If you are interested, click on the title of this post and it'll lead you to NPR's list of the 50 most important recordings of the '00s or noughties or whatever we're supposed to call this decade that's wrapping up. A strange, fascinating decade it was, from which ever lens you choose to view it through: politics, technology, culture, sports, and of course music.
The decade has seen the decline of what was supposed to be the be-all-end-all format for music: the CD. I remember when CD's first came out. They were supposed to be indestructable--if you took care of them of course. The sound was supposed to be crystal clear--but then people started to realize that when things become crystal clear, a certain richness is lost. Oh yes, they were expensive. How I remember going into Musicland in the Carl Sandburg Mall in Galesburg, IL and having to lay down $20 for a CD. I think I payed around $24 for the White Album, back in the days when buying a CD meant getting a whole lot of extra cardboard packaging. I ended up having to return it because the package contained two Disc Ones and no Disc Two. Oddly enough, I have since lost one of the discs of the White Album. I wonder if it was Disc One, because I sure could use one of those two copies I once had!
But thing changed, as things have a tendency of doing. There is no Musicland anymore, to my knowledge. Not many record stores, period. Fewer and fewer people buy CD's and the industry is struggling for it. Digital sales aren't yet making up for the difference and piracy continues to be an issue. What will the '10s (what are we supposed to call this decade!) look like for the music industry? Streaming seems to be the future, but who the hell knows? Nobody really saw the total collapse of the CD. I'm still convinced the industry will be okay and maybe even better in the long run for indie artists.
It seems like more music than ever came out during this past decade. Bands are everywhere! The rise of Pro Tools has made it easier for bands to take the crappy music they previously played exclusively in their garages and put it down in recorded form, whether anyone asked them or not! So there's plenty to choose from, some good within the loads and loads of crap. Most of it now comes to us via word of mouth rather than traditional ways, who are some of the other victims of the first decade of the 2000s: major record labels, music mags, mainstream radio (RIP, oh you relics of the 20th Century!!!).
And it just seems like there's more variety than ever before. I haven't done this, but I'd venture a guess that if you put up the most important music of the '90s up next to the most important music of the '00s, you'd see a stark contrast. I read somewhere that as time goes on, music just keeps splintering further and further. Is it the result of the decline of the industry? Is it because people are looking for niche music rather than mainstream fluff? Not that mainstream fluff has gone, nor should necessarily, go away--even it has its purpose. Has hipster culture grown so much that there has to be a constant supply of music that so-and-so only knows about, but is sooo much better than what we, the normals, listen to? My answer to every single one of these questions is: I don't know!
But nonetheless, there was a whole lot of great music released this past decade. I've heard and own many of the albums on the various lists, and some are just so ingrained in us that we may not realize that we know these albums, but we actually can't help but know them! I'm not going to make a list of the decade. I'm having a hard enough time with my best of '09 list. Take on the decade? Nope. But I will give you a few of the albums that were with me quite a lot and/or impacted me greatly during this opening decade of the 21st Century. In no particular order:
Radiohead, Kid A
Wasn't this actually released in '99? I feel like I was still in college when it came out, but I could be wrong. And maybe it's counted as being a part of the '00s because of carry over from '99 to '00? Regardless, it was and remains a classic. It's the album that got me into Radiohead. I had been a fan of The Bends, and of course OK Computer, but something with Kid A just clicked. It was the perfect mixing of electronic and rock music. Thom Yorke in ethereal, emotional top form--backed by sonic richness and just amazing SOUND! I can't tell you how many times I played this one when it first came out.
Bob Dylan, Love and Theft
It's weird how your view of an artist changes as you yourself age and/or the artist him/herself ages. Dylan's music had been all around ever since I remember being aware of music, but it was almost a cliche. Nasally Bob could write a great song, but man he was one awful singer! I couldn't get into it. I loved '60s rock, from a very young age, but I would have gladly taken the versions of Dylan's songs by The Byrds, Hendrix, and the many others, over Bob's. As I got a little older though, I began to appreciate it. I bought all three Greatest Hits records and then '01 rolls around and croaking ol' Bob releases Love and Theft--and I really get it. The songs are somehow just right for his worn out voice. They are songs of an aging troubadour. They are songs of a traveller who's got more travelling to do before his day is done. If Woody Guthrie would have made it to old age, I have a feeling his music would have sounded something like this. The songwriting is still amazing, the band is incredible, and I actually enjoy Bob's voice. Personally I think it's purposeful and just right for the songs.
Wilco, Yankee Hotel Foxtrot
This is the album that got me into Wilco and I haven't looked back since. This is an album of texture, experimentation, brilliant songwriting. The album is one their record company, Reprise, famously saw as a failure and thus refused to release, but now is near universally lauded as a must-have of the decade (It was released by Nonesuch Records after Wilco left Reprise). The four song sequence of "Jesus Etc", "Ashes of American Flags", "Heavy Metal Drummer", and "I'm the Man Who Loves You", may very well be among the top few best sequences of songs of any album I've heard. The album was the last with master experimenter, the late Jay Bennett (who died this past year), who was quite often at odds with front man, Jeff Tweedy. Great album cover as well: Chicago's Marina City towers, the corn cob-esque structures that sit on the Chicago River. I know I'm not the only one that refers to them now as: The Wilco Buildings.
Gillian Welch, Time (The Revelator)
This is one of the few albums that I've bought twice. I had it downloaded on a different computer, but that computer crashed, taking with it, most of my downloaded music, including Time (The Revelator). I guess you'd qualify this as country music, but it doesn't fit into the Taylor Swift, Tim McGraw, Rascal Flatts vision of country that is predominant today. It's more in the vein of classic country: Patsy Cline, Hank Williams, etc. But then again, it's not a relic at all. And it doesn't quite fit into any of the sub-genres of country music. Folk? Maybe. Whatever it is, Welch's voice is captivating with every brilliant note and lyric. Her voice is at once heartbreaking, rich with life, other-worldly, part of the past, fore-runner of the future, and the thing of pleasant dreams. It's one of those albums I'd probably buy again if I had to!
Those are probably my main favorites of the past decade--at least the one's that had the greatest impact on my CD player/computer--however the songs may have reached my ears. Here's a few more that were in heavy rotation for me in the noughties. Don't consider this a comprehensive list by any means. Just a few of my personal favorites:
Arcade Fire, Funeral
MGMT, Oracular Spectacular
Spoon, Kill the Moonlight/Ga, Ga, Ga, Ga, Ga
O Brother Where Art Thou Soundtrack
OutKast, Stankonia
Sufjan Stevens, Come on Feel the Illinoise!
White Stripes--any and all!
Bright Eyes--also pretty much any and all!
Flaming Lips--Yoshimi Battles the Pink Robots
Fleet Foxes--Ragged Wood
Like I said, not even close to being a comprehensive list. I'll probably remember quite a few more that I forgot to put on the list. What did you have blaring out of your headphones, car radio, stereo/computer speakers during the past decade?
Next up for The Hidden Chord--a look back at the best albums and songs of 2009. Also I'll mention a couple movies and top music news stories of the year. Sigh! It's a project, let me tell you!
Showing posts with label Bob Dylan. Show all posts
Showing posts with label Bob Dylan. Show all posts
Friday, December 11, 2009
Friday, November 27, 2009
Thoughts on Live Performances
Those who know me or have ever read anything I've written, probably know about my Steve Goodman obsession. For those who don't know, Steve Goodman was a Chicago-born singer-songwriter, best known today for penning the tune played after every Chicago Cubs home victory, "Go, Cubs, Go". He also wrote classic songs such as "City of New Orleans", "Banana Republics", and "You Never Even Call Me By My Name". He died of leukemia in 1984.
Why am I bringing up Steve Goodman in my blog today (considering that I have spoke of him so much...yeah you probably get it, I love the guy's music)? Because I happened over this:
http://www.wolfgangsvault.com/steve-goodman/concerts/bottom-line-march-30-1977-early-show.html
First off, Wolfgang's Vault is an incredible website that allows you to stream, free I might add, many a classic concert, by many a classic artist. It's a pretty incredible site (giving away free stuff is the way to go these days, I've said it once, I'll say it again). Two Steve Goodman concerts, recorded on the same day in New York in March of 1977, when I was just 2 months old, are featured here. Being a Goodman fan, I lept at the opportunity to hear one of his live performances.
The thing about Steve Goodman, is he was for all intents and purposes, a commercial failure. He was INCREDIBLY talented, but poorly marketed and really his albums were way over-produced. But live...wow! I'd heard a couple of live performances and own the one live concert dvd that is available for purchase, which is really what hooked me on his music. The man was a true performer in every sense of the word. His voice had such amazing range, being able to handle gentle ballads, the soulful and bluesy, folk sing-a-long tunes, and just about anything else. His guitar playing was astounding. I've really never, ever heard a style like his--one which covers the rhtythm and lead parts all in one, while also providing at times, a distinctly percussive element. And his stage presence was electric. He was a master storyteller with a quick wit. Listen to the concert and you'll hear it all.
