Hard Times

whoa.

Wed, 01 Aug 2012 10:43:57 -0400

whoa.

Samantha Mulder reunion. http://www.myspace.com/leftinlocal

Tue, 22 May 2012 20:36:00 -0400

Samantha Mulder reunion.

http://www.myspace.com/leftinlocal

Everybody at HardTimes has the NBA playoff fever. Takes us back...

Thu, 10 May 2012 11:00:21 -0400

Everybody at HardTimes has the NBA playoff fever. Takes us back to this classic game.

http://www.nps.gov/features/yell/slidefile/index.htm

Thu, 12 Apr 2012 13:37:59 -0400

http://www.nps.gov/features/yell/slidefile/index.htm

photo gallery of abandoned...

Wed, 04 Apr 2012 12:42:43 -0400

photo gallery of abandoned astrodome.

http://www.houstonpress.com/slideshow/8th-wonder-a-tour-of-houstons-rotting-astrodome-36498114/

http://theclassical.org/articles/the-beards-of-summer The...

Sat, 31 Mar 2012 10:04:12 -0400

http://theclassical.org/articles/the-beards-of-summer

The Classical ran a great story on Benton Harbor’s very own House of David.

Killer journal — run by friend, KMA...

Tue, 27 Mar 2012 06:47:45 -0400

Killer journal — run by friend, KMA Sullivan.

http://vinylpoetry.com/

Video

Sun, 25 Mar 2012 01:23:00 -0400

http://www.georgeboorujy.com/index.html

Thu, 22 Mar 2012 22:19:51 -0400

http://www.georgeboorujy.com/index.html

Blog for Fakes: An Anthology of Pseudo-Interviews, Faux Lectures, Quasi-Letters, "Found" Texts, and Other Fraudulent Artifacts

Tue, 20 Mar 2012 17:23:46 -0400

Blog for Fakes: An Anthology of Pseudo-Interviews, Faux Lectures, Quasi-Letters, "Found" Texts, and Other Fraudulent Artifacts

Is Pet Lions single release, Shadows, growing into the Beach...

Mon, 16 Aug 2010 11:44:00 -0400

Is Pet Lions single release, Shadows, growing into the Beach Boy’s Smile?

Recently, a HardTimes staff writer talked with Karl Otsby about the status of their supposed forthcoming single. No real word, but here’s a piece we wrote in honor of it’s pending release.

————

On their new single, Shadows, Pet Lions retain the qualities that made them Chicago’s rock’n’roll darlings while stretching towards a dirtier, low fi, atmospheric sound that suits the band nicely. The early rock’n’roll charm, attention to melody, casio tones, and expert songwriting are still present, though often end up melting in a fuzzy, skuzzy burst of AM pop. The title track opens with roaring guitars that quickly capsize into a haunting groove carrying throughout the well crafted tune. Using their trademark guitar interplay – this time with the help of nylon strings and a toy xylophone – Pet Lions flirts towards 80’s slick but ends up landing somewhere between post-punk and 60’s girl group attitude.

It’s a patient, intelligent move for Pet Lions to release a single at this point in their story; a move that – just like everything else these guys do - nods towards classic pop and rock’n’roll traditions. And this mindset can’t be more apparent than in the single’s b-side “I Should Have Known Better.” A long time live staple for Pet Lions, the cover plays like a mission statement for the band: rock’n’roll is still relevant.

(via ) Tell me you’re seeing this, reader. Tell me...

Sun, 29 Nov 2009 22:51:01 -0500

(via ) Tell me you’re seeing this, reader. Tell me you’re seeing Michael Stipe dancing behind the Boss. Please tell me you’re seeing this (1:55).

And that solo, tell me you hear that.

The Beatles third album (in under 18 months), Hard Day’s Night,...

Tue, 20 Oct 2009 00:56:18 -0400

The Beatles third album (in under 18 months), Hard Day’s Night, opens with one of the most instantly recognizable guitar chords of all time. George Harrison’s Rickenbacker shimmers and dissolves into the furious title track that must have echoed the Beatles intense schedule. Lennon lets everyone know how hard his band has been working, and how – despite conquering America a few months earlier – the only real satisfaction in life is being with his lover at the end of the day. The vocals and guitars scream across Ringo’s shaking bed of drums, and the song ends just as it came in: a gleaming fade out.

