Mike Rimbaud 2015 press book

Mike Rimbaud Press book

www.mikerimbaud.com

New album, Put That Dream in Your Pipe and Smoke ItOther albums:Night Rainbow

Coney Island WaveMutiny in The Subway

Funeral LoverRed Light

Graffiti TreesBeast of Broadway

What Was I Thinking

Mike Rimbaud is an American singer-songwriter and painter who lives in New York City. He has recorded 11 albums(including an album of covers and a compilation). Put That Dream in Your Pipe and Smoke it is the latest (released fall, 2014.) In February 2014 Mike released his single cover of Stairway to Heaven not what you would expect with harmonica and saxophone, watch the music video on You Tube. Night Rain-bow, from 2013 was inspired by hurricane Sandy and the continuing economic crisis in the US, Night Rain-bow includes the singles; Sandy Must Be Crazy, Dark Money Cant Buy Her Kisses, Jackhammer Jones and Robin Hood In Reverse. recent music videos include Rainbow Tonight, Slow Down To Get Ahead, Teachers Got a Bad Mouth, Jackhammer Jones, and Sandy Must Be Crazy. In 2012 Mike shot videos in Coney Island (Dance With A Mermaid) and Everyone needs a Daddy (filmed in Nashville) for his Co-ney Island Wave CD ( released in 2011.) In 2012 Mike Rimbaud also contributed his song (Saving Up To Go Bankrupt) for Occupy This Album to benefit the Occupy Wall Street movement. He started his career by performing in the bars and rock clubs in New York, but it was with record labels in Paris that he released his first 3 CDs. Mike has been compared to Bruce Springsteen, Elvis Costello and Gene Vincent among others, but his songwriting style and voice have always been unique. Although his career has remained in the underground, he has continued to be a prolific songwriter sometimes commenting on current events with his songs such as; Stimulus Baby, Katrina Comes Again, 7-11 on September 11th and Moth-er Natures Nervous Breakdown. He also speaks about New York life, King of Staten Island, and relation-ships, You Make Love Like War, Girlfriend Lost and Found. As a performer, he has toured Europe and the US with his band as well as a solo artist. Mike Rimbaud is also a painter who regularly exhibits his artwork. His subject mater includes subway scenes, cityscapes, dinosaurs, portraits of revolutionaries, burlesque and belly dancers. For more info please visit his site; www.mikerimbaud.com

Discography: Put That Dream in Your Pipe and Smoke it 2014 Night Rainbow, 2013 Coney Island Wave, 2011 Cant Judge a Song By Its Cover, 2011 (Mike covers other songwriters) Soundtrack For a Human Being, 2011 (an 18 song compilation) What Was I Thinking, 2010 Beast of Broadway , 2003 Graffiti Trees , 1997 Red Light , 1993 Funeral Lover , 1991 Mutiny in the Subway , 1990

New York Music DailyGlobal Music With a New York Edge

Mike Rimbaud: The Closest Thing to the Clash That NYC Has Right Nowby delarue

Much like Ward White, Mike Rimbaud has quietly and methodically built a vast catalog of wickedly smart, catchy, relevant lyrical rock songs. Where White has drawn on janglerock, Americana, chamber pop and most recently, an artsy glam sound, Rimbaud looks back to new wave and punk, but also to reggae, and jazz, and Phil Ochs. Whites narratives are elusive to the extreme; Rimbauds are disarmingly direct, with a savagely spot-on political sensibility. A strong case could be made that no other New York artist represents this citys defiantly populist past or, one hopes, its future more than Mike Rimbaud. Hes playing the album release show for his characteristically excoriating new one, Put That Dream in Your Pipe and Smoke It (streaming at Spotify) at Bowery Electric at 8:30 PM on Jan 15. Cover is eight bucks.

The album title alone is intriguing. Is it a pipe dream to think that we could create a world that improves on the current paradigm of speculators taking their profits private and passing all their losses off to an increasingly destitute public? Should we take Rimbauds suggestion as a challenge, as fuel for our imaginationor is he just throwing a cynical swipe at dashed hopes? Whichever the case, isnt that what song lyrics should do: draw you in, keep your interest, maybe make you laugh a little, and think at the same time?