There are a couple of things that you hear in Goodman's performance that you just don't hear with anyone around these days. First of all, incredible phrasing. Phrasing isn't really something you hear a lot of people talk about, and really when it comes to most pop and rock, it's not an issue. The lyrics of most popular songs tend to be fairly basic and are thus set to the, usually pretty standard 4/4 time signature, in a fairly comfortable, easily digestable way. But to me, a master at phrasing can make an enormous difference. Phrasing is often times a term reserved for jazz, which makes sense, I suppose, because generally speaking the rhtyhms are more varied and arrangements are more complex, so naturally this lends better for either interesting vocal or instrumental phrasing. People like Ella Fitzgerald were masters at taking lyrics and making them float and dance in ways you never thought possible. For pop/rock purposes, Bob Dylan is quite adept at phrasing. You sort of have to know what you're doing phrasing-wise when you have lyrics like this:
"While preachers preach of evil fates
Teachers teach that knowledge waits
Can lead to hundred-dollar plates
Goodness hides behind its gates
But even the president of the United States
Sometimes must have
To stand naked. "--from It's Alright Ma (I'm Only Bleeding)
Alright, so I'm a Dylan fan, too and don't mind extolling my love for his music every chance I get either. But lyrics like that don't necessary flow easily into a pop song structure. A little creative phrasing is needed and Dylan, along with Steve Goodman if you take a listen, are masters of this.
Another quality of Steve Goodman, which once again fits with Dylan (surprise, surprise), is his ability to take a song and make it into something completely different from the version you hear on the record. I know some people are more than content to hear a band play a song exactly like they're used to, but what's the point? Artists who have the ability to make a live performance into a true unique experience, are few and far between. We live in times where so many artists lip synch to an auto tune version of themselves to make them sound perfect at every performance. But why, I ask? Why am I going to pay ridiculously high prices to see you live, when I could hear the same thing sitting at home away from sweaty drunk dudes who are constantly bumping into me who are shouting along to every lyric, making it difficult to even hear your oh-so-perfect performance? To be in your presence? That's cool for a minute or two, but gets old real fast when I know how this whole show is going to go down by the time you lauch into your third song.
I think the beauty of live music is its unpredictability, its "in-the-moment" quality, it's potential to both fall apart and to transcend at the same time. I saw Tom Petty and the Heartbreakers around '94 or '95, and Petty, the Rock and Roll Hall of Famer that he is, accidentally repeated a verse in the song "Into the Great Wide Open", which wasn't supposed to be repeated. Oh well. It happens. It didn't take anything away from the show, which stands as one of the best concerts I've ever been to. It almost enhanced it in a strange way. Now to know this about the Goodman concert, you'd have to be familiar with his albums, but trust me, he takes what's on there and makes it into something right for the moment in time. And Goodman has a cold during this performance, but he keeps right with it and makes it into a one-of-a-kind experience that was most certainly different from his previous show and the one he would do after this one. That's what artists and performers do (right?).
And okay, maybe some of Goodman's material sounds a little cheesy for our "oh-so-serious" sensibilities. He sung folk songs, yes, but he sung a lot more too. Can I ever see someone being taken seriously these days opening a show with "Red, Red Robin" or having a song called "Chicken Cordon Blues"? Maybe on the folk circuit, yes, but not on a mainstream level. You may now be shaking your head in embarrassment, but stay with me if you will. I don't care who you are or how deep and/or serious your music tastes are, listen to this concert and you will find something that you enjoy within it. Not only was Goodman one hell of a musician, he played with joy, to make people laugh, smile, have a good time. I like a ton of indie rock, but I sometimes feel like so much of it is stripped of pure joy. And yes, there's something maybe a little old-fashioned (the title of one of Goodman's songs, by the way) or corny about a lot of his music, but I don't see one thing wrong with that. Aren't we allowed to like the artsy along with the plain ol' fun?
Sure, music tastes are subjective, no doubt about it. Maybe you'll listen and just won't like it. And that's fine, even though you're obviously wrong. But at the same time, you have to respect what the man did within a live setting. He was a genuine, all-around showman. He could engage a live audience like none other. I can think of no one around these days who can lay such a claim. Not even the aforementioned Mr. Dylan. My advice to artists these days would be to consider what it means for someone to buy a ticket to see you live. Someone is taking their hard earned money, which is even harder to come by in times like these, and paying you for a memorable, enjoyable performance. Even with a local band, who you pay less for, you still are forking over some cash with hopes of an EXPERIENCE. I never got the chance to see Steve Goodman play live as he died when I was just seven years old, but from hearing from others who did see him, I've only heard rave things about being witness to one of his incredible shows. Imagine that for a minute. Twenty-five years after the man left this earth, people still talk about the greatness of his shows! Some of that was raw talent, of course, but some of that was learning the craft of not only being a musician, but an all around performer who takes risks night in and night out. Give me an imperfect, yet energized performance any day! Today's performers, take heed!
Why am I bringing up Steve Goodman in my blog today (considering that I have spoke of him so much...yeah you probably get it, I love the guy's music)? Because I happened over this:
http://www.wolfgangsvault.com/steve-goodman/concerts/bottom-line-march-30-1977-early-show.html
First off, Wolfgang's Vault is an incredible website that allows you to stream, free I might add, many a classic concert, by many a classic artist. It's a pretty incredible site (giving away free stuff is the way to go these days, I've said it once, I'll say it again). Two Steve Goodman concerts, recorded on the same day in New York in March of 1977, when I was just 2 months old, are featured here. Being a Goodman fan, I lept at the opportunity to hear one of his live performances.
The thing about Steve Goodman, is he was for all intents and purposes, a commercial failure. He was INCREDIBLY talented, but poorly marketed and really his albums were way over-produced. But live...wow! I'd heard a couple of live performances and own the one live concert dvd that is available for purchase, which is really what hooked me on his music. The man was a true performer in every sense of the word. His voice had such amazing range, being able to handle gentle ballads, the soulful and bluesy, folk sing-a-long tunes, and just about anything else. His guitar playing was astounding. I've really never, ever heard a style like his--one which covers the rhtythm and lead parts all in one, while also providing at times, a distinctly percussive element. And his stage presence was electric. He was a master storyteller with a quick wit. Listen to the concert and you'll hear it all.
There are a couple of things that you hear in Goodman's performance that you just don't hear with anyone around these days. First of all, incredible phrasing. Phrasing isn't really something you hear a lot of people talk about, and really when it comes to most pop and rock, it's not an issue. The lyrics of most popular songs tend to be fairly basic and are thus set to the, usually pretty standard 4/4 time signature, in a fairly comfortable, easily digestable way. But to me, a master at phrasing can make an enormous difference. Phrasing is often times a term reserved for jazz, which makes sense, I suppose, because generally speaking the rhtyhms are more varied and arrangements are more complex, so naturally this lends better for either interesting vocal or instrumental phrasing. People like Ella Fitzgerald were masters at taking lyrics and making them float and dance in ways you never thought possible. For pop/rock purposes, Bob Dylan is quite adept at phrasing. You sort of have to know what you're doing phrasing-wise when you have lyrics like this:
"While preachers preach of evil fates
Teachers teach that knowledge waits
Can lead to hundred-dollar plates
Goodness hides behind its gates
But even the president of the United States
Sometimes must have
To stand naked. "--from It's Alright Ma (I'm Only Bleeding)
Alright, so I'm a Dylan fan, too and don't mind extolling my love for his music every chance I get either. But lyrics like that don't necessary flow easily into a pop song structure. A little creative phrasing is needed and Dylan, along with Steve Goodman if you take a listen, are masters of this.
Another quality of Steve Goodman, which once again fits with Dylan (surprise, surprise), is his ability to take a song and make it into something completely different from the version you hear on the record. I know some people are more than content to hear a band play a song exactly like they're used to, but what's the point? Artists who have the ability to make a live performance into a true unique experience, are few and far between. We live in times where so many artists lip synch to an auto tune version of themselves to make them sound perfect at every performance. But why, I ask? Why am I going to pay ridiculously high prices to see you live, when I could hear the same thing sitting at home away from sweaty drunk dudes who are constantly bumping into me who are shouting along to every lyric, making it difficult to even hear your oh-so-perfect performance? To be in your presence? That's cool for a minute or two, but gets old real fast when I know how this whole show is going to go down by the time you lauch into your third song.
I think the beauty of live music is its unpredictability, its "in-the-moment" quality, it's potential to both fall apart and to transcend at the same time. I saw Tom Petty and the Heartbreakers around '94 or '95, and Petty, the Rock and Roll Hall of Famer that he is, accidentally repeated a verse in the song "Into the Great Wide Open", which wasn't supposed to be repeated. Oh well. It happens. It didn't take anything away from the show, which stands as one of the best concerts I've ever been to. It almost enhanced it in a strange way. Now to know this about the Goodman concert, you'd have to be familiar with his albums, but trust me, he takes what's on there and makes it into something right for the moment in time. And Goodman has a cold during this performance, but he keeps right with it and makes it into a one-of-a-kind experience that was most certainly different from his previous show and the one he would do after this one. That's what artists and performers do (right?).
And okay, maybe some of Goodman's material sounds a little cheesy for our "oh-so-serious" sensibilities. He sung folk songs, yes, but he sung a lot more too. Can I ever see someone being taken seriously these days opening a show with "Red, Red Robin" or having a song called "Chicken Cordon Blues"? Maybe on the folk circuit, yes, but not on a mainstream level. You may now be shaking your head in embarrassment, but stay with me if you will. I don't care who you are or how deep and/or serious your music tastes are, listen to this concert and you will find something that you enjoy within it. Not only was Goodman one hell of a musician, he played with joy, to make people laugh, smile, have a good time. I like a ton of indie rock, but I sometimes feel like so much of it is stripped of pure joy. And yes, there's something maybe a little old-fashioned (the title of one of Goodman's songs, by the way) or corny about a lot of his music, but I don't see one thing wrong with that. Aren't we allowed to like the artsy along with the plain ol' fun?
