Monday, February 1, 2010
Grammy Awards Review (well sort of)
I'll come clean right away and let you know that I missed the first hour of the Grammy Awards last night. Didn't see Elton/Lady GaGa, Beyonce, The Black Eyed Peas, or Pink's performance. Missed a few of the early awards. I turned it on right around the time that Stephen Colbert won his Grammy, thanking Jesus since it was for a Christmas album and getting approval from his daughter that he's finally cool. Good acceptance speeches are hard to come by, and this one was about the only worthwhile one I saw. Let me just give you a couple of thoughts on some of the things about the expectedly too long, over-blown, largely dull awards ceremony.
1. Taylor Swift Can't Hit the High Notes.
A big "Yikes" goes out to the weird pairing of Stevie Nicks and Ms. Swift. Stevie Nicks was okay. You kind of know what to expect with her. Her voice has always been slightly gravelly, yet with time, it's gotten considerably more jagged. Fine, that's aging for you. She can still pull off being Stevie Nicks pretty well. But Taylor Swift...well, maybe she should have lip-synched. Or at the very least should have stayed away from the high notes on "Rhiannon". I respect her for writing her own material and for writing honestly, but she's way too inconsistent in every live performance I've seen of her.
2. The MJ Tribute--Mixed Bag.
I do like "Earth Song". It's a tad preachy, but Michael's "message" songs tended to be on the rather blatent end of things. No veils or metaphors with "We Are The World" or "Man In The Mirror". And the artists who performed it did a relatively good job with it. I didn't have the 3D glasses, so I can't speak on that, although I hear the effects were kind of disappointing. It just got plain weird at the end, though (kind of ironic, don't you think, since the same can be said about Michael Jackson's life...so maybe it's fitting). The turning around of the four artists to the pictures of Michael on the screens seemed a bit cheesy. And Lionel Ritchie: Did you really have to do the whole, "Wow, wow!" Maybe that was a genuine reaction, but it seemed odd. And then the parading out of Michael's kids--bizarre. Maybe they wanted to say something. There was something a little creepy and uncomfortable about it, though. In my opinion, they should have had the song and left it at that.
3. Dave Matthews Band--Really good performance, actually.
I say, "actually" because I've been pretty underwhelmed by Dave and/or the band for quite a few years now. And I'm not crazy about their latest album by any means, but they were really locked in last night. Yeah, there was plenty of overdone Grammy production, with the addition of choirs, strings, bands, to the point of having a ridiculously crowded stage, but at the same time, it worked. Maybe it was being up there without there fallen bandmate LeRoi Moore and just the emotional energy of that, or maybe they just happened to be locked in. Whatever the case, I was surprised that I enjoyed it so much.
4. Why Bon Jovi? Why?!
I'll leave it at that.
5. The Lil Wayne, Eminem, Drake performance was unwatchable with constant censor interruption.
I know there's a history between CBS and the Grammys, but really, they might want to consider showing the ceremony on a network that doesn't have to be "bleep ready". It kind of messes up the continuity of a performance when it's constantly silenced.
So there are five thoughts I had on the whole Grammy deal. I honestly don't have a lot to say about it. The Grammys are what The Grammys are--something largely to get riled up about if you're a music fan. You know what I mean. Everyone has their, "Wow, what were they thinking" moment(s). Mostly, by now, all of us know, they aren't to be taken too seriously. Historically speaking, they've been horribly out of touch and/or behind the times, yet every so often, you get a decent performance or crazy enough paring, that it actually works. It was nice to see Leon Russell, yet I could care less about the Zac Brown Band, who he performed with (best new artist over Silversun Pickups, The Ting Tings AND MGMT? Methinks, no), but a legend sighting is cool. Speaking of legends, it was nice that Neil Young finally won a Grammy and was given some serious props at the MusiCares ceremony to kick off "Grammy Weekend". Also, I was very happy that two other of my favorites, Levon Helm and Steve Earle, were winners. So, eh...Thinking back on it, much like I think every other year I've watched The Grammys, I get kind of a bland feeling--like eating an okay burger after it was just hyped as supposedly being one of the best around (an actual experience I had this past weekend, I might add).
The music landscape is about to get a lot more exciting, though, because before you know it, some of the early festivals will be kicking off (i.e. SXSW), which will lead straight into summer festival season. The real pulse of music lies in these things and of course local music scenes and the unexpected surprise places as well.
Sunday, December 13, 2009
Best of '09
First off, on an unrelated-to-anything-musical note, there comes a time when the phrase "cold and flu season" goes from being a distant concept to an upper respiratory/dripping nose/scrambled head reality. Now is that time. So in a cold medicine haze, I'm going to plunge right into the humble task at hand: telling you the 10 best albums, 10 best songs, a few good movies, and 5 important music news stories of 2009. Oh and it'll be good, maybe because of the meds (or in spite of them...this fact remains to be seen!)!
2009's 10 Best Albums
Before I give you this list, I'll say this about the "album". Supposedly it's dying and/or dead, depending who you talk to. One of the top music news stories of '09, might just be Radiohead's Thom Yorke announcing that the band would no longer be focusing on making albums, but rather stick to singles. But now, so I hear, Radiohead IS working on an album, so what are you gonna do? Frankly I'm happy to hear this because a Radiohead album release creates as much buzz and usually delivers with more consistency than any big budget Hollywood blockbuster (although I hear Avatar is actually good, even though some of the previews make it look like it could have gone the way of Costner's epic failure, "Waterworld"). Albums are still relevant, maybe less so, but until I'm told otherwise, they're still around and still a huge marker of just how good a band is. There were lots of good ones this year, definitely.
My process isn't scientific. Basically, with the help of a scan through of my iTunes collection, I came up with a list of 17 albums that I consistently listened to this past year. I narrowed the list to 10 (with a couple of honorable mentions) and arranged them in a way that I felt makes sense. That is, sense in my mind. Lists as we all know, no matter how hard someone might try to convince you otherwise, are doomed to subjectivity. And, this will be a limited list as well. I haven't heard all of the albums of '09, so I may very well be missing one that I WOULD have made #1. I'll start with the following sub-heading under "Best albums of '09":
Bands/artists who released albums this year that I've heard great things ABOUT, but haven't actually heard:
Silversun Pickups
Passion Pit
Kid Sister
Ida Maria
Neko Case
Maybe the albums from the aforementioned artists would have made the list, maybe they wouldn't have--who the hell knows? I'd thought I'd at least give them a mention because I'd still like to hear them before long. I also haven't heard many that will undoubtedly make the pop charts top 10: Taylor Swift, Beyonce, Lady Gaga, Black Eyed Peas, etc (although you tend to hear the songs off of these albums EVERYWHERE anyway, so you kind of get the idea what they're like). Not to be dismissive of pop music, I'm just probably not the best judge of it.
Top 10 Albums of 2009
10. David Bazan, "Curse Your Branches"
Previous to this outstanding collection of songs of a man in the midst of transition, David Bazan was known for being: A.) the main dude in the band Pedro the Lion and B.) a devout Christian. "Curse Your Branches" deals with the pain, struggle, and anger Bazan faced and continues to face as realized, "Hey, this whole religion thing just isn't workin' out for me." As a friend of mine describes it, it's the perfect companion music to the Bill Maher documentary, "Religilous". His former brothers and sisters in Christ aren't so happy with him, let's just say. The album is quite a statement and the songs are both lyrically thoughtful and enjoyable from a musical sense as well.