The album opens with Frequent Flyer Subway Rider, a cruelly evocative narrative which will resonate with any New Yorker who shares Rimbauds feeling that we deserve a few free rides for all weve suffered with the trains over the years. Rimbaud plays all the guitars on the album, with Chris Fletcher on bass and Kevin Tooley on drums; Lee Feldmans bluesy Rhodes piano perfectly matches Rimbauds gritty ambience here.

Friend is a snarling, reverbtoned new wave update on Highway 61 era Dylan, a slap at social media addicts thats as funny as it is accurate: Your BFF is only BS, Rimbaud snickers. Likewise, Rimbaud takes a blackly amusing look at the all-too-real dangers of fracking in Shale n Roll over brooding bolero-rock that wouldnt be out of place on a Las Rubias Del Norte album, Marc Billons creepy electric piano matching Rimbauds watery menace.

Over a vamping psychedelic rock backdrop that offers a wink to Dave Brubeck, Know Nothing Know It All makes gleeful fun of limousine liberals, both among the electorate and the elected: Owned by Coke, and the Koch brothers, Rimbaud reminds, Feldman laying down a serpentine groove.

Erik Friedlanders ambered cello lines anchor the swaying, jangly Apple Doesnt Mean Apple Anymore and its sardonic wordplay, a look at how corporate newspeak subtly replaces everyday language. Poverty Is a Thief, a Gil Scott-Heron-inspired duet with soul singer Danni Gee, makes the connection between the credit trap and the prison-industrial complex.

Among the albums more lighthearted numbers, Paris Is the Heart sends a shuffling, stream-of-consciousness latin-rock shout-out to that citys haunts. The requisite Marley-esque reggae song here is Tears Dont Fall in Outer Space; the album ends with a cover of the Clashs Rock the Casbah, revealing it as the prophetic anthem it turned out to be. For what its worth, Rimbaud has never sung better than he does here. Where he used to snarl, hes more likely to croon these days, which is somewhat ironic considering how much unbridled wrath there is in these songs. Another winner from a guy who refuses to quit.About these adsPublished: January 10, 2015 https://newyorkmusicdaily.wordpress.com/2015/01/10/mr/

http://www.ny1.com/nyc/all-boroughs/sound-advice/2015/01/20/singer-songwriter-mike-rimbaud-unveils-topical-songs-at-bowery-electric.html

http://hollandude.com/mike-rimbauds-album-release-show/

Put That Dream In Your Pipe And Smoke It is Mike Rimbauds new disc. The Bowery Electric was the venue for the New York singer-songwriters latest release.

-Eric Holland New York 1 TV

MAKING YOU MOVE - MAKING YOU THINK

By Susan Turner for Set in The City 12-2014

Who could capture the energy of this city better in song, then a guy born and raised in New York and brought up right here in Little Italy. He is truly an Enigma and his name is Mike Rimbaud. If you know this city, you probably already know him, perhaps even intimately. He has played in all of NYCs hottest cafes and clubs and has a loyal, if not cult-like following. For those of you who may not have had the pleasure as of yet or perhaps just arrived to this great city...let me introduce you and lets go deep with Mike Rimbaud.I can tell you that his tone is really sultry and sexy, and that applies to him speaking and singing. Add to that, the fact that he really writes from a deep place within, and youve just began to scratch the surface of this mysterious multi- talented artist.SET: Mike, you have an almost underground cult fol-lowing here in the city. For those who arent in the know already; how would you sum up your musical style and message?MIKE: I write rock n roll songs that will make you move, not only dance, but make you think. Im constantly enter-taining issues most songwriters would totally avoid.SET: (smiles) I love that about all of your stuff. And for those who may have missed it, you did an amazing job of exactly that, in one of my personal faves...The Ballad of Anthony Weiner. Its just so spot on!! (See Video Below)WHATS NEXTSET: Where and when can we find you playing in NYC next and debuting songs from your new album Put that Dream in Your Pipe and Smoke It?MIKE: (smiles) Everyone should come out. It will be Janu-ary 15 at the Bowery Electric, 327 Bowery at 8pmSET: I wouldnt miss it for the world! Can you tell every-one what inspired the name for your new album?MIKE: Put that Dream in Your Pipe and Smoke It can be interpreted in a couple of valid ways. (chuckles softly) One is saying, Take that American Dream and shove it. The other interpretation, which is more literal, is to smoke or inhale your dream. Whether its real or not. (pauses

thoughtfully ) Dont give it up. However, (smiles) smoke eventually dissipates like a dream in the morning. So, I re-ally like the ambiguity.MIKE RIMBAUD AND TAYLOR SWIFT??SET: (laughing) Okay, so lets have some fun...What vo-calist would you love to hear do a cover of a Mike Rimbaud original and which song would you pick for him or her to do?MIKE: (smiling) Great question. How about Pharrell Wil-liams doing Friend or Taylor Swift singing Unicorn.SET: (chuckle) You never cease to amaze me. I gotta say fantastic picks and (pause) way to change it up. (smile) Would love to see that!SET: Before I let you go..What is the one thing you want everyone to know about your music?MIKE: My music will open your mind and touch your soul, if you let it in...