Sure, music tastes are subjective, no doubt about it. Maybe you'll listen and just won't like it. And that's fine, even though you're obviously wrong. But at the same time, you have to respect what the man did within a live setting. He was a genuine, all-around showman. He could engage a live audience like none other. I can think of no one around these days who can lay such a claim. Not even the aforementioned Mr. Dylan. My advice to artists these days would be to consider what it means for someone to buy a ticket to see you live. Someone is taking their hard earned money, which is even harder to come by in times like these, and paying you for a memorable, enjoyable performance. Even with a local band, who you pay less for, you still are forking over some cash with hopes of an EXPERIENCE. I never got the chance to see Steve Goodman play live as he died when I was just seven years old, but from hearing from others who did see him, I've only heard rave things about being witness to one of his incredible shows. Imagine that for a minute. Twenty-five years after the man left this earth, people still talk about the greatness of his shows! Some of that was raw talent, of course, but some of that was learning the craft of not only being a musician, but an all around performer who takes risks night in and night out. Give me an imperfect, yet energized performance any day! Today's performers, take heed!
Saturday, September 5, 2009
Random Thoughts for a Saturday Morning
Happy Labor Day weekend to one and all. I'll be celebrating by working tonight. I'm curious, what are the best songs about working? What are your thoughts?
Labor Day weekend is the unofficial last weekend of the summer, so I hope you all have some spectacular festivities planned. If you don't, might I suggest one to those in the Chicago area: the Chicago Jazz Fest in Grant Park, which goes on today and tomorrow.
I've often wondered how this fest can be so packed with people every year, but then you never hear anyone talking much about going to jazz venues or concerts. I suppose part of the charm of Jazz or Blues Fest is that you can sit around the lawn in Grant Park, enjoy some expensive food and beer, and spend time with your friends on a beautiful Chicago day--which as most know, we only get a handful of all year. The music almost becomes an after-thought. In fact if you walk around, you'll see a great number who definitely have no interest in the music itself and are merely using it like a soundtrack playing in the background, which is fine I suppose, but personally I don't get it.
Jazz is America's one true artform. It is spontaneous, at times energetic, at times thoughtful, at times a canvas of aural color, tone, and nuance. But to be truly appreciated, it needs to be LISTENED to. It takes work, but once you develop an ear for it, jazz will reward you time and time again. It's hard to shift between pop music and jazz music, as pop can be listened to very passively, and while you might even miss things with pop if you're not careful, you can still appreciate it on a certain level while doing about ten different things at once, as we Americans, the Kings and Queens of Multi-tasking tend to do. I encourage you to go to Jazz Fest and just listen. If you can't get there, get yourself some Miles Davis, John Coltrane, Charlie Parker, and Billie Holliday albums and do the same. "Kind of Blue" by Miles and "Blue Train" by Coltrane are good starting points. Give them a couple of real, fully devoted listens and I think you'll get something out of them. Then if you're feeling really adventurous, check out "A Love Supreme" by Coltrane and "Bitches Brew" by Miles. Any thing by Charlie Parker is amazing. I recommend "The Quintet at Massey Hall", though, which also features Dizzy Gillespe, Bud Powell, and Charles Mingus (who may very well be one of the greatest American composers of all time).
That's my jazz rant of the day. I wanted to talk a little bit about Dylan playing 3 shows at the end of October, which coincides with the release of his Christmas album, but I'll save that for later.
Oh and did you know that the Sony Walkman outsells the iPod in Japan? I know it's the modern version of the Walkman, but in my mind I have visions of hip Japanese youth carrying around the big 'ol '80s style tape deck Walkman! Hey, I made some great mix tapes in my day! In a way, I kind of miss it.
And also, I'm thinking of the Dylan song, "Idiot Wind". Just wanted to let you know. Long story. Might have to do with politics, might not.
Oh, and here's some Bird and Diz, once again I'm technology stupid, so you might have to copy and paste this into your browser since I can't figure out how to create a link!!!
http://www.youtube.com/watch?v=wkvCDCOGzGc
Labor Day weekend is the unofficial last weekend of the summer, so I hope you all have some spectacular festivities planned. If you don't, might I suggest one to those in the Chicago area: the Chicago Jazz Fest in Grant Park, which goes on today and tomorrow.
I've often wondered how this fest can be so packed with people every year, but then you never hear anyone talking much about going to jazz venues or concerts. I suppose part of the charm of Jazz or Blues Fest is that you can sit around the lawn in Grant Park, enjoy some expensive food and beer, and spend time with your friends on a beautiful Chicago day--which as most know, we only get a handful of all year. The music almost becomes an after-thought. In fact if you walk around, you'll see a great number who definitely have no interest in the music itself and are merely using it like a soundtrack playing in the background, which is fine I suppose, but personally I don't get it.
Jazz is America's one true artform. It is spontaneous, at times energetic, at times thoughtful, at times a canvas of aural color, tone, and nuance. But to be truly appreciated, it needs to be LISTENED to. It takes work, but once you develop an ear for it, jazz will reward you time and time again. It's hard to shift between pop music and jazz music, as pop can be listened to very passively, and while you might even miss things with pop if you're not careful, you can still appreciate it on a certain level while doing about ten different things at once, as we Americans, the Kings and Queens of Multi-tasking tend to do. I encourage you to go to Jazz Fest and just listen. If you can't get there, get yourself some Miles Davis, John Coltrane, Charlie Parker, and Billie Holliday albums and do the same. "Kind of Blue" by Miles and "Blue Train" by Coltrane are good starting points. Give them a couple of real, fully devoted listens and I think you'll get something out of them. Then if you're feeling really adventurous, check out "A Love Supreme" by Coltrane and "Bitches Brew" by Miles. Any thing by Charlie Parker is amazing. I recommend "The Quintet at Massey Hall", though, which also features Dizzy Gillespe, Bud Powell, and Charles Mingus (who may very well be one of the greatest American composers of all time).
That's my jazz rant of the day. I wanted to talk a little bit about Dylan playing 3 shows at the end of October, which coincides with the release of his Christmas album, but I'll save that for later.
Oh and did you know that the Sony Walkman outsells the iPod in Japan? I know it's the modern version of the Walkman, but in my mind I have visions of hip Japanese youth carrying around the big 'ol '80s style tape deck Walkman! Hey, I made some great mix tapes in my day! In a way, I kind of miss it.
And also, I'm thinking of the Dylan song, "Idiot Wind". Just wanted to let you know. Long story. Might have to do with politics, might not.
Oh, and here's some Bird and Diz, once again I'm technology stupid, so you might have to copy and paste this into your browser since I can't figure out how to create a link!!!
http://www.youtube.com/watch?v=wkvCDCOGzGc
Friday, September 4, 2009
3 Songs on Shuffle and more (Click here for Vivian Girls Video! Yay!)
I'm working on reinventing this blog. For no good reason other than I like music and writing and like writing about music probably more than any other type of writing. So I want to have regular features, rather than just random occasional rants. Maybe I'll keep doing the random occasional rants too, but I found myself ranting less and less, so time would go by and suddenly it's been nearly 4 months since I wrote an entry. So for today, I'm doing a "3 songs on shuffle" experiment. Fire up the 'ol iTunes library and let it shuffle to 3 songs and see what happens. I like seeing if songs link to each other in any peculiar way. I also just like the discovery process of listening to my library on shuffle. I have a whole lot on here that I've never heard or haven't heard much, so I wanted to mostly do a stream of consciousness approach to writing about it--attempt to capture the moment of listening to music. And then maybe go back and add on some further impressions. So here is todays "3 Songs on Shuffle". Sometime soon, I'll have a new feature as well. Would like to reprise the podcast very soon as well. If you are reading this, PLEASE, let me know and spread the word if you like what you read. I have an ego that needs to be inflated!!
You Don't Know What Love Is (You Just Do As Your Told)--The White Stripes
The infectious hooks of the White Stripes open up this song which is in the vein of the classic type of "I'm gonna tell it like it is because I don't really care anymore" song. There's a few good ones in this vein. Dylan's "Positively 4th Street" possibly being the best. This one is pretty good, though. A couple of really good lines here, the title itself being one, the opening line being another (In some respects I suspect you've got a respectable side), and a line in the chorus as well (Just as a child of ten might act but you're far too old). I like a good "tell it like it is" song. And everyone knows the type of person who can't tell the difference between infatuation and love, who goes along with whatever the other person says, just because they say it and are supposedly in love with that person. Usually pretty unhealthy stuff happens here. One person dominates and manipulates, why the other is blindly pulled around in the name of "love". Good one Jack White! Love the typical Jack White high register guitar solo at the end of this White Stripes classic!
Don't Ya Tell Henry--Bob Dylan and the Band
Levon Helm of The Band takes vocals on this up tempo shuffle off of the classic, "The Basement Tapes". I definitely hear a little New Orleans influence on here. I could listen to The Band all the time. They had the unique ability to draw upon almost every type of American popular music of the last century and meld it into something fresh and alive. And to me, much of it sounds fresh and alive forty years plus after the fact. I'm not too familiar with the song, but there's nothing on "The Basement Tapes" I don't like. So big ups to this one as well. Why isn't music like this made anymore? Maybe it is and the landscape is just too crowded with crap to realize it. I don't really know. Oh and a connection to the previous song: Jack White was frequently playing with Dylan there for awhile, I think it was last summer, during Dylan concerts. There's a couple of weird dudes, but man, they both can play some music!
