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774: Presidents of the United States of America
773: Keith
767: Tony Williams Lifetime Tribute
764: Kaiser Chiefs
760: Tim and Puma Mimi
759: Ice Cube
758: Vinyl Soul
757: Bajofondo
755: The Troubadours
752: Spiritualized at Summer Sonic
749: Cajun Dance Party
744: Heat and Noise
739: The Checks
737: Blue King Brown
735: Asian Dub Foundation
734: Scouting For Girls
732: Buzzcocks
730: Old Man River
728: The Kills
726: KT Tunstall
725: Jason Collett
722: Brotherís Sisterís Daughter
720: Sufjan Stevens
716: Gossip
714: The Go! Team
713: Cafť Tacvba
711: Celtic Woman
709: Jack PeŮate
706: Soulive
703: Animal Collective
703: Reverend and The Makers
702: Battles
700: Dinosaur Jr
696: The Polyphonic Spree
695: Clap Your Hands Say Yeah
692: Golden Age of Rock
691: One Fine Day
688: Rhombus
687: Corneille
685: The Cinematic Orchestra
683: 747s
680: Pete Murray
679: Mice Parade
678: Enter Shikari
676: The View
674: !!!
671: Donavon Frankenreiter
670: Herbie Hancock
669: Krystal Meyers
668: The Roots
666: Lily Allen
664: Two for Christmas
663: The Datsuns
661: Peaches
660: Tapes ín Tapes
658: Mystery Jets
656: Shayne Ward
654: The Beat
653: Eumir Deodato
652: Mt. Fuji Calling
650: Juno Reactor
649: Yo La Tengo
648: Hyde Park Music Festival
647: Juana Molina
646: Sierra Leoneís Refugee All Stars
645: Tool
644: Juan Formell y Los Van Van
643: The Benevento-Russo Duo
641: TV On The Radio
639: Summer Music Festival Guide 2006
638: ESG
636: Editors
634: Greenroom
632: Ben Harper
630: Matmos
627: Arctic Monkeys
626: Erykah Badu
624: Cake
622: Bent Left
620: Mogwai
618: Deerhoof
617: The Album Leaf
616: Tristan Prettyman
614-615: 10, 9, 8....
613: Madonna
612: John Tropea and Incognito
610: Boy
608: Underworld
607: Niyaz
606: The Beautiful Girls
605: Miho Hatori
604: Doves
600: Bang Gang
598: Feist
596: Fantomas
595: Hyde Park Music Festival
593: Little Barrie
591: Juliette Lewis
589: James Chance & The Contortions
588: Carnival: Vice Bongo 1st Anniversary Party
585: Stereophonics
583: Little Joe Washington
581: Caetano Veloso
579: Maximo Park
578: Moe
577: Death From Above 1979
576: Destiny’s Child
575: Megadeth
574: Bandstand
572: Ozomatli
570: The Dirty Dozen Brass Band
568: Prefuse 73
566: Pat Metheny
565: Rachel Yamagata
564: The Shins
563: The Music
561-562: Metropolis music survey 2004
559: Blues Explosion
557: The Libertines
555: G. Love
554: Dropkick Murphys
553: Kasabian
552: Fertile Ground
551: Recliner
550: Jah Shaka
548: Faithless
547: Tokyo Rotation
546: Yokosuka Reggae Super Bash
545: The Roots
544: True People's Celebration
543: Trans Europe Fes
542: Matthew Sweet
541: Heaven Artists
540: Manolito y su Trabuco
539: Rabble rouser
537: The Offspring
535: Janet Kay with Omar and Thriller U
533: Critters Buggin’
532: Cyndi Lauper
531: Cat Power
530: Standing in the shadows
528: Missy Elliott
527: Stereolab
526: Organic Groove
525: Questions of the day
523: Tough Cookie
521: Conversion
520: Iggy's inner artist
519: Control freak chic
518: Down to the Wire
517: Incubus
516: Kraftwerk
515: Black Eyed Peas
514: Pretenders
513: Sonicmania
511: Suburban funk boys
509/10: Incognito
508: Celtic Xmas 2003
507: Limp Bizkit
506: Robert Randolph and the Family Band
505: Out on a limb
503: Electraglide
501: Super Furry Animals
499: Geezer's groove
498: Ashanti
497: Syn city
496: Slacker rock rules!
495: Television
494: Lou Reed
493: Joao Gilberto
492: The Used
491: Gypsy Summer 2003
490: The Lucksmiths
489: Maxi Priest & Shaggy
488: Chuck Berry
487: Summer Sonic
486: The redheaded stepchild makes good