9. Vizqueen, "Message to Garcia"
There isn't much mystery behind the sound of Seattle's Vizqueen. It's punk influenced, straight plain ol' rock and roll influenced, up tempo, good music. I posted a link to an article on front woman Rachel Flotard on The Hidden Chord's Facebook page. I strongly recommend reading this. It's a touching story, which makes you appreciate the spirit behind the music.
8. Mos Def, "The Ecstatic"
For awhile there, Mos Def was turning into purely an actor. Not an uncommon transition for hip-hop/rap stars, but still, this is one talented guy musically as well, and he proves it with "The Ecstatic". I said earlier I'm probably not the best judge of pop music. The same probably goes for rap/hip-hop. Why do I like this album? I just kinda do. Mos Def is a great MC and the beats are...see I don't know how to describe them. I just like it, ok!!!!
7. Dirty Projectors, "Bitte Orca"
Hypnotic, at times ambient, a bit experimental--not quite to Animal Collective lengths, but enough to use the label. I don't want to get too far ahead of myself here, but one of the best songs of the year is on this album. Will it be #1? Possibly. What else can I say about this album? It's got that many layered thing that a lot of good indie rock goes for these days. It can be quiet and calming, but then they pull out something that sounds Led Zeppelin-esque. Comfort food for the ears.
6. The Xx, "Xx"
Uh oh, another contender for #1 song of the year is on this album...who will it be??? These kids...well they're just kids for one!!!...are pretty damned amazing with a fairly basic sound. Not a whole lot of layers going on here. Interesting vocals...which is kind of strangse to say because the delivery of the vocals are almost done in a disinterested sort of way. I'll use the term I used above with Dirty Projectors--hypnotic. You can't help but get pulled in. Lots of good beats, simple effects, guitar, drums...and there you have it.
5. Phoenix, "Wolfgang Amadeus Phoenix"
This album is beyond catchy. So catchy in fact, Cadillac had to swipe the song 1901 for itself and kill it for the rest of us! Reminded me of what happened with Santogold (or is it Santigold?) last year. Well, at the very least, I hope they got a nice paycheck for it. This is a fun, dance-able, almost disco-ish album at times, that goes by quickly--too quickly in fact.
4. Bob Dylan, "Together Through Life"
This was one weird, yet productive year for the nearly 70 year old Dylan. Early in the year, he releases "Together Through Life", which was co-written with Robert Hunter, who co-wrote much of The Grateful Dead's material. And it's a gem, that is for those who appreciate Dylan's vocal "style", filled with Mexican border-town sounding songs helped along by his amazing backing band. During the summer, he was questioned by police in New Jersey for hanging out in the rain in somebody's front yard (apparently he was looking for Springsteen's childhood home). And most recently, he released a Christmas album. He's a tad creepy and weird, but he's not slowing down, and I hope he can keep going for years to come.
3. Animal Collective, "Merriweather Post Pavillion"
Where do you even start with Animal Collective? Nobody, but NOBODY is doing what these guys are doing. I recently read someone say it would have been the type of thing Brian Wilson would have been doing if he would have been in his "Pet Sounds" prime in 2009. It's experimental, to be gentle, so much so in fact, I understand that they have a hard time recreating their sound live. But, here I go again, it's hypnotic (cold meds are apparently limiting my ability to come up with other adjectives!). Time after time, here has been my experience with Animal Collective, "What the hell is this?! I don't know if I can get into it...I'll stay with it for maybe one more song...", yet suddenly I'm six or seven songs in and I can't tear myself away! Animal Collective is as unique as it gets these days!
2. Grizzly Bear, "Veckatimest"
I'm going to do my best not to use the term "hypnotic" here (even though it is!). I feel like this album comes closest in feel to my favorite from last year, "Ragged Wood" by Fleet Foxes, although that's not a completely accurate comparison. It's rich, airy sounding music, filled with great harmonies that I'm sure would sound even better on vinyl, much like with Fleet Foxes. It's epic-sounding indie rock that pulls you into a different state of mind (a very pleasant one, I must say). I think some commercial has gotten a hold of some Grizzly Bear too, but please corporate America, PLEASE, leave them alone!!! It's too good for you!!!
1. The Avett Brothers, "I and Love and You"
If my friend Phillip Groves is reading this, I'm sure he's chalking this selection up to my "folksy" taste in music. Call it what you will, this album is sooo good, though. These guys started out as kind of a bluegrass fusion sort of band (fused with punk, grunge, country, folk, indie rock), but though they've strayed away from their original sound a bit, they're amazing instrumentalists with tons and tons of energy and quite a few thoughts on love and pain and longing. There are quite a few ballads on here, which normally, I'm not a complete fan of, but the vocals are so strong, harmonies so astounding, and songwriting so complete, that I can't help but forgive their sappy side. There's plenty of banjo still around to satisfy early fans, too, I'm sure. And even though it's ballad-heavy, there are a couple of rockers on here that prove that this band can do a little bit of everything.
Honorable Mention:
Girls, "Album"
Dignan, "Cheaters and Thieves"
Top 10 songs of '09
You'll notice a bit of overlap here with artist's albums and their songs, but I suppose that shouldn't come as a surprise. Great songs tend to make the best albums what they are. Without much explanation (sometimes music just needs to speak for itself), here they are:
10. Poker Face, Lady Gaga (It's fun...so sue me!)
9. I Feel A Change Comin' On, Bob Dylan
8. Supermagic, Mos Def
7. Lisztomania, Phoenix
6. While You Wait For The Others, Grizzly Bear (the version with Michael McDonald is surprisingly good too)
5. Basic Space, The Xx
4. My Girls, Animal Collective
3. Wilco (The Song), Wilco
2. Stillness is the Move, Dirty Projectors
1. I and Love and You, The Avett Brothers
Honorable Mention:
Must Be Santa, Bob Dylan
Lovesick Teenagers, Bear in Heaven
Movies of '09
I haven't really seen a lot of movies this year, to be honest with you. Ye Olde recession has made this blogger cut out certain things. I definitely saw a lot more last year and felt I could therefore rank them better. I have seen a few really good ones, which I'll list in no particular order. I still want to see Invictus and Up in the Air, as well (maybe Avatar too). And Inglorious Basterds when it comes out on DVD. Then maybe I'll change this list:
The Hangover (probably my #1...I know I said I wouldn't rank, but I can't think of a better one this year!)
Star Trek
This Is It
(500) Days of Summer
Funny People
Five (plus one honorable mention...so I guess 6 if my basic addition is correct) music stories that impacted 2009 (not top stories because I'm sure there are probably others, but these are up there for me)
Honorable Mention (or #6 as some would choose to say)--Amy Winehouse is Still Alive
I mean, who would have thought...that's all
5. Kanye Goes Crazy At The VMAs
How do you effectively kill your career? Jump on stage during America's sweetheart's acceptance speech and say Beyonce's video was better. Maybe someone should have watched how many bottles Kanye was downing? Maybe? Who knew alcohol could cause such problems? Dramatic career reinvention is pretty trendy these days, though, so maybe it's a good thing in the long run, Kanye.