This time around, the boys tossed their catalogue of covers aside, and stuck with Lennon McCartney originals: seven featured in the film, and six more to fill out the album (and thank God the UK version of Hard Day’s Night left off “Ringo’s Theme (This Boy)” (the absolute worst Beatles song of all time)). Still, despite being mega busy rock’n’rollers, the Beatles managed to write some catchy songs – songs that skate the line between progressive and throwback rockers. “Tell Me Why,” feels like a Buddy Holly throwback, with Ringo providing a swinging beat behind John, Paul, and George’s seamless harmonies. It harkens back to the boy’s girl-group covers, a cohesive pop song flirting with those Motown ladies on the other side of town. “Any Time at All” similarly echoes some of the covers found on previous albums, but only because it falls a bit short of capturing the Beatles. Oh, it’s rocking, but now quite Beatles rocking.

“I’ll Cry Instead” nods it’s head towards rockabilly, sounding like an Elvis cover. George’s guitar giddy-ups behind the country-flavored song, while John’s reverb kissed double vocals incites some angry threat to “show you what your lovin’ man will do.” It’s a catchy hidden gem, and an under looked John classic.

Don’t worry, moms. McCartney proves his own on both “Things We Said Today,” and (of course) “Can’t Buy Me Love.” “Things We Said Today” moves past McCartney’s cheesy tendencies into what sounds like genuine heartache. George Martin is getting damn good at doubling vocals, and here we find the best example on Hard Day’s Night. It’s a dark, sexy little number, and Paul owns every part of it.

“Can’t Buy Me Love,” on the other hand, feels like a Cavern stomper. It’s fun, catchy, and jiving. This is pop Paul, and it’s phenomenal. George’s quick, rapid-fire guitar solo allows a brief breath before diving back into McCartney’s trademark bouncing bass and mop top. The song turns around to close it out, and the listener is left spinning.

“I’m Happy Just to Dance With You” gives George his shot on the mic, but it feels a bit empty - possibly because it’s a Lennon McCartney penned number. Regardless, it peels back more of the mystery around George. He’s a heartbroken wound licker. There’s some weird floor tom thumping throughout the whole ditty that can be a bit distracting, but hot DAMN! those reverb drenched background vocals are signature George Martin. And let’s not forget the quick, razor sharp chord progression. It jangles the song forward, and ending at 1:56, leaves us wanting more.

How anyone could expect four lads to not just carry the momentum of their first two albums into a film and third album, but to actually build upon it is beyond us here at HardTimes. But the Beatles rise to the occasion. Hard Day’s Night thickens the Beatles catalogue while expanding their sound. It offers the first real glimpse at how incredibly talented the Beatles are (were?). Yes, Please Please Me and With the Beatles showed raw talent, but Hard Days Night screams, “we’re not only here to stay, but we’re going to.” Hard Days Night is the shift into the more introspective and diversified song writing that would fill the Beatles later work.

Alley Cat Allies - National Feral Cat Day

Fri, 16 Oct 2009 02:08:13 -0400

Alley Cat Allies - National Feral Cat Day :

Ahh, it’s Feral Cat Day again.

From all of us here at HardTimes, to all of you out there:

Merry Feral Cat Day.

king of wishful thinking (via cristinamarie7)

Mon, 12 Oct 2009 12:12:22 -0400

king of wishful thinking (via cristinamarie7)

BBC - Earth News - Stags locked in 'mortal combat'

Tue, 06 Oct 2009 09:21:29 -0400

BBC - Earth News - Stags locked in 'mortal combat'

Yo La Tengo - Yo La Tengo - LA BLOGOTHEQUE

Tue, 22 Sep 2009 14:55:57 -0400

Yo La Tengo - Yo La Tengo - LA BLOGOTHEQUE:

Last Saturday night, the HardTimes staff was treated to a blistering Yo La Tengo show in Hotlanta. While we don’t have video from that show, we’d like to link you all to La Blogotheque’s beautiful Yo La Tengo take away shows.