485: Positive punk mom
484: Duran Duran
483: Unapologetically acoustic
482: Break and Remake
481: Ron Sexmith
480: Folk Implosion
479: The Brand New Heavies
478: The Blood Brothers
477: Eminem
476: The Kills
475: Jackson Browne
474: N.E.R.D.
473: Shred a tabloid, make music
472: Garage Redux
471: Bringing the jams east
470: Asian Dub Foundation
469: Badly Drawn Boy
468: Massive Attack
467: Teenage Fanclub
466: The All Wave Grrls
465: J. Mascis + the Fog
464: Catching up with Sonic Youth
463: Deep Forest
462: Magic Rockout
461: Jurassic 5
460: Snuff
459: Queens of the Stone Age
457/8: On the phone: The Jeevas
456: K-Ci & JoJo and The Roots
455: Sleater-Kinney
454: Beast Feast
453: Contrasts in young UK rock
452: Tahiti 80
451: Pink
450: The Artist (no longer) formerly known as..
449: Paul McCartney Previewed
447: Jamiroquai
446: On the phone: Taxiride
445: Bad Religion
444: Jennifer Love Hewitt
443: Camp in Asagiri Jam
442: The Cinematic Orchestra
441: On the phone: Moby
440: True People's Celebration
439: Roots Revival
438: The politics of sampling
437: Summer Sonic sampler
436: The Jazz Mandolin Project
435: Indie icons
434: Cato Salsa Experience
433: Get's Bossa Nova 2002
432: Janet Kay with Omar
431: Kottonmouth Kings
430: Bowes & Morley
429: Christina Milian
428: Elvis Costello
427: Space Kelly
426: Diana Krall
425: Jay-Z
424: The Jon Spencer Blues Explosion
423: The Brian Setzer Orchestra
422: Weezer
421: The Music
420: Lenny Kravitz
419: Speech
418: Tool
417: Green Day
416: Chuck Berry & James Brown
415: Ozomatli
414: Britney Spears
413: Music Mary J. Blige
412: Incubus
411: The Chemical Brothers
410: David Byrne
409: The Prodigy
408: Roger Walters
407: Ozzy Osbourne
406: Lisa Loeb
405: Aerosmith
404: Garbage
403: Sloan
402: Jamiriquoi
401: Park Tower Blues Festival
400: Mercury Rev
399: Bjork
398: The Isley Brothers
397: Janet Jackson
396: Ian Brown
395: Tortoise Orchestra
394: Regurgitator
393: Art Garfunkel
392: Belle and Sebastian
391: Super Furry Animals
390: Ben Folds
389: Elton John
388: Dido
387: Papa Roach
386: Beast Feast 2001
385: Summersonic
384: David Sylvian
383: Maxi Priest & Big Mountain
382: Fuji Rock Festival 01
381: Roxy Music
380: Bo Diddley
379: John McLaughlin & Zakir Hussain in Remember Shakti
378: Paul Weller
377: Coolio
376: Backyard Babies
375: Marcus Miller
374: Black Crowes
373: Megadeath
372: Dionne Warwick
371: Arrested Development
370: Mouse on Mars
369: Duran Duran
368: Linkin Park
367: Maceo Parker
366: Japan Blues Carnival 2001
365: Ben Harper
364: Cheap Trick
363: Stephen Malkmus
362: Mogwai
361: Weezer
360: Marilyn Manson
359: Green Day
358: AC/DC
357: Richard Thompson
356: Bob Dylan
355: J. Mascis
354: Leigh Stephen Kenny
352/3: Limp Bizkit
351: Boyz II Men
350: Reef
349: Park Tower Blues Festival
348: Roni Size
347: Compay Segundo
346: Incognito
345: Jimmy Page and The Black Crowes
344: Bad Religion
343: Japan Soul Festival 2000
342: Rocktober 2000
341: Richard Ashcroft
340: Motorhead
339: Festival Halou
338: Ricky Martin
337: Taj Mahal
336: Asian Dub Foundation
335: Lou Reed
334: Earth, Wind & Fire
333: Sting
332: No Doubt
331: Camel
330: Fuji Rock: Smash Talks
329: Summer Sonic
328: Mt. Fuju Aid 2000
327: Salif Keita
326: Buena Vista Social Club
325: Bill Frisell
324: Maxi Priest
323: Lenine
322: Rage Against the Machine
321: Tommy Flanagan Trio
320: Smashing Pumpkins
319: Pet Shop Boys
318: Japan Blues Carnival
317: Gipsy Kings
316: Steely Dan
315: Pshish
314: Big Night Out
313: Femi Kuti and the Positive Force
312: Harry Connick Jr.
311: Sonny Rollins
310: Speech
309: Santana