4. CD Sales Continue to Drop--Digital Has Yet To Make Up the Difference
No surprise here. Call it a the continuing saga of the record industry. I'm sure the business will eventually settle into some sort of groove (kind of a pun?), but right now companies are still making moves and coming up with strategies on how to make money in the industry. Google, Apple, MySpace, Rhapsody...everyone's been jockeying to get in on the latest attempts to redefine the 21st Century face of music. Will they work? Check back with me at this time, not just next year, but the next several years to come.
3. UK Piracy Wars
They're still a little behind the times in the UK when it comes to piracy. Lily Allen was in the middle of a war of words between those who basically said piracy was bad, but it's a necessary evil, and those who said, "Let's crack down on pirates"...followed by an "Arrr!" I'm sure. No one's too thrilled with music piracy, but unfortunately it's here. US companies are looking at ways to give away and/or make music cheap, but still make it somewhat financially viable for all involved...The UK, I'm sure will take that approach soon as well...whether that makes Lily "Smile" or not (Lily Allen had this song called "Smile" and,... oh forget it!).
2. Live Nation and TicketMaster Merge
Pending government approval that is...because, well, to me, and the folks who check on this sort of thing, this seems like a potential monopoly. I think the government has rules against that. It'll probably get worked out eventually, though, which would ultimately unite the largest concert vendor with the largest ticket agency. They say that, together they're going to be able to better serve the concert going public, but something about this relationship makes me a bit squeemish. We'll see.
1. Michael Jackson Dies
Well...yeah. What else was it going to be? The story isn't complete, of course. I wonder if it ever really will be. If Michael Jackson's life wasn't the epitome of tragedy, it certainly was the epitome of the word "bizarre". And now that he's gone, people are once again appreciating his music. I think we all forgot or took for granted just how much amazing work the man put out. Just another strange, sad twist in the man's career, which is now bigger than ever. I'm sure the saga is going to continue to unfold for a long time, with Joe Jackson never too far from it all, trying to cash in.
That's an extremely condensed version of 2009 according to The Hidden Chord. I'm sure 2010 will be filled with more great music, big names and otherwise. Happy Holidays to one and all.
2009's 10 Best Albums
Before I give you this list, I'll say this about the "album". Supposedly it's dying and/or dead, depending who you talk to. One of the top music news stories of '09, might just be Radiohead's Thom Yorke announcing that the band would no longer be focusing on making albums, but rather stick to singles. But now, so I hear, Radiohead IS working on an album, so what are you gonna do? Frankly I'm happy to hear this because a Radiohead album release creates as much buzz and usually delivers with more consistency than any big budget Hollywood blockbuster (although I hear Avatar is actually good, even though some of the previews make it look like it could have gone the way of Costner's epic failure, "Waterworld"). Albums are still relevant, maybe less so, but until I'm told otherwise, they're still around and still a huge marker of just how good a band is. There were lots of good ones this year, definitely.
My process isn't scientific. Basically, with the help of a scan through of my iTunes collection, I came up with a list of 17 albums that I consistently listened to this past year. I narrowed the list to 10 (with a couple of honorable mentions) and arranged them in a way that I felt makes sense. That is, sense in my mind. Lists as we all know, no matter how hard someone might try to convince you otherwise, are doomed to subjectivity. And, this will be a limited list as well. I haven't heard all of the albums of '09, so I may very well be missing one that I WOULD have made #1. I'll start with the following sub-heading under "Best albums of '09":
Bands/artists who released albums this year that I've heard great things ABOUT, but haven't actually heard:
Silversun Pickups
Passion Pit
Kid Sister
Ida Maria
Neko Case
Maybe the albums from the aforementioned artists would have made the list, maybe they wouldn't have--who the hell knows? I'd thought I'd at least give them a mention because I'd still like to hear them before long. I also haven't heard many that will undoubtedly make the pop charts top 10: Taylor Swift, Beyonce, Lady Gaga, Black Eyed Peas, etc (although you tend to hear the songs off of these albums EVERYWHERE anyway, so you kind of get the idea what they're like). Not to be dismissive of pop music, I'm just probably not the best judge of it.
Top 10 Albums of 2009
10. David Bazan, "Curse Your Branches"
Previous to this outstanding collection of songs of a man in the midst of transition, David Bazan was known for being: A.) the main dude in the band Pedro the Lion and B.) a devout Christian. "Curse Your Branches" deals with the pain, struggle, and anger Bazan faced and continues to face as realized, "Hey, this whole religion thing just isn't workin' out for me." As a friend of mine describes it, it's the perfect companion music to the Bill Maher documentary, "Religilous". His former brothers and sisters in Christ aren't so happy with him, let's just say. The album is quite a statement and the songs are both lyrically thoughtful and enjoyable from a musical sense as well.
9. Vizqueen, "Message to Garcia"
There isn't much mystery behind the sound of Seattle's Vizqueen. It's punk influenced, straight plain ol' rock and roll influenced, up tempo, good music. I posted a link to an article on front woman Rachel Flotard on The Hidden Chord's Facebook page. I strongly recommend reading this. It's a touching story, which makes you appreciate the spirit behind the music.
8. Mos Def, "The Ecstatic"
For awhile there, Mos Def was turning into purely an actor. Not an uncommon transition for hip-hop/rap stars, but still, this is one talented guy musically as well, and he proves it with "The Ecstatic". I said earlier I'm probably not the best judge of pop music. The same probably goes for rap/hip-hop. Why do I like this album? I just kinda do. Mos Def is a great MC and the beats are...see I don't know how to describe them. I just like it, ok!!!!
7. Dirty Projectors, "Bitte Orca"
Hypnotic, at times ambient, a bit experimental--not quite to Animal Collective lengths, but enough to use the label. I don't want to get too far ahead of myself here, but one of the best songs of the year is on this album. Will it be #1? Possibly. What else can I say about this album? It's got that many layered thing that a lot of good indie rock goes for these days. It can be quiet and calming, but then they pull out something that sounds Led Zeppelin-esque. Comfort food for the ears.
6. The Xx, "Xx"
Uh oh, another contender for #1 song of the year is on this album...who will it be??? These kids...well they're just kids for one!!!...are pretty damned amazing with a fairly basic sound. Not a whole lot of layers going on here. Interesting vocals...which is kind of strangse to say because the delivery of the vocals are almost done in a disinterested sort of way. I'll use the term I used above with Dirty Projectors--hypnotic. You can't help but get pulled in. Lots of good beats, simple effects, guitar, drums...and there you have it.
5. Phoenix, "Wolfgang Amadeus Phoenix"
This album is beyond catchy. So catchy in fact, Cadillac had to swipe the song 1901 for itself and kill it for the rest of us! Reminded me of what happened with Santogold (or is it Santigold?) last year. Well, at the very least, I hope they got a nice paycheck for it. This is a fun, dance-able, almost disco-ish album at times, that goes by quickly--too quickly in fact.
