I heard "Sweet Child of Mine" on the radio the other day, and a really odd thought came into my mind. It occured to me that Janis Joplin would have sounded pretty good singing that. Yeah, it has a little more grit than what she did, but the vocal style isn't all that different.
I then remembered a funny incident in college. A friend of mine (Aaron, whatever happened to him?) and I were talking about G N'R and he mentioned that he did a pretty good Axl impersonation. He slid open the sliding glass doors and belted out a couple of lines from "Welcome to the Jungle." With the echo of his voice dying, he thought for a second and then belted out some lines from "Everything's coming up Roses" and it was a dead on Ethel Merman rendition. The two weren't all that different, much more a matter of degree than anything else. We both cracked up pretty good over that one. Who would've thunk it? I wonder how Axl would sound with some old Ethel Merman standards?
Saturday, December 20, 2008
Wednesday, December 3, 2008
Dance music and purgatory
Disco was everywhere in the late 70's. Every time you turned on the radio in 1978, you were bound to hear Donna Summer, the Bee Gees, or maybe even one of Diana Ross' last hurrahs. Then almost overnight it seemed, it disappeared. It was almost totally dropped from the radio. Not only that, everyone denied that they liked disco. It had been the hottest thing going and then suddenly no one would admit that they had listened to it.
Disco is one of the more extreme examples of popular music. I say extreme because of the rapidity it was disavowed. Whenever tastes change, musical genres are left behind. How many people do you know that listen to popular music from the 20's? But there was something special about disco... I grew up listening to 50's and 60's music in the 70's and 80's and up until recently, the exact same music could be found in any large FM market. Why was I able to listen to music from the 50's whenever I wanted to but was unable to hear disco on the radio for 20 years?
Well, it isn't exactly true that I couldn't hear disco after 1979, you could but they called it something else. "Dance Music" was the name of the new genre. People have been dancing to music ever since there was music, so why was this type called "Dance Music" and not just popular? It was because of the dreaded Disco appellation... The basic structure of disco was still popular, but you couldn't sell that any more, and no one would be caught dead dancing to it...
The new dance music didn't have as much cocaine to its sound, and they substituted synthesizers and electronic drums, but the basic structure was the same. The songs tended to be just as long as the disco era ones (compare dance hits from the late 70's and early 80's to the 60's). There was also a slightly different vibe. Disco had come out of the gay clubs in NYC, the new dance music was more influenced by the sounds of "the street" in the form of the nascent hip-hop movement.
The result? A song like "Let the Music Play" by Shannon.
There were all sorts of variations, but the electronic end of things came to their zenith in groups like Depeche Mode and New Order.
Both of these songs were released in 1983. With the possible exception of guitar, all of the instruments had been replaced by electronic ones. The result was a rather mechanical as opposed to disco's organic sound. This was actually an advantage to the new music. Disco had the same basic feel to it, but it was somewhat hidden underneath all of those strings and fancy arrangements. The new music embraced the vibe and it felt more honest... While vapidity was possible in either genre, the better groups used the mechanical sound as a way to get a point across. New Order, Depeche Mode, and Gang of Four ("Capital, it Fails us Now" "We Live, as We Dream, Alone") all did a great job of using the medium as part of their message.
There's a tale (I don't know where I heard this from, but it sounds believable enough) about Depeche Mode taking this to its limit. On at least one of the stops on their tour for "Music for the Masses," they ended the show by setting up their sequencers and synthesizers to play their groove. Keep in mind that these songs could top out at around 20 minutes or so in order to keep people dancing... Anyway, they set this song up to play and jammed along for a while and then left. The music continued to play and play and play until one of the roadies pulled the plug. They got it, and that's why they're still around and all of those other groups aren't.
I find that disco is fun to listen to once in a while, but it's mostly just that. A couple of Blondie tunes took disco as far as it could be taken and those are a different story... The dance music of the early 80's has had a longer lasting impression. I've had several dreams when that sort of music has featured prominently. In them, some people I know and I are stuck in a club/bar/meeting place with that music blaring. We always act like we're having fun, we think we should be having fun, but we aren't. Not only that, we don't seem to know or understand how to leave. We are stuck there bored, deafened, and confused. I refer to these as my "purgatory" dreams. That music seems very appropriate to that scene. It is soulless, way too long, and totally dehumanizing.