Enjoy.

While Please Please Me presents a...

Mon, 21 Sep 2009 21:44:00 -0400

While Please Please Me presents a tight-knit rock’n’roll band, With the Beatles allows each Beatle to step into their “character.” Opening with “It Won’t Be Long,” a roaring - almost angry- John Lennon leads a call and response convincing his far away lover that she absolutely will come back to him. It’s an incredible opener - sweaty, ballsy, mature, confident and completely rock and roll. It’s following song, “All I’ve Got To Do,” again Lennon, puts John at the front of this record (look at the cover, his head is the biggest). It’s not hard to see why John was considered the wild, hilarious, bad ass Beatle of the bunch.

Paul takes lead on the hit single “All My Loving.” A bouncing, mop-topped pop song with jangling guitars, Paul’s double vocal take smoothly warms hearts. And then George rips out a country solo that sits nicely on top of the urgency of the song, slowing it down and cooling it out.

But George doesn’t stay away from the spotlight for long, on “Don’t Bother Me” - possibly the best track on the album - George debuts his own song writing chops: a dark, slinky, rhythmic swingin’ London lament on another lost lover. And the solo is raw and passionate. Stacked against an album full of Lennon-McCartney originals and R & B covers, this song sounds like a George tune. He’s quite, complicated, and independent. ”Don’t Bother Me” should be testament enough that George was underused, and not under-producing.

That old McCartney tree of cheese is grows, as the Music Man cover “Till There was You” will attest. It’s a nice song though, and the differing arrangement allows for a breathe between “Little Child” and “Please Mister Postman.”

The latter presents the Beatles taking a stab at the Marvelettes hit single. John steps comfortably into the lead of a song made popular by the American R & B group, and nails it, setting of a string of R & B and Motown covers in motion (including Smokey Robinson’s “You’ve Really Got a Hold On Me” (this song in particular proves the Beatles knack for singing harmonies)). Comfortably stepping into the lead on a song made popular by an American girl group, Lennon pulls the song off as if he’d been waiting for that letter his entire life. The Bealtes knew how to pick cover songs, as George proves on Chuck Berry’s “Roll Over Beethoven.” It’s a total British reworking of the classic American rock’n’roll song, but Harrison’s love for Berry and pop music make it shine.

Ringo, in a encore to “Boys” on Please Please Me, takes lead on the Lennon- McCartney penned “I Wanna Be Your Man.” This song kicks ass, and thrusts Ringo into that goofyBeatle spotlight. Flourished with screams, whoops and Lennon on the Hammond organ, “I Wanna Be Your Man” sounds like a drunken Cavern romp. It harkens to Let It Be’s “One After 909” (written in 1957, recorded in 63, rerecorded 69, and released in 70).

Like Please Please Me, With the Beatles closes with a scorching cover. This time it’s the Berry Gordy - Janie Bradford penned “Money,” as recorded by Barrett Strong. Oozing attitude, “Money” takes Lennon’s title of greatest British rock and roll singer (earned on his version of “Twist and Shout”), and elevates him into a stratosphere with Jerry Lee Lewis, Little Richard, and Elvis. Featuring George Martin on piano (anyone else think he’s the true fifth Beatle?), “Money” caused troubles in the recording studio. I’d like to think it was because of all the ruckus, but in reality they just overdubbed so much. Harrison’s guitar beefs along, and Lennon sneers into the microphone. If this is what capitalism sounds like, I’m not sure I’m against it.

Historically, the album was released on the same day as President Kennedy’s assassination. Most historians agree that the shooting in Dallas rushed in the 60’s. I don’t want to suggest that the Beatles were predicting or leading the change of guards, but With the Beatles added heavily to the massive cultural shake up. As the cover suggests, things were about to get dark.

Pitchfork: Holy Shit: Pavement Reunion Is Real!

Wed, 16 Sep 2009 12:45:00 -0400

Pitchfork: Holy Shit: Pavement Reunion Is Real! :

Here at HardTimes, we’ll be the first to admit that our panties have been knotted over rumors before. We’re still licking our wounds over that Jackson death thing (the guys got a new movie coming out - he’s not dead). Call us gullable. Call us romantics. But first and foremost, we’re fans of bratty 90’s rock.

