Artist.......: Jane's Addiction
Album........: Download Festival
Label........: n/a
Genre........: Rock
Catnr........: n/a
Source.......: DVBS
Rip.date.....: 2016-11-26
Str.date.....: 2016-06-12
Quality......: 255kbps/48.0kHz/Joint Stereo
Url..........: http://janesaddiction.com/
track title time
1. Download Festival 43:54
* Beach
* Stop
* Ain't No Right
* Mountain
* Just Because
* Three Days
* Stealing
* Ocean
* Whores
Runtime 43:54
Size 80.14
Release Notes:
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Imagine, for a moment, a world in which JaneÆs Addiction never existed.
NothingÆs Shocking was never released in the summer of Æ88. Lollapalooza never
launched three summers later. Perry Bernstein remained on the East Coast, never
boarding that Greyhound Bus and heading across country to Los Angeles like so
many dreamers and visionaries before him did. What kind of world would that be?
No kind of world weÆd want to live in.
Without JaneÆs Addiction, there might still have been a Soundgarden, an Alice in
Chains, a Nine Inch Nails, a Rage Against the Machine, and even a Nirvana, but
they wouldnÆt sound the same. As Tom Morello said when inducting JaneÆs into
Guitar CenterÆs Rock Walk of Fame in June 2011: ôNirvana often gets credit for
being the first æalternativeÆ band to break through, the band that changed music
and led rock out of the hair metal wilderness of the Æ80Æs. ThatÆs just not
true. It was JaneÆs Addiction.ö
As the years have passed, JaneÆs Addiction have kept pace in a modern culture
that the band helped to expand and progress. They didnÆt invent the metal fan
who also loves rap. That kid already existed. So did the Goth kid who also owned
Zeppelin records. But before all music and information was instantly available,
JaneÆs did enlighten the metal fan whoÆd never even had a chance to hear rap ù
or industrial or prog or British indie ù and that metal fan is better and more
open-minded for it. And now, so are their children. ôIn 1988, JaneÆs Addiction
saved my life,ö Foo Fighters drummer Taylor Hawkins has said. JaneÆs didnÆt
invent modern rock, but they turned modern rockers into an enduring and
inclusive tribe. ôJaneÆs was the only band I saw in those times who had that
æI-will-follow-them-anywhere typeÆ of crowd. There were a lot of great bands
around at that time,ö Henry Rollins told Spin, ôbut JaneÆs had this tribal thing
happening with their fans. It was very powerful.ö
August 2013 marks 25 years since the release of NothingÆs Shocking ù an album
like no other then, and like few others now, as influential as it is. Many
critics were puzzled in Æ88 upon first hearing those 11 songs. ôA classic love
Æem or hate Æem outfit,ö Rolling Stone observed. ôThe band is great. And it is
also full of shit. Often at the same time.ö The music runs from proggy pomp (ôUp
the Beachö), to stripped-down, barking punk (ôIdiotÆs Rule,ö ôHad A Dadö), to
thundering hard rock (ôMountain Song,ö ôOcean Sizeö). ItÆs dubby and doomy one
moment (ôTed Just Admit It,ö which features samples of dialogue from serial
killer Ted Bundy) and sweet and pastoral the next (ôSummertime Rollsö). ThereÆs
whimsy inside (ôStanding in the Shower Thinkingö), hilarity, too (the faux
lounge-jazz of ôThank You Boysö), andà thereÆs ôPigs In Zen.ö How does one even
describe ôPigs in Zenö except to ask, ôWhat other songs are like æPigs in Zen?Æö
Oh, yes, and it also contains modern rockÆs ôFree Birdö ù the sad, sweet, and
eternal ôJane Says,ö a steel-drum-driven pop gem that everyone can sing along
to. The riff and the chorus are in our DNA a quarter-century on.