I hope to see you all out at Mikes next show on Jan 15, at The Bowery Electric and between you and I, his poison of choice is a nice IPA beer. So lets all send one his way. Cheers Mike!!Visit Mikes Website at: www.mikerimbaud.comBuy Put That Dream In Your Pipe and Smoke It on iTunes: https://itunes.apple.com/us/album/put-that-dream-in-your-pipe/id915182422*Photo credit: Veronique Krieger

http://www.setinthecity.com/2014/12/01/going-deep-with-mike-rimbaud/

Mike Rimbaud Captures the State of the CityNEW YORK MUSIC DAILY

Global Music With a New York Edgeby delarue February 18, 2013

No other songwriter has captured the current climate in New York better than Mike Rimbaud. One powerful influence on Rimbauds work, lyri-cally speaking, is Phil Ochs, (check out the absolutely vindictive version of The Ringing of Revolution from Rimbauds 2012 album You Cant Judge a Song by Its Cover). Rimbauds latest album Night Rainbow streaming at his site is an eclectic, characteristi-cally tuneful, savagely lyrical, cleverly amusing mix of songs that span from straight-up four-on-the-floor rock, to new wave, garage rock, psychedelia and reggae. Rimbaud has listened deeply and widely; his thinly veiled references to other songs, especially from the Rolling Stones, are cruelly spot-on. Rimbaud plays all the guitars as well as banjo, backed by tersely tuneful bassist Chris Fletcher and excellent drummer Kevin Tooley, with occasional keyboards from Marc Billon.Image by image, Rimbaud portrays a city and a world on the brink, reeling from natural disasters, terminally distracted by the vapidity of status-grubbing and social media, the luxury of the corporate elite juxtaposed against crushing poverty and despair. Ultimately, this album is a call to action and revolution and also one of the best of 2013 by a Broadway mile.The classic cut here is Jackhammer Jones. Over wick-edly catchy, psychedelic minor key rock spiced with searing wah solos and guitar sitar with a nod to the Lovin Spoonful Rimbaud paints an allusive picture of a city being destroyed from within by gentrification:Turn off your phone, what can you hear, baby? Call it noise or call me a liar Ears can bleed and eyes can weep When you read between the linesThe jauntily swinging title track pictures an unlikely rainbow over the Empire State Building at night hey, this is the global warming era, stranger things have happened. On Big Bad Bully, as he does on many of the other cuts here, Rimbaud takes aim at a target and riffs surrealistically on it, in this rounding up the Wall

Street bulls who treat everyone like cattle.Slow Down to Get Ahead layers clattery percussion over a reggae bassline and builds from there, an an-them for anyone tempted to unplug from the rat race. Rimbaud returns to that idea toward the end of the al-bum with Time Burglar, a rapidfire stream of dissocia-tive, sardonic imagery: Swing over the Williamsburg Babylon, catching flies in one handrelax with some hillbilly music, a song from another ice age.Sandy Must Be Crazy, a hurricane memoir, builds from dub reggae to roaring Stonesy rock. On one level, Rimbauds images capture an unfortunately indelible New York moment, on the other hes also captured the more disturbing context that rose to the surface in the wake of the storm.The sarcastically bubbling Teachers Got a Bad Mouth takes a counterintuitive look at schoolroom insanity, from the point of view of a teacher struggling to focus the attention of a class lobotomized by Facebook. Rimbaud revisits that theme a little later with the nonchalantly brooding, Indian-flavored Learning More About Less.Robin Hood in Reverse is a stompingly snide Spring-steen-style singalong: Money talks, money is speech, this is a protest song and talk is cheap, Rimbaud intones breathily. The metaphorically-charged Dark Money Cant Buy Her Kisses grows from mysterious psych-pop to a brooding 70s soul sway. The album ends with a long, scruffy cover of the Beatles Baby, Youre Rich Man, bringing it full circle. Britain in 1977 had the Clash: New York in 2013 has Mike Rim-baud. Thats a start. Now bring on the revolution.