4. Bob Dylan, "Together Through Life"
This was one weird, yet productive year for the nearly 70 year old Dylan. Early in the year, he releases "Together Through Life", which was co-written with Robert Hunter, who co-wrote much of The Grateful Dead's material. And it's a gem, that is for those who appreciate Dylan's vocal "style", filled with Mexican border-town sounding songs helped along by his amazing backing band. During the summer, he was questioned by police in New Jersey for hanging out in the rain in somebody's front yard (apparently he was looking for Springsteen's childhood home). And most recently, he released a Christmas album. He's a tad creepy and weird, but he's not slowing down, and I hope he can keep going for years to come.
3. Animal Collective, "Merriweather Post Pavillion"
Where do you even start with Animal Collective? Nobody, but NOBODY is doing what these guys are doing. I recently read someone say it would have been the type of thing Brian Wilson would have been doing if he would have been in his "Pet Sounds" prime in 2009. It's experimental, to be gentle, so much so in fact, I understand that they have a hard time recreating their sound live. But, here I go again, it's hypnotic (cold meds are apparently limiting my ability to come up with other adjectives!). Time after time, here has been my experience with Animal Collective, "What the hell is this?! I don't know if I can get into it...I'll stay with it for maybe one more song...", yet suddenly I'm six or seven songs in and I can't tear myself away! Animal Collective is as unique as it gets these days!
2. Grizzly Bear, "Veckatimest"
I'm going to do my best not to use the term "hypnotic" here (even though it is!). I feel like this album comes closest in feel to my favorite from last year, "Ragged Wood" by Fleet Foxes, although that's not a completely accurate comparison. It's rich, airy sounding music, filled with great harmonies that I'm sure would sound even better on vinyl, much like with Fleet Foxes. It's epic-sounding indie rock that pulls you into a different state of mind (a very pleasant one, I must say). I think some commercial has gotten a hold of some Grizzly Bear too, but please corporate America, PLEASE, leave them alone!!! It's too good for you!!!
1. The Avett Brothers, "I and Love and You"
If my friend Phillip Groves is reading this, I'm sure he's chalking this selection up to my "folksy" taste in music. Call it what you will, this album is sooo good, though. These guys started out as kind of a bluegrass fusion sort of band (fused with punk, grunge, country, folk, indie rock), but though they've strayed away from their original sound a bit, they're amazing instrumentalists with tons and tons of energy and quite a few thoughts on love and pain and longing. There are quite a few ballads on here, which normally, I'm not a complete fan of, but the vocals are so strong, harmonies so astounding, and songwriting so complete, that I can't help but forgive their sappy side. There's plenty of banjo still around to satisfy early fans, too, I'm sure. And even though it's ballad-heavy, there are a couple of rockers on here that prove that this band can do a little bit of everything.
Honorable Mention:
Girls, "Album"
Dignan, "Cheaters and Thieves"
Top 10 songs of '09
You'll notice a bit of overlap here with artist's albums and their songs, but I suppose that shouldn't come as a surprise. Great songs tend to make the best albums what they are. Without much explanation (sometimes music just needs to speak for itself), here they are:
10. Poker Face, Lady Gaga (It's fun...so sue me!)
9. I Feel A Change Comin' On, Bob Dylan
8. Supermagic, Mos Def
7. Lisztomania, Phoenix
6. While You Wait For The Others, Grizzly Bear (the version with Michael McDonald is surprisingly good too)
5. Basic Space, The Xx
4. My Girls, Animal Collective
3. Wilco (The Song), Wilco
2. Stillness is the Move, Dirty Projectors
1. I and Love and You, The Avett Brothers
Honorable Mention:
Must Be Santa, Bob Dylan
Lovesick Teenagers, Bear in Heaven
Movies of '09
I haven't really seen a lot of movies this year, to be honest with you. Ye Olde recession has made this blogger cut out certain things. I definitely saw a lot more last year and felt I could therefore rank them better. I have seen a few really good ones, which I'll list in no particular order. I still want to see Invictus and Up in the Air, as well (maybe Avatar too). And Inglorious Basterds when it comes out on DVD. Then maybe I'll change this list:
The Hangover (probably my #1...I know I said I wouldn't rank, but I can't think of a better one this year!)
Star Trek
This Is It
(500) Days of Summer
Funny People
Five (plus one honorable mention...so I guess 6 if my basic addition is correct) music stories that impacted 2009 (not top stories because I'm sure there are probably others, but these are up there for me)
Honorable Mention (or #6 as some would choose to say)--Amy Winehouse is Still Alive
I mean, who would have thought...that's all
5. Kanye Goes Crazy At The VMAs
How do you effectively kill your career? Jump on stage during America's sweetheart's acceptance speech and say Beyonce's video was better. Maybe someone should have watched how many bottles Kanye was downing? Maybe? Who knew alcohol could cause such problems? Dramatic career reinvention is pretty trendy these days, though, so maybe it's a good thing in the long run, Kanye.
4. CD Sales Continue to Drop--Digital Has Yet To Make Up the Difference
No surprise here. Call it a the continuing saga of the record industry. I'm sure the business will eventually settle into some sort of groove (kind of a pun?), but right now companies are still making moves and coming up with strategies on how to make money in the industry. Google, Apple, MySpace, Rhapsody...everyone's been jockeying to get in on the latest attempts to redefine the 21st Century face of music. Will they work? Check back with me at this time, not just next year, but the next several years to come.
3. UK Piracy Wars
They're still a little behind the times in the UK when it comes to piracy. Lily Allen was in the middle of a war of words between those who basically said piracy was bad, but it's a necessary evil, and those who said, "Let's crack down on pirates"...followed by an "Arrr!" I'm sure. No one's too thrilled with music piracy, but unfortunately it's here. US companies are looking at ways to give away and/or make music cheap, but still make it somewhat financially viable for all involved...The UK, I'm sure will take that approach soon as well...whether that makes Lily "Smile" or not (Lily Allen had this song called "Smile" and,... oh forget it!).
2. Live Nation and TicketMaster Merge
Pending government approval that is...because, well, to me, and the folks who check on this sort of thing, this seems like a potential monopoly. I think the government has rules against that. It'll probably get worked out eventually, though, which would ultimately unite the largest concert vendor with the largest ticket agency. They say that, together they're going to be able to better serve the concert going public, but something about this relationship makes me a bit squeemish. We'll see.
1. Michael Jackson Dies
Well...yeah. What else was it going to be? The story isn't complete, of course. I wonder if it ever really will be. If Michael Jackson's life wasn't the epitome of tragedy, it certainly was the epitome of the word "bizarre". And now that he's gone, people are once again appreciating his music. I think we all forgot or took for granted just how much amazing work the man put out. Just another strange, sad twist in the man's career, which is now bigger than ever. I'm sure the saga is going to continue to unfold for a long time, with Joe Jackson never too far from it all, trying to cash in.
That's an extremely condensed version of 2009 according to The Hidden Chord. I'm sure 2010 will be filled with more great music, big names and otherwise. Happy Holidays to one and all.
Friday, December 11, 2009
Oh Right...The decade's ending too...More Lists!!!
