This album, the solo debut of former 10cc members Kevin Godley and Lol Creme, is generally considered to be one of the most notorious examples of '70s music-business excess. Consequences began its life as a single designed to show off the "gizmo," a musical device created by Godley & Creme that allowed an electric guitar to create symphonic-sounding textures when attached to its neck. Somewhere along the line, this single blew up into a triple-disc concept album about nature taking its revenge on mankind through hurricanes, floods, and the like. The first disc is almost entirely instrumental, using the ‘gizmo' to create all sorts of different textures as a hurricane dubbed “Honolulu Lulu" trashes Hawaii and heads for the United States. This stuff is a feat of clever engineering (there is a particularly funny part where an obnoxious rock band at an outdoor festival is swept away by a flood), but the musical content is lacking in hooks or melodies and thus fails to involve the listener. Consequences moves into its storyline on the second disc, dividing its time between songs from Godley & Creme and spoken-word comedy sketches written and performed by legendary British comedian Peter Cook that push the plot forward. The story focuses on a married couple working out the details of their divorces with their respective lawyers as the storms and earthquakes kick in. Their only hope is the downstairs neighbor, an eccentric composer named Blint who is working on a concerto that may be able to stop nature's revenge. The songs are mainly cutesy fluff: although they have clever arrangements and lush vocal harmonies, they lack the kind of memorable melodies that would bring the album's many concepts to life. The one song that stands apart from the dross is “Five O'Clock In the Morning," a clever and subtle portrait of suburban malaise that became a minor European hit. The comedy bits have some clever moments of wordplay, but weigh the album down because they go on too long and distract from the music. When the climactic “Blint's Tune" finally arrives, it is merely a meandering and overlong piano-led instrumental. Simply put, Consequences is a disaster: it's humor is labored, its musical content is dull, and the mind-numbing length of the album proved that neither Godley nor Creme knew when to quit. The duo later proved they were capable of better and more focused satirical pop on albums like Freeze Frame, but they are lucky this creative train-wreck didn't end their career before it could start
― Kevin Holton, Sunday, 25 April 2004 09:07 (twenty-two years ago)
From The Best of Happy Mondays
"The band headlined the Glastonbury festival that summer although Shaun admits he remembers nothing of it. Foreign success also beckoned including the Rock in Rio festival. In the summer of 1991 they headlined a gig for 30,000 people at Leeds Elland Road football stadium. The gig was a triumph, closing with an eight minute version of Wrote for Luck. Then the rot started to set in. The drugs stories weren't funny anymore. Shaun was addicted to heroin. He said Sinead O'Connor needed a "good fucking" and then apologised. Feminists were described as "fat, ugly cows" and Shaun and Bez posed in Penthouse surrounded by naked girls. "We were taking the piss for fuck's sake" Bez recollected. "We'd go along to interviews out of our 'eads. They just wound us up and watched us go. Then you see the papers and it's like 'Fuck! Did I say that?' We didn't mean half of it and couldn't remember most of it." The backlash was about to begin.
In late 1991 (dates?) the band went to Barbados to record the much awaited follow up to Pill's n' Thrills. A story leaked home about Bez smashing up a fleet of buses. It was true, he broke his arm. The sessions were reported to be very tense and the music piss-poor. Shaun was now taking 20 rocks of crack a day. At one point, when they had just finished making the album, Shaun held the mastertapes of the album in his hand and shook them furiously as he screamed down the phone to Tony Wilson. He basically told Wilson that if he didn't get £40,000 wired to him that afternoon he'd smash the tapes. Factory was already in trouble and were depending on this album to bail them out so Wilson had to get the money. He re-mortgaged his house.
When the album came out in 1992 it was savaged by the English music press."
― noodle vague (noodle vague), Sunday, 25 April 2004 09:18 (twenty-two years ago)
― Michael Daddino (epicharmus), Sunday, 25 April 2004 09:23 (twenty-two years ago)
From Top 10 Expensive Music Videos
An 11-minute video extravaganza, this video tells the supposed tale of singer Axl Rose and model Stephanie Seymour getting married, having a party, and living out their lives together until death. And all it took was 11 minutes? . . . A classy video that combines storytelling with live concert performances, Guns N' Roses actually paid for the video themselves, to insure that it looked as they envisioned.
