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Albert Hammond was born on May 18, 1944, in London and grew up in Gibraltar to Gibraltarian parents. In 1960, Albert left school, formed a band and began sending out recordings of his very first compositions to labels in England, where they were released by Parlophone Records. Albert Hammond Jr. body measurments, height, weight and age details. Albert Hammond Jr. wiki ionformation include family relationships: spouse or partner (wife or husband); siblings; childen/kids; parents life. Wiki Bio of Albert Hammond Jr. net worth is updated in 2020. Albert Hammond jnr performs at the Factory Theatre, Sydney, on July 24 and at the Corner Hotel, Melbourne, on July 25. This article appears in Sunday Life magazine within the Sun-Herald and the ... Relationships. Albert Hammond Jr. has been in relationships with Alexa Chung (2012), Ruby Aldridge (2011), Agyness Deyn (2008 - 2009), Lisa Seiffert (2007) and Catherine Pierce. Albert Hammond Jr. has had an encounter with May Andersen. About. Albert Hammond Jr. is a 40 year old American Musician. Born on 9th April, 1980 in Los Angeles, California, he is famous for The Strokes. Albert Hammond Jr. performs at Saturn Birmingham on March 24, 2018 in Birmingham, Alabama. David A. Smith/Getty Images Last year, Albert Hammond Jr. learned some revelatory news about his childhood. Albert Hammond Jr. Albert Hammond Jr’s fourth solo album Francis Trouble explores a deeply personal topic – the stillborn death of his twin brother, Francis, and the lingering effects that event has had in his life and music. More To Life, released 30 May 2019 You called me up for this illusion Would you think that I Would be unimpressed Everyday you send confusion Such delusions The ...
/r/QOTSA Official Band of the Week 19: THE STROKES
2020.09.11 13:14 House_of_Suns/r/QOTSA Official Band of the Week 19: THE STROKES
Sometimes you are in the mood for a fantastic gourmet meal. Appetizers. Soup. Salad. Multiple courses. Sauces. Wine pairings. Dessert. A complex, long affair where incredible thought is put into each and every small detail, to create a singular experience. Sometimes you just want a cheeseburger. I have to believe that the more complex you make something, and the more overproduced and over-thought it is, the less and less it appeals to the masses. Radiohead, for example, had a bunch of great early guitar rock albums. They then followed up those straightforward albums by completely changing their sound. I am pretty sure that their latest album was made by setting guitar pedals on fire and mixing those noises in a computer with feedback and whale song and firecrackers and 6 year olds learning the violin and you can guess the result. They still had a number one album. Shit. They are a terrible example. I should never write these things when I am hungry. Look, my point is, there is something to be said for a truly amazing cheeseburger. Our band this week keeps it ultra-simple. They have perfected post-punk garage rock. If you are looking for soaring glissandos and orchestral numbers that have multiple guest singers, this is not the band for you. They are quick, they are dirty, and they are low-down. They are the spiritual heirs to The Ramones, The Dead Kennedys, and The New York Dolls. You guessed it, today’s artist is none other than THE STROKES About Them If you have ever been to Italy, you know that pizza there is gourmet. You can have it multiple ways, with multiple doughs, and the fresh toppings are amazing. It is the OG of the pizza world, and no one does it like them. If you have been to Chicago and had real Chicago Deep Dish, you know it is a religious experience. Almost lasagna like, the multiple seasonings and essences create a smorgasbord of savory and gooey goodness that will harden your arteries after the first bite. It is the most complex pizza to make and when it is done well, it is fantastic. And then there is New York pizza. It is cheese and sauce and pepperoni on baked dough. It is by far the easiest one to make. It is simple. It is quick. It is greasy. And yet, New York Pizza is probably the hardest one to get right, because of its simplicity. There is nowhere for anything bad to hide. Anyone can do a mediocre simple pizza (looking at you, Little Caesar’s ) but it takes amazing talent to take something so simple and make it so good. The Strokes are great at making New York pizza. Well, metaphorically that is. I mean, they may suck at cooking any kind of food. But these five guys from New York are amazing at making simple, driving garage rock. This band has been together since 1998. They feature lifelong Mets fan Julian Casablancas on vocals, Nick Valensi on guitar, keys and backing vocals, Albert Hammond Jr. on guitar, keys and backing vocals, Nikolai Fraiture on bass, and Fabrizio Moretti on drums. Much like our epochal monarchs, the vocalist is the driving force in songwriting. Casablancas met all members back in his youth, and the five proved to be quite the talented live act. With a tight 14 song set, they made rounds on the small bar loop across Manhattan, and even got to a popular club called the Mercury Lounge. Their playing was impressive enough for the Lounge’s Booking agent to quit his job completely and become the band’s manager. They found the time to record some demos, which culminated in the release of The Modern Age EP back in 2001. This thing was lightning in a bottle, and the labels knew it. And so, it sparked one of the most competitive bidding wars for a rock band in recent years. In the end, they signed with RCA and got to work on their debut album. And God, is it amazing. Is This It was a renaissance of sorts. In a time where the radio was (and still is) largely oversaturated by post production monsters of shitty pop, the Strokes are a breath of fresh air. They take their influences and wear them proudly on their sleeves, and shine new light on what made rock so much fun in the first place. This album was recorded on no more than 11 audio tracks: there are no gimmicks, no tricks, and no horses beaten to death. The drums are energetic, punchy, and groovin’. The bass is driving, and harkens back to the urging simplicity of Punk Rock. The guitars dance from ear to ear with these wonderfully catchy, clean repeating lines that’ll be stuck in your head for days. And of course, Casablancas’ confident vocal delivery, recorded with compression & distortion, is as distinct and powerful today as it was back then. Interestingly, the album’s racy cover art garnered some complaints from their label, which led to delays and an alternate cover in the U.S. All the same, critics absolutely adored the record. The band set out on their first world tour, and hit the studio as soon as they got back. As it turns out, Is This It was just the first slice (or the first 11 of them… learn some self restraint already, jeez). In 2003, The Strokes released their sophomore album, Room On Fire. If you liked their debut, you’re in for a treat. Most of the tracks on this record would be right at home on the first album - not that that’s inherently bad, since these ones are just as jammin’. Tracks like 12:51 and Reptilia scratch that itch for pure, catchy guitar rock so, SO well. Also, fun fact: the original producer for the record was going to be Nigel Goderich, but he was fired by the band when they found the efforts - and I quote - “Soulless”. This was notable since Goderich is famed for producing almost every Radiohead album. In the end, The Strokes just went with the same guy they had before. But, when it came time for their third album, change was in the air. They once again tried for their first producer, but guitarist Hammond Jr. decided to introduce the band to a new producer half way through. As a result, there are some ever so subtle production changes, among other developments to their sound. First Impressions of Earth (2006) is a step away from their first two albums - They tried some weird stuff, they tried some new stuff, and they even threw in some old stuff for good measure. Overall, the album definitely has some stand out tracks, but was slightly less well received by critics. Following ANOTHER world wide tour, plus some more tours of the US, the boys were tired. A hiatus ensued. And 5 years later, it was time to get Angular.Angles released in 2011, and if First Impressions was them testing the water, Angles was more like fully dunking in their head. They continued to experiment with the production, and even tried including more keyboard parts. They added backing vocals for the first time, and played around with overdubbing in general. Look, most of these changes sound like nothing today, but this is The Strokes here - this is like convincing your Italian grandfather to try chicken on pizza. All in all, some critics liked their experimentation, while others found the album a bit fractured and inconsistent. Luckily, the wait for the next album was not quite so arduous. People didn’t even know this one was coming - the band pulled a complete media black out, and did not advertise at ALL. If we continue the water analogy, Comedown Machine (2013) is like saying “fuck it” and diving straight in to the pool. This thing sounds more like a new wave, 80’s revival record. The synth is more present than ever, and the vocals are a fair bit cleaner. Critics kind of just shrugged - some applauded the changes, while others questioned if this was even meant to be a Strokes album in the first place. They