Discover Top Posts Tagged with #simon bonney

Rowland S. Howard and Simon Bonney, 1986 Photo credit: Lilian Lohberg

#rowland s. howard #rowland s howard #simon bonney #crime & the city solution #lilian lohberg #madflies

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#crime and the city solution #room of lights #hey sinkiller #harry howard #epic soundtracks #rowland s howard #mick harvey #simon bonney

I may have posted these once a very long time ago, the photographer has been lost to time but these are scans from the back of the Just South of Heaven EP by Crime and the City Solution. Missing from this is Epic Soundtracks whose photo from this I do not have apparently.

I must have saved these in 2008-2009 and they're not great these days but they were fantastic quality back then.

here is an unfortunately very tiny look at what the whole thing looks like

#rowland s. howard #mick harvey #harry howard #simon bonney #crime and the city solution

#simon bonney

harry howard performing with crime and the city solution at tropicana club, richmond, melbourne, australia, january 1986

#Crime and the City Solution #harry howard #rowland s. howard #simon bonney #mick harvey #epic soundtracks #melbourne #australia #1986 #1980s

Mark Lanegan Band & Simon Bonney Live Show Review: 5/7, Bottom Lounge, Chicago

BY JORDAN MAINZER

On record, Mark Lanegan’s voice is like gravel. Live, it’s like broken glass--even better. Whereas his lesser albums have sometimes suffered from strong-and-silent-man deep-voiced corniness, his performative delivery fits the minimal rawness of his finest tracks and the husky exclamations of his backup singers. This was immediately apparent last night at the Bottom Lounge on Bubblegum standout “Hit the City”, with one singer doing PJ Harvey’s part admirably. “Stitch It Up”, the first only song so far to be released from Lanegan’s upcoming Somebody’s Knocking, was a live highlight even though the song is like Mark Lanegan doing a Mark Lanegan impression, the charge of the band rendering the goofiness of the song (and its accompanying video) all but moot.

Of course, Lanegan’s got so many records of varying quality that how good the set is depends heavily on the set list, and last night’s curation was spot on in this listener’s ears. The first half of the set included a lot from strong 2017 album Gargoyle, including “The Passenger”-esque “Emperor”, as well as Blues Funeral, a favorite among hardcore fans. The biggest cheers, though, came from songs Bubblegum, which transcends fandom: “One Hundred Days”, duet “Bombed”, the sultry “Come to Me”, and rollicking closer “Methamphetamine Blues”. In between album releases, it was the perfect time to see what was basically a Lanegan greatest hits set.

Opening for Lanegan was Australian folk artist Simon Bonney, formerly of post-punk band Crime & The City Solution. He’s just released a compilation album, which includes songs from his only two solo records--the later of which came out way back in 1995--and six new songs from an unreleased new record. They flow cohesively and retain their relevancy; for instance, “Everyman” references Nineties globalization and the departure of industry in rural America. Live, the songs retained their storytelling intimacy while the instrumentation--weeping violin, subtle slide guitar, and shimmering, wavering Moog--added depth and density. Lanegan’s a big Bonney fan himself and took some time during his set to thank Bonney for coming on tour. It makes sense; Lanegan’s the center point between Tom Waits and Queens of the Stone Age fans, poetic in his desperation, unafraid to rock.