She does say some naive things though. The comparison between interviews and tweets is crap for instance. I still haven't read an interview where she went off about women making music with the insight I'd expect from someone with her experience, unless her upcoming book is going to prove me wrong. I should try and find a rant by a male internet poster who dismissed her for being superfluous to any feminist discourse and made a brilliant comparison between her and Cosey Fanni Tutti. This is not to say she should add anything to women's experience while making music if she decides not to. I'm just pointing out that as brilliant a musician she is, I don't always get the beef when she articulates it in such a mundane way.

(a) I LOVE Jim, and think his leaving is what finally did in Sonic Youth, albeit it took two albums true, but the guy was part of the epic NYCG&F/Murray Street/Sonic Nurse sonic youth revival, he must always get credit for this, in the same way that Billy Cox is hands down a better era for Henrdix than Noel Redding, even if Noel is the founding member.

(b) I like the refined, older, bearded Jim, I really do, I especially was digging the videos of him singing and speaking in Japanese, with the beard, but this picture? He looks too much like Robin Williams I say ;)

A positive review:
http://www.spin.com/reviews/body-hea...don-bill-nace/

Are you claiming that Cry of Love, Rainbow Bridge & Band Of Gypsys are better albums than Are You Experienced, Bold As Love & Electric Ladyland?

I still get a excited feeling waiting for release days. call me old fashioned but that's me.
except for pre-penicillin-old fashioned, that's just shit. and muddy.
and slavery was shit-old fashioned too. but other than mud and slavery i'm an old fashioned kind of guy
I hold doors for ladies and laugh at farts and eat strong mints on long car journeys

i just got it...LP and cd .....scared to listen to it...record on floor ...everywhere i go...kims eye follows me...i'm scared............

I'm claiming that the live band was better with Billy than Noel, and yes, the material that Jimi wrote with Billy after 1968 was hands down better than what he was writing with Noel, musically speaking.

Coming In From the Storm, Ezy Rider, Freedom, Astro Man, Night Flying Bird (with lyrics)

(Cry of Love)
Hey Baby, Room Full of Mirrors (though he wrote this initially with Noel), Earth Blues, (Rainbow Bridge)
Machine Gun (EPIC TUNE!!!!), Message to Love (Band of Gypsies)

These are quite literally, some of my ALL-TIME favorite Hendrix tunes, period. However and again, I think Billy had better playing chemistry with Jimi, especially live, and so even when Billy and Jimi played the material from The Experience it was better than when Noel played it. Also, I do think that Mitch was a better fit with Jimi than Buddy Miles, even if Buddy is clearly the superior drummer. Jimi never really got along with Buddy, and further, Jimi needed a drummer who followed his lead, Mitch was great at that. I can relate, I don't play well with "structured" drummers who intend to lead the pace, I need drummers who can follow the unique patterns and patterns of my own material, and it is too polyrhythmic for standard or structured drumwork. In that regard, Mitch and Jimi clicked very well, and that just never reflected from the Band of Gypsies.

Personally, I think the first few years of the Experience were more of an experiment, but when Jimi went back with his original friend and bass player from the early 1960s in Billy Cox, he found himself and his music. Post-1968 Gypsies, Suns, and Rainbows or Nothing But A Band of Gypsies Henridx material is much more refined, superb, and creative. Jimi got more into his imagination on that music, and it comes across as more of a self-reflection. His earlier music seemed like social commentary, but his later material came across more like a self-examination, almost a Confession of his core beliefs, feelings, and dreams. Message to Love, Machine Gun, and It's Too Bad, these are songs from the depth of Jimi's core being, a musical representation of who he was as a person.

To me essential Hendrix are those three first albums. In those albums Hendrix has very pure, inspiring creativity with kind of naive power of young life. I really love all Hendrix-material (not those horrible bootleg-albums), but there is something pressing in his after experience material. I think this all has nothing to do with his bandmates, it´s Hendrix & his life. He lived the happiest period in his life in that first year in London and I think it reflects also he´s material. When he made Electric ladyland, he´s difficulties had already beginning, but I think he still had force to make it masterpiece. This fresh, pure atmosphere is also heard in 3lp BBC-sessions that I also love very much. I think Redding & Mitchell was very great musicians, but best groove Hendrix had with Cox & Miles, that is heard very greatly in People, Hell & Angels.

And I have to say Gypsy Suns & Rainbows was ugly band, but Hendrix himself played better than ever live in Woodstock, so that record is also just great!

I suspect a little that your opinion about Hendrix is not honest, because you seem to be those people, who got pimples about words "mainstream" & "ordinary". So it is too ordinary to say that Electirc Ladyland is masterpiece.

Bullshit. First I never meant to imply somehow that Electric Ladyland wasn't a masterpiece, so much as that what was going to be the progression and next record with Billy was going to be even BETTER. I listen to Hendrix daily, my opinion is based simply on my taste. I didn't diss Noel because I had some kind of chip on my shoulder, I just realized over several years that the tunes I prefer are those with Billy, and in particular the live material after 1968. I wasn't trying to diss your opinion, just express my own :)

Well, maybe you´re honest in your opinions. You seem to have lots of kind of "away from the mainstream"-opinions (the best Grateful Dead is their live material, SY have greatest era with Jim) so that was the reason of my suspicion. But of course there is no right opinions in music.

I really love the Cry Of love, Rainbow Bridge, War Heroes & People, Hell & Angels (there are great moments also in Loose Ends & Valleys of Neptune) and also those after-experience live recordings I have, but in my opinion Hendrix didn´t achieve same greatness in those studio recordings that are mostly in Cry Of Love, Rainbow Bridge & War Heroes that he achieved in Electric Ladyland. And I think it´s no use to think what kind of album First rays of the new rising sun would have been if Hendrix had lived. It would be same kind of bullshit like there has been around the Beach Boys "Smile".