then waited 7 years to release another record. Look, at least it wasn’t 13 years (COUGHToolCOUGH). Okay, it wasn't really THAT bad, since the band released a 3 song EP back in 2016. Future Present Past was consistent with the style of their recent albums, and it even had some of that classic compressed-to-shit vocal sound. The songs left many hungry for more. They took 4 years, set out some time to work on an album, and found a new creative partner in the form of Rick Rubin. This dude, if you don’t know him already, is a total master of the music world, and I think the only thing longer than his discography is his beard.The New Abnormal, which was released in April of this hell year, is his most recent production credit. This album is their most different yet. As far as that water analogy, you’re now fully submerged, sitting on the bottom of the pool, making out with a fish. The band uses more 80’s sounds than ever before, heavily featuring the synth in places and leaning further into the New-Wave style in general. This time, critics were down for it, and hailed it as the best, most successful development of their sound to date. And that completes their discography. It's an interesting one, and even if you’re not one for synthy-electronica pop, their first few albums are absolutely worth your time and attention. These guys are an inspiration. Much like Josh and the Boys, they pioneered their own sound and are one of the true greats of modern rock. They’ve influenced countless young musicians, including one notable arctic simian - Alex Turner (who really just wanted to be one of the Strokes). Look, if you don't go listen to them right now, I will be angry, and I will revoke your pizza license. Don't try me. Links to QOTSA The Strokes, influential garage rock bois that they are, have musical connections in almost every direction. And as we know, when we mention musical connections, all roads lead to Homme. Julian Casablancas has worked directly on a QotSA album, lending his voice to everyone’s favourite audible grime bath, Sick, Sick, Sick. His distorted delivery was never more at home, since we all know just how slick, energetic, and infectious this song is. Josh and Casablancas have also worked together on a cover of Marvin Gaye’s Mercy Mercy Me, which released as a B-Side to The Strokes single You Only Live Once. Casablancas shares vocals with Eddie Vedder on this recording, and Josh provides the backbeat with his drumming talents. Oh, and before I forget, Josh and Julian have also crossed paths on a charity album by the name of “Live from Nowhere Near You, Volume Two”. Finally, there’s one last connection worth mentioning. Homme, wonderchild that he is, has a production credit on a side project related to the Strokes. Josh lent his hand to Nick Valensi’s band, a group by the name of CRX. Their debut, New Skin, was released in 2016. This record is definitely worth listening to if you’re a fan of the Strokes, and dont mind those 80’s influences. It even has some album art by Boneface, whom we all know and love, so it’s gotta be worth your time. Their Music Hard to Explain -- A throwback video launches a throwback band Last Nite -- A video homage to appearing on the late show. Pretty sure they stole the set to the dating game. NOTE: Julian Y E E T S his mic stand at 1:03. THIS BECOMES IMPORTANT LATER. Someday -- Guest starring Slash. We also get to play Family Feud. I watched this video twice and developed a hacking cough from all the smoking. 12:51 -- If you never saw the original Tron movie, just watch this 2:32 epic for a taste. Reptilia -- EXTREME CLOSE UP The End Has No End -- Late Night TV and Mila Kunis? Sign me up! Juicebox -- A killer bass line anchors this tune ‘Juicy-Juice’ by ‘Stroke’. Heart in a Cage -- a tribute to the indifference of NYC You Only Live Once -- We have a concept video. We all wear white and the room fills with oil. WTF, you wore grey? Get your ass back behind the drum kit. Fuck. Maybe no one will notice. Under Cover of Darkness -- A direct sequel to You Only Live Once, where everyone miraculously survived being imprisoned in a tank of oil only to have to go to an opera house. NOTE: Julian Y E E T S his mic stand AGAIN, this time at 2:07, when he sings the line “Everyone’s been singing the same song for ten years.” THIS VIDEO CAME OUT TEN YEARS AFTER LAST NITE. Coincidence?!?!?! Taken for a Fool -- This is what a video looks like when you are on drugs, if it was shot by someone who is also on drugs. If you get the spins, steer clear. One Way Trigger -- I can’t explain this video to you. You must experience it. You will not look at Captain America the same way again. All the Time -- This video was made up of left over bits from other videos. At the Door -- Heavy Metal meets Watership Down in this 80s-inspired video Bad Decisions -- Man, do the boys ever love starting their videos with someone watching an old CRT TV. Oh, and the clones are a commentary on modern music. Sounds important. Brooklyn Bridge to Chorus -- There is no official video. This is a fan made one set in Miami Vice and the 1980s. This song will make you want to break in someone’s house, toast all their bread, and put it back in the bag. Ode to the Mets -- An endless pull back, through fandom and memory. Show Them Some Love /TheStrokes Previous Posts Tool Alice in Chains King Gizzard and the Lizard Wizard Rage Against the Machine Soundgarden Run the Jewels Royal Blood Arctic Monkeys Ty Segall Eagles of Death Metal Them Crooked Vultures Led Zeppelin Greta Van Fleet Ten Commandos Screaming Trees Sound City Players Iggy Pop Mastodon
2020.06.04 17:08 ChildfreeFamilyHelp fact-checking a list of well known Childfree people
I'm compiling a list of childfree people for a blog. I have found a few lists online (which have been helpful). But in some cases they were not up-to-date. A person may have had children since being added to their list (example: I had to remove George Clooney who appeared on a number of lists). Or there might be some people missing who should be on the list. If you have a moment to scan the list and let me know of any other errors or omissions it would be appreciated. It has been fun working on this list. A few people on it surprised me. Thanks again for any help. \Edit for clarification: the term "childfree", in the sense of this list, will be in regards to people who never had a child from a live birth, fostered a child, adopted a child, or was a step-parent.* Herbert Samuel Adams – Sculptor Charles Addams – Cartoonist (The New Yorker) Jane Addams - Social Worker, Political Activist, Co-Founder of the ACLU, & Nobel Peace Prize Winner Nancy Addison – Actress Louisa May Alcott – Author Cynthia May Westover Alden – Author, Philanthropist Grover Cleveland Alexander – Baseball Player Suzy Allegra – Author Marty Allen – Comedian John Murray Anderson – Musical Theatre Producer Laurie Anderson – Performance Artist Marian Anderson – Concert Singer Louis Andriessen – Composer Jennifer Aniston – Actress Susan B. Anthony – Womans’ Suffragist Samuel Appleton – Politician, Philanthropist Geoffrey Arend - Actor Louis Armstrong – Musician (Contested: The Louis Armstrong Museum states he had no children, but in 2012 Sharon Preston-Folta has claimed to be his daughter from Lucille “Sweets” Preston, a dancer at the New York Cotton Club) Boris Artzybasheff – Artist Dorothy Arzner – Film Director Dr. Robert C. Atkins – Diet Doctor, Author, Creator of the Atkins Diet V.C. Andrews – Author Jane Austen – Author Max Baer Jr. – Actor Francis Bacon – Politician, Philosopher, Scientist Florence Bailey – Author, Naturalist, Ornithologist Tallulah Bankhead – Actress Abdullah al-Baradouni – Yemeni Poet Bob Barker – Game Show Host Joe Barr – Canadian Politician Lynda Barry – Cartoonist Clara Barton - Nurse, Humanitarian, Founder and First President of the American Red Cross Kathy Bates – Actress Jaya Battacharya – Actress King Baudouin – King of Belgium Samuel Beckett – Author, Playwright, Poet Ludwig Van Beethoven – Composer Joe Besser – Actor Isabella Bird – Author Jacqueline Bisset – Actress Lewis Black – Comedian Eubie Blake – Musician, Composer William Blake – Artist Brenda Blethyn – Actress Marc Blitzstein – Composer, Dramatist Baroness Karen Blixen – Author Rosa Bonheur – French Painter and Sculptor Pierre Bonnard – Artist William Edgar Borah – Politician Lara Flynn Boyle – Actress Georges Brassens – Singer Alison Brie – Actress Joe Bob Briggs aka John Bloom – Author, Movie Critic Raymond Briggs – Children’s Book Author Poppy Z. Brite – Author Anne Bronte – Author Louise Brooks – Actress Helen Gurley Brown – Feminist, Editor Reno Browne – Actress, Equestrian Delta Burke – Actress Kathy Burke - Actress, Comedian James Buchanan – 15th U.S. President Pat Buchanan – Politician, Presidential Candidate James Burke – Creator of the PBS Series “Connections”, Scientific American columnist Raymond Burr – Actor Caryl Lee Burroughs – Hollywood Animal Trainer Leo Buscaglia – Author Brett Butler – Actress, Comedian Julia Cameron – Director Phyllis Carlyle – Film Producer Dora Carrington – Bloomsbury Artist Laura Carroll – Author Mary Casatt – Artist Roger Casement – Irish Patriot Nina Cassian – Poet Barbara Castle – British Politician Kim Cattrall – Actress Mary Chapin Carpenter – Singer, Songwriter Rosamond Halsey Carr – Founder of Rwanda’s Imbabazi Orphanage, Author, Fashion Designer Richard Chamberlain – Actor Coco Chanel – Fashion Designer (Contested: Following her elder sister’s suicide, she looked after