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  #46  
Old 07-13-2016, 07:44 PM
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also, you are on fire - thank you! gif


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"kind of weird: a tribute to the dearly departed from a band that can treat its living like trash"
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  #47  
Old 07-13-2016, 11:16 PM
michelej1 michelej1 is offline
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That's priceless. Lindsey looks a little demonic. Which, um, lens doesn't lie. Michele
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  #48  
Old 07-13-2016, 11:18 PM
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Quote:
Originally Posted by elle View Post
Michele, somebody screencapped that love you more - say it less quote -
That's a very sweet line. Although not when he's saying it to Luke Wilson.

Ha, Luke Wilson plays the sheriff in one of my very favorite X-Files episodes.

Michele
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  #49  
Old 07-13-2016, 11:35 PM
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[Excerpt of Review of the Soundtrack. This review makes it seem like Lindsey's solo pieces would have fit into the theme of the show better]

Jul 12th 2016 | 2:37pm | Daniel Cribb, The Music Com Australia

http://themusic.com.au/news/all/2016...-out-of-touch/


On top of all this, where are the appearances from up-and-coming acts? Buzz bands and acts that are actually popular now. The support band slots on this fake tour go to artists like Lindsey Buckingham, generic indie-folk act The Head & The Heart and a somewhat cringe-worthy performance from Reignwolf.

***

More importantly, for a show based on the music industry, the soundtrack is less than note-worthy and once again feels cliché.

It's only every now and then we’re given a glimpse into the real scene, and for some reason those aspects are hidden as Easter eggs, like when Bill is trying to find an opening act and we get a quick glance at his list of potentials.

Tame Impala apparently weren’t available, but he’s also listed Best Coast, Chvrches (spelt Churches on their list) and Kurt Vile – the latter of which actually does have a song on the soundtrack. So, someone on the writing staff does know music, but their expertise is being overridden by Fleetwood Mac solo acts and cheesy indie rock.
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  #50  
Old 07-13-2016, 11:47 PM
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[Excerpt from a recap by High Def Digest]

Posted by Josh Zyber - July 13, 2016

http://www.highdefdigest.com/blog/roadies-103-recap/

During a tour stop in Atlanta, douchebag money manager Reg comes up with the brilliant idea of inviting Newman backstage, so the crew can wine and dine him and grovel at his feet, until they hopefully convince him to retract his vicious review of the band’s last show. Naturally, nobody else has any interest in doing this. Instead, they’d rather **** with him. The centerpiece of this comes when hipster barista Wesley doses Newman’s coffee with a powerful hallucinogen, which causes the jerk to trip balls, make an ass of himself to opening act Lindsey Buckingham, and run out on stage buck naked at the start of the show to confess to the audience that he’s a total phony who actually enjoys listening to dad-rock in his minivan.

Ha ha?

Fully humiliated and discredited, Newman nonetheless writes a glowing review the next day about how great the crew treated him and how wonderfully the band performed. And all was right with the world.

The episode also has a bunch of other, less consequential storylines. Bill (Luke Wilson) has relationship issues with a girl he only sees once a year, Shelli (Carla Gugino) keeps getting interrupted while trying to have phone sex with her husband, and everyone in the crew bows in deference to Lindsey Buckingham while the entire episode stops dead to watch him perform a song in his dressing room.

Episode Verdict
Honestly, after covering the pilot episode, I didn’t intend to write any further about this show. ‘Roadies’ isn’t the type of series that requires a recap every week. However, this episode struck me as so transparently defensive and petty on Cameron Crowe’s part that I had to say something about it.

Frankly, I’m perplexed by this. While, yes, I understand Crowe’s desire to lash out at critics after the beating ‘Aloha’ took, the guy is a professional filmmaker who’s been around long enough that he should have a thicker skin. ‘Aloha’ certainly wasn’t the first of his movies to get bad reviews. Considering that Crowe actually started his career as a music journalist, how it’s possible for him to have this much seething hatred for critics just seems bizarre to me.

