#stuart elliot

[nightwolfereborniii]

[longliverockback]

Roger Daltrey McVicar 1980 Polydor ————————————————— Tracks: 01. Bitter and Twisted 02. Just a Dream Away 03. Escape Part One 04. White City Lights 05. Free Me 06. My Time Is Gonna Come 07. Waiting for a Friend 08. Escape Part Two 09. Without Your Love 10. McVicar —————————————————

John Bundrick “Rabbit”

Roger Daltrey

Stuart Elliot

John Entwistle

Herbie Flowers

Ken Freeman

Ricky Hitchcock

Kenney Jones

Dave Markee

Billy Nicholls

Jo Partridge

Pete Townshend

* Long Live Rock Archive

[mitjalovse]

To be honest, not all the records released before the lengthy hiatuses document the disintegration of musicians behind them, some of them just happen, such as The Red Shoes by Kate Bush. Yes, she's a particular case, she takes her time for her discs, so long breaks between them are her feature, but the pause after The Red Shoes outdid them all. Surprisingly, I might add, since the LP didn't feel like a devastating sonic report about her personal problems, she remained her idiosyncratic self, though you could notice she had many famous guests on the albums. The latter shouldn't shock us, because she reached the phase of becoming her own music island with The Red Shoes. She no longer needed to conform to the rules of the machine, she managed to get the complete control of her career.

[hiroshi-kariya]

It’s All About You, And Millions Of Others

By Stuart Elliott, 8/17/2010 NY Times

[hacksandflacks]

What does PR mean?  NYTime's Stuart Elliot details the latest efforts to redefine what Public Relations means...

[leticiacarrollartist-blog]

Week Twelve. (Stuart Elliot and Anna Nazzari)

So week twelve at the turner galleries, I've been half dreading half excited to write this blog. There is just too much that I could say about Stuart Elliot's work in particular. We plodded along to the turner gallery, preparing to be wowed and boy were my prayers answered this week. In the front room were some pieces of Stuart Elliot, I didn't take much notice of the paintings and strange figures and moved into the first gallery room. Upon entry I was nearly knocked off my feet by the enormous amount of work in front of me, but I had to move on into the next room before I got swallowed up. So into the back room to view Anna Nazzari's work, I wasn't impressed. Sure the fluorescent colours and narrative pieces grabbed my curiosity at first,  It was lost when I saw those damn diorama boxes and tanks. I really thought all the magic and intrigue of the work was ripped away from us and it became grounded. I could not view the work the same way, she did herself a disservice. Back into Elliot's world I went and I was completely taken by it again! I wont feed you too much info of it otherwise my critique will have nothing left to say, just kidding I could keep going on forever about is work. It spoke dark industrial age, then of destruction and painted abandoned apocalyptic scenes, and weird tongue/plant creatures taking over everything and all this meaning just kept pouring out throughout the work. And then it hit me.. Where are the people? "Oh dear" I thought, was he showing us the end of the world? Was all lost in this future?  I went back into the front room again and saw those people, but I don't believe they were people at all but they were the weird tongue things because they all had the same slash down the back... creeeepy So many links between each of his works nearly made my head explode.

Such skillful making, beautiful paintings, and what a concept.  Just Fantastic!

[brandcentralstation-blog]

The NYT's Stuart Elliot reports on a "shocking" new campaign designed to get people to think twice about lung cancer, but raises questions as to whether or not the campaign by Laughlin Constable is riveting or just revolting.

I vote for lazy ... and I find that revolting.