her son) Stockard Channing – Actress RuPaul Andre Charles - Drag Performer, TV Personality Judy Chicago – Artist Margaret Cho – Comedian Julia Child – Professional Chef, Cookbook Author Helen Clark – New Zealand Prime Minister Patricia Clarkson – Actress Dorothy Clewes – Children’s Book Author Imogene Coca – Actress Claudette Colbert – Actress Billy Collins – U.S. Poet Laureate C. Collodi – Author William Conrad – Actor Frances Conroy – Actress Storm Constantine – Fantasy Writer Jill Ker Conway – Author, first woman President of Smith College Anne Cool – Canadian Senator Pat Coombs – Actress Copernicus – Scientist John Corbett – Actor Joseph Cornell – Artist and Creator of the Cornell Box Ann Coulter – Political Commentator Alec Sadler Craig – Australian Politician, Philanthropist Quentin Crisp – Author, Actor Tim Curry – Actor Charlotte Curtis – First woman on the masthead of The New York Times Patrika Darbo – Actress Simone de Beauvoir – Author Mahmoud Darwish – Palestinian Poet Leonardo Da Vinci – Artist Gray Davis – Governor of California Ellen Degeneres – Comedian Jeffery Deaver – Author Eugene Victor Debs – Activist Bessie and Sadie Delaney – Authors Dana Delany – Actress Don DeLillo – Author Del Rubio Triplets – Musical Group Bo Derek – Actress Rene Descartes – Philosopher Portia De Rossi – Actress Emily Dickinson – Poet Benjamin Disraeli – Politician, Author Steve Ditko – Cartoonist, co-creator of the Spider-Man Comics Dorothea Dix – Educator, writer, philanthropist Hannah Dobryn – Author Tamara Dobson – Actress Richard Donner – Film Director Lauren Shuler Donner – Film Producer Lizzie Douglas aka Memphis Minnie- Singer, Guitarist, Songwriter Marjory Stoneman Douglas – Environmentalist, Founder of Friends of the Everglades Maureen Dowd – Columnist, Pulitzer Prize winner Sir George Downing – Founder of Downing College, Cambridge, England Gabriel Dumont – Native American Tribal Leader Lena Dunham - Actress, Director, Producer Francis Drake – Explorer Fran Drescher – Actress Esther Dyson – Author, Internet Expert Amelia Earhart – Aviator Deborah Eisenberg – Author Liubov Egorova – Dancer Anita Ekberg – Actress T.S. Eliot – Poet Havelock Ellis – Psychologist, Author Tracee Ellis Ross – Actress Harlan Ellison – Author Elizabeth I – Queen of England Joan Elm – Canadian Politician, Community Activist Bonnie Erbé – PBS Commentator and Columnist Dame Edith Evans – British Film and Stage Actress Linda Evans – Actress Rupert Everett – Actor Anne Ewers – CEO of the Utah Symphony & Opera Jane Fallon – Author Chow Yun-Fat – Actor Barbara Feldon – Actress Pamelyn Ferdin – Actress Ralph Fiennes – Actor Lynn Fontanne – Actress Margot Fonteyn – British Ballerina Juliana Rieser Force – Whitney Museum Director Richard Ford – Author, Editor of Granta Margaretta Forten – Abolitionist Dian Fossey – Anthropologist Janet Frame – Poet Felix Frankfurter – Supreme Court Justice Tanya Franks – Actress William Frawley – Actor Frank Frazetta – Artist Alice Freeman – First woman to be President of a liberal arts college, (Wellesley), helped establish the University of Chicago. Elsie Freund – Artist, Jewelry Designer Louis Freund – Artist Robert Fripp – Composer, Musician Stephen Fry - Actor, Comedian Eva Gabor – Actress Magda Gabor – Actress Maxwell Gage – Noted New Zealand Geologist Diamanda Galas – Singer Tess Gallagher – Author Paul William Gallico – Author Janeane Garofalo – Actress, Comedian Greta Garbo – Actress Ava Gardner – Actress Henry Garfiled aka Henry Rollins - Musician (Black Flag, Rollins Band) Greer Garson – Actress Gloria Gaynor – Singer Anthony Geary – Soap Opera Actor Ricky Gervais – Comedian William Schwenck Gilbert – Composer for Gilbert & Sullivan Althea Gibson – Athlete Dorothy Gish – Actress Lillian Gish – Actress Katharine Bruce Glasier – Author Susan Glaspell – Playwright Sharon Gless – Actress Crispin Glover – Actor Christoph Willibald Gluck – Composer Paulette Goddard – Actress Robert Hutchings Goddard – Physicist Kurt Godel – Author Alexander Godunov – Actor, Dancer Stephen Goldin – Author Emma Goldman – Activist, Feminist Valeria Golino – Actress Jan Goodwin – Author, Travel Writer Edward Gorey – Artist Lotte Goslar – Dancer Lauren Graham - Actress (Contested - Her long-term partner has a child.) Martha Graham – Choreographer Cecil Green – Former CEO of Texas Instruments, Philanthropist Johnny Green – Musician Gael Greene – Food Critic, Author Baroness Susan Greenfield – Director of the Royal Institution, Professor of Synaptic Pharmacology at Oxford University, Neurologist John Robert Gregg – Inventor of the Gregg Shorthand Method, Publisher Joyce Grenfell – British Actress Nanci Griffith – Singer, Songwriter Martha Griffiths – First Female Michigan Lieutenant Governor Terry Gross – NPR Host James Grout – Actor Mabel Dole Haden – Former President of NABWA Catherine Hakim – British Sociologist Daryl Hall – Singer, Musician (Hall & Oates) Jon Hamm - Actor Celia Hammond – Former Model and Animal Activist Lionel Hampton – Musician Georg Friedrich Handel – Composer Chelsea Handler - Comedian Howard Harold Hanson – Pulitzer-Prize Winning Composer Setsuko Hara – Japanese Actress Warren Gamaliel Harding – 29th U.S. President E Chambré Hardman – Photographer Jean Harlow - Actress Debbie Harry – Singer (Blondie) Alex Heard – Author Sir Edward Heath - Politician, Prime Minister of the United Kingdom Susan Helms – Astronaut Christina Hendricks - Actress, Model Adrian Henri – Poet, Painter Marguerite Henry – Children’s Book Author Katherine Hepburn – Actress Milton S. Hershey – Founder of the Hershey Chocolate Company Lorena Hickok – AP Political Reporter Taiko Hirabayashi – Author Nicole Hollander – Cartoonist Thelma Holt – Actress, Theatre Producer Oliver Wendell Holmes, Jr. – Associate Justice of the Supreme Court (USA) Grace Murray Hopper – Computer Scientist Rima Horton - Politician Soad Hosni – Egyptian Actress Lila Kedrova Howard – Actress Mick Hucknall – Singer Howard Hughes - American Business Magnate, Investor, Pilot, Engineer, Film Director, Philanthropist Bonnie Hunt – Actress Kristin Hunter – Children’s Book Author Lauren Hutton – Actress, Model Patricia Ireland – President of the National Organization for Women, NOW George J. Irbe – Creator of the Great Lakes water temperature climatology John A. “Jack” Jackson – Philanthropist, Oilman Tove Jansson – Children’s Book Author Randall Jarrell – Poet Anna Jarvis – the “Founder of Mother’s Day” Joan of Arc – Christian Saint Jack Johnson – First African-American to win the heavyweight boxing championship of the world. Margaret Johnston – Actress Martin and Osa Johnson – Authors, Photographers, explorers, and naturalists. Richard Mentor Johnson – U.S. Vice-President Samuel Johnson – Author, Editor William Hugh Johnston – Labor Leader Carolyn Jones – Actress Renee Jones – Actress Spike Jonze – Film Director Ashley Judd – Actress, Activist Madeline Kahn – Actress Immanuel Kant – Philosopher Julie Kavner – Actress Nikos Kazantzakis – Author Odette Keene – Musician Helen Keller – Author Joyce Kennard – Judge Joe Kernan – Politician Maynard Keynes – Economist, Founder of the Vic-Wells Ballet, Financed the Arts Theatre in Cambridge, England King Louis XVI – King of France William Lyon MacKenzie King – Former Canadian Prime Minister William Rufus King – U.S. Vice-President Robert Kiyosaki – Author Caroline Knapp – Author Aleksandra Kollontai – Author Dean Koontz – Author Tadeusz Kościuszko – Polish Patriot Jerzy Kosinski – Author Jonathan Kozol – Author, Activist Lee Krasner – Artist Albert Kroc – Co-Developer of McDonald’s Fast Food Chain Henry Richardson Labouisse – Diplomat, Former Head of UNICEF Karl Lagerfeld - Fashion Designer Princess Lakshmi – Indian Princess Elsa Lanchester – Actress Philip Larkin – Author, Poet Charles Laughton – Actor, Director Dan Lauria – Actor Frank John Lausche – Politician Tom Lehrer – Singer, Musician Jay Leno – TV Host Richard Lewis – Comedian Lyn Lifshin – Poet Queen Liliuokalani – Queen of Hawaii Siân Lloyd – Weather Broadcaster Carole Lombard – Actress Jack Lord – Actor Pauline Lord – Actress Patty Loveless – Singer Alfred Lunt – Actor John Lyon – Philanthropist, Regarded as the Founder of The Great Public School Of Harrow Rose McClendon – Actress Robert McCormick – Former Owner of the Chicago Tribune Mary Jackson McCrorey – Politician, Activist Hattie McDaniel – Actress Roddy McDowall – Actor, Photographer Odd McIntyre – Newspaper Columnist Ian McKellen – Actor Kristy McNichol – Actress Janet McTeer – Actress Christine McVie – Singer, Songwriter (Fleetwood Mac) Dora Maar – Photographer René Magritte – Artist Bill Maher – TV Personality Katherine Mansfield – Author Shirley Manson – Singer Vito Anthony Marcantonio – Politician Francesca Marciano – Actress Miriam Margoyles – Actress Mary Ellen Mark – Award-Winning Photographer William III & Mary II of England – King & Queen of England, Ireland, and Scotland Bobbie Ann Mason – Children’s Book Author Mari Matsunaga – Creator of i-mode, Named One of the Top 25 Tech Women of the Web Theresa May - Politician, Prime Minister of the United Kingdom Giuseppe Mazzini – Italian Patriot Fradique de Menezes – President of Sao Tome and Principe Melina Mercouri – Greek Actress Freddie Mercury – Musician Angela Merkel – German Chancellor George Michael – Musician Oscar Micheaux – Film Director, Producer, Author Edna St. Vincent Millay – Poet Alley Mills – Actress Brenda Milner – Renowned Professor of Neuro-Psychology: Mcgill’s Faculty Of Medicine And At The