I'm not saying I don't "get" that music, or even that I don't like some of it, but I do think it has an effect on me, and I don't think it's a good one...
Disco is one of the more extreme examples of popular music. I say extreme because of the rapidity it was disavowed. Whenever tastes change, musical genres are left behind. How many people do you know that listen to popular music from the 20's? But there was something special about disco... I grew up listening to 50's and 60's music in the 70's and 80's and up until recently, the exact same music could be found in any large FM market. Why was I able to listen to music from the 50's whenever I wanted to but was unable to hear disco on the radio for 20 years?
Well, it isn't exactly true that I couldn't hear disco after 1979, you could but they called it something else. "Dance Music" was the name of the new genre. People have been dancing to music ever since there was music, so why was this type called "Dance Music" and not just popular? It was because of the dreaded Disco appellation... The basic structure of disco was still popular, but you couldn't sell that any more, and no one would be caught dead dancing to it...
The new dance music didn't have as much cocaine to its sound, and they substituted synthesizers and electronic drums, but the basic structure was the same. The songs tended to be just as long as the disco era ones (compare dance hits from the late 70's and early 80's to the 60's). There was also a slightly different vibe. Disco had come out of the gay clubs in NYC, the new dance music was more influenced by the sounds of "the street" in the form of the nascent hip-hop movement.
The result? A song like "Let the Music Play" by Shannon.
There were all sorts of variations, but the electronic end of things came to their zenith in groups like Depeche Mode and New Order.
Both of these songs were released in 1983. With the possible exception of guitar, all of the instruments had been replaced by electronic ones. The result was a rather mechanical as opposed to disco's organic sound. This was actually an advantage to the new music. Disco had the same basic feel to it, but it was somewhat hidden underneath all of those strings and fancy arrangements. The new music embraced the vibe and it felt more honest... While vapidity was possible in either genre, the better groups used the mechanical sound as a way to get a point across. New Order, Depeche Mode, and Gang of Four ("Capital, it Fails us Now" "We Live, as We Dream, Alone") all did a great job of using the medium as part of their message.
There's a tale (I don't know where I heard this from, but it sounds believable enough) about Depeche Mode taking this to its limit. On at least one of the stops on their tour for "Music for the Masses," they ended the show by setting up their sequencers and synthesizers to play their groove. Keep in mind that these songs could top out at around 20 minutes or so in order to keep people dancing... Anyway, they set this song up to play and jammed along for a while and then left. The music continued to play and play and play until one of the roadies pulled the plug. They got it, and that's why they're still around and all of those other groups aren't.
I find that disco is fun to listen to once in a while, but it's mostly just that. A couple of Blondie tunes took disco as far as it could be taken and those are a different story... The dance music of the early 80's has had a longer lasting impression. I've had several dreams when that sort of music has featured prominently. In them, some people I know and I are stuck in a club/bar/meeting place with that music blaring. We always act like we're having fun, we think we should be having fun, but we aren't. Not only that, we don't seem to know or understand how to leave. We are stuck there bored, deafened, and confused. I refer to these as my "purgatory" dreams. That music seems very appropriate to that scene. It is soulless, way too long, and totally dehumanizing.
I'm not saying I don't "get" that music, or even that I don't like some of it, but I do think it has an effect on me, and I don't think it's a good one...
Thursday, October 30, 2008
"It's a new age letdown in my face"
Beck Hanson is a musical genius. And I don't use the term lightly. Beck continues to amaze me, no matter how many times I listen to his stuff. Too many people heard his first album and got a chuckle out of it. I think that "Mellow Gold" was a little too clever for it's own good. A couple of albums down the road he really hit a groove and let loose...
He has a knack for nonsensical lyrics that just work. His sense of rhythm inside of words is impressive. The moods he sets in songs are crystal clear, just listen to the above quoted, "Nitemare Hippy Girl," or perhaps "Truckdriven' Neighbors Downstairs" to get an idea. His albums also tend to be sonic wonderlands, put them on a good system and a whole new world opens up. he is just as conscious of how sound impacts the experience as he is with the music.
