Some tracks feel like Tears For Fears-indebted rave-ups while others boast slide guitar and country twang.
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And it certainly doesn't hurt that the songs run the gamut from hell-raising rave-ups to plaintive ballads.
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The groups make strikingly different music—Grapetooth thrives on synth-rocking rave ups where Lala Lala deals in diaristic indie rock—but together it's a compelling synthesis.
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"Throwaway" is a mumbly party track over a bubbly synth line, and the moments in which Bootychaaain makes her presence felt (on "Freak Show" and "Triflin") are outright rave-ups.
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After staying up late making dreary demos and disco rave-ups, SebastiAn said he would work with Gainsbourg throughout the day, as she sat on the floor surrounded by countless sheets of lyrics.
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DLH sticks to what he knows best on production and songwriting–trance rave-ups through the lens of J-pop sweetness–while CRJ (acronyms, yeah!) somehow makes the phrase "so bananas" into the maybe the coolest, joyous thing possible?
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You can see some vision of TREKKIE TRAX's egalitarian approach on their recently released collection of remixes from Carpainter's 23 album Returning, the blissed rave-ups of Seimei's cotton-candy flip of "Returning" lives right alongside the weightless abstractions of Foodman's take on "Silver Glass," no distinction drawn between them.
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Jimmer Podrasky recorded his first solo album with drummer/producer Mitch Marine, guitarist/songwriter Brian Whelan and bassist/songwriter Ted Russell Kamp; the album is "The Would-Be Plans" and was released through JimmerMusic.com in September 2013. According to an interview with MSN Music, Podrasky had intended the album to be a Rave-Ups reunion but couldn't get the other band members on board. Though he had the right to release it as a Rave-Ups record, he felt it wouldn't be right, so it's his first official solo album.
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Podrasky soon found himself in a brief relationship/engagement with 90210s star, Shannon Doherty; however, Podrasky's single-father status (he and Ringwald had split- up many months earlier) didn't gel with a Hollywood lifestyle and the relationship soon ended. Within months, after much frustration, The Rave-Ups unofficially broke up in 1992.
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The Rave-Ups were founded at Carnegie Mellon University in the fall of 1979 by Jimmer Podrasky (guitar/vocals), with Michael Kaniecki (guitar/vocals), George Carter (bass, violin, vocals), and T.J. Junco (drums). The original group lasted only through that fall when T.J. Junco left the band. Richard Slevin (drums) joined the group in January 1980 and helped the band develop through the year, and though the group was considered part of Pittsburgh's early punk/new wave scene, along with its sister group The Shakes/Combo Tactic. With a somewhat more polished style than many of their peers, The Rave-Ups were considered less an example of the Punk genre and more of a musical stew of punk, pop, country, blues and folk.
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Ringwald later invited director John Hughes to see the band at a club date where the band informally and successfully auditioned for an appearance in the movie Pretty in Pink. In the movie, the Rave-Ups play their song "Rave-Up, Shut-Up" on stage while Duckie (Jon Cryer) talks with Iona (Annie Potts) at a nearby table, just before Andie (Ringwald) and Blane (Andrew McCarthy) join them. The next song played by the Rave-Ups in this scene is "Positively Lost Me." The band also appeared on the MTV "Pretty In Pink" Movie Premier Special performing "Positively Lost Me". That song became a cult hit big enough that Rhino Records included the song on Rhino's Just Can't Get Enough: New Wave Hits of The 80's - Vol. 12.
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The Rave-Ups are an American rock group founded in 1979 in Pittsburgh, Pennsylvania who gained greater attention after relocating to Los Angeles, California. They are best known for their alternative rock hit songs "Respectfully King of Rain" and "Positively Lost Me" as well as their appearances in Pretty in Pink and Beverly Hills, 90210. The group's music has been diverse, touching on singer-songwriter, pop-rock, power-pop, roots rock, alternative rock, and alt-country, at well before the alt-country movement.Jimmer Podrasky, "The Book of Your Regrets promo CD liner notes", EPIC ESK 1104, 1988 Critic Ira Robbins described the Rave-Ups as having been "touted as the next big thing to erupt from the LA club scene" of the 1980s, but also dogged by legal and personal problems that hampered the band's success.
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Podrasky and Wilson continued to maintain a musical partnership, writing and performing occasionally over the following years. In August 2007, with Jimenez and Blatnik back in the rhythm section, the band re- grouped to play some shows in the Los Angeles area. Since then, they've occasionally performed in southern California, but have yet to release any brand new material. Rumors of a new Rave-Ups record continue to tease diehard fans of the band.
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Settling on the quartet of Blasey, Hertweck, Joseph and Minarik, the group decided upon adopting a new name, effectively ending the Administration. They unceremoniously settled on the name "the Clarks." As the Administration had been, the Clarks were initially a cover band in their earliest months of existence. They covered artists such as the Replacements, the Rave-Ups and Hoodoo Gurus,I'll Tell You What Man… 1997 re-release liner notes as well as Joe Jackson and U2.
