June 16, 1989 |
Fast-moving compact discs in three neighborhoods. SAM GOODY, 6927 Katella Ave., Cypress. (714) 827-6060. The Other Side of the Mirror, Stevie Nicks (Atlantic) Big Daddy, John Cougar Mellencamp (Mercury) Blind Man's Zoo, 10,000 Maniacs (Elektra) Disintegration, the Cure (Elektra) Three Feet High Rising, De La Soul (Tommy Boy) PEER RECORDS, 14210 Culver Drive, Irvine. (714) 551-1145. . . . And Justice for All, Metallica (Elektra) Sonic Temple, the Cult (Sire)
April 20, 1986
It is hard to believe in this day of enlightenment (?) that any opera review, but specifically the TV opera review of "Elektra," could not contain the name of the opera's composer, Richard Strauss ("Gory Becomes 'Elektra' in PBS Epic Offering," April 11). Voland was evidently so overcome by the "implied incest and gore galore," the "bloody, scrofulous muck that surrounds and covers the palace's floors and grounds," and feeling "the depravity of these figures" that he could not muster up the strength to write the composer's name in a two-column review.
September 10, 1995 |
* * 1/2 Towa Tei, "Future Listening," Elektra. The first half of this album includes some of the very best pop-dance you'll hear this year, a heady, intriguing smorgasbord of techno, bossa nova, world music and house. On his solo debut, this founding member of Deee-Lite has created grooves that evoke the quirky, kitschy ingenuity of that band's early records. He starts to repeat himself near the end, but not before marking himself as a talent to watch.
July 3, 2008 |
Everything about electro-pop trio Hearts of Palm U.K. seems a little coy, except the music. The group hails from Echo Park, not England (keeping the "U.K." appellation draped in mystery), and isn't even a band but more a project of songwriter Erica Elektra -- whose surname, of course, is merely something she adopted after almost being electrocuted while playing bass in the basement of her New York City apartment. Friends Frankie Rose and Billy Kaye (ahem . . . not their real names; they're to Elektra's right in the photo)
December 18, 1993
I was very pleased with the recent interview I did with Jim Washburn for your paper ("Playing by His Own Rules Now," Nov. 20). However, a quote was taken from that interview and used in the "Highlights" section titled "On the Record." As it reads (out of context), at least to me, it appears as if Elektra/Asylum Records is guilty of some sort of financial sleight of hand. They are not. I simply owe them money for recording costs. The recording cost for the five albums I made for Elektra/Asylum amounted to more than $700,000--quite a tidy sum. My contract with them stipulated that I would repay these costs out of my royalties--which I agreed to do. Although I will probably never see recording royalties for these albums, I have received royalties for original songs on these albums.
August 22, 2010 |
Part of a series of occasional articles. Two weeks ago, rock band Arcade Fire landed the No. 1 spot on the Billboard charts with its third album, "The Suburbs. " For the band's devoted fans as well as some online music prognosticators, hitting the top in a country hopelessly devoted to Taylor Swift, Justin Bieber and Lady Gaga looked to be one of those watershed moments when art trumps commerce and some sort of musical reboot occurs. For North Carolina independent label Merge Records, which signed Arcade Fire in 2004 and released "The Suburbs," the coup served as a reminder that a tectonic shift has taken place in the music business.