Queens of the Stone Age
... Like Clockwork
Matador Records
Josh Homme and company are back from the dead. During the band’s six-year hiatus, Homme clinically died on an operating table during knee surgery. Rising from the ashes of personal turmoil and creative stagnation, the dark, cohesive psychedelia of … Like Clockwork is unmatched by any of QOTSA’s five previous recordings.
Lemmy: The Movie
Damage Case Films & Distribution
At 64 years old, Motörhead frontman
Ian Fraser Kilmister has had a career
that most rockers could only dream
of. Known to most fans as Lemmy, the
iconic bassist and vocalist has a new
documentary chronicling his life, and
the intensely thorough film—which
clocks in at just under two hours—is
packed with stories and anecdotes from
the man himself, along with tributes
and recollections from some of rock
and metal’s biggest names. There’s more
than enough content to satisfy the biggest
of Motörhead fans, but that doesn’t
seem to be the demographic the film was made for. The documentary certainly caters to
the fans who helped make the band the legend it is today, but its biggest strength is how
well it informs the uninitiated of Lemmy’s indelible influence on rock ’n’ roll.
For instance, Lemmy is often credited with creating speed metal, but in most cases that’s as much as people know (if even that). Thankfully, Lemmy goes out of its way to portray a man who, as Henry Rollins fondly recalls being told by the legend, “remembers when there was no rock and roll.” The film’s retelling of stories from Lemmy’s early years—including playing in the Rocking Vicars and Hawkwind, being a roadie for Jimi Hendrix, and seeing the Beatles before they’d even put out an album—are not only great snapshots of his storied life, but also highlight what a living treasure trove of musical history he is. Not many musicians of Lemmy’s ilk are left, but the fact that he’s still writing and touring heavily at this stage of his life proves just how powerful a drug rock can be. The old line “Lemmy is God” seems to be the main message of “Lemmy,” and it’s hard to argue with that statement after seeing the big picture here.
Damage Case Films & Distribution
At 64 years old, Motörhead frontman
Ian Fraser Kilmister has had a career
that most rockers could only dream
of. Known to most fans as Lemmy, the
iconic bassist and vocalist has a new
documentary chronicling his life, and
the intensely thorough film—which
clocks in at just under two hours—is
packed with stories and anecdotes from
the man himself, along with tributes
and recollections from some of rock
and metal’s biggest names. There’s more
than enough content to satisfy the biggest
of Motörhead fans, but that doesn’t
seem to be the demographic the film was made for. The documentary certainly caters to
the fans who helped make the band the legend it is today, but its biggest strength is how
well it informs the uninitiated of Lemmy’s indelible influence on rock ’n’ roll.
For instance, Lemmy is often credited with creating speed metal, but in most cases that’s as much as people know (if even that). Thankfully, Lemmy goes out of its way to portray a man who, as Henry Rollins fondly recalls being told by the legend, “remembers when there was no rock and roll.” The film’s retelling of stories from Lemmy’s early years—including playing in the Rocking Vicars and Hawkwind, being a roadie for Jimi Hendrix, and seeing the Beatles before they’d even put out an album—are not only great snapshots of his storied life, but also highlight what a living treasure trove of musical history he is. Not many musicians of Lemmy’s ilk are left, but the fact that he’s still writing and touring heavily at this stage of his life proves just how powerful a drug rock can be. The old line “Lemmy is God” seems to be the main message of “Lemmy,” and it’s hard to argue with that statement after seeing the big picture here.
Adam Rafferty Teaches
How to Play the Music
of the Jackson Five
Crescent Ridge Publishing
Few music catalogs are
as hook and groove
laden as the Jackson
Five’s. Guitarist Adam
Rafferty has arranged
a few of the J5’s most
well-known hits for
solo acoustic guitar and
released a nice DVD showing us mere mortals
how to tap into some of that Motown
soul. Here, Rafferty explores “I’ll Be There,”
“Never Can Say Goodbye,” “ABC,” and “I
Want You Back,” first by performing the
song completely, and then by taking you
step-by-step through the arrangement. You
can tell from the moment the instructional
section of the DVD begins that Rafferty is
very comfortable teaching and demonstrating
the various concepts used. During the
intro, he emphasizes the need to warm up
and describes a few barring techniques that
help to make the songs not only more musical,
but more approachable, too. Rafferty
also includes a booklet that has each
arrangement written out in both tab and
standard notation with fingerings. As I was
watching the DVD, I ended up relying on
the tab less than I was expecting—and that’s
a real testament to how Rafferty can break
down complicated sections and explain them
in a clear, easy-to-understand manner. One
(very) minor issue I had with the included
booklet is that Rafferty chose not to follow
the standard form when it comes to notating
open strings when using a capo. It was
a little off-putting at the beginning, but I
got used to it pretty quickly. Each of these
arrangements uses a very contrapuntal style
and will require some serious practice, but
in the end, this is a supreme master class on
how to groove, and few musicians could have
pulled it off as successfully as Rafferty does.
Crescent Ridge Publishing
Few music catalogs are
as hook and groove
laden as the Jackson
Five’s. Guitarist Adam
Rafferty has arranged
a few of the J5’s most
well-known hits for
solo acoustic guitar and
released a nice DVD showing us mere mortals
how to tap into some of that Motown
soul. Here, Rafferty explores “I’ll Be There,”
“Never Can Say Goodbye,” “ABC,” and “I
Want You Back,” first by performing the
song completely, and then by taking you
step-by-step through the arrangement. You
can tell from the moment the instructional
section of the DVD begins that Rafferty is
very comfortable teaching and demonstrating
the various concepts used. During the
intro, he emphasizes the need to warm up
and describes a few barring techniques that
help to make the songs not only more musical,
but more approachable, too. Rafferty
also includes a booklet that has each
arrangement written out in both tab and
standard notation with fingerings. As I was
watching the DVD, I ended up relying on
the tab less than I was expecting—and that’s
a real testament to how Rafferty can break
down complicated sections and explain them
in a clear, easy-to-understand manner. One
(very) minor issue I had with the included
booklet is that Rafferty chose not to follow
the standard form when it comes to notating
open strings when using a capo. It was
a little off-putting at the beginning, but I
got used to it pretty quickly. Each of these
arrangements uses a very contrapuntal style
and will require some serious practice, but
in the end, this is a supreme master class on
how to groove, and few musicians could have
pulled it off as successfully as Rafferty does.