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!
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!
Tuesday, December 8, 2009
Love's Fall-Out: Mornin' Old Sport--Mourning Sickness
I really don't know a whole lot about the band Mornin' Old Sport. I know the following for sure: they are from Boston, they built a high quality recording studio in a basement, and apparently they sometimes communicate with some sort of sound that is similar to a mating call. To each their own, I guess. The following, I don't know for sure, but can fairly confidently assume, that whoever wrote these songs went through an awfully rough bout with love. Break-ups and break-up songs are just one of those things that are timeless, whether we like it or not.
Before I get into the meat of this review, I'll need to let you know the following: I get a little nervous when someone I know says, "Take a listen to these guys and tell me what you think". As I've said before, there are SO many bands out there. And everyone knows someone whose band is "The next big thing", or "underappreciated geniuses", or blah, blah, blah. But sometimes, there are diamonds in the rough, and I love music enough to really hope the next recommendation I get is one of those.
I won't say that this is one of those diamonds, but there is definitely plenty of shimmering going on within Mornin' Old Sport's seven song EP, "Mourning Sickness".
Now as I said, I can't be 100% sure that this is a "break-up album" a la Dylan's "Blood on the Tracks", but if it's not, there's still plenty here about the mystery that is the "relationship". And let's just say for a moment it is a break-up album and all of these songs refer to one woman, well...let's just say the songs wouldn't paint the prettiest of pictures of this person. From everything I've gathered, she'd basically be a cold, ill-communicative, materialistic, manipulator who always needs to be right. Doesn't exactly make you want to track this girl down on Facebook. But then again, this is all conjecture. It would make for an interesting story, though.
To the music...The EP starts out with the song "You're Right", which opens with a bouncy jazz-like piano intro. If you had to look for a "single" on this EP, this would be one of my choices. It's catchy, up tempo and lyrically clever. The singer is trying to explain himself to, apparently, his ex, yet realizes that whatever he says is going to fall on deaf ears. And it doesn't help that, said ex, has plenty of overly agreeable friends who are willing to tell her that she's in the right, no matter if she was or wasn't. There's some barb throwing going on here, and it certainly won't be the last time in the EP.
The second song is my favorite of "Mourning Sickness". "Sucker" sounds like something straight out of ELO's catalog. It's a spirited bit of pop rock, complete with strings and an infectious tempo. I love it when bands can create a contrast of what the music says, versus what the lyrics say. For example, The Beatles created the peppiest song about a seriel killer that one could ever imagine, with "Maxwell's Silver Hammer". "Sucker" is not really a happy song despite the cheery tempo. It's song about being discarded by someone, but still wanting to come back for more because there are certain things that drive us all wild. It may be against our better judgment, but sometimes we can't help ourselves. It's all too confusing sometimes and I think that's summed up with this line from the song:
"I'm no better 'cause I can't explain the hurt and anger of being tossed away"
So far, so good with "Mourning Sickness". Quite an impressive one-two punch to start the album.
The next song slows things down a bit and introduces song 1 of 3 that predominantly feature the banjo. There are a lot of instruments featured on this EP. In fact, before I go any futher, I will say that these are well-orchestrated pieces. Knowing very little about the band, as I said earlier, I can only guess this, but it seems like whoever put these songs, and the EP together, knows what they are doing musically speaking. Who knows? Maybe it's all of the band memebers as a whole. Yet, I digress...The name of the next song is "The Most Dramatic Queen in Town" and the banjo and tempo remind me of The Avett Brothers, which are currently up there as one of my favorite current bands. Lyrically, the song seems to be dealing with someone (an ex-girlfriend maybe? a random acquaintance? a fictional character?) who is so completely obsessed with materialism that she misses the big picture and only sees herself, despite the people in her life that have their own struggles right in front of her face. This fact only seems to be a downer to HER image and HER wants and needs, rather than a wake up call to how life really can be to adults. "You're 18 and still just a child," says the repeated lyric at the end, in an accusatory tone. In reality, though, 18 is still a child, even if the rest of the world tells you otherwise. Cool slide guitar at the end, as well.
I'm with what the band's doing up until this point. At first, I saw this next song, "Out Matched" as my least favorite of "Mourning Sickness". I find the vocalist to be a bit crooner-sounding, which distracts from the lyrics (more on that in a moment, though). I also feel like the song goes on for a bit too long. Once again, there are some surprises in the arrangement, but on first and second listen, I just didn't get it. My third time through, though, was primarily to check out the lyrics of the EP and I've got to say, I was pleasantly surprised that "Out Matched" is probably the strongest lyrically. The song seems to be about trying to figure out why a break-up happened. Who was to blame? Why did we have to play the games that we played? What should have been said but wasn't, but now comes out through second and third hand accounts? Does it matter? There are some really cool lines in here about night, including this one which might be my favorite line of the whole album:
"The night she's a passerby, a runaway"
I really did have some difficulty with the vocals, but this one definitely grew on me.
Next comes a short instrumental piece entitled, "Intermezzo", which basically contains some choral sounding voices, some strings, and the last of the banjo picking. Seemed like a nice way to wrap up that little section of music--almost a bookend, or at the very least, I feel like it was an interesting idea, and maybe even away to continue the musical continuity of the EP.
I said, at first "Out Matched" was my least favorite of "Mourning Sickness", but I actually think it's the next song, which is called, "Broken Lip Service". I guess I was kind of hoping for another bouncy little rocker after the previous three slower tempo songs. And once again, I guess I don't get the vocal style. The crooner style reminds me a little of Antony and the Johnsons, which maybe just means it takes a bit of time getting used to, because I tend to like some of their material. However, I feel like it takes a little something away from the song on the whole. I was a bit confused here with the lyrics as well. It would seem that the singer is having some sort of internal crisis concerning his ex. She speaks what seems like truth, then takes his hand, which feels right, but something about the kiss makes him wants to believe everything she says, but that in turn reminds him that he doesn't beilieve. And I think there might be some reference to fatherly physical abuse as well, but I guess I miss the connection. It is still well arranged, and structurally sound, but I have a hard time with this one.
The last song on "Mourning Sickness" is perfectly placed and redeems any criticism I might have with the prior two songs. "When the Bomb" is a straight to the point, almost Ben Folds sounding, account of what will happen to the singer when "the bomb" drops. "Im ready for the nuclear war," he sings. And I'm pretty sure it's the metaphorical nuclear war, but maybe it's the real deal. Maybe it's just the realization that all of our pain and suffering when it comes to sour relationships don't really mean a whole lot after all:
"But right before it hits, oh God
My heart will be unbroken
'Cause after the explosion
This will all be unimportant
And I won't give a damn
That you never loved me back"
Metaphorical bomb or not, that's another solid barb thrown in the name of love gone bad. The song ends with an epic sounding build and culminates with some nice fuzzy, nuclear fall out-esque distortion, and there you have it. After the bomb drops, all of this "Mourning Sickness" regarding lost or pained love, can be wiped away and forgotten. Time to start fresh, because there's little choice but to move on after everything's been obliterated.