NothingÆs Shocking is one of those once heard, never forgotten albums that bands
donÆt even pretend to make anymore; easily on par with other titanic releases
that came out of L.A. in the Æ80s and early Æ90s: Appetite For Destruction,
Straight Outta Compton, PaulÆs Boutique, and The Chronic. And yet, the JaneÆs
oeuvre and myth doesnÆt feel aged, or classic. If anything, itÆs still a live
wire; dangerous and dark in spite of the passage of time. ôMy sex and my drugs
and my rock nÆ roll,ö Perry Farrell sang back in 1990 on the Ritual De Lo
Habitual album, ôare the only things that keeps me here.ö Two decades later
thereÆs not one note of corniness or kitsch to JaneÆs. While the band never
said, ôHey kids, drugs are cool,ö they made no apology for exulting in
substances stronger than pot. Sex, as JaneÆs portrayed it, was bold as well; a
ritual, with candles lit, altars built, spirits stirred. ItÆs part of what
bonded them to a devoted fan base and letÆs face it, what kept them interesting.
Lyrically, JaneÆs made sense of a rapidly changing world ù a time when mutually
assured nuclear destruction and the AIDS crisis were looming realities, racial
tension was at a modern peak, and a generation gap between the Baby Boomers and
a still-unnamed Generation X was growing increasingly wide and hostile. JaneÆs
didnÆt shrink from any of this. They celebrated it. Their music was something to
wrap yourself in and, certainly in the Æ80s, it protected you from the elements
in the sometimes terrifying new age. JaneÆs would not be bullied. When MTV
refused to play the video for the single ôMountain Song,ö the band simply added
some footage to it and sold it in stores (a few years before Madonna had the
same ôideaö). When several stores wouldnÆt stock their 1990 album Ritual De Lo
Habitual (as good as NothingÆs Shocking and anchored by the epic ôThree Daysö),
JaneÆs re-issued it with a white sleeve and the First Amendment printed on it.
Here was a band who knew how to give the finger constructively and with a little
mischief.
JaneÆs Addiction passed into legend early and by design. They broke up after six
years together in 1991 at the height of their popularity: headlining the
inaugural Lollapalooza tour. öThat first Lollapalooza, we were in Los Angeles
recording Nevermind,ö Dave Grohl told Time Out Chicago. ôWe heard about the show
and Kurt and I got tickets somehow and decided to go down. And when we arrived,
there were more piercings, more tribal tattoos and more Rollins Band T-shirts
than IÆd ever seen in one place at one time. That was early summer. By that
fall, radio and MTV and music had changed,ö Grohl said, adding, ôI canÆt even
count how many people PerryÆs opened the doors for.ö
Next year, JaneÆs Addiction will be eligible for induction into the Rock and
Roll of Fame and could join other acts who are credited with bringing the
college-rock sensibility into the mainstream, like R.E.M. and the Beastie Boys.
While JaneÆs Addiction absolutely deserve to be there, in a way, like most
larger-than-life inductees, theyÆre more than a band: TheyÆre a tool for
challenging your dreary reality. Perry Farrell saw the country (and the record
industry) and asked, ôWhy is it this way, when it should be that way?ö Then he
changed it.
JaneÆs Addiction is still a frighteningly powerful live band and an
ever-exploring recording act. Original members Farrell, Dave Navarro, and
Stephen Perkins reunited in 1997, then again in 2001, and released a third
studio album (fourth if you count the live 1987 self-titled release, known to
most fans as ôTriple X,ö for the indie label that released it) Strays, which
features current JaneÆs bassist, Chris Chaney, and was produced by the legendary
Bob Ezrin (Pink FloydÆs The Wall). In 2008 founding bassist Eric Avery rejoined.
In 2011 The Great Escape Artist was released to critical acclaim. ôIt sounds
like a band re-vitalized,ö Spin raved, while Billboard called the album ôa
dynamic collection that features some of the band's best work."
Farrell, Navarro, and Perkins, it should be said, still look almost exactly as
they did in the Æ90s. How on earth is that the case? Are they ingesting whatever
it is David Bowie ingested up to 2004? This eternal youth visage must make it
easier for their new fans to attend shows and imagine itÆs still 1988 or 1991,
but trust us, the rock world ù itÆs politics, business practices, and factions ù
were very different back then. Not to mention the music.
So again, take a moment and imagine a world in which JaneÆs Addiction never
existed. ItÆd be a less exciting place to live, wouldnÆt it? Here is a band that
helped keep rock and roll unpredictable, inspiring, dangerous, and constantly
moving forward. As it should be. - Marc Spitz
RLS-Crc: 415F2D5F4D5033:E4CAB3