http://newyorkmusicdaily.wordpress.com/2013/02/18/miker/

New YoRk MusiC DailYGlobal Music With a New York Edge Published: February 6, 2012

Mike Rimbauds Coney island wave is a Riptideby delarue

Any conversation about great lyrical songwriters since the punk era needs to include Elvis Costello and Graham Parkerand Mike Rimbaud. Rimbaud is younger than they are; stylistically, hes closer to Parker, both in terms of surreal, aphoristic, dark lyrics and excellent guitarslinging. In fact, Rimbauds the best guitarist of all three, equally interesting whether hes working an oldschool soul vamp, playing twangy noir surf licks, angry punk rock or glimmering, noctur-nal Stonesy lines. His most recent album of originals, Coney Island Wave is one of the great New York rock records. Its both a celebration of this city as well as an often savagely spot-on look at the state of the world, 2012, set to catchy, usually upbeat tunes that run the gamut from vintage new wave, to creepy garage rock, to oldschool soul. Its the rare album where the melo-dies are as good as the lyrics, which are just plain kick-ass pretty much all the way through, Rimbaud handling all the guitars, keys and occasional harmon-ica and backed by a no-nonsense rhythm section of Chris Fletcher on bass, Andrea Pennisi on percussion and Kevin Tooley on drums.The first track is Burning the Night Out Early, set in a vivid late night Coney Island of the mind where its getting early- that kind of night. If youve experi-enced one of those there, this will resonate mightily. Rimbaud follows it with Dance with a Mermaid, a noir garage rock song packed with loaded metaphors, the mermaid dancing on the Titanic since the oceans full of oil and global warming has brought the mix to a boil, so to speak.With its clever Like a Rolling Stone allusions, Dont You Love This City keeps the sarcasm at boiling point. The next track, Everybody Needs a Daddy sounds sus-piciously sarcastic as well, especially with the Simp-sons and Darth Vader references could it be a jab at the Bloomberg nanny-state patriarchy?Got to Sell Yourself is just plain great, an anthem for anyone whod like to take the worlds oldest profes-sion to the next level: Youre a failure when nobodys buying, youre something else when youre sold out; youre a loser cause you only own yourself, Rim-

baud snarls over the songs casually biting, insistent hook. Here Comes the Subway Sun could be a tribute to the joys of tripping on the train; Mamma Say Some-thing Nice follows in a brooding blue-eyed soul vein, like something Parker might have done in the late 70s.The album really heats up at this point. Puppet Man, with its soul organ groove, is packed with more politi-cally-charged sarcasm. Like Pinocchio, go to Tokyo, is one recurrent motif: a Fukushima reference, maybe? The albums funniest, and probably most timely track is Put Your Facebook on the Shelf:Dont let it get in your headSlaverys not deadYour passwords not a secretEyes wander on the pageYour tongue hangs out like a hungry dogHow many friends can you count on?Rimbaud rasps over a catchy groove thats part Elvis C., part Bob Marley.Saving to Go Bankrupt an anthem for the Occupy movement, with some very insightful and useful background from Rimbaud here offers both a suc-cinct condemnation of the one percenters bankrupt system as well as hope for the future: Wake up from your American dream! Rimbaud follows that one with Tears for the Rich and Famous, a searing, guitar-fueled condemnation of celebrity shallowness capped by a sweet, vengefully swinging guitar solo. The last track, Unicorn, is the most retro 80s of all the songs here with its goth tinges and synthesizer, it sounds like an outtake from a previous session that might have been tacked on here to end the album on a more upbeat note. Rimbaud also has a killer new album just out, Cant Judge a Song by Its Cover, which imagina-tively reinvents an impressively diverse mix of clas-sics and standards by Bob Dylan, Phil Ochs, Dave Brubeck, Bruce Springsteen, Bob Marley, Tom Jobim, the Beatles and others. Thats up next here. Rimbaud is also featured on the upcoming Occupy This Album anthology, a benefit record for the Occupy Movement featuring some obvious suspects along with several refreshingly not-so-obvious ones including Immortal Technique,Willie Nelson and Toots & the Maytals plus New York talents My Pet Dragon, Taj Weekes & Adowa and Stephan Said.