Where Do You Run To--Vivian Girls
I don't know a whole lot about Vivian Girls, which is one of the fun parts about listening to music on shuffle. I do know they are on Chicago's Bloodshot Records label, which is a plus for me already, as I love a lot of what Bloodshot puts out and also Bloodshot has some of the best SXSW parties. Back to the song. Pretty good. Kind of your basic straight ahead rock song. I don't know how to describe the beat other than kind of '60s pop rockisk (think "That Thing You Do!" and you've got it). The verses are hard to understand and but the chorus, which repeats the title of the song is clear and it's cool how they build upon it with harmonies. Vocals kind of seem Veruca Salt-ish (If you try to sing "Seether" with the opening strains of this song, it actually works pretty well...pretty sure it's in the same key) or Ravonettes-ish. Emotionless in a way, at least until the chorus, which it should be apparent, is my favorite part of this one. I think this might be a little bit of an accusatory song as well. "Where do you run to baby, why do you leave me all alone?" Maybe in a similar family to the White Stripes song. Not exactly siblings, but possibly cousins. They're both kind of angry, but this one actually asks for an answer rather than just ranting at someone. Although, I think maybe it's a rhetorical question. Either way, good dance-able pop rock. Would have fit right in on the "Pulp Fiction" soundtrack.
I included a link to a fun little Vivian Girls vid for ya too. Click on the title of the post. I'm not tech savvy so I didn't know how to embed it on here. But still...Enjoy!
You Don't Know What Love Is (You Just Do As Your Told)--The White Stripes
The infectious hooks of the White Stripes open up this song which is in the vein of the classic type of "I'm gonna tell it like it is because I don't really care anymore" song. There's a few good ones in this vein. Dylan's "Positively 4th Street" possibly being the best. This one is pretty good, though. A couple of really good lines here, the title itself being one, the opening line being another (In some respects I suspect you've got a respectable side), and a line in the chorus as well (Just as a child of ten might act but you're far too old). I like a good "tell it like it is" song. And everyone knows the type of person who can't tell the difference between infatuation and love, who goes along with whatever the other person says, just because they say it and are supposedly in love with that person. Usually pretty unhealthy stuff happens here. One person dominates and manipulates, why the other is blindly pulled around in the name of "love". Good one Jack White! Love the typical Jack White high register guitar solo at the end of this White Stripes classic!
Don't Ya Tell Henry--Bob Dylan and the Band
Levon Helm of The Band takes vocals on this up tempo shuffle off of the classic, "The Basement Tapes". I definitely hear a little New Orleans influence on here. I could listen to The Band all the time. They had the unique ability to draw upon almost every type of American popular music of the last century and meld it into something fresh and alive. And to me, much of it sounds fresh and alive forty years plus after the fact. I'm not too familiar with the song, but there's nothing on "The Basement Tapes" I don't like. So big ups to this one as well. Why isn't music like this made anymore? Maybe it is and the landscape is just too crowded with crap to realize it. I don't really know. Oh and a connection to the previous song: Jack White was frequently playing with Dylan there for awhile, I think it was last summer, during Dylan concerts. There's a couple of weird dudes, but man, they both can play some music!
Where Do You Run To--Vivian Girls
I don't know a whole lot about Vivian Girls, which is one of the fun parts about listening to music on shuffle. I do know they are on Chicago's Bloodshot Records label, which is a plus for me already, as I love a lot of what Bloodshot puts out and also Bloodshot has some of the best SXSW parties. Back to the song. Pretty good. Kind of your basic straight ahead rock song. I don't know how to describe the beat other than kind of '60s pop rockisk (think "That Thing You Do!" and you've got it). The verses are hard to understand and but the chorus, which repeats the title of the song is clear and it's cool how they build upon it with harmonies. Vocals kind of seem Veruca Salt-ish (If you try to sing "Seether" with the opening strains of this song, it actually works pretty well...pretty sure it's in the same key) or Ravonettes-ish. Emotionless in a way, at least until the chorus, which it should be apparent, is my favorite part of this one. I think this might be a little bit of an accusatory song as well. "Where do you run to baby, why do you leave me all alone?" Maybe in a similar family to the White Stripes song. Not exactly siblings, but possibly cousins. They're both kind of angry, but this one actually asks for an answer rather than just ranting at someone. Although, I think maybe it's a rhetorical question. Either way, good dance-able pop rock. Would have fit right in on the "Pulp Fiction" soundtrack.
I included a link to a fun little Vivian Girls vid for ya too. Click on the title of the post. I'm not tech savvy so I didn't know how to embed it on here. But still...Enjoy!
Saturday, January 3, 2009
A Mash-Up Blog for The New Year
Who doesn't like a good mash-up, right? I've got a lot of thoughts going on, so I thought I'd just let them spew and see what happens. Happy New Year to all, by the way! Here's hoping for a great year, filled with great music.
Bio-pics/Music Docs
I'm an addict when it comes to any film that relates to music. The Last Waltz is by far my favorite. How can it get better than Martin Scorcese directing a concert film featuring The Band, Bob Dylan, Muddy Waters, The Staples, Neil Young, Joni Mitchell, Emmylou Harris, and many other greats of the last half century!! It can't. It just can't. But when it comes right down to it, I pretty much watch them all. There's a great one on the grunge era called Hype! that speaks a little more to my generation. Loved Walk the Line. Woodstock and Monterrey Pop also do a great job capturing the raw energy of the '60s. Man, oh man, just watch Otis Redding during Monterrey Pop. It'll change your life.
I know 2009 is going to feature a new, in-depth doc about The Doors. The Doors are a tricky band to pin down. There is so much myth surrounding this band and of course, its dead frontman, Jim Morrison. A charismatic rock star who passes before his/her prime is sure to be labelled a "legend" and with this label comes a certain amount of perfunctory myth making. Add to that a slightly sensationalized bio-pic directed by Oliver Stone and you have a whole stew of truth mixed with Lizard King lore. I'll be interested to see how this turns out. I've always liked The Doors music and have always found myself drifting away for awhile, but always coming back, which is not something I can say about all of my musical obsessions (still haven't come back to Tesla or Lynyrd Skynyrd!). There's something about The Doors that is captivating beyond words. It's dark, sinister, and prophetic music that arose out of The Summer of Love. "Our love becomes a funeral pyre"---what???? That's some crazy metaphor-ing right there! And don't get me started with "The End". Listen to the live version on their box set that was released around '97 or '98. It'll change your life.
What happened to The Singer-Songwriter?
I'm thinking about this because I just watched a tribute/doc/concert film of Leonard Cohen called, "I'm Your Man". Leonard Cohen is probably number two or number three when it comes to greatest songwriters of all-time--definitely when it comes to living songwriters. The guy is a poet in the truest sense of the word (sorry Morrison, Leonard Cohen probably has more cred than you ever did in the poet dept.). In fact he was already a published writer well before he released his first album. His songs are well-crafted masterpieces. He sometimes takes months at a time to write one song and mulls over each line and word carefully. Does anyone do that anymore?
Half of what you hear in popular music today isn't even written by the person who is singing it. Country music is still by far the most popular radio format in the nation, but is notorious for performers who sing someone else's music and not their own written material. Not too undermine the talents of professional Nashville songwriters, but it's kind of disappointing when you think you're hearing someone's inner thoughts and emotions being sung directly to you and then you find out it's just an interpretation. One example I can think of is Tim McGraw singing a song called "Live Like You Were Dying" or something like that. The song was released shortly after his father passed away and you initially think, "Wow, this is a nice, heart-felt tribute to his dad". But the song wasn't written by him! I suppose he probably channeled some of his emotions into his interpretation, but man, I felt a little cheated (not like someone who loses their dad to cancer I'm sure, but still, in my small insignificant way, I felt cheated). And yes, it does take talent to interpret someone else's work, but there's something about hearing the physical voice meet up with the literary voice.
In terms of singer-songwriter's of this generation, you kind of have to think of people who are still alive, but were more relevant in past generations: Bob Dylan, Bruce Springsteen, the aforementioned Leonard Cohen, Paul McCartney (although he hasn't written anything nearly as powerful since he wrote with John Lennon), Carole King, and Joni Mitchell. I suppose if you're looking for more recent master songwriters you could include Tupac, Bono, and Kurt Cobain. Tupac and Kurt are dead and Bono and the U2 crew wrote their best work in the '80s and early '90s. I guess if you're talking about relevant singer-songwriters in this moment, you could look to Conor Oberst, but I'm struggling to think of more. Some of the hip-hop guys are pretty good, like Kanye and Common, but I feel like their latest works were a bit weak. I just don't know. I guess everything is cyclical, so in a year or two, we'll probably get a rash of wanna-be Dylan's and then wish they would go away. Maybe it's a lost art.
Inauguration Festivities
Seventeen days remain until Barack Obama is sworn in as the 44th President of the United States of America. It'll be a glorious day for several reasons: an end to the Bush Dictatorship, the historic swearing in of the first black man to become president, and it'll be my birthday. Maybe that last one doesn't hold quite as much historic weight, but hey, it'll be glorious nonetheless. It'll also be interesting to see who will be performing at the ceremonies. Springsteen and Obama were pretty tight on the campaign trail, so it wouldn't surprise me if The Boss made an appearance. Then you have the traditional liberal voices like Eddie Vedder and Neil Young, but I'm guessing neither will be there. Will the hip-hop community be represented? Obama once cited Jay-Z. And there's the Chicago hip-hop-sters like Kanye, Common, and Rhymefest. Will any of them be invited?