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The Get Sleazy Tour (stylized as Get $leazy Tour) was the first concert tour by American recording artist Kesha in support of both her first album, Animal, and first extended play, Cannibal. Officially announced on November 8, 2010, the tour visited the Americas, Australia and Europe. It was scheduled to visit Asia but due to the 2011 Tōhoku earthquake and tsunami, the tour was postponed indefinitely. Described by Kesha as "a ridiculously fun dance party", the concerts were presented as underground rave ups drawing inspiration from parties she would attend while growing up in Tennessee.
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Although just over two and a half minutes, critic Cub Koda calls the Beck version "perhaps the most famous Yardbirds rave-up of all" and Power asserts "it was the closest the group had yet come to capturing the sound of the 'rave-up' on tape". The remaining three live songs with Clapton feature extended instrumental improvisation. Bo Diddley's "Here 'Tis" and the Isley Brothers' "Respectable" are fast-tempo, rhythmic-based songs that are essentially rave ups. On "Here 'Tis", Clapton adds an uncharacteristically energetic rhythm guitar over Samwell-Smith's driving bass lines.
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Dave Marsh described "Day Tripper" as the most authentic approximation of a genuine soul recording the Beatles had yet made. Tim Riley deems it "Lennon's guitar heaven", with a mid-song "rave-up to end all rave-ups" and a "brilliant yet coolly irreverent" riff. He also admires Starr's drumming, particularly over the coda, saying that it serves as one of "Ringo's finest moments" on record. Less impressed, Ian MacDonald says the track suggests that wit in the form of musical jokes had become the band's "new gimmick".
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Miller's ability to combine rock 'n' roll with folk was also commended. An Associated Press article praised the album by declaring, "This has the feel of a breakout album, one that music fans will look back on and think, 'That's when I knew he was going to be great.'" The Tennessean's review describes the album as "Personal, powerful and jacked up with red-blooded Southern pop intensity". No Depression complimented Miller's singing, and described the album as, "pop hooks, rock rave-ups and campfire melodies galore, showcasing the range of Miller’s influences and his effortless absorption and reconfiguration of them".
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The first track, "If You Leave", by Orchestral Manoeuvres in the Dark, was written in 1985 in specifically for the film. In addition to their soundtrack song "Shellshock", New Order also contributed an instrumental version of "Thieves Like Us" and the instrumental "Elegia", both of which appear in the film but not on the soundtrack. The Rave-Ups, who appear in the film performing "Positively Lost Me" and "Shut-Up" from their Town and Country album, do not have any songs on the soundtrack album. Nik Kershaw's "Wouldn't It Be Good" appears on the soundtrack in a version by former Three Dog Night vocalist Danny Hutton's band, Danny Hutton Hitters.
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The original line up of the Kinks, 1965 Other London-based bands that pursued a similar course to the Rolling Stones included the Yardbirds, the Kinks, the Downliners Sect, the Pretty Things, Gary Farr and the T-Bones and Pink Floyd. The Yardbirds began as the Metropolis Blues Quartet. By 1963 they had acquired Eric Clapton as a lead guitarist and were acting as the backing band for Sonny Boy Williamson on his British tour. They earned a formidable reputation as a live act, developing frantic improvised guitar–harmonica "rave-ups", but they enjoyed only modest success with singles based on R&B; covers.
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Podrasky has since recorded his second solo album and is working on its completion and release. In late 2015, The Rave-Ups approached Omnivore Recordings about re-releasing the "Town + Country" album as part of the 30th anniversary of the initial Fun Stuff Records release. On July 8, 2016, the re-release became a reality. This reissue of "Town + Country" features the original 10 songs, plus a whopping 11 previously unissued bonus tracks — including live radio performances recorded for Dierdre O'Donoghue's influential "SNAP" program on Los Angeles’ legendary KCRW-FM, as well as 1986 material produced by Steve Berlin (Los Lobos) and Mark Linett.
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" Ray Rhamen, writer for Entertainment Weekly gave a mixed review, reporting that "robbed of their outsider status, the boys swap horror for hormones on The OF Tape, Vol 2., giddily trading tall tales and witty obscenities. For better or worse, OF might actually be growing up." musicOMH's Andy Baber viewed the album as "an eclectic and solid - if unspectacular - return, which should see their already dedicated fanbase increase", commenting that "Frank Ocean is criminally underused". Mike Madden of Consequence of Sound felt that "too many things happen here, from the Brick Squad-type rave-ups to Ocean's R&B; laments, for it to ever sound like a truly unified, full-length group project.
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The term "roots rock" was coined during the mid-'80s. A number of key bands were defined as cow punk, punk rockers who played country music, including Jason & The Scorchers from Tennessee, Dash Rip Rock from Louisiana and Drivin N Cryin from Georgia, but the centre of the cow punk movement became Los Angeles, thanks to bands including the Long Ryders, Tex & the Horseheads, the Rave-Ups, Lone Justice and Rank and File. Also part of this trend and enjoying some mainstream success were Gun Club, Chris Isaak, Violent Femmes, BoDeans, and Los Lobos.V. Bogdanov, C. Woodstra, S. T. Erlewine, eds, All Music Guide to the Blues: The Definitive Guide to the Blues (Backbeat, 3rd edn., 2003), pp.