Wedding dress: $8,000
Specially constructed coffin: $8,000
Renting a symphony orchestra: $25,000
Specially constructed chapel: $150,000
Total cost of the video: $1,500,000+
― Kevin Holton, Sunday, 25 April 2004 10:06 (twenty-two years ago)
― BenH, Sunday, 25 April 2004 13:24 (twenty-two years ago)
― lovebug starski, Sunday, 25 April 2004 14:40 (twenty-two years ago)
― Barry Bruner (Barry Bruner), Sunday, 25 April 2004 14:46 (twenty-two years ago)
8) KLF burn a million quid to make a point about something.
― ailsa (ailsa), Sunday, 25 April 2004 15:18 (twenty-two years ago)
― Lynskey (Lynskey), Sunday, 25 April 2004 15:22 (twenty-two years ago)
As ambitious as the Works Volume I album was, it was no match for what the band had up its sleeve for the road show. Fulfilling a life long dream of Keith Emerson's, ELP launched its seventh US Tour with a full symphony orchestra and choir consisting of 75 union musicians. They were taken from a pool of over 1,500 musicians auditioned by the band in six cities around the world.
In 1977, Emerson, Lake & Palmer was touring with an entourage of over 130 people, and a daily payroll cost of $20,000 per day. The tour ran into further complications when union regulations prevented the band from more than three shows a week or travel over 250 miles per day. These regulations made routing nearly impossible and made it financially impossible for the band to make any money with anything less than a sell out wherever the tour went. Before the start of the tour, the band knew it would take a lot just to break even, but after two weeks, they were on track to lose over $3 million dollars. The truth was painfully evident: the orchestra would have to be dropped. A week later, it was.
― udu wudu (udu wudu), Sunday, 25 April 2004 15:31 (twenty-two years ago)
― mei (mei), Sunday, 25 April 2004 20:00 (twenty-two years ago)
― latebloomer (latebloomer), Sunday, 25 April 2004 20:24 (twenty-two years ago)
― smudger (smudger), Sunday, 25 April 2004 22:09 (twenty-two years ago)
― smudger (smudger), Sunday, 25 April 2004 22:10 (twenty-two years ago)
― Lynskey (Lynskey), Sunday, 25 April 2004 22:15 (twenty-two years ago)
― BenH, Sunday, 25 April 2004 22:17 (twenty-two years ago)
― Evanston Wade (EWW), Sunday, 25 April 2004 23:04 (twenty-two years ago)
― Anthony Miccio (Anthony Miccio), Sunday, 25 April 2004 23:08 (twenty-two years ago)
But somewhere along the line Billy felt that he was a better man for realizing quantity was better than quality and that he should release everything he wrote.
The latest Blind Guardian is a step down in quality (I admittedly like quite a bit of it due to some of the songs having decently melodies) due to the complete overblown nature of it. It's so overblown, it went around the corner and came back on the other side and sounds like it's actually MISSING something.
― uh, Sunday, 25 April 2004 23:10 (twenty-two years ago)
― BenH, Monday, 26 April 2004 01:29 (twenty-two years ago)
― Autumn Almanac (Autumn Almanac), Monday, 26 April 2004 01:34 (twenty-two years ago)
― BenH, Monday, 26 April 2004 01:46 (twenty-two years ago)
― Anthony Miccio (Anthony Miccio), Monday, 26 April 2004 01:52 (twenty-two years ago)
the first CD of this was definitely one of the best things that year ('99?). actually a lot of the things cited here so far i like a lot. not sure what to make of that.