http://newyorkmusicdaily.wordpress.com/2012/02/06/mike/

New York Music DailyGlobal Music With a New York Edge Published: February 7, 2012Global Music With a New York Edge

Judging Mike Rimbauds Covers albumby delarue

After seven albums of original material and his excellent, most recent release, Coney Island Wave (chronicled here yesterday), literate rocker Mike Rimbaud decided to do an album of covers. Which can be tricky. In order to cover a song thats worth cover-ing to begin with, you either have to do it better than the original no easy task or completely reinvent it. Which is exactly what Rimbaud did with Cant Judge a Song By Its Cover. To call this record ambitious is something of an understatement: tackling mostly well-known, iconic songs, Rimbaud makes it seem easy as he nails them, one by one. If youre willing to buy the argument that theres such thing as a classic album of covers, this is it.It gets off to a false start. The opening track, Al-most Hear You Sigh, has a tired, 70s blues-pop feel. Who might have been responsible for it the first time around? Dire Straits, maybe? As it turns out, this is a Rolling Stones song, from long after that band ceased to be relevant. Then the fun begins with an electric bluegrass version of Springsteens Atlantic City Rimbauds casual, practically blithe delivery only underscores the grim fatalism in the hitmans tale. The albums centerpiece is Idiot Wind, which has arguably the greatest rock lyric ever written, as much of a re-quiem for the optimism of the 60s as for Dylans mar-riage. Rimbaud reinvents it by turning it into straight-up electric rock and playing it almost doublespeed (the original clocks in at around nine minutes, this one at five). Once again, the nuance in Rimbauds vocals, from icy rage to a contemptuous rasp, is intuitive, and packs a wallop: its not quite as intense as the venom-ous Mary Lees Corvette version, but its pretty close, and the band (Chris Fletcher on bass and Kevin Tooley on drums along with Rimbauds guitars and keys) keeps up with him.The rest of the album is more carefree. Marleys Is This Love gets new life via a brisk new wave/power-pop arrangement in the same vein as Blondies One Way or Another, with a killer Link Wray-flavored surf rock solo. Mikes Wave is the Tom Jobim bossa

nova hit done with just enough bite to elevate it above lounge music, while the Beatles No Reply gets a Stonesy, noir garage rock groove. The original version of Phil Ochs Ringing of Revolution has brilliant lyrics but a pretty generic early 60s folkie melody: Rim-baud rescues it by plugging it in and giving it a bluesy menace fueled by ominous chromatic harp, raising the intensity, the fat cats squirming in their easy chairs as the murderous mob grows closer and closer. Which makes the payoff at the end all the more satisfy-ing, where the citizens memories [are] dimmed of the decades of execution. Its timeless: Ochs could have been referring to the Soviet Union under Stalin, or Texas under Bush. The last song on the album is titled Take 5000: its an update on the Dave Brubeck Quartets classic Take 5, the bestselling jazz single of all time. Rimbaud makes tango nuevo out of it, blend-ing electric piano and wah guitar for a fun, eerie ride capped off with another excellent surf guitar solo. Along with Rimbauds most recent album of originals, this deserves to be counted as one of the best rock records of recent months.Rimbauds also featured on the upcoming Occupy This Album benefit record for the Occupy move-ment along with socially aware artists from Jackson Browne, to Immortal Technique, to New York art-rockers My Pet Dragon and roots reggae star Taj Weekes & Adowa.And theres more: Rimbaud also has a pretty hilarious new single out, a cover of the Beatles Baby Youre a Rich Man done with a tongue-in-cheek, reverb-drenched Exile on Main Street glimmer.

http://newyorkmusicdaily.wordpress.com/2012/02/07/rimbaud/

Le Deblocnot': MIKE RIMBAUD "Put that dream in your pipe and smoke it" (2014)

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Nous avions quitt Mike Rimbaud, le rocker underground, peintre et pote

New Yorkais dbut 2013 avec un superbe album, "Night rainbow" consacr en

partie aux consquences de l'ouragan Sandy. Mike est certainement une des

rencontres les plus enrichissantes que j'ai pu faire ces dernires annes, un

artiste vivant pour sa musique, un gars plein de rvoltes, de posie aussi, un

songwriter de talent, bon musicien, qui mrite une plus large reconnaissance,

en France, comme chez lui. Entre "Night Rainbow" et ce nouvel album intitul

"Put that dream in your pipe and smoke it" (tir d'une expression

amricaine, fait rfrence la fin de l'american dream, on pourrait traduire

par "prends le rve amricain et carre le toi..") il a publi quelques singles

comme "Funkyshima" consacr la catastrophe nuclaire au Japon ou une

belle cover du "Starway to Heaven" de Led Zeppelin. Au programme de ce

9eme album 10 titres enregistrs cet t New York dont 9 originaux et une

reprise des Clash. Mike (guitare, vocaux, harmonica, basse) est accompagn de

Kevin Tooley aux drums, Chris Fletcher la basse, et se succdent aux piano

et orgue Marc Billon, Charlie Roth et Lee Feldman.