Pavement’s history has been dotted with pretty whacked out live shows. Malkmus has said before that if the band were ever to reunite, they’d want to have ample time to rehearse. At the risk of embarrassing ourselves in front of throngs and throngs of readers, we’re going to go a head and celebrate a concert taking place one year from next Monday. Plenty of time to put together a badass version of “Carrot Rope.”

Please Please Me - The Beatles It’s difficult not to hear Paul...

Tue, 15 Sep 2009 09:11:20 -0400

Please Please Me - The Beatles

It’s difficult not to hear Paul McCartney’s opening “One – Two – Three – Four!” as a count off to the greatest rock and roll band of all time. “I Saw Here Standing There,” the first cut off the Beatles first album – Please Please Me – serves as a mission statement for the album and the band (though they would go on to slightly rework the statement). McCartney’s bass line bounces builds and bounces again. His voice blows the top of his head off. John Lennon’s subtle harmonies and not so subtle whoops and hollers don’t let you forget he’s no sideman. Ringo effectively ends any debate over the quality of his drumming. And when Harrison’s solo hits, there shouldn’t be any doubt that he’s one of the greatest lead guitar players of all time. This is a band playing road-tested tunes for the first time on your home stereo. You cannot ignore what you’re hearing.

The mood carries throughout Please Please Me, mixing Lennon – McCartney originals with a variety of covers including Arthur Alexander’s “Anna.” Here, Lennon steps forward with the voice and self-consciousness that will haunt nearly every song he goes on to perform. The heartbreak, the passion, and the edginess for which everyone loves Lennon are introduced on “Anna.” They reoccur in “Ask Me Why,” “Baby It’s You,” and of course “Please Please Me.”

It’s no wonder the Beatles would build an album around “Please Please Me.” As the cover reads, there’s “Please Please Me,” “Love Me Do,” and twelve “other” songs. While today the infamous version of “Twist and Shout” far overshadows “Love Me Do,” “Please Please Me” remains one of the greatest songs the Beatles ever composed. Capturing an urgency that manifests in most of their greatest songs, they rush through “Please Please Me” as if Lennon absolutely needs to be pleased. As if every note of his voice and harmonica are dependent on the pleasure of his “love.” This girl is driving him nuts – and it’s pushing the Beatles to a speed and passion that says: “Hey, we mean this.” Here, the Beatles give one of the finest examples of ensemble playing. All four move together as one unit, longing to be pleased.

George and Ringo get their turns on lead vocal. George taking the Goffin- King (as in Carole King) penned tune “Chains,” and “Do You Want to Know a Secret.” And Ringo goofs around on Dixon- Farrell’s “Boys,” a rollicking number that could have been recorded in the Cavern. He’s talkin’ bout boys, and what a bottle of joy. Here, again, Harrison’s solo sounds something from the Gospel or Chuck Berry.

McCartney leads the band on “A Taste of Honey”, a song particularly well- served by the re-masters. What once sounded like a seed from the McCartney tree of cheese ends up a stand-out track. Harrison’s melancholy guitar and the reverb-drenched vocals lend a haunting quality that had before been lost.

Like its bookend “I Saw Her Standing There,” “Twist and Shout” proves these cats bleed rock and roll. Lennon, in perhaps his finest vocal performance, looses his mind and shreds his vocal chords. George Martin waited until all the other songs were recorded before allowing Lennon take a stab at “Twist and Shout.” They recorded it twice, took the first take, and made history. Even today, his scream is unparalleled. The harmonies, the suspense, the sheer power build into a nerve-bending ruckus. A yelp into the vortex of pop music, informing everyone that no one has - nor ever will - play rock and roll like the Beatles.

Recorded in twenty-five hours and composed of songs culled from their live sets, Please Please Me is confirmation that the Beatles began as a live band. They were writing together. They were roaming Europe in vans together. They were together. While manager Brian Epstein had the boys in matching grey suits and on their best behavior, Please Please Me proves the Beatles’ leather jackets and rowdy rock and roll stage antics were not long forgotten.