My prediction is that Jay-Z will be there on his best behavior, maybe with Beyonce, but maybe not. I think Springsteen will definitely be there and Dylan will be invited, but won't show. My hope, and I think this isn't that much of a long-shot either, is that Mavis Staples will be there as well. First off, Mavis is a Chicagoan and Barack has to keep it real with the Chicago folk. Secondly, being part of The Staples Singers, she represents a link to The Civil Rights Movement. Third, she's just an amazing person/performer. I'm hoping she'll make the guest list. Buddy Guy would be a nice Chicago addition as well.
Upcoming Podcast
Well, I'm editing together podcast number one of The Hidden Chord. I'm still shooting for a January release date and I'm quite excited about it. It will include some great commentary and discussion from Phillip Groves, Joao Morlett, and myself. It will also include an interview and music from an energetic and exciting up-and-coming band called The Shackeltons. I'm not sure if I've ever seen a more energetic live show than theirs, nor am I sure if I've met more down to earth guys than these guys. Also I'll be playing a couple of tracks from other bands who are out there grinding it out, trying to make it in today's scene. It should be fun!
Bio-pics/Music Docs
I'm an addict when it comes to any film that relates to music. The Last Waltz is by far my favorite. How can it get better than Martin Scorcese directing a concert film featuring The Band, Bob Dylan, Muddy Waters, The Staples, Neil Young, Joni Mitchell, Emmylou Harris, and many other greats of the last half century!! It can't. It just can't. But when it comes right down to it, I pretty much watch them all. There's a great one on the grunge era called Hype! that speaks a little more to my generation. Loved Walk the Line. Woodstock and Monterrey Pop also do a great job capturing the raw energy of the '60s. Man, oh man, just watch Otis Redding during Monterrey Pop. It'll change your life.
I know 2009 is going to feature a new, in-depth doc about The Doors. The Doors are a tricky band to pin down. There is so much myth surrounding this band and of course, its dead frontman, Jim Morrison. A charismatic rock star who passes before his/her prime is sure to be labelled a "legend" and with this label comes a certain amount of perfunctory myth making. Add to that a slightly sensationalized bio-pic directed by Oliver Stone and you have a whole stew of truth mixed with Lizard King lore. I'll be interested to see how this turns out. I've always liked The Doors music and have always found myself drifting away for awhile, but always coming back, which is not something I can say about all of my musical obsessions (still haven't come back to Tesla or Lynyrd Skynyrd!). There's something about The Doors that is captivating beyond words. It's dark, sinister, and prophetic music that arose out of The Summer of Love. "Our love becomes a funeral pyre"---what???? That's some crazy metaphor-ing right there! And don't get me started with "The End". Listen to the live version on their box set that was released around '97 or '98. It'll change your life.
What happened to The Singer-Songwriter?
I'm thinking about this because I just watched a tribute/doc/concert film of Leonard Cohen called, "I'm Your Man". Leonard Cohen is probably number two or number three when it comes to greatest songwriters of all-time--definitely when it comes to living songwriters. The guy is a poet in the truest sense of the word (sorry Morrison, Leonard Cohen probably has more cred than you ever did in the poet dept.). In fact he was already a published writer well before he released his first album. His songs are well-crafted masterpieces. He sometimes takes months at a time to write one song and mulls over each line and word carefully. Does anyone do that anymore?
Half of what you hear in popular music today isn't even written by the person who is singing it. Country music is still by far the most popular radio format in the nation, but is notorious for performers who sing someone else's music and not their own written material. Not too undermine the talents of professional Nashville songwriters, but it's kind of disappointing when you think you're hearing someone's inner thoughts and emotions being sung directly to you and then you find out it's just an interpretation. One example I can think of is Tim McGraw singing a song called "Live Like You Were Dying" or something like that. The song was released shortly after his father passed away and you initially think, "Wow, this is a nice, heart-felt tribute to his dad". But the song wasn't written by him! I suppose he probably channeled some of his emotions into his interpretation, but man, I felt a little cheated (not like someone who loses their dad to cancer I'm sure, but still, in my small insignificant way, I felt cheated). And yes, it does take talent to interpret someone else's work, but there's something about hearing the physical voice meet up with the literary voice.
In terms of singer-songwriter's of this generation, you kind of have to think of people who are still alive, but were more relevant in past generations: Bob Dylan, Bruce Springsteen, the aforementioned Leonard Cohen, Paul McCartney (although he hasn't written anything nearly as powerful since he wrote with John Lennon), Carole King, and Joni Mitchell. I suppose if you're looking for more recent master songwriters you could include Tupac, Bono, and Kurt Cobain. Tupac and Kurt are dead and Bono and the U2 crew wrote their best work in the '80s and early '90s. I guess if you're talking about relevant singer-songwriters in this moment, you could look to Conor Oberst, but I'm struggling to think of more. Some of the hip-hop guys are pretty good, like Kanye and Common, but I feel like their latest works were a bit weak. I just don't know. I guess everything is cyclical, so in a year or two, we'll probably get a rash of wanna-be Dylan's and then wish they would go away. Maybe it's a lost art.
Inauguration Festivities
Seventeen days remain until Barack Obama is sworn in as the 44th President of the United States of America. It'll be a glorious day for several reasons: an end to the Bush Dictatorship, the historic swearing in of the first black man to become president, and it'll be my birthday. Maybe that last one doesn't hold quite as much historic weight, but hey, it'll be glorious nonetheless. It'll also be interesting to see who will be performing at the ceremonies. Springsteen and Obama were pretty tight on the campaign trail, so it wouldn't surprise me if The Boss made an appearance. Then you have the traditional liberal voices like Eddie Vedder and Neil Young, but I'm guessing neither will be there. Will the hip-hop community be represented? Obama once cited Jay-Z. And there's the Chicago hip-hop-sters like Kanye, Common, and Rhymefest. Will any of them be invited?
My prediction is that Jay-Z will be there on his best behavior, maybe with Beyonce, but maybe not. I think Springsteen will definitely be there and Dylan will be invited, but won't show. My hope, and I think this isn't that much of a long-shot either, is that Mavis Staples will be there as well. First off, Mavis is a Chicagoan and Barack has to keep it real with the Chicago folk. Secondly, being part of The Staples Singers, she represents a link to The Civil Rights Movement. Third, she's just an amazing person/performer. I'm hoping she'll make the guest list. Buddy Guy would be a nice Chicago addition as well.
Upcoming Podcast
Well, I'm editing together podcast number one of The Hidden Chord. I'm still shooting for a January release date and I'm quite excited about it. It will include some great commentary and discussion from Phillip Groves, Joao Morlett, and myself. It will also include an interview and music from an energetic and exciting up-and-coming band called The Shackeltons. I'm not sure if I've ever seen a more energetic live show than theirs, nor am I sure if I've met more down to earth guys than these guys. Also I'll be playing a couple of tracks from other bands who are out there grinding it out, trying to make it in today's scene. It should be fun!
Friday, November 21, 2008
To Innovate or To Emulate?
A question I've always pondered in all things in life, most certainly applies directly to music as well. Are there any truly original ideas left in the world? Is everything just an imitation of something that came before?
Ironically, this blog idea is not mine. Thanks again, Mike. I'm not sure how many original ideas I have within me. I've learned to surround myself with people who do, though, so I guess it works out all right for me.
I've heard this debate within several spheres of life. There are people within the art world who say that there is no where left to go when it comes to painting. That would be a sad thing, but is there really a limit to what you can do with color, shape, form, and intricacy when it comes to paint on canvas? I'm no expert in this field, so I can't say. Maybe no one can until the next innovator comes along to refute that assumption.
So since this is a music blog, what about music? I once read a songwriting book that quoted one of the Gallagher brothers of Oasis, who said that there is a finite number of notes and chords that one can effectively use in popular music. He basically said everything had already been done, which explains the direction that Oasis has decided to go with their music. They are blatent emulators.
I don't really agree with this assumption. I think it is challenging to be innovative within pop music, but it doesn't mean it can't or doesn't happen. But then again, what's wrong with emulation anyway? There is a certain comfort in familiarity. Bob Dylan started his career basically emulating Woody Guthrie in every single way. Dylan didn't stick with this for long, though. Some make quite a career off of emulating what was done before. Dr. Dog, a band I've blogged about in the past, sounds like they were pulled straight out of the '60s rock scene. They do it well, though. But too much emulation can be a bit tiresome. But on the other hand, too much innovation can too. You don't want to lose your audience by going off the deep end, thank you very much Plastic Ono Band!!!
So what to do then? What are the pros and cons for both sides of the debate? How does one successfully do a little of each (which is probably the formula for success after all)? Let's look at both sides, shall we?
,
Innovation
On most accounts, it's hard to argue against innovation. Inventors aren't usually scolded for the ideas they put into practice. Who are the biggest innovators in today's music scene?
Number one has to be Radiohead. I can't think of anyone who has done more in terms of successful experimentation and innovation. Early on in their career, they were kind of your basic, good mid-'90s alt-rock band. But along comes a little album by the name of "OK Computer" and you can forever drop "run-of-the-mill" as an adjective for Radiohead. And they've continued to push the limits with albums like "Kid A" and "In Rainbows". Their use of electronics and "sound" in general is amazing.
Other innovators that come to mind at least right this moment are Joanna Newsom, Beck, Sufjan Stevens, Saul Williams, and to some degree, Wilco (although they tend to fit in both categories).
But like anything in life, there tends to be a downside to innovation. There is a line between being innovative and experimental and being just plain crappy. Think concept albums. A lot don't work out too well.
