Crushing Krisis

Comic Books, Drag Race, & Life in New Zealand

music

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The samples that appear on Janet Jackson albums speak very highly of her reputation in the music industry. Aside from her multiple Supreme’s and Kool and the Gang references on Janet, she also notably uses a Joni Mitchell classic and covers Rod Stewart on Velvet Rope. The fact that she so effortlessly and seamlessly combines these legendary artists’ work with her own proves that in the end she is certainly the most talented Jackson and the only one that still matters. And this comes from a kid who was raised on the behind the scenes of thriller video.

https://crushingkrisis.com/2000/11/1462425/

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Sara Lee and her band were one of the most amazing live occurences i’ve ever experienced. Her album is similarly amazing, but the full sound of her live band isn’t echoed on the record. Depite the slightly more minimalist production, the album works better because it makes Sara’s clear british vocals and her amazing bass playing more of the sonic center of gravity. The live mix had much more rhythm and low end surrounding the bass part, with the vocals floating above as melody more than clear words.

https://crushingkrisis.com/2000/11/1241791/

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Attended the Ani DiFranco concert on Monday. A quick first draft of my review appears at JLA.uprush.org. I saw tons of people i know, and met Sara Lee and Gail-Ann Dorsey (Bowie’s bassist). Ani was good, but not tremdous; she gets to wrapped up in her jams while the audience is hoping for another song. I am in a computer crash-and-burn right now, so i’ll be back later… :(…

https://crushingkrisis.com/2000/11/1241306/

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Major label’s suck. They basically strip-mine the industry for potential singles, sign artists, release albums, and then ditch artists. Said artists might get picked up by another lable for exactly such a purpose at a later date if they’re lucky. If not, a fade to obscurity is assured. Examples? Joan Osborne, Melissa Ferrick, Elastica, Aimee Mann, Veruca Salt, ect… though, some other political issues were involved in some of those lable hops. Apparently, one must be a Sheryl Crow or a Marilyn Manson, to name a random pair, to stay in the good graces of one’s lable. In other words, you need to be hugely A/C (ever hear of an Adult Contemporary artist being dropped?), a churning single machine, or a huge cult artist. I challenge you to prove me wrong through citing examples within the last three years in the music industry. If you can prove me wrong, i shall sing your praises. Only the five/six major lables count, and don’t be fooled by imprints… Interscope/Geffen, Island/Polygram, Maverick/Atlantic/WB, Virgin/EMI, Epic/Dreamworks/Sony… ack, which did i forget? Oh well… get crackin;!

https://crushingkrisis.com/2000/10/1205715/

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Well, it goes to show you, you need to relentlessly search google for any news it can scrape up about your favourite artists, because the news is out there. I consider myself a huge Garrison Starr fan, but i can’t imagine how i was intending to find out about any of her new work. Of course, now i will get hooked up with the EP no matter what it takes. And i have Google to thank!

https://crushingkrisis.com/2000/10/1205560/