Although the episode has some funny moments and is at least superficially entertaining, its depiction of a lone dickwad blogger holding so much sway over the music industry makes no sense at all. Perhaps back in the ’70s when Crowe worked for Rolling Stone, a true firebrand critic (such as his mentor Lester Bangs) might have held this sort of influence, but those days are long past. The idea that such a thing could still happen today, much less with an obvious doofus loser like this, is completely ludicrous and divorced from any semblance of reality.

TagsCameron
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  #51  
Old 07-14-2016, 04:26 AM
lbfan lbfan is online now
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Has (or could) someone rip the audio of the BTLH performance?
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  #52  
Old 07-15-2016, 12:22 PM
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aww, my tweet putting in the plug for Seeds album during the 3rd episode of Roadies got a VIP treatment from their twitter account!

https://twitter.com/SHO_Roadies/stat...98026344046592


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  #53  
Old 07-15-2016, 02:18 PM
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What was track 11 instrumental?
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  #54  
Old 07-16-2016, 01:05 AM
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Quote:
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aww, my tweet putting in the plug for Seeds album during the 3rd episode of Roadies got a VIP treatment from their twitter account!
Oh, that's great. Michele
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  #55  
Old 07-16-2016, 02:43 PM
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What was track 11 instrumental?
it sounded a bit like some variation on Stephanie.
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  #56  
Old 07-16-2016, 07:28 PM
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Yes, it was Stephanie. It always reminds me of Teach the Children Well, when it starts off.

Michele
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  #57  
Old 07-16-2016, 07:37 PM
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[From a July 15, 2016 Houston Press review of the soundtrack] by Chris Gray

http://www.houstonpress.com/music/fr...fy-etc-8570286

The soundtrack is as wonderful as you’d expect from a Crowe project, and the premise – like Spinal Tap couldn’t keep a drummer, the SHB can’t keep an opening act – has so far created well-used screen time for The Head & the Heart, Reignwolf and best of all Lindsey Buckingham, whose solo hit “Big Love” made a spot-on backdrop for the psilocybic misadventures of last week's guest star Rainn Wilson, as a haughty big-shot music blogger shot into mind-orbit (and humility) by an especially potent espresso. Roadies is a must-see for Cameron Crowe fans — a fun game is “spot the Pearl Jam reference/soundtrack song” — but really for anyone who has ever been lured into the bittersweet trap of loving something you know will eventually break your heart, such as television shows and in this case rock and roll itself. CHRIS GRAY
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  #58  
Old 09-20-2016, 12:21 AM
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[excerpt from Arkansas Online review of the show]

http://www.arkansasonline.com/news/2...=entertainment
Critical Mass: Crowe's series rocks despite off-kilter tales

By Philip Martin This article was published September 18, 2016 at 1:57 a.m.

Yet embedded in this painful horror show is a smaller and nearly magical story about how Lindsey Buckingham shows up to help out his old friend, Staton-House Band road manager Bill (Luke Wilson), who is desperately in need of an opening act. While Buckingham is no actor, he does a pretty good job of playing himself as a compassionate and emotionally alert person who is sincerely concerned about Bill's welfare -- especially about his sobriety in the face of the brutal touring schedule. Bill, we understand, is a man slowly coming apart; like many another middle-aged action hero, he's getting too old for this, uh, show. Buckingham, who evinces the gravitas of someone who has come through the maelstrom, recognizes the "Fellini meets the Monkees" circus swirling around his old friend and sensibly bails.

Buckingham pretty much saves the show -- for Bill and for us -- with this sweet, small turn, and one wonders if this isn't the story in which Crowe is more invested. (It also helps that Buckingham performs two strong songs in the episode.)

You would think that as someone with plenty of experience as critic and artist (and let's not ignore the way critics sometimes work as artists) that he'd have something more relevant to say about the dynamic between Newman and the band. But he opts instead for a cartoonish treatment that employs a lazy and inaccurate stereotype. It's like the A story is for the chumps and suckers, the slapstick-slurping masses with no feeling for nuance. And the B story is for us.

A lot of people have given up on Crowe, and there are probably plenty of others who really like his off-kilter, clumsy plots. Plenty are probably willing to accept him for what he has shown himself to be. It's probably naive to think that he's capable of so much better.
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