On the whole, I really like this EP, despite the couple weak points. The music is solid and, as I said, the arrangements are engaging. There are a lot of interesting surprises throughout. I do wish there were more songs along the lines of the first two, though. But overall, it's good pop rock, with some sharp, biting lyrics, some brilliant in fact, concerning the crazy, fragile, unstable, yearning thing that is the human heart.
Grade: B
myspace.com/morninoldsport
Before I get into the meat of this review, I'll need to let you know the following: I get a little nervous when someone I know says, "Take a listen to these guys and tell me what you think". As I've said before, there are SO many bands out there. And everyone knows someone whose band is "The next big thing", or "underappreciated geniuses", or blah, blah, blah. But sometimes, there are diamonds in the rough, and I love music enough to really hope the next recommendation I get is one of those.
I won't say that this is one of those diamonds, but there is definitely plenty of shimmering going on within Mornin' Old Sport's seven song EP, "Mourning Sickness".
Now as I said, I can't be 100% sure that this is a "break-up album" a la Dylan's "Blood on the Tracks", but if it's not, there's still plenty here about the mystery that is the "relationship". And let's just say for a moment it is a break-up album and all of these songs refer to one woman, well...let's just say the songs wouldn't paint the prettiest of pictures of this person. From everything I've gathered, she'd basically be a cold, ill-communicative, materialistic, manipulator who always needs to be right. Doesn't exactly make you want to track this girl down on Facebook. But then again, this is all conjecture. It would make for an interesting story, though.
To the music...The EP starts out with the song "You're Right", which opens with a bouncy jazz-like piano intro. If you had to look for a "single" on this EP, this would be one of my choices. It's catchy, up tempo and lyrically clever. The singer is trying to explain himself to, apparently, his ex, yet realizes that whatever he says is going to fall on deaf ears. And it doesn't help that, said ex, has plenty of overly agreeable friends who are willing to tell her that she's in the right, no matter if she was or wasn't. There's some barb throwing going on here, and it certainly won't be the last time in the EP.
The second song is my favorite of "Mourning Sickness". "Sucker" sounds like something straight out of ELO's catalog. It's a spirited bit of pop rock, complete with strings and an infectious tempo. I love it when bands can create a contrast of what the music says, versus what the lyrics say. For example, The Beatles created the peppiest song about a seriel killer that one could ever imagine, with "Maxwell's Silver Hammer". "Sucker" is not really a happy song despite the cheery tempo. It's song about being discarded by someone, but still wanting to come back for more because there are certain things that drive us all wild. It may be against our better judgment, but sometimes we can't help ourselves. It's all too confusing sometimes and I think that's summed up with this line from the song:
"I'm no better 'cause I can't explain the hurt and anger of being tossed away"
So far, so good with "Mourning Sickness". Quite an impressive one-two punch to start the album.
The next song slows things down a bit and introduces song 1 of 3 that predominantly feature the banjo. There are a lot of instruments featured on this EP. In fact, before I go any futher, I will say that these are well-orchestrated pieces. Knowing very little about the band, as I said earlier, I can only guess this, but it seems like whoever put these songs, and the EP together, knows what they are doing musically speaking. Who knows? Maybe it's all of the band memebers as a whole. Yet, I digress...The name of the next song is "The Most Dramatic Queen in Town" and the banjo and tempo remind me of The Avett Brothers, which are currently up there as one of my favorite current bands. Lyrically, the song seems to be dealing with someone (an ex-girlfriend maybe? a random acquaintance? a fictional character?) who is so completely obsessed with materialism that she misses the big picture and only sees herself, despite the people in her life that have their own struggles right in front of her face. This fact only seems to be a downer to HER image and HER wants and needs, rather than a wake up call to how life really can be to adults. "You're 18 and still just a child," says the repeated lyric at the end, in an accusatory tone. In reality, though, 18 is still a child, even if the rest of the world tells you otherwise. Cool slide guitar at the end, as well.
I'm with what the band's doing up until this point. At first, I saw this next song, "Out Matched" as my least favorite of "Mourning Sickness". I find the vocalist to be a bit crooner-sounding, which distracts from the lyrics (more on that in a moment, though). I also feel like the song goes on for a bit too long. Once again, there are some surprises in the arrangement, but on first and second listen, I just didn't get it. My third time through, though, was primarily to check out the lyrics of the EP and I've got to say, I was pleasantly surprised that "Out Matched" is probably the strongest lyrically. The song seems to be about trying to figure out why a break-up happened. Who was to blame? Why did we have to play the games that we played? What should have been said but wasn't, but now comes out through second and third hand accounts? Does it matter? There are some really cool lines in here about night, including this one which might be my favorite line of the whole album:
"The night she's a passerby, a runaway"
I really did have some difficulty with the vocals, but this one definitely grew on me.
Next comes a short instrumental piece entitled, "Intermezzo", which basically contains some choral sounding voices, some strings, and the last of the banjo picking. Seemed like a nice way to wrap up that little section of music--almost a bookend, or at the very least, I feel like it was an interesting idea, and maybe even away to continue the musical continuity of the EP.
I said, at first "Out Matched" was my least favorite of "Mourning Sickness", but I actually think it's the next song, which is called, "Broken Lip Service". I guess I was kind of hoping for another bouncy little rocker after the previous three slower tempo songs. And once again, I guess I don't get the vocal style. The crooner style reminds me a little of Antony and the Johnsons, which maybe just means it takes a bit of time getting used to, because I tend to like some of their material. However, I feel like it takes a little something away from the song on the whole. I was a bit confused here with the lyrics as well. It would seem that the singer is having some sort of internal crisis concerning his ex. She speaks what seems like truth, then takes his hand, which feels right, but something about the kiss makes him wants to believe everything she says, but that in turn reminds him that he doesn't beilieve. And I think there might be some reference to fatherly physical abuse as well, but I guess I miss the connection. It is still well arranged, and structurally sound, but I have a hard time with this one.
The last song on "Mourning Sickness" is perfectly placed and redeems any criticism I might have with the prior two songs. "When the Bomb" is a straight to the point, almost Ben Folds sounding, account of what will happen to the singer when "the bomb" drops. "Im ready for the nuclear war," he sings. And I'm pretty sure it's the metaphorical nuclear war, but maybe it's the real deal. Maybe it's just the realization that all of our pain and suffering when it comes to sour relationships don't really mean a whole lot after all:
"But right before it hits, oh God
My heart will be unbroken
'Cause after the explosion
This will all be unimportant
And I won't give a damn
That you never loved me back"
Metaphorical bomb or not, that's another solid barb thrown in the name of love gone bad. The song ends with an epic sounding build and culminates with some nice fuzzy, nuclear fall out-esque distortion, and there you have it. After the bomb drops, all of this "Mourning Sickness" regarding lost or pained love, can be wiped away and forgotten. Time to start fresh, because there's little choice but to move on after everything's been obliterated.
On the whole, I really like this EP, despite the couple weak points. The music is solid and, as I said, the arrangements are engaging. There are a lot of interesting surprises throughout. I do wish there were more songs along the lines of the first two, though. But overall, it's good pop rock, with some sharp, biting lyrics, some brilliant in fact, concerning the crazy, fragile, unstable, yearning thing that is the human heart.