Montreal Neurological Institute Kylie Minogue - Singer Helen Mirren – Actress Margaret Mitchell – Author Eugenio Montale – Nobel Prize Winner, Poet, Author, Editor, Translator Vicki Moore – Spanish Animal Rights Philanthropist John Morgan – Founder of the University of Pennsylvania Medical School, and Medical Director of the Continental Army Lady Morgan (Sydney Owenson) – Author Morrissey – Musician Rob Morse – Columnist (San Francisco Chronicle) Marjorie “Mo” Mowlam – Britain’s Secretary of State for Northern Ireland John Mulaney – Comedian Annamarie Tendler Mulaney – Artist Diana Muldaur – Actress Megan Mullally - Actress Ona Munson – Actress Haruki Murakami – Author Iris Murdoch – Author Mikayil Mushfig – Poet Modest Mussorgsky – Composer Kanagarajah Muthiah – Tamil Activist Ralph Nader – Activist Taslima Nasrin – Author Alla Nazimova – Actress Noel Neill – Actress Bebe Neuwirth – Actress Sir Isaac Newton – Scientist Stevie Nicks – Singer (Fleetwood Mac) Friedrich Nietzsche – Philosopher Florence Nightingale – Nurse Ursula Nordstrom – Children’s Book Editor Jessye Norman – Opera Singer Kim Novak – Actress Rudolph Nureyev – Dancer Anita O’Day – Jazz Singer Georgia O’Keeffe – Artist Frederick D. O’Neal – Actor, Playwright Joyce Carol Oates – Author Nick Offerman - Actor Sandra Oh - Actress Claire Parker – Director, Animator Dorothy Parker – Author Suzanne-Lori Parks – Playwright Rosa Parks – Activist Dolly Parton – Singer, Actress Julia Pascal – Playwright Ann Patchett – Author Alicia Patterson – Editor Wolfgang Pauli – Physicist Linus Pauling – Winner of Nobel Prizes in Chemistry and Peace Sarah Paulson – Actress Michelle Paver – Author Anna Pavlova – Dancer Molly Peacock – Poet, President Emerita of the Poetry Society of America Minnie Pearl – Singer Samuel Pepys – Author Matthew Perry - Actor Bernadette Peters – Actress Jean Peters - Actress Arthur Phillip – First British Administrator Sent to Australia Wendell Phillips – Orator and Reformer William Phillips – Co-founder and Editor of Partisan Review , Writer, Critic Marge Piercy – Author, Poet Plato – Philosopher Martha Plimpton - Actress Edgar Allan Poe – Author Jackson Pollock – Artist Katherine Ann Porter – Author Parker Posey – Actress Beatrix Potter – Children’s Book Author Charles Edward Potter – Politician, Philanthropist, Administrator of the Cheboygan County Bureau of Social Aid Joyce Purnick – Former New York Times Metro Editor, Journalist Edna Purviance – Silent Movie Actress Colin Quinn – Comedian Robin Quivers – Radio Host Raffi – Children’s Musician Bonnie Raitt – Singer, Songwriter Joey Ramone – Musician Ayn Rand – Writer, Philosopher, Author A. 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Stewart – Author, Activist Lily Strickland – Composer, Writer, Artist Patrick Swayze – Actor Loretta Swit – Actress Henrietta Szold – Holocaust Heroine Wislawa Szymborska – Nobel Prize Winning Poet Amy Tan - Writer, Author Sara Teasdale – Poet Toni Tennille – Singer (Captain and Tennille) Princess María Teresa of Bourbon-Parma – French-Spanish Political Activist and Academic Nikola Tesla – Scientist, Inventor Theodora – Empress and wife of Justinian I Susanna Thompson – Actress Georgianne Thon – Actress M. Carey Thomas – President of Bryn Mawr College Willie Mae Thornton – Singer, Songwriter Jennifer Tilly – Actress Wendy Tokunaga – Author Lily Tomlin – Actress, Playwright Ann Turkel – Model Randy Travis – Singer Edward Tylor – Anthropologist ----------------------------------------------------------------EDIT--------------------------------------------------------- Names "U - Z" will be in a comment below (the new additions put the list over the character limit).
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I was gonna post this to Metacritic and link it, but turns out they have a character limit and this review was too long. So anyway, I'm Christian. and here's my review of Comedown Machine. There are some distinguishing traits that I should highlight about myself compared to others that have done what I intend to do, including but not limited to me not being a “professional” music reviewer and not being a lifelong fan of The Strokes. I’m a 20-year-old American male that only truly started listening to The Strokes in late 2016, and I only started listening to The Strokes last year. My usual tastes lie in indie and alternative styles of rock, though I dabble in some metal and poppy stuff, as well, not wanting to limit myself to any genres and risk missing something potentially phenomenal. It’s because of this choice open-mindedness with my approach to music that I ignored my high school friend’s advice to “skip anything after First Impressions, it’s just shit at that point” and gave The Strokes’ 4th and 5th LP’s chances (partial pun intended) last February. For the longest time, I saw Angles as The Strokes’ finest work, and I thought Comedown Machine was… existent; it was the cousin who shows up to Christmas dinner because they have nothing better to do, and you acknowledge them but realize you didn’t get them anything any try to avoid eye contact all evening. Winter of 2018 changed my opinion of this forgotten, distant cousin when something in my brain told me to give Comedown Machine a second chance with the lyrics open in a browser tab to accompany me on the journey. Join me on this journey, as I analyze the bastard of The Strokes’ discography, going over the lyrics and musical craft that make up this treasure buried but six years ago. Once considered “garage rock revivalists” by many, The Strokes abandon their past and look forward with their final album released alongside label RCA. The Strokes open their 2013 record with what is, in my opinion, not only the best track on the whole record, but their best track to date. Tap Out has two potential interpretations that I can decipher, with one of these being my preferred and a major contributor to why the track is a masterpiece in song writing. While on the surface it’s a catchy “one-night stand” song with front man Julian Casablancas’ familiar indifference shining through, calling his actions “a talent” and stating he doesn’t “know why” he does what he does, however digging deeper could reveal a deeper, more philosophical meaning. Tap Out could instead be a song about identity crisis and eventual acceptance of where The Strokes and every member ended up during their musical journey up to this point. Critics and fans alike have criticized everything that the group has released after 2003’s Room On Fire, many even begging for a return to that raw, garage-rock sound that laid the foundation for The Strokes’ success which arguably saved modern rock as we know it and allowed it to live on for a new generation of listeners. Many would say that The Strokes re-discovered and made popular a sound that should be treasured, and yet despite the criticism and love for their old sound, fans still yearn for more music. The Strokes “found our city under the water”, the sound so beautiful and treasured like the lost underwater city of Atlantis, and yet fans “gotta get my hands onto something new”. This very clearly confuses the band, these contradicting responses, which Julian makes clear when he states, “you don’t want to be without this, something isn’t adding up”. The band has given the world a sound that debatably rescued rock n’ roll, and yet when they branch away and try to develop, fans and critics alike both want more music, while also despising that the band would DARE try something different… and yet new music is what we all want. Conflicting, isn’t it? Lyrics aside, the opening guitar riff shows that The Strokes aren’t fucking around, scratching away at their bonds and breaking through for their most creatively interesting and musically powerful record yet. Fabrizio Moretti’s toe-tapping drums and Nikolai Fraiture’s politely omnipresent and punchy bass keep the song flowing beautifully throughout, while Nick Valensi (lead guitar) and Albert Hammond Jr. (rhythm guitar) continue what they’ve been doing for over a decade by delivering catchy and impressive guitar riffs that are annoyingly hard to replicate. Reminiscent of the sounds on the band’s third record, First Impressions Of Earth, every part of the track blends together beautifully, piecing together a complex yet easy to follow puzzle, and puzzling the feeling this song tries to convey. This is the first track on a major Strokes record where Casablancas employs a very high vocal range, which will be discussed later, but all you need to know is that it sounds a lot better than you’ve been led to believe. It’s not perfect by any means, but to say that Tap Out has “bad” vocals is a blatant fabrication. This tight, punchy track is the perfect opener for the group’s most experimental project to date, mixing familiar guitar and drum patterns, bringing back basslines that do more than simply mimic the rhythm, and ultimately bring us into the story of the record. The rest of Comedown Machine carries on with themes of conflicting relationships, whether that be personal or still between the band, as the A-side tells a depressing story of trying to come to terms with the consistent narrator’s position in life, and the B-side a failed redemption. The album’s low point takes place directly after its highest with lead single All The Time, which is admittedly a catchy tune, it’s just nothing we haven’t heard before. Comedown Machine is often shunned by fans and critics alike not only for the distance from garage rock