― duke overblown, Monday, 26 April 2004 06:02 (twenty-two years ago)
― Orbit (Orbit), Monday, 26 April 2004 06:20 (twenty-two years ago)
― latebloomer (latebloomer), Monday, 26 April 2004 06:23 (twenty-two years ago)
Michael Jackson's videos have always been ridiculously expensive. In 1983, he spent $800,000 on "Thriller," which would be about $1.4 million today. But remember that before "Thriller," no one even came close to spending that kind of money, and he had to do it with limited technological capabilities. As technology improved, Jacko's videos became more expensive, spending over $1.2 million on "Black or White" in 1992, and even more on "Remember The Time." But if he can keep an oxygen chamber, a petting zoo, the Elephant Man's bones, and an entire plastic surgery team in his mansion, it's certainly no biggie to drop another $7 mil on a video with his sister.
"Scream's" $7,000,000 price tag is more than twice as much as the next most expensive music video (Puff Daddy's "Victory" at $2.7 million), and it's easy to see why: he spent $5 million alone on 11 sets. Yet while watching the video, it all seems incredibly wasteful, not coming close to the film quality of "Thriller", "November Rain," or "Victory."
Computer-generated spaceship: $65,000 Breaking guitars: $53,000 Morphing artworks: $50,000 Michael's makeup: $3,000 Janet's makeup: $8,000 a day Choreography: $40,000 Giant video screen: $80,000 Lighting: $175,000 Cost per day: $636,000 (about 11 days) Total cost of 11 sets: $5,000,000
$8000 a day on make up!!!
― BenH, Monday, 26 April 2004 07:28 (twenty-two years ago)
― anhell*ca, Monday, 7 May 2007 17:18 (nineteen years ago)
― goldmatt, Monday, 7 May 2007 18:32 (nineteen years ago)
― Shakey Mo Collier, Monday, 7 May 2007 18:41 (nineteen years ago)
― henry s, Monday, 7 May 2007 19:06 (nineteen years ago)
― kornrulez6969, Monday, 7 May 2007 19:20 (nineteen years ago)
― anhell*ca, Monday, 7 May 2007 19:48 (nineteen years ago)
― Shakey Mo Collier, Monday, 7 May 2007 19:57 (nineteen years ago)
the ENROMOUS amount of money that had to be paid to independent promoters to get Pink Floyd's The Wall on the radio.
― Mr. Snrub, Tuesday, 8 May 2007 00:20 (nineteen years ago)
― Geir Hongro, Tuesday, 8 May 2007 00:20 (nineteen years ago)
― Mr. Snrub, Tuesday, 8 May 2007 00:23 (nineteen years ago)
― pisces, Tuesday, 8 May 2007 00:34 (nineteen years ago)
― Maltodextrin, Tuesday, 8 May 2007 01:38 (nineteen years ago)
― Jeff Treppel, Tuesday, 8 May 2007 01:52 (nineteen years ago)
― anhell*ca, Tuesday, 8 May 2007 03:06 (nineteen years ago)
― Jeff Treppel, Tuesday, 8 May 2007 03:52 (nineteen years ago)
― Fetchboy, Tuesday, 8 May 2007 03:54 (nineteen years ago)
― anhell*ca, Tuesday, 8 May 2007 16:43 (nineteen years ago)
― Jeff Treppel, Tuesday, 8 May 2007 17:56 (nineteen years ago)
― ellaguru, Tuesday, 8 May 2007 20:31 (nineteen years ago)
Is this true? I'm a huge Floyd fan and I've never heard anything like it.
― Ned Raggett, Tuesday, 8 May 2007 20:35 (nineteen years ago)
― sexyDancer, Tuesday, 8 May 2007 20:39 (nineteen years ago)
― Mr. Snrub, Tuesday, 8 May 2007 20:56 (nineteen years ago)
― Ned Raggett, Tuesday, 8 May 2007 20:57 (nineteen years ago)
― Geir Hongro, Tuesday, 8 May 2007 21:12 (nineteen years ago)
― anhell*ca, Tuesday, 8 May 2007 21:28 (nineteen years ago)
32. a catch-all for ridiculous riders: [Removed Illegal Link] Well what do you know, chicken and orange juice actually are on A Tribe Called Quest's rider.― joygoat, Tuesday, 8 May 2007 21:41 (nineteen years ago)
― joygoat, Tuesday, 8 May 2007 21:41 (nineteen years ago)