Grade: B
myspace.com/morninoldsport
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!
Friday, November 20, 2009
3 Songs on Shuffle
Here's how this works. Make sure iTunes is on shuffle and see what three songs end up playing. Write about said three songs. Nothin' too bewildering about the process of this particular entry. I'm starting out this morning with The Beach Boys and "Wouldn't It Be Nice" and seeing where things lead me. Almost scrapped the idea entirely, though, to listen to all of "Pet Sounds". Such a great album! But no, this is an excercise in discovery and re-discovery, so here goes:
Jesus Don't Want Me For A Sunbeam, Nirvana, Unplugged in New York
Wow! Haven't heard this track in so long. Probably played this album 800 + times when it first came out. It was actually the album that made me REALLY get Nirvana. This was a talented band and this was the album that captured the sentiment that this was not just some loud rock and roll band. This song is not a Nirvana original and many of the songs are more reflective of Kurt and the band's diverse music tastes, rather than the actual catalog. Kurt's sounding great and the band sounds tight. A lot's being said about Nirvana once again, with two major recent releases ("Bleach" 20 year anniversary re-release and a new concert DVD). And I'm sure there will be plenty more being said within the next couple years since soon it will have been 20 years (!) since the release of "Nevermind", which still stands as THE classic album of the last 20 years. A band like Nirvana hasn't been seen since, nor probably ever will be.
Smiles (Single Version), Spiritualized, The Complete Works Vol. 1.
I came to this band late as well. Much less known of a band to come to late, though, but certainly not a minor act. I really liked their most recent release, "Songs in A & E", which was more reflective than much of their earlier work, which is understandable considering co-frontman Jason Pierce's near fatal illness, which heavily influenced the tone of the record. This is largely an instrumental song, that kind of has a "Satisfaction" riff going on. There's plenty of distortion and guitar effects in this tune that starts slow and builds to a blood vessel rupturing burn right around the 3:45 mark. The word for this is, "cacophony" (just like using that word)--horns, manic drums, strings?. Smiles all around, indeed.
Oceans & Streams, The Black Keys, Attack and Release
I mentioned these guys in my last blog entry. This is soul music meets grungy, dirty rock and roll music. The Black Keys could have been a late '60s psychedelic garage band. Their music's got that raw, jangly (one of the more overused rock descriptors, but hey, it works) sound to it. There isn't too much to say about this track. It's straight ahead rock and roll. I like the new stuff that's filled with layer upon layer, but sometimes it's also nice to curl up with a nice, stripped down, rock song. I'll take it!
Those songs go together really well, actually. My iTunes collection on shuffle is a better program director than most on modern rock radio! Probably isn't an accident that the songs go together so well. Technology is scary smart sometimes. I'd like to see it write reactions to each of the songs it plays, though! Ha! Gotcha, computer! I better not antagonize it.
How about a link to something Nirvana. From the aforementioned concert DVD "Live at Reading/1992", here's a song from the aforementioned album, "Bleach". I'll also put it up on The Hidden Chord FB page. Become a fan today!
http://www.youtube.com/watch?v=TfjGsrDKKoc
Jesus Don't Want Me For A Sunbeam, Nirvana, Unplugged in New York
Wow! Haven't heard this track in so long. Probably played this album 800 + times when it first came out. It was actually the album that made me REALLY get Nirvana. This was a talented band and this was the album that captured the sentiment that this was not just some loud rock and roll band. This song is not a Nirvana original and many of the songs are more reflective of Kurt and the band's diverse music tastes, rather than the actual catalog. Kurt's sounding great and the band sounds tight. A lot's being said about Nirvana once again, with two major recent releases ("Bleach" 20 year anniversary re-release and a new concert DVD). And I'm sure there will be plenty more being said within the next couple years since soon it will have been 20 years (!) since the release of "Nevermind", which still stands as THE classic album of the last 20 years. A band like Nirvana hasn't been seen since, nor probably ever will be.
Smiles (Single Version), Spiritualized, The Complete Works Vol. 1.
I came to this band late as well. Much less known of a band to come to late, though, but certainly not a minor act. I really liked their most recent release, "Songs in A & E", which was more reflective than much of their earlier work, which is understandable considering co-frontman Jason Pierce's near fatal illness, which heavily influenced the tone of the record. This is largely an instrumental song, that kind of has a "Satisfaction" riff going on. There's plenty of distortion and guitar effects in this tune that starts slow and builds to a blood vessel rupturing burn right around the 3:45 mark. The word for this is, "cacophony" (just like using that word)--horns, manic drums, strings?. Smiles all around, indeed.
Oceans & Streams, The Black Keys, Attack and Release
I mentioned these guys in my last blog entry. This is soul music meets grungy, dirty rock and roll music. The Black Keys could have been a late '60s psychedelic garage band. Their music's got that raw, jangly (one of the more overused rock descriptors, but hey, it works) sound to it. There isn't too much to say about this track. It's straight ahead rock and roll. I like the new stuff that's filled with layer upon layer, but sometimes it's also nice to curl up with a nice, stripped down, rock song. I'll take it!
Those songs go together really well, actually. My iTunes collection on shuffle is a better program director than most on modern rock radio! Probably isn't an accident that the songs go together so well. Technology is scary smart sometimes. I'd like to see it write reactions to each of the songs it plays, though! Ha! Gotcha, computer! I better not antagonize it.
How about a link to something Nirvana. From the aforementioned concert DVD "Live at Reading/1992", here's a song from the aforementioned album, "Bleach". I'll also put it up on The Hidden Chord FB page. Become a fan today!
http://www.youtube.com/watch?v=TfjGsrDKKoc
Wednesday, November 18, 2009
Cliched Songs for Bad Weather and Other Stuff About Good Music
Just so you know, it's a gloomy, rainy, generally nasty day outside here in Chicago. It's getting to be the time of year that the weather officially gives us midwesterners its annual beat-down. Not fun, but it gives one plenty of extra time to curl up under a blanket, get a steaming cup of coffee (Irish or not...but the Irish version is a whole lot more fun) or cocoa or hot cider or tap water, and read your favorite blog. Today's post is rather disjointed, so prepare for a little bit of this and that without much direction!
I fired up the ol iTunes this morning with "Riders on the Storm" by The Doors. Kind of a predictable choice for a stormy day, I know, but I hadn't heard the song in awhile and it brings back plenty of memories--Wisconsin wilderness camp counseling for one, driving down the highway in the midst of a storm when the song comes on and helps punctuate the night with a little extra creepiness and potential for sinister happenings, etc. Jim's voice was/is the night. The song has the extra effect of the "whisper track", as after The Doors recorded the song, they had Jim whisper the song for overdub purposes, and the effect is pretty brilliant if you ask me. Does anyone listen to The Doors anymore? I feel like they've faded from our collective music consciousness to a certain degree. I'm not The Doors fan I once was, but I think there's still plenty of brilliance to be found amidst the cliches, at times weak lyrics, and Morrison drunkenness.