that records after Room On Fire have, but also Casablancas’ choice to employ a much higher register of his voice for most of his vocals throughout the record. This falsetto approach to singing is often how those whose range is usually tenor can attempt to sing an octave higher, and for many is hit-or-miss. On All The Time, this fresh approach to singing is completely missing, with a very standard Strokes sound shining through. Is this bad? No, not at all, it’s a solid song, it’s just that for an album that’s usually so creative and unique, it’s borderline boring how vanilla this song can sound, but technically speaking it’s a good song. No instrument is lacking, everything blends together nicely, and perhaps the choice for this song to sound so “normal” is part of the underlying story that the record attempts to tell. Lyrically, we are shown someone that believes that time is not on their side, that it’s “never quite enough” and yet somehow also “all that’s necessary”, coming off the heels of the identity crisis and confusion experienced during Tap Out. Our narrator feels that they’re “livin’ a lie” and “flying too high”, and perhaps this reflects the awkward adjustment into super stardom that the band experienced when their debut record was rumored to be legendary before it even released; hype is a bitch, man. Choosing to show someone having immense trouble settling into their life and lacking sufficient time to adjust, while using a musical style reminiscent of a time where the band likely felt this way is incredible, even if the song itself stands out not for its creativity but for lack thereof. Perhaps Casablancas wanted his emotions during the group’s earlier days when they employed such a sound to be expressed here, thus explaining this return to their old style. One Way Trigger brings the falsetto back for a majority of this sad yet oddly uplifting track. Consisting of incredibly tight drums and both acoustic and electric guitar along with what I can only conclude is a synth for the main melody of the track, One Way Trigger is one of the oddest offerings on the record, which I mean in a good way. It does what The Strokes have always done very well, bringing moody, self-loathy (that’s a word now, I’m calling Webster) lyrics paired with uplifting music, masking the song’s true meaning to all but the closest of listeners (or, you know, the people who actually know/read the lyrics). Casablancas’ falsetto is present, as mentioned, and it’s pushed to what I can assume are uncomfortable lengths, while parts of the track rely on the front man’s lower register to deliver the depressing message. Continuing with the story, One Way Trigger brings us to our narrator not happy with where they are in life, finding it far too difficult to settle down with their partner, and much easier to just tell them to figure things out on their own with lyrics such as “get dressed in your bed while she’s asleep, it isn’t right but it isn’t hard”, and “find a job, find a friend, find a home, find a dog”. Showing both disinterest and remorse, the narrator clearly doesn’t want to be here, and yet they feel bad about the way they are going about doing things, and the scary part is that it’s not even a hard thing to do. The synthetic upbeat melody parallel with the synthetic, disingenuous happiness in the narrator’s relationship as well as the simple 4-chord acoustic backing guitar overshadowed by the gritty, Is This It-era electric solo further represent the relationship, as the narrator’s gritty and desperate need to fulfill their own purpose shines through much louder and rougher than the simple, melodic sounds and feelings of settling down and melting into the rhythm of normal life, longing to be noticed according to the post-chorus and yet wanting to leave being clearly stated in the first verse. The final verse of the song also shows this internal conflict and contradictory emotions, as the narrator states that they “don’t wanna be in there with you”, and yet immediately after they state an opposite feeling of not wanting “to be in there without your loving either”, simply yet wonderfully illustrating the conflict apparent throughout the song and record as a whole. Moretti’s drums reach one of many high points on the record, giving the song its catchy but powerful backbone needed to deliver the message Casablancas is sending, while the present but subtle bass remind us that Fraiture doesn’t fuck around, even when his part is understated relative to some of his other work. As stated, the song is odd, and while a personal favorite, it may be hard to accept that a former garage rock group wrote and performed this track, and I myself initially heard this track and didn’t like it. One Way Trigger isn’t exactly an acquired taste, more so just a song that tastes weird, so if weird is something you like, you’ll like it. Often seen as one of the best tracks the band has ever recorded, Welcome To Japan very boldly speaks about a decision made by the narrator after the events of One Way Trigger, as they go on to continue performing abroad and eventually have an insinuated affair, not knowing that “the gun was loaded” and how they “did it alone” and “did it for fun”, being fully aware of their actions. Sung between a falsetto and a “normal” voice, the overall tone of the song can be described as tense, energetic, and ultimately inevitable, if a song can be described as inevitable. Stating that “if we don’t watch the sun, it will rise” as the very first lyric shows that the narrator wants it made clear right away that this situation was bound to happen as much as the sun is bound to rise, whether we see it coming or not. Initially a somewhat energetic and upbeat song, with intertwining guitars backed by strong bass presence, once the bridge hits, the track slows down and becomes much moodier and more blatantly emotional, much like the initial thrill of an affair will inevitably turn to dread as you’re filled with regret, whether that be because of legitimate sadness or the backlash of your partner finding out the truth. While initially seeming to be all for their actions, the narrator slowly slips back into a conflicted mindset, from statements of not wanting to be there for there partner, not wanting to “pick up your shit for ya” and that they were “ready to do this”, to second guessing themselves, going as far as to say that their once closest friend, their “clone” so to speak was blatantly cheated on, even seeing their own contradictory presence by acknowledging that their former claims of being broken and lost don’t add up when they choose to live aimlessly regardless and have affairs. Attempting to give us a more “groovy” track, Casablancas does what he’s always been great at doing; telling a story to music that doesn’t necessarily match the mood of what he’s trying to say. Punch-tastic (also a real word) bass, rhythm and lead guitar that want you to sit the fuck down and listen with 100% of your ears, and vocals that drone on, wanting to be heard but not wanting to speak for fear of being heard. One of the record’s highest points, Welcome To Japan is both familiar and foreign, completely in sync with the song’s underlying message, wanting to keep the now-familiar life of superstardom, but struggling with this foreign concept of settling down previously touched upon in One Way Trigger. Up next is the almost-title-track 80’s Comedown Machine, which I’ll be completely blunt about: it’s beautiful, and too damn long. While played on guitar during live performances, the album version of this track is either heavily distorted or simply some synths with eerie echoing drums and solid bass, nothing incredibly noteworthy but catchy and well produced. As my best friend, someone who can respect this record for what it does well but would never call himself a “fan” of it, this song is great, but he would never go out of his way to put it on. The Strokes had never used backing vocals that weren’t just Julian’s layered voice until Angles in 2011, and Comedown Machine also experiments with more than one vocal track, with 80’s Comedown Machine having some “ahhh”s in the background of the chorus, sung by Valensi in live performances. The main lyrics of this track suggest that after the affair of Welcome To Japan, the narrator is no longer living with their partner, instead watching from life’s sidelines and attempting to come to terms with their mistakes. This is partially evident from the viewpoint that the lyrics are written. The first 4 tracks on the record are written predominantly in the second person viewpoint, in that the song sings about “you”, as if the narrator is blaming someone else for what is going on, while 80’s Comedown Machine is predominantly first person, using “I” more often than “you”. This reflects that the narrator has at least grown somewhat since the events of the prior track, no longer pinning all of their mental battles on their partner, as they begin to accept what they’ve done. In fact, they even urge their former partner and clone to “close the blinds” and “run away” from them, to get away from watching them and make their own life better. While still lyrically and thematically strong in regard to the narrative, 80’s Comedown Machine overstays its welcome, being repetitive in nature and almost droning on. Perhaps this is the point, to illustrate just how much thought and time went into the narrator’s thoughts since he last spoke with his partner, but even so, a long, almost annoyingly