I think the problem is when someone thinks they're being innovative, but really are just messing around and fail miserably. You can't fault artists for experimenting, it comes with the territory of being an artist. I think success sometimes brings a whole lot of ego, which leads to grand ideas of what the artist thinks he/she is capable of. Sometimes fans will go along for the ride, sometimes they won't. Remember when country icon Garth Brooks decided to create an alter-ego who sang bad pop songs? Country fans were confused, pop music fans were confused, and most everyone was generally disgusted. I guess you can't fault the guy for trying, but there's a fine line between being an innovator and being horrible. For some, the best thing to do is stick to what they are good at.
Emmulation
Which then brings us to the idea of emulation. I'm going to start with the downside of it. It's no mystery why artists try to emulate the greats. They were great. But given the choice between listening to a knock-off version of The Beatles or The Beatles themselves, it doesn't take a genius to know who most would choose.
For example, there is this band that I saw in Austin called The Explorer's Club. They are a good band, but it doesn't take long to realize that they are blatently ripping off The Beach Boys. They put on a fun show, but I really don't care to buy any of their music.
From an artist's point of you, wouldn't you get tired of emulating someone else's art? I mean, I suppose there is a market for someone who can make exact replicas of Piccaso's and Monet's, but is it fulfilling? Don't you want to explore what you are capable of?
Ok, so it's pretty easy to find the downside of emmulating another artist. So what about the upside?
There is a definite comfort in familiarity (although the old saying does say, "Familiarity breeds contempt). It's fun to hear something and say, "Yeah, I like this, I've heard something like it before". It's kind of like unravelling a mystery. Who did you rip off?
But "rip off" is too strong. Some bands are incredible because they obviously draw upon past influences, but somehow make it sound fresh. One of my favorite bands of all time, as I've said here, is The Band. If you listen to their music, you hear about every imaginable influence conceivable, from early rock and roll, to country, to R & B, to Tin Pan Alley. You can hear it all. But at the same time, when you hear it, you know you are listening to The Band's sound.
I kind of feel the same way about Bright Eyes/Conor Oberst. You've heard this type of music before, definitely, but he manages to put his own spin on it (at least most of the time).
The first time I heard "The Underdog" by Spoon, I thought I was hearing a rarely heard track by Thin Lizzy. But once I knew it was Spoon, it was kind of like, "Ohhhh, ok, Spoon". I hear it now.
The Best of Both Worlds
I'm going to make a slightly disappointing conclusion by saying a mix of both innovation and emmulation is necessary. But like most things in life, the truth is found somewhere in the middle ground.
Let's say for example, I invent a word called, "crangigulous". Obviously, just because I invented a new word, doesn't mean I'm an innovator. The way I would become an innovator in this example, is by either convincing people that this is an incredible word that they should be using in every day life to express profound emotions and somehow having them accept that, or by creating a suitable context for this word to fit into. The latter is probably more reasonable, as what is a word without context anyway? As it is, in creating this word, I'm using a basic knowledge of the English language. "Crangigulous" would probably be an adjective because of its "ous" ending, such as "ambiguous", or "ambitious". So in a way, I'm emulating what I already know (which isn't a lot, considering I've spelled "emulate" a few different ways as you may have noticed). The trick would be taking some random keystrokes, like "alueouohfoiawhfkhd" and finding a way for that to work. Then I'd be among the truest of the true innovators.
But I don't think that type of world exists. People need context. What makes the really great innovators of today's music truly innovative, is that they take risks and try new things in the fairly narrow field of pop/rock/indie music. Instead of branching off completely, they are simply adding to the lineage built before them. "Odelay" is one of the most innovative albums of the past 25 years, but there's really nothing new there. Beck managed to take all sorts of elements and meld them together into something original. It's kind of Frankenstein monster-ish. Making new out of the old.
To me it's not necessarily creating something previously unheard of, it's creating something with the pieces you have in a way that has never been thought of. I don't know if a truly new form of popular music is even possible. Maybe it is, but we won't know until we see it. So I guess the only thing we can hope for is for true artists to keep creating and see what happens.
Ironically, this blog idea is not mine. Thanks again, Mike. I'm not sure how many original ideas I have within me. I've learned to surround myself with people who do, though, so I guess it works out all right for me.
I've heard this debate within several spheres of life. There are people within the art world who say that there is no where left to go when it comes to painting. That would be a sad thing, but is there really a limit to what you can do with color, shape, form, and intricacy when it comes to paint on canvas? I'm no expert in this field, so I can't say. Maybe no one can until the next innovator comes along to refute that assumption.
So since this is a music blog, what about music? I once read a songwriting book that quoted one of the Gallagher brothers of Oasis, who said that there is a finite number of notes and chords that one can effectively use in popular music. He basically said everything had already been done, which explains the direction that Oasis has decided to go with their music. They are blatent emulators.
I don't really agree with this assumption. I think it is challenging to be innovative within pop music, but it doesn't mean it can't or doesn't happen. But then again, what's wrong with emulation anyway? There is a certain comfort in familiarity. Bob Dylan started his career basically emulating Woody Guthrie in every single way. Dylan didn't stick with this for long, though. Some make quite a career off of emulating what was done before. Dr. Dog, a band I've blogged about in the past, sounds like they were pulled straight out of the '60s rock scene. They do it well, though. But too much emulation can be a bit tiresome. But on the other hand, too much innovation can too. You don't want to lose your audience by going off the deep end, thank you very much Plastic Ono Band!!!
So what to do then? What are the pros and cons for both sides of the debate? How does one successfully do a little of each (which is probably the formula for success after all)? Let's look at both sides, shall we?
,
Innovation
On most accounts, it's hard to argue against innovation. Inventors aren't usually scolded for the ideas they put into practice. Who are the biggest innovators in today's music scene?
Number one has to be Radiohead. I can't think of anyone who has done more in terms of successful experimentation and innovation. Early on in their career, they were kind of your basic, good mid-'90s alt-rock band. But along comes a little album by the name of "OK Computer" and you can forever drop "run-of-the-mill" as an adjective for Radiohead. And they've continued to push the limits with albums like "Kid A" and "In Rainbows". Their use of electronics and "sound" in general is amazing.
Other innovators that come to mind at least right this moment are Joanna Newsom, Beck, Sufjan Stevens, Saul Williams, and to some degree, Wilco (although they tend to fit in both categories).
But like anything in life, there tends to be a downside to innovation. There is a line between being innovative and experimental and being just plain crappy. Think concept albums. A lot don't work out too well.
I think the problem is when someone thinks they're being innovative, but really are just messing around and fail miserably. You can't fault artists for experimenting, it comes with the territory of being an artist. I think success sometimes brings a whole lot of ego, which leads to grand ideas of what the artist thinks he/she is capable of. Sometimes fans will go along for the ride, sometimes they won't. Remember when country icon Garth Brooks decided to create an alter-ego who sang bad pop songs? Country fans were confused, pop music fans were confused, and most everyone was generally disgusted. I guess you can't fault the guy for trying, but there's a fine line between being an innovator and being horrible. For some, the best thing to do is stick to what they are good at.
Emmulation
Which then brings us to the idea of emulation. I'm going to start with the downside of it. It's no mystery why artists try to emulate the greats. They were great. But given the choice between listening to a knock-off version of The Beatles or The Beatles themselves, it doesn't take a genius to know who most would choose.
For example, there is this band that I saw in Austin called The Explorer's Club. They are a good band, but it doesn't take long to realize that they are blatently ripping off The Beach Boys. They put on a fun show, but I really don't care to buy any of their music.
From an artist's point of you, wouldn't you get tired of emulating someone else's art? I mean, I suppose there is a market for someone who can make exact replicas of Piccaso's and Monet's, but is it fulfilling? Don't you want to explore what you are capable of?
Ok, so it's pretty easy to find the downside of emmulating another artist. So what about the upside?
There is a definite comfort in familiarity (although the old saying does say, "Familiarity breeds contempt). It's fun to hear something and say, "Yeah, I like this, I've heard something like it before". It's kind of like unravelling a mystery. Who did you rip off?
But "rip off" is too strong. Some bands are incredible because they obviously draw upon past influences, but somehow make it sound fresh. One of my favorite bands of all time, as I've said here, is The Band. If you listen to their music, you hear about every imaginable influence conceivable, from early rock and roll, to country, to R & B, to Tin Pan Alley. You can hear it all. But at the same time, when you hear it, you know you are listening to The Band's sound.
I kind of feel the same way about Bright Eyes/Conor Oberst. You've heard this type of music before, definitely, but he manages to put his own spin on it (at least most of the time).
The first time I heard "The Underdog" by Spoon, I thought I was hearing a rarely heard track by Thin Lizzy. But once I knew it was Spoon, it was kind of like, "Ohhhh, ok, Spoon". I hear it now.
The Best of Both Worlds
I'm going to make a slightly disappointing conclusion by saying a mix of both innovation and emmulation is necessary. But like most things in life, the truth is found somewhere in the middle ground.
Let's say for example, I invent a word called, "crangigulous". Obviously, just because I invented a new word, doesn't mean I'm an innovator. The way I would become an innovator in this example, is by either convincing people that this is an incredible word that they should be using in every day life to express profound emotions and somehow having them accept that, or by creating a suitable context for this word to fit into. The latter is probably more reasonable, as what is a word without context anyway? As it is, in creating this word, I'm using a basic knowledge of the English language. "Crangigulous" would probably be an adjective because of its "ous" ending, such as "ambiguous", or "ambitious". So in a way, I'm emulating what I already know (which isn't a lot, considering I've spelled "emulate" a few different ways as you may have noticed). The trick would be taking some random keystrokes, like "alueouohfoiawhfkhd" and finding a way for that to work. Then I'd be among the truest of the true innovators.