Just downloaded tracks from Them Crooked Vultures and Bear in Heaven. Them Crooked Vultures is the supergroup consisting of John Paul Jones (Led Zeppelin), Dave Grohl (Foo Fighters, Nirvana), and Josh Homme (Queens of the Stone Age). It's good when the music lives up to the hype. The last supergroup that I was excited to hear was Audioslave, but honestly, apart from one or two songs, I was pretty disappointed. So of course, being burned before, I came at this one with interest, but a touch of skepticism. It's actually good, though. It's what you would hope from two guys who were part of two of the most amazing bands of all time--good rock & roll music. My advice for supergroups is this (since I'm sure they care about my opinion): don't get cute, just play the damn music. Dave Grohl's been doing the extra poppy Foo Fighters thing for a long time now and JPJ, well I'm not sure what he's been doing besides the one Zeppelin reunion show, which came after Page/Plant had been snubbing the dude for years. But together with Homme, the result (at least the three tracks I've heard) is pretty engaging. The song I just had on, "Scumbag Blues" is a great rock song, complete with a funky organ riff. I'm interested to hear the rest of the album.
Bear in Heaven came to me as a recommendation from a friend. Most of my music comes from friend recommendations, these days actually. Pitchfork, everyone's favorite snobbish music site, also gave the album high marks. I guess you'd call it "indie pop"? Maybe "indie rock"? The description is so vague that you might as well just say it's music with guitars, drums and a singer and effects and "is that a synthesizer?", and you'd be just as, if not more descriptive than you would be by using those weak labels. Regardless of what you call it, pretty good stuff, indeed! As is "in" these days, the band's sound is packed with many a layer. Elements of electronic music, "alternative" rock, atmospheric Animal Collective type stuff...a blog I read compares them to A Place to Bury Strangers without the darkness (I'm really not too familiar with A Place to Bury Strangers, so I don't know if that's accurate or not). I can imagine hipsters dancing badly, trying to look oh-so-much-better-than-the-rest-of-the-world to this music. Despite that, I'm gonna go with a recommendation with this one.
Ramona Falls, "Intuit" is also an excellent album that I've got in heavy rotation right now. I guess you could put them in a similar category as Bear in Heaven, but more on the indie rock side and less electronic and effects heavy (although there is some of that). It still has that atmospheric feel to it, but it's more echoey and almost orchestral at times. On one or two tracks, the lead singer starts sounding a little like Antony of Antony and the Johnsons. Check out the video for their song "I Say Fever". Highly recommended.
The Black Keys are getting ready to release a rap-rock album. The term rap-rock makes me squeemish, yet from what I hear, it's the jangly guitar/psychadelia of The Black Keys, mixed with rap from MC's the calliber of Mos Def and Raekwon. So good rap-rock? Release date is November 27 and it's called Blackroc. Hoping for good things from this one.
That's it for now. Just a little randomness for a rainy day. To sum things up, still, no one is making money in the music industry, ticket prices are too high for big name acts, but there's still a lot of great music to be discovered.
Check out this little piece from Bear In Heaven and La Blogotheque from 2006...Once again this isn't linked, so just copy and paste into your browser. Trust me, it's worth it...It's arty and fabulous:
http://www.youtube.com/watch?v=b3a9rlg19IQ
I fired up the ol iTunes this morning with "Riders on the Storm" by The Doors. Kind of a predictable choice for a stormy day, I know, but I hadn't heard the song in awhile and it brings back plenty of memories--Wisconsin wilderness camp counseling for one, driving down the highway in the midst of a storm when the song comes on and helps punctuate the night with a little extra creepiness and potential for sinister happenings, etc. Jim's voice was/is the night. The song has the extra effect of the "whisper track", as after The Doors recorded the song, they had Jim whisper the song for overdub purposes, and the effect is pretty brilliant if you ask me. Does anyone listen to The Doors anymore? I feel like they've faded from our collective music consciousness to a certain degree. I'm not The Doors fan I once was, but I think there's still plenty of brilliance to be found amidst the cliches, at times weak lyrics, and Morrison drunkenness.
Just downloaded tracks from Them Crooked Vultures and Bear in Heaven. Them Crooked Vultures is the supergroup consisting of John Paul Jones (Led Zeppelin), Dave Grohl (Foo Fighters, Nirvana), and Josh Homme (Queens of the Stone Age). It's good when the music lives up to the hype. The last supergroup that I was excited to hear was Audioslave, but honestly, apart from one or two songs, I was pretty disappointed. So of course, being burned before, I came at this one with interest, but a touch of skepticism. It's actually good, though. It's what you would hope from two guys who were part of two of the most amazing bands of all time--good rock & roll music. My advice for supergroups is this (since I'm sure they care about my opinion): don't get cute, just play the damn music. Dave Grohl's been doing the extra poppy Foo Fighters thing for a long time now and JPJ, well I'm not sure what he's been doing besides the one Zeppelin reunion show, which came after Page/Plant had been snubbing the dude for years. But together with Homme, the result (at least the three tracks I've heard) is pretty engaging. The song I just had on, "Scumbag Blues" is a great rock song, complete with a funky organ riff. I'm interested to hear the rest of the album.
Bear in Heaven came to me as a recommendation from a friend. Most of my music comes from friend recommendations, these days actually. Pitchfork, everyone's favorite snobbish music site, also gave the album high marks. I guess you'd call it "indie pop"? Maybe "indie rock"? The description is so vague that you might as well just say it's music with guitars, drums and a singer and effects and "is that a synthesizer?", and you'd be just as, if not more descriptive than you would be by using those weak labels. Regardless of what you call it, pretty good stuff, indeed! As is "in" these days, the band's sound is packed with many a layer. Elements of electronic music, "alternative" rock, atmospheric Animal Collective type stuff...a blog I read compares them to A Place to Bury Strangers without the darkness (I'm really not too familiar with A Place to Bury Strangers, so I don't know if that's accurate or not). I can imagine hipsters dancing badly, trying to look oh-so-much-better-than-the-rest-of-the-world to this music. Despite that, I'm gonna go with a recommendation with this one.
Ramona Falls, "Intuit" is also an excellent album that I've got in heavy rotation right now. I guess you could put them in a similar category as Bear in Heaven, but more on the indie rock side and less electronic and effects heavy (although there is some of that). It still has that atmospheric feel to it, but it's more echoey and almost orchestral at times. On one or two tracks, the lead singer starts sounding a little like Antony of Antony and the Johnsons. Check out the video for their song "I Say Fever". Highly recommended.
The Black Keys are getting ready to release a rap-rock album. The term rap-rock makes me squeemish, yet from what I hear, it's the jangly guitar/psychadelia of The Black Keys, mixed with rap from MC's the calliber of Mos Def and Raekwon. So good rap-rock? Release date is November 27 and it's called Blackroc. Hoping for good things from this one.
That's it for now. Just a little randomness for a rainy day. To sum things up, still, no one is making money in the music industry, ticket prices are too high for big name acts, but there's still a lot of great music to be discovered.
Check out this little piece from Bear In Heaven and La Blogotheque from 2006...Once again this isn't linked, so just copy and paste into your browser. Trust me, it's worth it...It's arty and fabulous:
http://www.youtube.com/watch?v=b3a9rlg19IQ
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