repetitively song is hard to listen to, and if you can’t finish the song, why start it in the first place? And yet, perhaps that’s the point. After all, the narrator wants their partner to go away and avoid being hurt anymore, and maybe they think that they’ve overstayed their welcome in this life… food for thought, ya know? Moving on to the record’s B-side, the ongoing narrative continues into 50/50. It appears that the narrator has convinced their former partner to talk with them, but they clearly don’t have experience in talking with each other if his first words are “why’s she telling me the story of her life?” and perhaps not the best way to win someone back. A rough way to think about someone you’re trying to win back, for sure, but as well know, you can’t just speak like this to someone if you hope to have them open up to you, you have to filter yourself, and this track brings back a heavy vocal filter for Casablancas’ vocals, which once again return to a somewhat normal range that classic fans will appreciate. The guitar is also rough and filtered in much the same way, making this the second track to resemble the band’s older sound, which makes sense; the narrator is trying to bring back what they once had, so bringing back this old sound is thematically fitting. The vocals, powerful and backed by what seems to be genuine desperation, blend well with the heavy use of cymbals and the muddiest basslines we’ve heard so far. Being so heavily filtered, though, nothing sounds low-effort or “bad”, just rough and almost as if the band didn’t practice. This could perhaps reflect the narrator and former partner having this conversation, underprepared and unrehearsed, still cohesive since they have history together but isn’t quite like what they used to sound like or are capable of. With Casablancas stating that this person has taken prisoners inside and thrown wisdom into fire, it is insinuated that the former partner is opening up about how much other peoples’ thoughts play into their own self-image, with shrieks of “don’t judge me” making up a majority of the track’s chorus and maybe even sung by the partner and not our familiar narrator. With these realizations that their former lover was having self-esteem issues, the narrator begins to open their eyes to the fact that a relationship and the struggles that come with it are a two-sided coin, seeing that mental struggles are indeed 50/50. Slow Animals takes place in the same conversation as 50/50, with the narrator attempting to rationalize their thought process in this fucked up world we all call home. One could also listen to the single not found on the record, Fast Animals, which expresses the same thoughts as Slow Animals, albeit in a different way, with a faster tempo and slightly different experimentation (i.e. cowbells). For the purpose of this review, I’ll be looking at the record only, so Slow Animals is where we’ll be landing. At this point, I believe that the record possibly splits into two potential directions; the narrator remains and we get our “happy ending” in a literal sense, or we change narrators to the partner and the record ends with a much less fortunate “fate” (I like puns). Still in 50/50’s conversation, let’s assume that we’re now being narrated by the original narrator’s partner. Now that her former lover is seeing her side of the story, we have a man in disarray finally seeing what they’ve done, and causing a scene while doing so, prompting our new narrator to tell them that “don’t need to be so loud”. Not one for such drama, we continue into the song, as the woman expresses concern for the man’s wellbeing, hoping “nothin’s wrong”, understanding that some people can overreact, such as constant worry about where one’s daughter could be now that they’re old enough to go on dates. This could also be a crude jab at the man, since it’s very likely that the woman involved in Welcome to Japan’s affair was someone’s innocent daughter and the partner is making a clever jab about this, further supported by not wanting to “see or hear or think about it again”, a very normal reaction to someone who has cheated on you. With questions such as “is it gone?”, we can at least conclude that there’s an attempt at patching up this relationship and returning to what once was. Not my favorite track in a musical sense, Slow Animals is a softer, smoother track than much of what came before it, with Casablancas once more bringing his higher range to the table, perhaps implying that he’s willing to change and bring a new self to this relationship’s fresh start. Moretti’s drums employ much more cymbal crashing during the chorus than in other songs on the record, giving a white noise effect, which may reflect that someone in this conversation is struggling to fully grasp what the other is saying, with much of what they are saying only being perceived as noise, even as someone says they hope that nothing’s wrong, it’s hard to accept what’s being said after all that’s happened. However, the laughter that closes out the track may imply that some amount of growth has occurred, and progress was made during this conversation, or perhaps the sheer ridiculousness of trying to make things work was simply too funny to hold in. As previously stated and implied, Comedown Machine is a weird album, the weirdest record that The Strokes’ have released to date, and Partners In Crime confuses and baffles us, with scratchy, catchy guitars, an eerie synth that matches Casablancas’ vocal melody, and an overall presentation of “what in the fuck am I listening to right now”. Lyrically confusing, one might conclude that the previous conversation in fact failed to reach a resolution, and now our original narrator has nearly snapped, resorting to borderline creepy gibberish in a last-ditch effort to win his partner back. Saying the day isn’t “okayish” among other negative observations, the narrator concludes that they may need a lawyer, a nice little nod to underrated Strokes’ track Red Light, and that “where there’s a forest, we don’t belong”, attempting to explain to their former partner that any natural setting just isn’t going to work for them, they simply don’t belong in a place like everyone else may belong. Further trying to prove their point, they even point to a friend “locked up at the zoo” and asks why they aren’t leaving town together. Casablancas is no stranger to criticizing society for being chaotic, with too much focus on fitting in and pleasing others, so having the narrator point to someone who has become trapped by this system and describing it as a “zoo” is fitting, wanting the former partner and himself to escape this life and live for themselves. Forget a normal relationship, we’ll do things differently! However, this isn’t as successful as the narrator may hope for it to be. Back to the music itself, Partners In Crime is one of the record’s stronger tracks in a musical sense, for every reason previously stated, with special mention to the closing guitar riffs being as hard and ear-scraping as they are, truly encapsulating the drama of our ongoing narrative. The first and only track on Comedown Machine to be primarily narrated by the former partner, on Chances we join the partner as she makes her decision to leave the man and go out on her own, deciding what’s best for herself at the moment, taking their chances alone and away from this man she’s been “waiting up” on. Telling the man to get on his horse and go, and not so subtle way of accusing the man of his cocky nature via the idiom of a high horse. The track even hints at the partner having thought about a breakup in the past, with opening verses tapping into past memories of “waiting on”, “waiting for”, and “waiting by” the man, and we’ve reached a point where they simply can’t continue, and they now see what’s going on and where this relationship is heading. As with any conclusion to a conversation, the tone has slowed down and this is reflected by the music backing the vocals, a gust of synthetic wind leading us into the track’s simple, nearly unfiltered main guitar riff. Perhaps reflective of the opening and honesty of the female narrator, Chances is one of the purest songs on the record, with only a droning, wavy synth being a “fake” instrument in this track. Reminiscent of the droning synth in the background of Tap Out’s chorus, Chances reminds us that this story has been ongoing and stretches back much farther than the first track on the record, and the lyrics pointing toward the narrator’s feelings being about splitting long ago also support this. The former partner almost celebrates their new freedom, too, sarcastically giving a sarcastic “cheers” to “days he decides he’s got time”, but also being upset by the circumstances, closing the song with thoughts of what could be. Happy Ending is where Comedown Machine “crashes”, so to speak, as the original narrator, the man, offers his last-ditch effort to get his partner back. No longer is he upset about stories of her life, he begs her to “say it all” and “get it all of your chest”. Pleading to be shown where to go, despite not wanting to know every little detail, the man is desperate for one more chance. Blaming his actions on “teenage angst” that can affect all ages of life, the man has clearly learned nothing from his actions, even acknowledging the numerous times his partner had forgiven him for his idiocy, changing his mind about leaving to be with the band “200 times before”, but this time is different. One of the tracks