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The set list consisted of mostly material from Taking the Long Way and the prior Home, with a scattering of big hits and concert favorites from before that. The emotional (and actual) center of the show was clearly "Not Ready to Make Nice", the Chicks' defiant response to the controversy and the death threats they received and first single from Taking the Long Way. It came after two bluegrass rave-ups, the second with Maines offstage resting. The quiet, ominous first notes of the song brought a rush of applause from the audience, Maines delivered the vocals with a focused intensity, the crescendo after the lines about the crazed response to her words brought another visceral audience reaction.
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Apartment Eight is a 1987 Lower East Side comedy short film by director Matthew Harrison, which won Best Comedy at the 1988 New York Film Festival Downtown and the Mystic Fire Independent Film Award at the 1989 Ann Arbor Film Festival. Rave-Ups singer Michael Kaniecki (who also wrote the score) and theater director Bob McGrath play former roommates Todd and Martin who, in the early 1980s, briefly led overlapping lives in Apartment Eight. Shot on S8mm film in monthly installments over a one-year period, most of the scenes in Apartment Eight were done as single takes in a cramped Clinton street tenement kitchen, as Todd and Martin re-enact some of the episodes of their downwardly mobile, girlfriend-sharing past.
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In 1996-1997, Podrasky briefly formed the band The Lovin' Miserys with Concrete Blonde drummer Harry Rushakoff, producing the limited pressing CD Happy as Hell, which was released only to radio stations. During live shows, they were joined by bass player Sam Bolle from Agent Orange, though in the LA Times interview Jimmer said “On the album, it's just me and Harry Rushakoff.”In 2000, members of The Rave-Ups (Podrasky and Wilson) reformed, recording a CD entitled The Salmon in the Woods which has remained unreleased as of 2012. Over the years, Wilson has played on stage and in studio with many bands including the Springfield, Missouri all-star band, The Dog People and spending some time with The Ozark Mountain Devils.
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Surf-N-Burn was a 1997 surf-rock album by the Blue Stingrays. Its tracks express a variety of moods, from the secret agent intrigue of "Russian Roulette" and "Goldfinger" (a cover of the theme from the James Bond film of the same name), to the soft surfing themes "Surfer's Life" and "Green Sea", to the beach-shack rave-ups (complete with audience noise) "Monsoon" and "Super Hero", all in the styles of the early surf-rockers. This disc's liner notes tell a fictitious story of origins of the Blue Stingrays—claiming they formed in 1959 and were among both the earliest and most influential surf-rockers; who, after tiring of the exploitation of surf culture, moved to a small South Pacific island. Completing the retro feel, this album was also released as an LP (by Epitone/Epitaph).
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Ironically, all four members of the band now worked in the mailroom/shipping department of A&M; Records, and it was in the basement of the A&M; lot that the band rehearsed nightly, honing their craft amongst stacks of posters, album flats and music merchandising. In 1985, the band released their first full-length album, Town + Country, which was met with widespread critical acclaim and sold more than 40,000 copies. The album's only single, "Positively Lost Me," became a college radio hit and cemented the band as thoughtful alt-rockers with an extremely accessible sound, smart songs, and a considerable fondness for country, blues and folk. Actress Molly Ringwald, who had become a friend and fan of the band through her sister Beth's relationship with Podrasky, introduced the band to moviegoers in the John Hughes' classic Sixteen Candles when her character's three-ring binder featured the name "The Rave-Ups" scratched on it with a ball point pen.
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Producer Terry Melcher in the studio with the Byrds' Gene Clark and David Crosby, 1965 In Unterberger's opinion, the Byrds, emerging from the Los Angeles folk rock scene, and the Yardbirds, from England's blues scene, were more responsible than the Beatles for "sounding the psychedelic siren". Drug use and attempts at psychedelic music moved out of acoustic folk-based music towards rock soon after the Byrds, inspired by the Beatles' 1964 film A Hard Day's Night, adopted electric instruments to produce a chart-topping version of Dylan's "Mr. Tambourine Man" in the summer of 1965. On the Yardbirds, Unterberger identifies lead guitarist Jeff Beck as having "laid the blueprint for psychedelic guitar", and says that their "ominous minor key melodies, hyperactive instrumental breaks (called rave- ups), unpredictable tempo changes, and use of Gregorian chants" helped to define the "manic eclecticism" typical of early psychedelic rock. The band's "Heart Full of Soul" (June 1965), which includes a distorted guitar riff that replicates the sound of a sitar, peaked at number 2 in the UK and number 9 in the US. In Echard's description, the song "carried the energy of a new scene" as the guitar-hero phenomenon emerged in rock, and it heralded the arrival of new Eastern sounds.
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