But I don't think that type of world exists. People need context. What makes the really great innovators of today's music truly innovative, is that they take risks and try new things in the fairly narrow field of pop/rock/indie music. Instead of branching off completely, they are simply adding to the lineage built before them. "Odelay" is one of the most innovative albums of the past 25 years, but there's really nothing new there. Beck managed to take all sorts of elements and meld them together into something original. It's kind of Frankenstein monster-ish. Making new out of the old.
To me it's not necessarily creating something previously unheard of, it's creating something with the pieces you have in a way that has never been thought of. I don't know if a truly new form of popular music is even possible. Maybe it is, but we won't know until we see it. So I guess the only thing we can hope for is for true artists to keep creating and see what happens.
Friday, November 7, 2008
A Look into an Obama Presidency
There's a line in "High Fidelity" that says (paraphrased), "It's not what you are like that matters, but what you like." Rob Gordon (John Cusack) tells us that what makes people interesting is their taste in music, movies, and all things pop culture, rather than their actual personality traits. I'm not quite as gung ho as this, but as a recovering music snob, I do give creedence to this philosophy. So based on this, what is an Obama Presidency going to look like?
Barack Obama's music taste isn't necesarily new news. Rolling Stone ran an interview with him in which he revealed some of what is on his iPod. But now that he's been elected, now is a good time to re-examine the tracks that can now officially be deemed, "president-worthy". To give credit where credit is due, my friend and talented musician in his own right, Michael Mullowney (left in photo) gave me this idea. I'm including the picture of him and podcast contributor, Joao Morlett (right in photo), with Michelle (and Sasha) Obama, who is (or I guess more appropriately, was) a regular at the restaurant we all work at. I'm supremely jealous of their photo op, but I too have waited on Michelle and the kids, and once, the man himself--the 44th President of the United States of America.
Yet I digress. My brush with greatness is a mere footnote. Let's get back to the serious business of fortelling the nature of the Obama Administration, based on his music tastes.
The Rolling Stones "Gimmie Shelter" I've always liked the song, but honestly never understood most of the lyrics beyond, "If I don't get some shelter. oh yeah I'm gonna fade away". So through the magic of search engines, I was able to find out what slurring Mick was singing about. Wow! Did you know this song is political? Here all this time I thought he was talking about finding a dry place to have a picnic!! Boy was I wrong! Kidding...mostly. What does this tell us about President Obama? It shows he's a realist. "War, children, it's just a shot away". He'll be careful with how he speaks to the rest of the world. There will be no chest-thumping speeches about the "Axis of Evil". President Obama will take the path of diplomacy. War is just a shot away and we are already mired in too much conflict. But this song is also a sign of Obama's optimism, as well. For in the end, "love is just a kiss away". Can we have peace in the world, Mr President? Yes we can!!
Bob Dylan "Maggie's Farm" and the album "Blood on the Tracks" So Barack is a fan, not just a casual observer, of good 'ol Zimmy. I mean, who doesn't like Bob Dylan. But there is a difference from saying "I like Blowin' in the Wind and Like A Rolling Stone." and saying you're into "Blood on the Tracks". Just one more piece of evidence that Barack Obama is the most perfect human being alive.
These are a couple of good choices. What does "Maggie's Farm" say? "I tried my best to be just like I am, but everybody wants me to be just like them...I ain't gonna work on Maggie's Farm no more." This is Dylan declaring himself to be his own man. Obama too, will be tested by those who want him to be just like them, but will hold firm in his beliefs and vision. He will rise above the "Idiot Wind" that blows through politics ("Idiot Wind" being a track from "Blood on the Tracks"--How do you like that segue?).
Essentially "Blood on the Tracks" is a break-up album. Inevitably, many Obama supporters who are currently "Tangled up in Barack" will feel let down, ignored, and betrayed. A break-up will be had. And like most break-ups, it won't necessarily be one thing that causes the split. It will be a series of things, but it will add up. And the once jubilant supporters will wonder who this man they once knew has become. For once they will see him for what he is--an imperfect human being like the rest of us. Obama knows this already and spoke of this at his victory rally in Grant Park. Expectations for any president are high, but expectations for him are Dylan-esque. At some point President Obama will metaphorically trade in his acoustic for an electric and many in his fawning masses will cry, "Judas!". Oh it will happen.
Jay-Z "Dirt off the Shoulder" I've got to admit, I've got nothing on this one. Maybe his suit will be dirty one day and he'll ask Joe Biden if he can brush it off for him. That's what the Constitution wants the Vice President to do right?
I mean, I liked the song, but I'm not very good at analyzing Jay-Z. I think it's Obama's way of being contemporary. This is a stretch, but here's my take on this song. There will be plenty of cleaning up to do when Obama is sworn in this January. Oh he'll be needing some extra strength multi-purpose cleaner to rid the the country of the unpleasant layer of Bush that pervades. This song will remind him that there will be some serious scrubbing to do. It's that or when we see him brushing his shoulders off it'll be how we know when President Obama is "feelin' like a pimp." I haven't quite figured it out yet.
Stevie Wonder The string of amazing albums in the '70s before anyone imagined he was capable of writing the awful load of crap called "I Just Called to Say I Love You". I mean, really???
Above anything this shows Obama's great taste in music. Stevie Wonder had a string of five albums that are unparalleled in music. These albums have it all--soul, rhythm, love, politics, spirituality, funky grooves, and innovation. This is Stevie Wonder at his genius period. Hopefully we are seeing Barack Obama at his genius period as well.
I think the song from this period that best encapsulates President Obama is "Higher Ground". Ok, so maybe that wasn't the biggest leap one could make, but oh well, my blog, my selections. "Teachers, keep on teachin', preachers keep on preachin' (the election is over, Rev. Wright, you too are allowed to preach again)...believers, keep on believin." To steal a phrase from Obama's former adversary, "It takes a village...". President Obama knows this and will ask for as much passion and effort from everyday Americans as he asks from himself and his own staff. "Gonna keep on tryin' till I reach the highest ground." He will fail, undoubtedly, but President Obama is not a quitter. There is always a higher ground to reach for, and this will be the time and place and history to reach for it.
Sheryl Crow Huhhh??????
Ok, so if you've seen the man dance, you know he's not the coolest person alive. That award goes to his wife Michelle. And no disrespect to you Mr. President, but if you have Sheryl Crow on your iPod, please don't admit it. Sigh! Ok, here goes.
I'll focus on "Are You Strong Enough". It is President Obama's way of telling his staff that, "I have a vision, but I'm going to rely on you heavily. You need to be strong enough to be with me and ready to support me when I fail and help me when I say 'I don't know'." As opposed to our current president, President Obama will not be afraid to ask questions and seek answers, rather than acting carelessly. He'll surround himself with intelligent, thoughtful, and pragmatic men and women who are strong enough to be his advisors on the tough road ahead.
This will be no easy ride, President Obama. This ain't no disco. This ain't no country club. This is DC. Again, I'm sorry to be a broken record, but...Sheryl Crow????
Miles Davis, John Coltrane, and Charlie Parker President Obama reclaims some of his lost cool points with these selections. I mean, without jazz, there would be no term "cool". Miles had an album called, "Birth of the Cool".
This is an encouraging sign. Jazz is a thinking person's music. Yes it may be improvisational, and no doubt President Obama is going to have to do a lot of improvising, but it is highly technical and complicated. Real jazz isn't Bill Clinton honking away on a saxophone on the Arsenio Hall Show. It's ground-breaking and spiritual like Coltrane's "A Love Supreme". It's technically and auditorally beautiful like Miles Davis' "Kind of Blue". It's jaw-droppingly perfect like any Charlie Parker solo when he wasn't out of his mind on drugs. And jazz is the one true American artform. I think Barack Obama is a jazz kind of guy. Cool and calm on the outside, but always thinking and looking to break new ground on the inside. Constantly innovating and finding new ways to riff on old themes. He'll bring out the best in his side players to produce great work.
So there you have it: A look into an Obama presidency based on his iPod selections. You probably can't tell I'm an Obama supporter. I'm just basing my predictions on the facts that the music presents us. I'm sure McCain supporters are wondering where R.E.M.'s "It's the End of the World As We Know It" is. I'm not so naive to think that perfection is going to be what happens. There's going to be a lot of bumps in the road and missteps and moments that bring to mind Bob Dylan leaping into born-again Christianity that make us all collectively say, "What????" But I have hope.
Most of the music listed above is music for the thinking person. It's the type of music that academics study. And I don't know about you, but there is something very comforting in knowing that an intelligent person is running our country. And our government consists of three branches, not just an executive branch like George W. Bush wanted us to think. Our country's recovery is in the hands of Congress and the Supreme Court as well. I think President Obama can unite everyone if they are willing to be united. You're not going to "get" Miles Davis's "Bitches Brew" if you don't allow yourself to "get" it. You've got to keep with it and finally it all comes together and you realize that you've found something. You have been transformed in a way. That's what it's going to take for the USA to turn around: a good dose of transformation from the inside out.
Yes We Can!!!
Wednesday, August 20, 2008
The Underappreciated Life of the Sideman
Being a sideman (or sidewoman as it were) is a tough gig.