on the record with writing credits to all five members of the band, Happy Ending is a 50/50 (pun intended) mix of new and old Strokes’ sounds, with a synthetic tire screech opening into signature Valensi/Hammond Jr. guitar synthesis, smooth but menacing bass courtesy of Fraiture, and annoyingly impressive and clean drums from Moretti. Casablancas mixes a classic, strained vocal approach with his newly adopted but already familiar falsetto approach, singing parts of the song where he begs for forgiveness with his old self, and the sorrier, sadder lyrics being sung by the new falsetto, reflective of the narrator’s inability to choose an identity and ultimately a lifestyle that will make both him and his partner happy and content. Indeed, Happy Ending is anything but, and incredibly demonstrates that a breakup does not always mean that both parties will be better off. Immediately transitioning into the next track, Comedown Machine closes with a cult favorite in Call It Fate, Call It Karma. After the indecisive vocal approach in the previous track, Casablancas has fully embraced his falsetto, even the lower parts of the track being in what we previously saw to be the upper echelon of his voice. Lacking a drumline throughout, reminding us of the Strokes’ demo I’ll Try Anything Once, this track is the bitter conclusion to Comedown Machine’s narrative, with a simple progression of chords being a majority of the song’s musical backing, potentially played on a piano or simply a heavily distorted electric guitar. Casablancas sings through a walkie-talkie-esque filter, perhaps reflecting that the narrator may feel as if there is a distance or thick wall between himself and their former partner, muffling his desperate words. Asking the partner to leave their door open and to maybe let them in, the narrator has finally realized that they took their great situation for granted, and now simply waits around in the hopes of seeing the partner again, whether they speak again or not. Once more asking for the woman to speak by asking “don’t you wanna remind me”, even admitting “I wanted to understand your face” and accepting that they didn’t completely understand the emotional toll their actions had taken and only took the partner’s reactions at face-value. Closing the beautiful track with confessions of watching the woman, waiting around for them with hopes of getting to see them, and finally understanding that they truly needed this person to be happy, Casablancas and crew slowly fade out as the man screams for what they need, slowly disappearing as the record keeps spinning, reaching white noise, then silence. Comedown Machine is probably the most ambitious project released by The Strokes to date, telling an overarching story of failed redemption to nearly a dozen songs that could accurately be called “genre experiments”. Familiar yet new, fresh and sweet but bitter and soft on the edges, Comedown Machine grows on listeners the more they slap the CD in or rest the needle down and let it spin. With notable low points but even more high points than any one human can count, Comedown Machine is much like how the narrator saw their partner throughout most of the story; an obligation. It’s no secret that The Strokes barely acknowledged and still don’t acknowledge this record very much, with the accepted reasoning being that it was a contractual obligation so the band could part ways with record label RCA. Whether or not this is true, the record remains underappreciated and underrepresented in the world of alternative music, eerily close to how the partner in the album probably felt due to the neglect by the man. Was this intentional? Have I completely overanalyzed this album? Is there truly a narrative and I’m not just taking coincidences and stringing them together like a moron? I’ll let you all decide that, but I can at least give you something conclusive; Comedown Machine is near perfect of a listening experience, both in quality and artistic direction, and it truly baffles me that a band once known for its skill in simplicity in a total different genre managed to craft something so intricately stunning. Comedown Machine – The Strokes Rating: 9/10
2018.12.26 16:47 Sawido[NEW] The Strokes fact super thread
Hi guys, I thought it would be nice to do a new facts thread and try it to do as long and interesting as possible, since most of the ones I read are kinda old. It might be the case that some of the facts I write have been already mentioned, but I’ve tried to be as selective as possible, sorry in advance. Feel free to add yours or to correct mine, this should be a fun thing, let's try to make a kind of “Strokespedia” in here. NOTE: the sources I’ve looked up are too numerous to go into, but I got most of the info from guitar magazines, documentaries and several interviews with the bandmates (either in video or writing) as well as their own Instagram accounts. It’s all out there, or at least it was when I looked over these years. Have fun! FACTZ -Julian wasn't the only Stroke who had a rather problematic childhood. Nick also did drugs from an early age and he admitted smoking a lot of weed and drinking alcohol (the latter since he was 11) when he was really young. He also got arrested once for trying to steal a kid's bus pass. -Nikolai broke the zoom (indeed) and in Nick's words it never got repaired to this day. Poor thing. -Angles’ recording was by far the most problematic as the band had to face several obstacles. Some of the most relevant ones were Albert's inefficiency in the first part of the recording due to his addiction problem (he finally got over it and could perfectly play in the album), the various disagreements with the first producer (which led to the disposal of most of the recorded material except for “Life Is Simple in the Moonlight”) and Nikolai breaking the zoom (k, enough of that one). -Albert's and Julian's friendship is very close even outside of the band: they used to go to concerts together (and even got into a fight once lol) and they even shared a flat during the early Strokes days. They still often hang out and when Jules was getting interviewed about the release of Virtue he hinted that he doesn't keep in touch with the rest of the band the way he does with Albert. -Julian's grandparents are from Spain, concretely from a region called Catalonia. They pertained to the textile business (in which they remarkably succeeded) and they emigrated to NYC to escape from the Spanish Civil War (1936-1939). -The Strokes’ iconic Epiphone Riviera and Fender Stratocaster guitars were actually purchased by Albert. He bought them second hand from a guy who used to sell guitars in his flat and he then gave Nick the Riviera as a present after the band decided Albert looked cooler with the Strat. -Fab is not currently a US citizen, having the Italian nationality instead. -About the languages they speak: Fab speaks Portuguese very proficiently, Nikolai is also a really good French speaker and Nick has some French notions too, although he is not as proficient as Niko. Albert speaks some Spanish (being his mother Argentinian), and although it is widely believed that Julian does so because of his Spanish origins, there is no remarkable evidence about it despite some usual Spanish sentences like “gracias” (“thank you”) or “yo no hablo español” (“I don't speak Spanish”) that he uses to address his Latin American audience. Julian also understands some Danish. -The Strokes are often believed to have had things easy to succeed in music mainly because of Julian and Albert's background (Julian's father was the CEO of a modelling agency and Albert's was the legendary songwriter Albert Hammond), but the truth is that they did have a tough time in their early days, usually playing to empty rooms and bars. Besides, they all had shitty jobs (Julian worked as a waiter and Nick worked in a restaurant, for example) and it was only after the release of Is This It that they truly could make a living out of music. -Fab dropped out college to dedicate to the band full time, he was studying sculpture. -Nikolai said Is This It's recording was pretty chaotic as there used to be lots of alcohol in the studio. -Speaking of which, Is This It was mainly recorded at night as the band had to work during the day. -Justyna Sroka (Albert’s wife) took the “Jr” from Albert’s surname when she married him. -The band caught Gordon Raphael’s eye (producer of the first 2 albums) thanks to Fab’s self-confident attitude when playing the drums. -Albert practises lots of sports like boxing, skiing, running, and he even rides race motorbikes/cars sometimes (recently he even suffered an accident with a motorbike in which he fainted, it was posted in Instagram. He is okay, don't worry).Because of this he is considered by many to be the Stroke that has aged better. -An interesting one: there’s a demo version for “Partners in Crime” called “Hamilton” in which Nick sings the vocals (you can find it on Soundcloud by searching “hamilton nick valensi”. -Despite all the rumours about their imminent separation during these last few years, all of the bandmates always strongly affirmed that the band was not breaking up no matter what (and they still think in the same way). Press kinda sucks sometimes. GLOBAL COMEBACK 2019 -In the “Making of Angles EP2” video around 1:33 you can hear Julian signing something similar to the chorus of “Slow Animals”, note that this was filmed 2-3 years before the actual release of the song in Comedown Machine.