Ce qui est intressant avec cet artiste

c'est de savoir de quoi il parle et ne pas

seulement se contenter d'couter sans

chercher comprendre les paroles,

comme c'est souvent le cas quand les

franais ont affaire des chansons en

anglais. Quant on coute de la shit

comme One Direction ou Justin Bieber ce

n'est pas grave mais avec quelqu'un qui a

des choses dire ce serait dommage.. J'ai

donc demand l'intress de nous

expliquer son ressenti quand il a compos

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credit photos Veronique Krieger

ces chansons, ce qu'il a eu la gentillesse

de faire.

On commence avec "Frequent flyer

subway rider", belle ballade rock urbain

bluesy pour un trip dans New York en

mtro, visite guide et portrait de ses voyageurs. Mike nous raconte "on prend

le mtro tellement souvent New York qu'on pourrait avoir des voyages

gratuits, comme avec les compagnies ariennes, je prends le mtro tous les

jours, parfois 2 heures si je voyage entre Bronx, Brooklyn, Manhattan". On

retrouve aux choeurs une figure de la nuit New Yorkaise, avec la belle voix de

la chanteuse Lady Zombie dj remarque sur "Night Rainbow".

Mike sort l'harmonica sur "Friend" qui s'attaque aux faux amis,

particulirement sur les rseaux sociaux, "c'est une communication qui est

moins sincre" nous dit Mike qui avait dj consacr une chanson Facebook

dans son album prcdent; c'est un morceau bien rock , un peu "Dylanien", o

on relvera les bongos du batteur Kevin Tooley, son complice depuis 17 ans.

"Shale'n'Roll" voque l'extraction du gaz de schiste par fracturation "et ses

retombes sur l'environnement et pointe "les mensonges des grandes

compagnies qui achtent les petits villages, les fermes, dtruisent tout et se

fichent des hommes et leurs familles; c'est une energie viter". A noter une

belle partie de piano Rhodes (Marc Billon)

Reggae ensuite avec "Tears don't fall in outer space", "l'histoire de la

premire fille qui va voyager vers la plante Mars toute seule. Elle est triste

de tout laisser sur le terre. Et les larmes ne tombent pas sans pesanteur" .

Ce reggae est l'occasion pour Mike de nous avouer son admiration pour Bob

Marley "J'ai toujours admir Bob Marley, l'homme politique et l'artiste, son

criture, son groove, un vrai hros". On retrouve ici l'envotante voix de Lady

Zombie qui porte bien son nom.

"Know nothing know it all" charge la

classe politique corrompue et l'extrme

droite qui mets des btons dans les

roues d'Obama, sur fond bluesy- jazzy,

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avec piano (Lee Feldman) et

harmonica.

Plus lger, "What is this song" pose elle

mme la question existentielle, c'est

quoi cette chanson ?, tandis qu' "Apple

doesn't mean Apple anymore" est une

belle pice pop avec cordes (le

violoncello de Erik Friedlander ) qui

joue avec les rfrences aux pommes,

le label des Beatles, les ordinateurs, la

pomme d'Adam et Eve..

"Paris is the heart" est une chanson qui

tient au coeur de son auteur, en effet Mike a vcu Paris dans les annes 90 -

publiant mme quelques disques sur des labels franais- et reste attach la

France. Un rock un peu "stonien" aux guitares satures sur "la vie un peu

alternative et underground de Paris et aussi sur mes relations avec cette ville

historique et romantique" nous dit Mike. J'aime bien ce titre et cette vison

amricaine de Paris "Finish that baguette before you get home/You know Frenchrock had theTelephone/The guillotine took the head but not the soul/Thanks toJosephine Baker and Charles De Gaulle/and Paris still is the heart.""Poverty is a Thief" est "une chanson qui parle de l'ingalit des revenus aux

