KISS again? Might as well paint it up!) and drove to the arena. I got some double-takes and stares with the face paint as I was driving and walking downtown.
After the opening band, my friend and I met in the lobby. We caught up for a bit, and she and her boyfriend said they were going to try to sneak me into the good seats (where they were). She and I walked down while her boyfriend distracted security, and then we caught up before KISS came on. We laughed our asses off and had THE BEST time. The show deepened my dislike for Gene Simmons, and increased my love of Paul Stanley.
I saw Paul Stanley FLY. Explosions, fire, confetti, loud rock n roll, and flying men. It was pretty much an awesome night.
I had cell bio and calculus tests the next day, and this show was just what I needed to relieve stress mid-week.
<3
camera still broken
Claire and Alfie are out for the day so a chance for me to go a bit wild.
I'll start with a satsuma I think...
#rocknroll
Coogans Bluff bei der Rotormania 2013, war ganzschön gut.
Ausschnittsvergrößerung vom Negativ (Superpan 200).
Digital gemacht mit D600 und Makro.
Entwickelt in r09.
Woodstock Music & Art Fair (informally, Woodstock or The Woodstock Festival) was a music festival, billed as "An Aquarian Exposition: 3 Days of Peace & Music". It was held at Max Yasgur's 600-acre (2.4 km²; 240 ha, 0.94 mi²) dairy farm in the Catskills near the hamlet of White Lake in the town of Bethel, New York, from August 15 to August 18, 1969. Bethel, in Sullivan County, is 43 miles (69 km) southwest of the town of Woodstock, New York, in adjoining Ulster County.
During the sometimes rainy weekend, thirty-two acts performed outdoors in front of 500,000 concert-goers.[2] It is widely regarded as one of the most pivotal moments in popular music history and was listed among Rolling Stone's 50 Moments That Changed the History of Rock and Roll.[3]
The event was captured in the 1970 documentary movie Woodstock, an accompanying soundtrack album, and Joni Mitchell's song "Woodstock" which commemorated the event and became a major hit for Crosby, Stills, Nash & Young.
from Wikipedia