2016.03.24 05:49 thegreyicewaterSpotify lists alternate writing credits for Comedown Machine
So if you play Comedown Machine in Spotify, and click the "lyrics" view, at the bottom of lyrics, it lists the writing credits for each song. Interestingly, while ASCAP's music registry credits the writing of each song on the album to all five dudes, Spotify has different writing credits for each song... Tap Out Julian Casablancas, Nick Valensi, Fabrizio Morretti All The Time Julian Casablancas, Nick Valensi, Nick Fraiture One Way Trigger Julian Casablancas, AlbertHammond Jr, Nick Valensi Welcome to Japan Julian Casablancas, AlbertHammond Jr, Nick Valensi 80's Comedown Machine Julian Casablancas, AlbertHammond Jr, Nick Valensi, Nick Fraiture, Fabrizio Morretti 50/50 Julian Casablancas, Nick Valensi, Fabrizio Morretti Slow Animals Julian Casablancas, Nick Valensi Partners in Crime Julian Casablancas, AlbertHammond Jr, Nick Valensi Chances Julian Casablancas, Mike Busbee, Nicolas Molinder, Jocaim Persson, Nick Fraiture, Michelle Lewis, Johan Fransson Fransson, Nick Valensi, AlbertHammond Jr, Fabrizio Morretti (I'm gonna guess this Spotify is glitching here and combining credits from another song) Happy Ending Julian Casablancas, Nick Valensi, Fabrizio Moretti Call It Fate, Call It Karma Julian Casablancas, AlbertHammond Jr, Nick Valensi, Fabrizio Moretti
2015.07.16 17:11 Woolite123A Beginner's Guide to: The Strokes
The Strokes In early 2006, I began my true love affair with music. Prior to this point in time, I relied on relatives, namely my father, in my exploration of music. His love for musical acts ranging from The Clash to Johnny Cash to Fleetwood Mac and Yes had been bestowed upon me. I soaked up as much as possible, learning about the history of classic and progressive rock - a common stepping-stone for many a musical career. During my thorough research I somehow stumbled upon a garage rock band who would alter my perception of music dramatically - The Strokes. In light of rumors of their potential breakup, I decided to take the time to review their tumultuous and confusing career arc. A career, which seems to have started with a flash of brilliance and perhaps, has dwindled to the point of no return. In 1998, New York musician and singer Julian Casablancas formed a small local band with childhood friends Nikolai Fraiture and Albert Hammond Jr along with classmates Nick Valensi, and Fabrizio Moretti. Following several recording sessions in New York, the band now named “The Strokes” released a short EP entitled The Modern Age. At the time, the New York rock and roll scene was fairly dead – hosting only a few local acts, which would go on to become The Mooney Suzuki, The Yeah Yeah Yeahs and Interpol. As a result, The Strokes became a highly sought after act, sparking the largest bidding war for a rock group in years. Cover - The Modern Age Examples: The songs on this EP, along with The Strokes EP appear on their debut Following the booming success of The Modern Age EP, The Strokes signed with RCA record company, one of the many labels that saw a future for The Strokes. After many hours of studio time, Casablancas and The Strokes released Is This It in 2001. The record gained nationwide praise from even the harshest of music critics. The theme throughout seems to be the struggles finding love in the big city. The album kicks off with the self-titled track, which focuses on a cycle of love and loss. In “Trying Your Luck”, Casablancas speaks about the single life in New York, crooning “At least I’m on my own again/ Instead of anywhere with you”. The lyrics aren’t anything too special, but the atmosphere of pedal effect-driven Lo-Fi guitars makes this seem like something truly unique. The bass, rhythm and lead guitars paired with Casablancas’ voice, which sounds like an additional instrument, are arranged in a manner which makes the album feel carefully orchestrated and constructed. Rather than your typical rock and roll that seems slightly organized, Is This It feels like the work of a driven perfectionist and orchestrator. Casablancas not only serves as the main creative force of the band, but also seems to play the role of an orchestra concertmaster, carefully organizing the chaos of all the moving parts. The masterful creation and synthesis of this album however has it’s downsides, and this album suffers from Illmatic syndrome – a debut so powerful and well constructed that upcoming works suffered. Pressure consistently rested on the band’s shoulders and with each release they heard the same criticism as Nas “Sure it’s good but it’s nowhere near their debut”. Following Is This It, The Strokes were harkened as leaders of a new era in rock and roll – a renaissance you might say - of the great works of rock legends. They were seen as the great saviors of a mislead genre, who would take rock back to its roots. Little did The Strokes know, the carefully constructed title of their debut would ironically go on to become the mantra of fans in following years – Is This It? US Cover - Is This It UK Cover - Is This It (NSFW-ish?) After the massive success of Is This It, The Strokes spent the next two years split their time between touring and recording in the studio – living out their childhood dreams as American rockstars. And after significant time in the studio carefully trying to avoid the sophomore slump, The Strokes finally released Room On Fire. Room On Fire is in many ways quite similar to their debut, as they follow a very similar instrumental formula, with Lo-Fi and garage rock influences. Thematically, it focuses instead on the band’s strange relationship with their newfound fame, from frustration with the media’s pressure to their celebration of life in the spotlight, living out their dreams. It’s a fully fleshed out cliché – the rock star struggling with newfound fame, and it’s not one many of us has the (mis)fortune of experiencing. Examples: Is This It? Alone, Together Last Nite Cover - Room On Fire Room on Fire’s lead single and most successful song “Reptillia” is a perfect representation of this juxtaposition, as Casablancas harps “The Room is on Fire and she’s fixing her hair” and “I’m not drowning fast enough”. In “Automatic Stop”, they fight the losing battle of distinguishing real friends from the fake friends seeking their newfound riches and fame. Casablancas belts out “Wait I’m gonna give it a break/I’m not your friend, I never was” in the refrain and “I know you want me, but this is too important/Now I’ve got a different view” in the chorus. The subject matter comes off as a little repetitive, mostly stories of unrequited love and the weird balance of living in the spotlight – things we’ve heard about in rock since it’s beginning. However, the instrumentation throughout really makes this album another standout. The guitars evoke space-age sounds, imitating a late 70s psychedelic rock band attempting to imagine the sounds of fictional alien weaponry. It’s bizarre yet it captures the sounds of old garage bands perfectly, all while implementing something new. Their callback to the distinct sounds of their idols is a very fascinating phenomenon that’s thoroughly enjoyable throughout Room On Fire. Examples: Reptillia Automatic Stop What Ever Happened? Despite the fact that Room On Fire remains a fantastic album, it was compared to their masterful debut, catching a fair amount of criticism from critics nationwide. As a result, The Strokes took a three year break to work on their upcoming album. Casablancas, a self-proclaimed perfectionist, isolated himself from the band for large stretches, often battling with alcoholism and addiction to cigarettes. He claimed he wished to keep his distinctive singing voice which resulted from habitual smoking, but also felt quitting would be best for his health and would keep his vocal cords in better condition. It was an odd juxtaposition that resulted in a confusing time for Casablancas. The result of his writing in this odd period of his life would go on to become First Impressions of Earth. Cover - First Impressions of Earth After it’s first single “Juicebox” hit the airways in September of 2006, excitement for First Impressions of Earth reached new heights. Compared to their previous work, First Impressions feels claustrophobic, disjointed and somewhat depressing. Casablancas sounds utterly exhausted when singing and the instrumentation is much darker and heavier, relying on much more bass. The album’s new, darker sound was seen to many as a disappointment, especially from a band that was previously known for their uplifting music. The themes are equally depressing, as lyrics about Casablancas’ depression and alcoholism begins to creep more into the frame, particularly on “Razorblade” And in “On The Other Side” Casablancas pleas for friendship simply stating “I’m tired of everyone I know… Nobody’s waiting for me on the on the other side” and
“I hate them all I hate myself for hating them So I'll drink some more, I'll love them all I'll drink even more I'll hate them even more than I did before”.
It’s an interesting look into the mind of a seemingly tortured mind but it’s far from the most pleasant listening experience. But perhaps the best description of the band’s attitude throughout First Impressions of Earth is sung on “Heart in a Cage”, in which they tackles their harshest critics, claiming:
“I don't want what you want I don't feel what you feel See I'm stuck in a city But I belong in a field”
Examples: Juicebox You Only Live Once Heart in a Cage Cover - Angles After an extended hiatus, The Strokes made their return to the limelight in a magnificent fashion – with the lead single “Under Cover of Darkness”. And their 2011 album Angles once again finds the band changing directions artistically. Gone are the days where Julian Casablancas moans and warbles depressingly into the microphone. Instead, Angles attempts to recreate the upbeat new wave rock of the late 1970s. It’s once again far from the genius of their first two albums but Angles instead finds itself releasing small flashes of artistic brilliance. “Taken for a Fool”, “Gratisfaction” and “Two Calls of Happiness” which capture the sounds of late 70s/early 80s new era rock brilliantly, without straying from the artistry of their first two albums. However, it seems too forced at times, with overbearing synthesizers and electronic effects in songs such as “Games” and “You’re So Right”. What is intended as a callback to older sounds ends up sounding more like a cheap imitation at times. Regardless, Angles is still a very solid record if you’re looking for something new. Examples: Machu Picchu Under Cover of Darkness Taken for a Fool Cover - Comedown Machine In 2013, The Strokes released their newest and perhaps last album – Comedown Machine, which sees their return to garage rock roots. “All the Time”, the album’s only single and opening track is a brilliant garage rock song that sounds like it’s straight out of Is This It. And “One Way Trigger” has an incredibly infectious guitar riff that compliments both Casablancas’ voice and anyone in a dancing mood. Unfortunately, Comedown Machine suffers from the same issues as Angles. Many of the tracks in the middle stretch of the album tend to sound a little more like try hard impersonations of various genres and come off as a little boring. But more than 10 years after the release of their Magnum Opus and one of the most influential albums in the post punk/garage rock revival, they struck gold again – or at least silver. For once, fans have found another album that doesn’t make them scream Is This It? Examples: Tap Out Partners in Crime Happy Ending I suppose The Strokes’ downfall is something we’ve been expecting for quite some time – everything from their retro sound to their strange fascination with cigarettes and adorning of leather jackets screams gimmick. Somehow they made it last and it’s been a thrilling ride. Let’s just hope it all doesn’t end quite yet. Thanks for reading guys! Any comments, concerns, etc are welcome and encouraged. I'll add links to my other guides (mostly hip-hop) in the comments in case anyone is interested. In case you wish to check out the article in it's full glory, here's another link.
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