Artist.......: The Good, The Bad And The Queen
Album........: Concert PrivΘ (Canal+)
Label........: n/a
Genre........: Indie
Catnr........: n/a
Source.......: DVBS
Rip.date.....: 2010-01-16
Str.date.....: 2007-01-25
Quality......: 156kbps/48.0kHz/Joint Stereo
Url..........: http://www.thegoodthebadandthequeen.com
track title time
1. Concert PrivΘ (Canal+)
* History Song
* 80's Life
* Northern Whale
* Kingdom Of Doom
* Herculean
* Behind The Sun
* The Bunting Song
* Nature Springs
* A Soldier's Tale
* Three Changes
* Green Fields
* The Good, The Bad And The Queen
* Interview
Runtime 60:47
Size 67.91
Release Notes:
"The Good, the Bad & the Queen" refers to all the subjects
that live under the London sun, so it's a fitting if
awkward moniker for a project -- not a band, as its leader
has strenuously asserted -- designed by Blur frontman
Damon Albarn as a way to return to writing about England,
specifically London, the subject that brought him to fame
in the mid-'90s as one of the leading lights of Brit-pop.
As he was completing work on Gorillaz's second album,
Demon Days, he began working on the Good, the Bad & the
Queen, which actually had its roots in an older project.
Shortly after the turn of the millennium, he teamed up
with Fela Kuti drummer Tony Allen after the drummer heard
that Albarn name-checked him in the chorus of "Music Is My
Radar," the bonus track added to the 2000 comp The Best of
Blur. During 2004, Albarn headed to Nigeria with former
Verve guitarist Simon Tong to record with Allen and other
African musicians, but before the album was completed he
turned his attention toward Demon Days.
At the end of those sessions Albarn gave the Nigerian
tapes to Gorillaz producer Danger Mouse and the music
radically evolved into the Good, the Bad & the Queen, with
the idea that this, despite its African origins, would be
music about London. Initially, Albarn toyed with the idea
that this would be a solo project, but it turned into a
full-fledged band -- a band that now needed a bassist.
Albarn called up Clash bassist Paul Simonon, who had
retired from music over a decade ago to paint. Simonon was
convinced to join this project, which now had an
irresistible angle: the auteurs behind Parklife and London
Calling, two quintessentially London LPs and two bona fide
classics, were teaming up to make music about the town
again. The resulting music may have had sounded little
like either Parklife or London Calling -- it was a moody,
languid affair, owing much to the Specials -- but it bore
trademarks of all four musicians, from Albarn's ongoing
obsession with music hall and pop songwriting to Simonon's
loping basslines to Allen's rhythms to Tong's sensitive
tonal colorings. Before they released a record, the Good,
the Bad & the Queen first started playing concerts,
unveiling their complete album at a series of concerts,
culminating with a gig at Camden's Roundhouse just before
their debut single, Herculean, hit the shops. This spooky
single appropriately surfaced the day before Halloween in
2006, followed by Kingdom of Doom in January 2007. The
full-length The Good, the Bad & the Queen appeared that
month as well on both sides of the Atlantic, greeted with
uniformly positive (sometimes enthusiastic) reviews.
Shortly after the album's release, Albarn began to insist
in press interviews that this band had no official name, a
bit of an odd move considering the numerous articles,
written in 2006 as the group was recording, that called
the outfit the Good, the Bad & the Queen. The quartet went
on tour in the spring of 2007, playing events in New York
and the Coachella festival.