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(Mypollux - what French Heavy Metal looks like these days)

I first ran across this band on MySpace in 2006 and I've been following them ever since. Mypollux is a French Heavy-Metal/Powerpop band and one of those self-contained units that gives every indication of what the future of the music business is going to look like very soon. They released their 3rd self-produced/self-engineered/self-promoted album in 2008 and are getting a good following around Europe based on that. They've played over 80 concerts in 2007, opening for such U.S. acts as Korn. Fronted by the extraordinary vocalist Lussi, who wrenches enough emotion out of her songs they don't need any translation. And all in all, they are a very tight, well produced band.

There's that language thing though - but Newstalgia readers are a sophisticated bunch, so it should pose no problem for you.

Reveille is the name of this track and it's off their 3rd album Dedales, which you can pick up if/when you visit their Myspace page.

They're an intense little band - but damn, the mainstream is so wishy-washy, this is pretty refreshing.

Besides, it's another high voltage Friday night.

(Esperanza Spalding - the Jazz world just took a turn for the wow)

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So of course I was blown away when I finally had a chance to hear her and doubly blown away to find out she's from Portland Oregon and still in her early 20's.

This track, Ponta de Ariea is off her 2008 album, Esperanza available on Heads Up Records. It's a nice change of pace and a pretty good one for a Monday night.

It just goes to prove if you keep an open ear, there is amazing music everywhere.

(Ravel - timeless brilliance)

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Since we are in the summer festival season . . .

(Madness - less nutty in 1983)

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Although they've gone through a number of personnel changes over the years, it's nice to know the band is still together and performing. This concert, from 1982 is their middle period - easing out of the nuttiness and hard-paced ska they were known for in the late 1970's and turning in a more melodic direction with some deeper subtext by the 1980's.

Good band, always. Great band live. Enjoy the set.

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(A taste of Tull tonight - live)

A change of pace tonight and for the coming week. Nights At The Roundtable will be devoted to live concerts (in addition to our regular Backstage Weekend series) in celebration of our Fundraiser (hint-hint).

Tonight it's Jethro Tull, Live at the Hammersmith Odeon in 1984.

So check it out, play it loud and empty the change purse:

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(If they only had Mick - they would have out Rolling Stoned The Rolling Stones)

Of all the so-called "British Invasion" bands of the 1964-1965 period, the one that stands out as being criminally ignored by U.S. audiences would have to be The Pretty Things. They were without question one of the most raw, loud and rowdy bands of the period, which may have been the reason they weren't picked up by any labels in the States until the late 60s. Reading press reports from New Musical Express and Melody Maker, their concerts and club dates were near-riots and their personal exploits became stuff of rock n' roll legend. It was said The Rolling Stones, whom various members of The Pretty Things were associated with early on, paled by comparison. They were, above all, a huge influence on a number of blues-based bands of the period - not only The Rolling Stones, but The Yardbirds and several others.

This track, Can't Stand The Pain, epitomized who they were during those early days when I picked up one of their first eps on import "The Pretty Things On Film".

If you're not familiar with them - now's the time to get acquainted with a legend.

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(Gabriel Pierne` - noted composer in his own right)

Back to France this time. A recording made for the French Odeon Company in 1930 - one of the first recorded performances of Cesar Franck's "Psyche", performed by the Concerts Colonne Orchestra conducted by Frank's friend and fellow composer Gabriel Pierne`.

It's always interesting to hear how a composer interprets a colleagues work. Since they were friends, there's an extra validity in a performance like this. Gabriel Pierne was an excellent composer in his own right, as well as a very popular conductor of the late 19th and early 20th century and made quite a few recordings before his death in 1937. Though not as prolific as Franck, he did have a good reputation, particularly in ballet and chamber music and a number of his works are performed today.