USA qui devient de plus en plus grave. Il n'y a plus de classe moyenne ici mais

des super riches et tous les autres qui galrent". Avec un beau sax jazzy de

Avram Feffer et aux voix une autre chanteuse New Yorkaise, Danni Gee (du

groupe Suga Bush). Cerise on the cake, on termine avec une reprise bien rock

des Clash, "Rock the Casbah" encore une laquelle tient Mike:

" J'ai chant ce morceau il y a quelques annes East Village, mais j'ai

toujours voulu en faire un bon enregistrement, parce que c'est une chanson

que j'aime bien. Joe Strummer a toujours t une inspiration pour moi, il

tait un vrai rocker politique, et on a trs peu de gens comme a aujourd'hui.

Nous avons plus que jamais besoin d'artistes qui osent combattre ce systme

qui ne marche pas pour les plupart des gens. Il y a aussi une message de paix

je trouve dans ces paroles de cette chanson".

Ancr dans son poque et lucide sur l'tat de son pays et de nos socits en

panne, Mike Rimbaud est un compositeur - et un type - vraiment intressant.

Sa musique l'est aussi, mlant rock urbain, blues, folk, rock, punk, garage. Il

le disait propos de Joe Strumer, on a besoin d'artistes comme a pour

secouer un peu les consciences endormies devant la tl et les Iphones.

C O U P D EP R O J E C T E U R

Projo (97)

M E M B R E S

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Rockin-JL

lire galement la chronique de Night Rainbow et L'interview de Mike

2 extraits, ballade dans le mtro New Yorkais puis Paris, film par Mike:

PUBLI PAR ROCKIN 05:09

LIBELLS : ROCK , ROCKIN -JL

2 COMMENTA IRES :

Sweet Songs Never Last Too Long 23/9/14 16:56

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Lower East Side vet Mike Rimbaud took the name of his new band from a set of cute cartoon signs that reminded 50s commuters not to smoke or spit. But its that dingy, subterranean, through-the-grate kind of glow that informs his scruffy-voiced rock songs, invoking 70s Costello and Springsteen along with an improbable hint of Brazilthe Baiana guitar (a surfy-sounding electrified acoustic). (kamenetz) The Village Voice

Mike Rimbaud, in basic black, wielded an electric guitar in songs that were terse, telegraphic and propelled by urgent strumming. Mr. Rimbaud has a rockers rasp in his voice, and he knows how to get the most power out of verses with few words. His songs crackle with New Yorks nervy paranoia.

By JoN PaReles The New York Times

The Lower East Side: Attracting Creative Types Since Forever

Living La Vie BohemeStepping inside the tiny Pitt Street apartment of artist/musician Mike Rimbaud, a visitor is greeted by computers, musical instruments, toys, and his vibrant portraits of his Lower East Side neighbors. Mike, a single dad, composer with his own band, and painter, also has a day job teaching computer graph-ics. He grew up in Little Italy in an artistic family (father, Robert Grossman, is a well-known illustrator) and studied painting at the University of Wisconsin. After college he lived in Paris and toured Russia playing rock and roll. A friend called me a typical Bohemian, he says. Mike loves the areas spirit and is currently painting portraits of friends like Samora Free, a singer, and Ja-meel Moondoc, a saxophonist and architect. Influenced by Ashcan School painters such as George Bellows, Mikes portraits capture the joie de vivre of creative types living on

the Lower East Side.

by Carol MarkelGrand Street News.

-MIKE RIMBAUD, local NYC singer-songwriter and recording artist. Though Mike and I had not worked together before, I am already a fan. Thank you, Mike. His folk music is so thoroughly drenched with rock music sounds, that its hard to tell where one ends and the other starts---but it is NOT the folk rock most of us recall. He is onto something utterly new. Please check out Mikes website www.mikerimbaud.com where you can find his performance schedule and order any of his 5 CDs, the latest of which is The Beast of Broadway. -John Pietaro

Lower East Sides Renaissance manBy Ernest Barteldes, The Villager, February 8, 2006 Theres no shortage of characters in New York, says portraitist Michael Rimbaud. In fact, theres a sur-plus including Phyllis Sanfiorenzo, above, an actress Rimbaud met on Rivington Street.A keen observer of the comings and goings of his neighborhood, Lower East Side artist and musician Michael Rimbaud has spent the past few years painting portraits of every local resident that catches his eye the butcher, the baker and even the undertaker, says Rimbaud. In the past year alone, hes painted 50 portraits of personal friends and people hes approached on the street. Many are on view now through February at The The-ater for The New City Gallery (155 1st Ave. at 9th street). We spoke to Rimbaud about his exhibit, Lower East Side Portraits, and what it takes to be a Renaissance man.Youre a musician, painter and graphic designer. How do you see yourself as an artist in general?