You must spread some Reputation around before giving it to Mortte Jousimo again.

Too that I can actually agree with you completely. Those studio versions, particularly the final mix are very shitty. Kraemer is a great engineer, but a terrible producer. It is often, muddled, over-done, or worse, muted. The instrumentation isn't balanced, the bass is too low, and the drums aren't always clean. However, here is my bias, I listen to most LIVE Hendrix from post-1968, which is exclusively Billy Cox. THAT is why I dig the Billy-Mitch-Jimi chemistry. I agree with you, in the studio material we have, it didn't translate well, and I can see what you mean. However, if we compare LIVE material from 1967 and 1970 its miles apart in Jimi's creativity, self-reflective expression, and charisma shining through. Of course, part of this is the natural progression of experience, Jimi honed his stage-persona and craft from his shyer, almost awkward self of the earlier 1960s. By 1970 simply put, Jimi was a bluesman on par with Ottis, Leadbetter, and Chuck Berry all rolled into one.. I think Billy helped make this happen. Its clear that Jimi had personal tension with Noel, othewise they wouldn't have kicked out Noel in such an admittedly ugly way. Further, it was clear that Jimi had tension with Buddy Miles too. After 1968 when Jimi brought back his original band mate and friend in Billy, it seems he had a real ally, a real friend, and in the circle of vultures that surrounded Jimi constantly, a sincere friend was much needed release. Jimi and Billy and Mitch seemed to get along personally which is what gave freedom in their improvs and jamming versions of live material. All the best Hendrix shows in my opinion, are after Woodstock when Jimi discovered this chemistry. Interestingly, I always though Jimi should have kept the second rhythm guitarist from Woodstock, that performance is literally one of Hendrix's all time best, I feel because he had a rhythm guitar player which when you listen allowed jimi to get more creative on his leads and solos. Of course, Jimi clashed with that guy Lee too, and the only guy they brought back was Jumma on the congos..

I hear Hendrix fuckin' tears it up on the new Body/Head LP.

I don't really like Jimmy Hendrix

But i agree that sy golden era was with Jim (and atl to be fair)

all this Hendrix talk is still relevant. Hendrix Necro, Hendrix Cosby were songs by Sonic Youth - which Kim Gordon of Body/Head was a bassist for

You must spread some Reputation around before giving it to SonicBebs again.

All I have to add this is I really love also live recordings with Noel & Mitch. Here´s for example great tune from Hendrix In the west that I don´t think is no less great than the later performances with Cox & Mitchell:
http://www.youtube.com/watch?v=VWPStzyEqNc

And yeah, I really also like Woodstock when there is another guitar. Sadly Lee´s guitar is mostly out of tune and not heard almost at all (this out of tune bring interesting sounds into Spanish Castele magic although I don´t think it was originally the meaning).

New York Times profiles Kim Gordon. Topics touched: Her role in Sonic Youth; her work as a visual artist, writer and fashion designer; White Columns Gallery exhibition; Body Head's "Coming Apart"...

http://www.nytimes.com/2013/09/08/ar...anted=all&_r=0

From allmusic.com:

That review sucks.

I'm not married to it. But can you, you know, elaborate on this shit...?

Because I don't have to.

She looks damn hot on that pic. All due respect/no disrespect.

Q&A: Kim Gordon on Her New Band Body/Head and Missing Sonic Youth

Read more: http://www.rollingstone.com/music/ne...#ixzz2ehcWAsD2
Follow us: @rollingstone on Twitter | RollingStone on Facebook

http://www.rollingstone.com/music/ne...youth-20130912

cross yr fingers!

The David Keenan review is in, yáll. It's mighty favourable, y'all:

"Stunning new album from the twin guitar/vocal duo of Kim Gordon (Sonic Youth) and Bill Nace: Coming Apart is a mind-blower, the perfect melding of free-floating vocal reveries and gratuitously atonal twin guitar improvisations, expanding on the early live between-song form of Sonic Youth while moving into the kind of post-No Wave vectors that would mainline the free metal attack of groups like The Blue Humans and The Dead C into spontaneous song forms. Kim’s guitar playing is at an inventive apex here, tearing through ‘solos’ that forsake single-note excess for clusters of barbed overtones, using the guitar as a conduit for pure electricity with Nace working extreme textural detail here and great fuzzed up power chords there. The songs and guitar lines are instantly memorable even as they seem to defy the confines of actual song structure, with tracks melting into each other like wraiths. Kim has also re-invented herself as a vocalist – again – with a distant, automatic feel for body reverie that comes out of Patty Waters and she gives the nod to that with a striking, eviscerated version of “Black Is The Colour Of My True Loves Hair” as well as Nina Simone’s “Ain’t Got No”, channelling visionary female vocals via the ghost of electricity. Indeed, so radical is the group’s remit that it’s hard to believe that Matador would ever have considered releasing a record that was this far off the map if it wasn’t for Kim’s history with Sonic Youth. But they did and it’s a monster, one of the most radical guitar records of the year and probably the wildest side of modern freak from any Sonic Youth member to date. Simply phenomenal and beautifully presented in a swank black and white gatefold sleeve with red inners for that crucial feel of Louboutin sex and lux. Very highly recommended!"

Finally got this! And yeah, as almost everybody has said, it´s really great! Like Glacial & Moore/Connors-albums, it rises to the level of SY! And I really like also Kim´s vocals (I have always loved them) I think they´re even more essential part of the whole album than in SY´s Kim´s songs.

To recap the Body/Head-related events coming up in NYC: New Yorker Festival October 5, Issue Project Room two-night benefit November 13 and 14, and now Body/Head is playing MoMA on November 21: http://www.moma.org/visit/calendar/events/19280