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“They took the stuff of the earth—-rootsy music, based in blues and folk and classic rock interpretations of same—-and smashed it with technology.”—- Chicago’s released three albums on Sub Pop in the middle 1990s (and a self-titled album before that on their own ). The band called it quits in 1997, its principals heading off in their own, frequently inter-related directions. Singer/guitarist/primary songwriter Tim Rutili and percussionist Ben Massarella formed, bassist Tim Hurley formed, and drummer/producer went on to become a full-time music producer, working with bands including Modest Mouse, Iron & Wine, Califone, and the Fruit Bats. “In the ‘90s Red Red Meat was poised for world domination with a distinctively acid-stained, unhurried take on blues/roots music—-snazzily produced for record by its drummer, Brian Deck.
But even with a cohesive and accessible album like 1995’s Bunny Gets Paid, RRM remained a cult act during the postgrunge heyday.”—-Time Out Chicago (Jul. 2008) Red Red Meat’s third full-length record, 1995’s Bunny Gets Paid has been out of print and unavailable for the past several years. In a recent reassessment of Red Red Meat’s catalog on, Managing Editor Mark Richardson commented, “Having lived with these records for a decade plus now, I can say with confidence that this is Red Red Meat’s best by far. It’s one of the best pure rock records of the 1990s, actually, though it’s not exactly pure.” In this deluxe edition, the original album has been re-mastered by Red Red Meat’s own Brian Deck and is accompanied by a 7-song 2nd disc of alternate, demo and single versions of album tracks, plus b-sides, covers and a previously unreleased song from the same era (“St. Anthony’s Jawbone”), all put together by the band. And it’s all packaged with expanded and enhanced album art. Ms money sunset home and business.
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“Red Red Meat is how sounds turn into songs. Feed a contact mic to a cat in heat, run it through a broke death metal pedal, into a torn speaker inside the floor tom. Sing to yourself, one word at a time. This music brings me great peace.
Thank you.” —Bry Webb “Hearing Bunny Gets Paid in ‘95 for the first time, it all felt so very familiar, long lost third cousins finding out they’ve been dating for a year. Sound percolating out of the speakers, some determined ectoplasm of a melody starting the inevitable mutation, I was hooked on that record for ages. I loved the way it sounded, the very feel of it, a broken heart that would never heal. Every time I put it on, I just went under, like getting pulled out to sea by the tide. Forces at work so far beyond you all you can do is let go.” –-Thom Monahan “All I can think to tell you without sounding like a ponce is that Bunny Gets Paid sold a lot of weed to me.” —Isaac Brock Bunny Gets Paid is easily one of the high points in the entire Sub Pop catalog (which is no one’s idea of “pure” either), and we’re exceedingly proud to present it in this new version. Red Red Meat will be reuniting for in Chicago and at the South by Southwest Music Conference in Austin, TX this March. Red Red Meat full-length discography: (Perishable Records, 1992) (Sub Pop Records, 1994) (Sub Pop Records, 1995) (Sub Pop Records, 1997) Red Red Meat: Brian Deck—drums, piano, vocals, knobs, switches and gear Tim Hurley—bass, guitar, vocals, piano Ben Massarella—batterie Tim Rutili—guitar, vocals, piano, violin Featured Videos.
Change It wasn't, funny, nor was it coined on, but we thought told a real story about how our users defined 2010. Unlike in 2008, change was no longer a campaign slogan.
But, the term still held a lot of weight. Here's an excerpt from our: The national debate can arguably be summarized by the question: In the past two years, has there been enough change? Has there been too much? Meanwhile, many Americans continue to face change in their homes, bank accounts and jobs. Only time will tell if the latest wave of change Americans voted for in the midterm elections will result in a negative or positive outcome. Privacy We got serious in 2013. Was on everyone's mind that year, from Edward Snowden's reveal of Project PRISM to the arrival of Google Glass.
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Here's an excerpt from our: Many of us have embraced social media, choosing to volunteer intimate particulars and personal photographs on Facebook, Twitter, and Instagram; this robust participation echoes an observation by Mark Zuckerberg in 2010 that the public’s comfort level with sharing personal information online is a “social norm” that has “evolved over time.” Even so, a recent survey by Harris Poll shows that young people are now monitoring and changing their privacy settings more than ever, a development that USA Today dubbed the “Edward Snowden effect.”. Complicit The word sprung up in conversations in 2017 about those who spoke out against powerful figures and institutions and about those who stayed silent. Spyder4elite serial number. It was a year of real awakening to complicity in various sectors of society, from politics to pop culture. From our: Our choice for Word of the Year is as much about what is visible as it is about what is not. It’s a word that reminds us that even inaction is a type of action. The silent acceptance of wrongdoing is how we’ve gotten to this point.
We must not let this continue to be the norm. If we do, then we are all complicit.