I am an artist with many interests, primarily painting and rock music. Graphic design helps pay the rent and I teach computer graphics, too. Leonardo DaVinci was the real Renaissance man. He wasnt only a great painter and sculptor, he invented flying machines and submarines, weapons of small destruction and he also dissected humans.

What is your background as a painter? Did you study painting, or did it come from inspiration?

I was always the class artist in school. Teachers and other kids always were commenting on my pictures. I made my first underground comic book when I was eleven. It was called Gross. I dont know if its worth much, but I was a huge fan of (cartoonist) R. Crumb and still am today. In high school I did caricatures of my teachers. One time in math class the teacher was visibly upset, thinking I was making fun of her. I had to ex-plain that caricature is an art form, exaggerating distinctive features. I think she felt better after that and I always did well in math. I majored in painting in college and I earned a BFA. American artists like Edward Hopper, Alice Neal and Winslow Homer made a big impression on me, too. The Ash Can Artists of New York from the early 20th century [also] blow me away. They did many beautiful street scenes, kids swimming in the Hudson river, early subways, etc. I would like to consider myself in the same tradition.

Your show at TNC how would you describe it?

With Lower East Side Portraits I want to show the variety of people that live in this culturally rich neighbor-hood. Ive lived here almost ten years and Ive been inspired by the diversity here. I wanted to draw the butcher, the baker and even the undertaker. Ive painted bartenders before they got fired and rockers who never get tired. I love the human face, old or young, everyone is different.

I [also] want to capture this period in New York like a 21st century Pieter Bruegel, George Grosz or Toulouse-Lautrec. Many of the paintings are in gouache, but Im also doing some street scenes and cityscapes in oil. I ap-proach people on the street and I ask if they mind if I sketch them. Often they say yes, sometimes no. Everyone painted is a real person; some Ive known for years.

How do you choose people to paint? What catches your eye?

I want to capture all walks of life. Different cultures, ages and jobs. For example I was doing my laundry the other day and the woman who works there was folding some clothes by a dryer. Something in my mind then clicked like a camera and I say to myself, that could be a great painting. I had thirty five minutes before I had

Paintings: http://www.saatchionline.com/profiles/portfolio/id/76694

to take my wash out so I went home and came back with my paper and pencils.

Do you get to know all your subjects?

Every one is different and everyone has a story. Sometimes Ill sketch a scene. I once sketched a older gentle-man sitting at a bar and showed him the drawing after. He was mad, he said I should have asked if I could draw him, but he would have declined if I did. When I asked him for his name, he said, How do I know youre not an FBI agent? Eventually he changed his mind. He told me his name was Henry. Youll notice that many of the people I painted are smiling. I try to make everyone comfortable and have a nice conversation. Im not after a photographic likeness either. I want to capture the person and make a good painting.

Whos your favorite subject or your most unusual one?

My favorite subject is whoever is posing for me at the time. There are no unusual subjects.

What comes next for you?

Im going to keep on doing my portraits and city scenes, getting deeper and deeper. I hope to find a publisher who will put out a book of my Brazilian work too. Id like to do a mural somewhere like Diego Rivera did. My band, The Subway Sun, plays about once a month locally. The next show is at the Mercury Lounge, February 5th at 9:30.

How do you manage to fit all these things in?

A typical week has me juggling work, my art and music and raising my two wonderful children, Im also a single parent. New Yorkers need to learn how to juggle. Its not enough to have the balls.

Rivington Sunset Oil on Wood 17

Second Avenue UndergroundOil on Canvas 2006 48 x 36.5

Lower East Sides Renaissance man continued;

Le Deblocnot'- MIKE RIMBAUD "Put that dream in your pipe and smoke it" (2014).pdfledeblocnot.blogspot.frLe Deblocnot': MIKE RIMBAUD "Put that dream in your pipe and smoke it" (2014)

Mike Rimbaud 2015 press book

Documents

Transcript of Mike Rimbaud 2015 press book