A lot of times it's the sidemen who are the founders of the band. They are the originators of the band's sound and the secret life blood behind its success. But they are often overshadowed by the front man and/or lead guitarist. They watch as their band becomes associated with someone else. And that someone else gets all the glory and sometimes all of the money too. I read something from the always entertaining Lefsetz Letter blog that is often typical of what happens to a band. An unnamed band's sideman wrote in saying how his front man was getting all of the publishing royalties and not spreading the wealth around to the other members. While the front man was living a life of luxery, the sidemen continued to live the life more common to rock and roll bands--the life of near poverty and struggle. From the sounds of the letter, whatever band that this may have been is probably no longer a band anymore. Rock and roll lesson number one (or any genre for that matter): respect your sidemen.
I'm writing this particular blog today because of the passing of Dave Matthews Band saxophonist LeRoi Moore. I've never been a huge fan of Dave Matthews Band. I bought "Under the Table and Dreaming" when it came out and have liked a single here and a single there. But when I have enjoyed this band's music it's more of a credit to the sidemen than Dave himself. Frankly, Dave Matthews by himself is pretty dull. I thought his solo album was pretty lifeless. Why is it that this band is always a hit on the summer tour circuit? The band. I'm pretty sure Dave Matthews knows this as well. LeRoi Moore was the band's founder and one of the integral parts to its sound, which love it or hate it, is pretty original. When your audience is packed with both frat guy types and hippies you know you've accomplished something.
A sideman's passing is not as big of news as the passing of a front man, but from a musical standpoint is definitely no less important. The Who, to many, stopped being The Who after Keith Moon died in the early '80s. But to me it became official after John Entwistle died. Sure Pete and Roger were always more visible, but The Ox propelled this band forward with his outwardly calm demeanor, yet frantic, lead-style bass playing. The whole is only as good as the sum of its parts. That's how the saying goes, right? A band is only as good as each of the members that comprise it. Pete Townshend and Roger Daltry can tour around as The Who as much as they want, but they are no longer The Who without their most important sideman (and perhaps only sideman as the other three always found a way into the spotlight).
But that's the old story. That's the biopic script at least. Band starts as a tight unit struggling to the top then gains fame. Fame leads to the press honing in on the visible member or members of the band, while the rest get forgotten. This often leads to jealousy and/or resentment and often to the breakup of the band. There's the general outline of "The Doors" and "The Buddy Holly Story" and if I'm not mistaken, "That Thing You Do". What would rock and roll be without a Ray Manzarek for every Jim Morrison or a Big Brother and the Holding Company for every Janis Joplin.
It's not always so dramatic. Some frontmen truly know what they have. I think Dave Matthews does. I also think of the passing earlier this year of Danny Federici of The E Street Band. Bruce Springsteen has certainly had his fair share of success solo, but with the E Street band, he is electric! Maybe it's his working class roots, but The Boss understands the importance of the sidemen he employs. The sound of the E Street band is like no other. And yes it helps that Bruce Springsteen is one amazing songwriter, it also helps that he has a band that can fully realize the potential of the songs. Danny Federici played a huge part in that and Springsteen made that known after Danny's passing.
It's not always a bad thing being a sideman. The well-respected Nashville sidemen are talented musicians who make a good living off of playing on other people's albums. They get to do what it is that they are good at without the constant glare of the spotlight. The Buddy Miller's of the world are doing quite all right.
In fact one of my favorite bands of all time is a band comprised solely of sidemen. It is fitting that their name was The Band. They started as a backing band for Canadian rock and roll pioneer, Ronnie Hawkins. After gaining some notoriety as a talented group of musicians, Bob Dylan decided to hire them as his backing band as he transitioned from acoustic to electric. Fans booed their shows as they felt the poet/activist Dylan had betrayed them with this new sound. It's too bad they did. The music that was made between Dylan and The Band on these shows is absolutely amazing. It is a precurser of the outstanding work that they would do in their post-Dylan days. They were hard-working musicians, whose grasp and love of various styles of music, melded into some of the most influential music to come out of the late '60s and early '70s.
There was no frontman with The Band. You'd have Rick Danko taking vocals on one song, Levon Helm on another, and Richard Manuel on yet another. Robbie Robertson, who is generally credited with writing most of The Band's material (which is contested by some), added brilliant guitar work, while Garth Hudson jumped around from organs to saxophone to accordian to anything else imaginable, but with great skill just the same. The Band epitomize the importance of the sideman. That's what they were--amazing sidemen, who were the right combination of talent at the right time. The road took its toll on them, though. Maybe sidemen just aren't meant for the spotlight.
So here's hoping that people will take note of these overlooked elements of rock and roll. Would DMB be what it is today without the contributions of LeRoi Moore? I would venture to say, probably not. Would Bob Dylan still be touring successfully today without the help of the amazing band he has surrounded himself with? It sure wouldn't be as entertaining as it is.
A lot of times it's the sidemen who are the founders of the band. They are the originators of the band's sound and the secret life blood behind its success. But they are often overshadowed by the front man and/or lead guitarist. They watch as their band becomes associated with someone else. And that someone else gets all the glory and sometimes all of the money too. I read something from the always entertaining Lefsetz Letter blog that is often typical of what happens to a band. An unnamed band's sideman wrote in saying how his front man was getting all of the publishing royalties and not spreading the wealth around to the other members. While the front man was living a life of luxery, the sidemen continued to live the life more common to rock and roll bands--the life of near poverty and struggle. From the sounds of the letter, whatever band that this may have been is probably no longer a band anymore. Rock and roll lesson number one (or any genre for that matter): respect your sidemen.
I'm writing this particular blog today because of the passing of Dave Matthews Band saxophonist LeRoi Moore. I've never been a huge fan of Dave Matthews Band. I bought "Under the Table and Dreaming" when it came out and have liked a single here and a single there. But when I have enjoyed this band's music it's more of a credit to the sidemen than Dave himself. Frankly, Dave Matthews by himself is pretty dull. I thought his solo album was pretty lifeless. Why is it that this band is always a hit on the summer tour circuit? The band. I'm pretty sure Dave Matthews knows this as well. LeRoi Moore was the band's founder and one of the integral parts to its sound, which love it or hate it, is pretty original. When your audience is packed with both frat guy types and hippies you know you've accomplished something.
A sideman's passing is not as big of news as the passing of a front man, but from a musical standpoint is definitely no less important. The Who, to many, stopped being The Who after Keith Moon died in the early '80s. But to me it became official after John Entwistle died. Sure Pete and Roger were always more visible, but The Ox propelled this band forward with his outwardly calm demeanor, yet frantic, lead-style bass playing. The whole is only as good as the sum of its parts. That's how the saying goes, right? A band is only as good as each of the members that comprise it. Pete Townshend and Roger Daltry can tour around as The Who as much as they want, but they are no longer The Who without their most important sideman (and perhaps only sideman as the other three always found a way into the spotlight).
But that's the old story. That's the biopic script at least. Band starts as a tight unit struggling to the top then gains fame. Fame leads to the press honing in on the visible member or members of the band, while the rest get forgotten. This often leads to jealousy and/or resentment and often to the breakup of the band. There's the general outline of "The Doors" and "The Buddy Holly Story" and if I'm not mistaken, "That Thing You Do". What would rock and roll be without a Ray Manzarek for every Jim Morrison or a Big Brother and the Holding Company for every Janis Joplin.
It's not always so dramatic. Some frontmen truly know what they have. I think Dave Matthews does. I also think of the passing earlier this year of Danny Federici of The E Street Band. Bruce Springsteen has certainly had his fair share of success solo, but with the E Street band, he is electric! Maybe it's his working class roots, but The Boss understands the importance of the sidemen he employs. The sound of the E Street band is like no other. And yes it helps that Bruce Springsteen is one amazing songwriter, it also helps that he has a band that can fully realize the potential of the songs. Danny Federici played a huge part in that and Springsteen made that known after Danny's passing.
It's not always a bad thing being a sideman. The well-respected Nashville sidemen are talented musicians who make a good living off of playing on other people's albums. They get to do what it is that they are good at without the constant glare of the spotlight. The Buddy Miller's of the world are doing quite all right.
In fact one of my favorite bands of all time is a band comprised solely of sidemen. It is fitting that their name was The Band. They started as a backing band for Canadian rock and roll pioneer, Ronnie Hawkins. After gaining some notoriety as a talented group of musicians, Bob Dylan decided to hire them as his backing band as he transitioned from acoustic to electric. Fans booed their shows as they felt the poet/activist Dylan had betrayed them with this new sound. It's too bad they did. The music that was made between Dylan and The Band on these shows is absolutely amazing. It is a precurser of the outstanding work that they would do in their post-Dylan days. They were hard-working musicians, whose grasp and love of various styles of music, melded into some of the most influential music to come out of the late '60s and early '70s.
There was no frontman with The Band. You'd have Rick Danko taking vocals on one song, Levon Helm on another, and Richard Manuel on yet another. Robbie Robertson, who is generally credited with writing most of The Band's material (which is contested by some), added brilliant guitar work, while Garth Hudson jumped around from organs to saxophone to accordian to anything else imaginable, but with great skill just the same. The Band epitomize the importance of the sideman. That's what they were--amazing sidemen, who were the right combination of talent at the right time. The road took its toll on them, though. Maybe sidemen just aren't meant for the spotlight.
So here's hoping that people will take note of these overlooked elements of rock and roll. Would DMB be what it is today without the contributions of LeRoi Moore? I would venture to say, probably not. Would Bob Dylan still be touring successfully today without the help of the amazing band he has surrounded himself with? It sure wouldn't be as entertaining as it is.
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