by Dan Grunebaum

Break and Remake

In Tokyo for a quick promotional visit on the heels of his first tour Down Under, English singer/songwriter David Gray says he's ready to completely rethink his music.

What constitutes a really good gig for you?

When you've lost yourself, and you know that you've given absolutely everything, and it's added up to more than the sum of five people playing instruments and three thousand people in a room. When it's added up to more than the sum of its parts-that's when you get to a higher place. You can't always get there. It happens every now and again.

Losing yourself meaning you've gone outside of yourself or become one with the crowd?

I think I heard Thom Yorke [of Radiohead] describe it as a bit like driving at night, and I like that description. You're in control but you're seeing a world in your headlights. It's hard to describe it. You're not having to make conscious decisions all the time because you're in a rhythm, you're in a groove. You're at one with the band, you're at one with the song, and you're at one with the audience. Something far greater happens when you get rid of the self-then the self truly prospers. It's like some strange "Star Trek" episode, but it's strangely true.


Some artists say that ever since they were small it was their destiny to be on stage. Did you have any sense that this would be your destiny?

Yeah, I did. From about the age of 16 I began to obsess about it. I remember even the first time I was on a stage, I really liked it. And though I was shy, I was without fear on stage. I had command of the audience at eight years old. I could feel the cogs click. They want you to take them somewhere, and it seemed natural.


When did you decide that it was going to be music?

Well, it was going to be painting or music. There was just something about getting on stage and the fact that it involved other people and an audience. I felt I had something to say... I wasn't dying to get involved with the bullshit of the art world. Something about music and the honesty of doing something on stage seemed more immediate.


You must have found plenty of bullshit in the music industry itself once you reached a certain level of success…

It's always there, always will be. The forest is thick with bullshitters, but so is every walk of life.


What has been the most salient downside of commercial success for you?

It's the moaning slot. Right. Okay. I think the biggest thing has been how draining it has been on my creative energy-the scale and pressure of the promotion. I went through some pretty harrowing promo in order to get this whole zeppelin off the ground. And it's marked me, scarred me in a way. I feel less and less comfortable when I'm not writing and making new things. When I'm not doing that I feel more and more like someone traveling around selling something. That is not the sensation that I want to have. You have to learn to say no.


You said before that you were a shy kid. Did songwriting evolve as a way to get around the shyness and express yourself to other people?

I don't think so. In lots of ways I still am very shy. But it's not as simple as: shy, release into music, escape from shyness. There's an element of that. But, no, I wouldn't say that. It's more complicated. But being on stage I find quite liberating, and it changes you subtly going out there.


Do you work over your lyrics very minutely, do you polish them? Or do they arrive as perfectly cut gems, as inspirations?

Sometimes it all comes at once and the first thing I start to sing will lead directly to writing a verse, and then a chorus will come and then another verse, and then before you know it, the whole thing's done. Those songs often have something very special about them because there is something instinctive going on. So yeah, the outpourings, the fast ones, are some of my favorites. Yet some of the most successful songs were songs that took quite a while to write, that I finished in dribs and drabs.


Were you surprised by which songs became popular?

Well on White Ladder it was like the whole record. There were certain songs like "Silver Lining," "This Year's Love," "Babylon," "Sail Away," "Please Forgive Me" that were particularly popular, but that's most of the record. The great thing about when we made it is that we didn't have hang-ups about what was a single or not. Things hadn't become important yet. Each song was just done, and then we moved on and didn't think about it. I didn't think "Babylon" was the one, I thought "Please Forgive Me" was, but I was wrong.


With the new album, was there more record company input and people wanting to steer you in certain directions now that you'd achieved commercial success?

There was none. I didn't actually have a record company until I've finished a record and they've decided they want to release it. It's a licensing agreement. I make a finished product and they make a decision on putting it out, and that's how it works. You don't want to exclude people-I did let people hear things before the record was finished to give them an idea of whether they should panic or not-so there was none of that. The pressure was all internal. Suddenly after selling millions of a record that I'd made in my bedroom, this was the absolute flip reverse situation, with the same personnel in a totally different perspective.


What's next: another album with the band or something different?

This record is a record that had to get made. And it felt that way at times because it was prioritized. Everyone had a deadline, and before it was even half done there were tours around the world. It was made under intense pressure. But I think-music is so important, it means everything to me and I'd probably die for it-but at the same time it's just bloody music. And when you're making music, it should have a throwaway quality. It's often those moments that are worth keeping. This record became too serious too fast, but it was a record we had to make and that pressure always would have been there... The great thing is, it's liberated me for what happens next. So I don't have the answer to your question; obviously I don't know what comes next. But I feel strongly that I've reached the end of a certain way of doing things. And that maybe it's because I've played so many hundred shows, revolving around 30 or 40 songs, I feel compelled to break and remake what I do. I want to question the way that I write, the way that I record, the way that I think about music, the way that I think about where the lyrics come from, what they entail, what a song needs to be, which is something that keeps changing. I feel I need to break and remake my music, and that's what I think is going to happen next.

A New Day at Midnight is available on Warner Music Japan.

credit: Warner Music Japan

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