From Jealous Butcher: Chicago rock ensemble hit hard with 1995’s Bunny Gets Paid. Arguably the band’s most complete album, the record pairs Stones-indebted blues-rock roots with beautiful songs, sounding miles removed from the era’s grunge and radio-friendly alternative rock tropes. Recorded at Idful Studios in Chicago’s Wicker Park by producer Brad Wood (Smashing Pumpkins, Liz Phair, Tortoise), Bunny Gets Paid finds Red Red Meat’s core members, Tim Rutilli, Brian Deck, Ben Massarella, and Tim Hurley, straddling the line between their most accessible set of songs and a desire to explore a kind of “alternate fidelity,” employing layers of distortion, natural reverb, and room ambience. “At the time, I felt like we’d made a classic rock record,” Rutilli says. “I was like, ‘This is our Astral Weeks.’” But listening back 20 years later, Rutilli recognizes the band’s ambition, a desire to break songs down to their barest, most primitive elements to “see what survives.” “I think it was about testing the melody, how strong a melody was,” Rutilli says. “It was loving pop music and classic rock songs, but also loving noisethe slow burn of actual sound.” Drummer Brian Deck, who’d go on to work on records by Modest Mouse, The Fruit Bats, Iron and Wine, and others, recalls the band’s 1995 Sub Pop debut, Jimmywine Majestic, making “this promise of a rock revivalist band.” With Bunny Gets Paid, the band “went in a different direction from that.” “To a certain extent we were just punk asses,” Deck says. “We wanted to do what wasn’t expected of us.
We wanted to do something new.” The record features some of Red Red Meat’s best-loved songs. Opener “Carpet of Horses” pulses with restrained energy under a pastoral shuffle, while “Chain Chain Chain” imagines RRM as a pop act, with crashing drum fills and a surging chorus. “Gauze” sits in the middle of the record, a gorgeous droning ballad with languid guitars that give way to the band’s most anthemic chorus.
The record closes with a reading of “There’s Always Tomorrow,” as featured in the Rankin/Bass Christmas special Rudolph the Red-Nosed Reindeer, and the song fits magically and without irony, a downcast but hopeful sentiment. “They were ahead of the time,” producer Brad Wood says. “People say that about bands all the time, but it certainly felt that way to me with this particular band.” “As Red Red Meat progressed you see them abandoning traditional song forms, experimenting with the sounds of things – basing songs on sounds and grooves,” Wood says. “More than just about any band I ever worked with, Red Red Meat digested their influences.” On Bunny Gets Paid, blues and classic rock and roll sounds are transmuted; the record is the sound Red Red Meat finding unique creative footing. From Jealous Butcher: Chicago rock ensemble hit hard with 1995’s Bunny Gets Paid. Arguably the band’s most complete album, the record pairs Stones-indebted blues-rock roots with beautiful songs, sounding miles removed from the era’s grunge and radio-friendly alternative rock tropes. Recorded at Idful Studios in Chicago’s Wicker Park by producer Brad Wood (Smashing Pumpkins, Liz Phair, Tortoise), Bunny Gets Paid finds Red Red Meat’s core members, Tim Rutilli, Brian Deck, Ben Massarella, and Tim Hurley, straddling the line between their most accessible set of songs and a desire to explore a kind of “alternate fidelity,” employing layers of distortion, natural reverb, and room ambience.
“At the time, I felt like we’d made a classic rock record,” Rutilli says. “I was like, ‘This is our Astral Weeks.’” But listening back 20 years later, Rutilli recognizes the band’s ambition, a desire to break songs down to their barest, most primitive elements to “see what survives.” “I think it was about testing the melody, how strong a melody was,” Rutilli says. “It was loving pop music and classic rock songs, but also loving noisethe slow burn of actual sound.” Drummer Brian Deck, who’d go on to work on records by Modest Mouse, The Fruit Bats, Iron and Wine, and others, recalls the band’s 1995 Sub Pop debut, Jimmywine Majestic, making “this promise of a rock revivalist band.” With Bunny Gets Paid, the band “went in a different direction from that.” “To a certain extent we were just punk asses,” Deck says. “We wanted to do what wasn’t expected of us. We wanted to do something new.” The record features some of Red Red Meat’s best-loved songs. Opener “Carpet of Horses” pulses with restrained energy under a pastoral shuffle, while “Chain Chain Chain” imagines RRM as a pop act, with crashing drum fills and a surging chorus.
Red Red Meat
“Gauze” sits in the middle of the record, a gorgeous droning ballad with languid guitars that give way to the band’s most anthemic chorus. The record closes with a reading of “There’s Always Tomorrow,” as featured in the Rankin/Bass Christmas special Rudolph the Red-Nosed Reindeer, and the song fits magically and without irony, a downcast but hopeful sentiment.
“They were ahead of the time,” producer Brad Wood says. “People say that about bands all the time, but it certainly felt that way to me with this particular band.” “As Red Red Meat progressed you see them abandoning traditional song forms, experimenting with the sounds of things – basing songs on sounds and grooves,” Wood says. “More than just about any band I ever worked with, Red Red Meat digested their influences.” On Bunny Gets Paid, blues and classic rock and roll sounds are transmuted; the record is the sound Red Red Meat finding unique creative footing.
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