More than anything else though, it is his feel for different types of music that amazes me. Beck covers a lot of musical ground in his songs. This was really brought out for me when I heard his duet with Emmy Lou Harris on the Gram Parsons tribute album (Return of the Grievous Angel). Their version of "Sin City" is straight up, old school country. On his albums, he is able to use different types of popular songs to amazing effect. Yes, there is the general slacker rock vibe, but he borrows from a lot of other genres as well. Sometimes it's to be ironic, but more often he uses samples to blend and synthesize with what he's doing. It's an amazing thing, we hear the new synthesis, but we remember the original at the same time. Most people use samples and snippets as just another noise or an ironic counterpoint, Beck is different.
"Rental Car" off of Guerro is a great example. He manages to combine that early 70's vibe (which I wrote about here), a driving, fuzzed out guitar riff reminiscent of the grunge era, and a yodel inspired "LALALA" interlude. That lala bit is especially impressive because he uses all three. I can hear and identify all of them, but they come together in a decidedly "go-go" vibe. It's an eclectic masterpiece, it's what he does...
And to get a feel for his lyrical talent listen to this. It reminds me more than a little of some girls I met up in Ithaca...
He has a knack for nonsensical lyrics that just work. His sense of rhythm inside of words is impressive. The moods he sets in songs are crystal clear, just listen to the above quoted, "Nitemare Hippy Girl," or perhaps "Truckdriven' Neighbors Downstairs" to get an idea. His albums also tend to be sonic wonderlands, put them on a good system and a whole new world opens up. he is just as conscious of how sound impacts the experience as he is with the music.
More than anything else though, it is his feel for different types of music that amazes me. Beck covers a lot of musical ground in his songs. This was really brought out for me when I heard his duet with Emmy Lou Harris on the Gram Parsons tribute album (Return of the Grievous Angel). Their version of "Sin City" is straight up, old school country. On his albums, he is able to use different types of popular songs to amazing effect. Yes, there is the general slacker rock vibe, but he borrows from a lot of other genres as well. Sometimes it's to be ironic, but more often he uses samples to blend and synthesize with what he's doing. It's an amazing thing, we hear the new synthesis, but we remember the original at the same time. Most people use samples and snippets as just another noise or an ironic counterpoint, Beck is different.
"Rental Car" off of Guerro is a great example. He manages to combine that early 70's vibe (which I wrote about here), a driving, fuzzed out guitar riff reminiscent of the grunge era, and a yodel inspired "LALALA" interlude. That lala bit is especially impressive because he uses all three. I can hear and identify all of them, but they come together in a decidedly "go-go" vibe. It's an eclectic masterpiece, it's what he does...
And to get a feel for his lyrical talent listen to this. It reminds me more than a little of some girls I met up in Ithaca...
Great moments in songs
There are a bunch of songs that have moments in them that make the whole thing worthwhile. It's one of those moments where you say, "Doh!" and just flat out enjoy it. This is different than the whole song being great, I'm talking about a moment "making" the song.
The first one I can remember is in "Crimson and Clover" by Tommy James and the Shondells (although Joan Jett's version is pretty good too). I think the line "Yeah, I'm not such a sweet thing," is one of the greatest moments in rock and roll. Another is the somewhat more drawn out,
"And that villains always blink their eyes, woo!
And that, yknow, children are the only ones who blush!
And that, life is just to die!"
from Sweet jane.
A less well known moment comes from a group called the Detroit Cobras. BTW, that may be the best name of a rock band of all time... What I've heard of them so far is pretty impressive. There's a soul sound, old school rock, a little riot girrrl attitude, and general kick ass in there. Anyway, in "Bad Girl," we get a two-fer. First, we get this ennui filled stanza:
"But I said no
I must go
I'm not the one you want though I know you think so
'Cause I'm a bad girl,"
That's pretty good, but then Rachel Nagy follows it up with this:
"I'm a bad girl,
But I'm too good for you"
Wow... I have half a mind to put that short bit of the song on a loop and listen to it 17 times or so... Once again, it isn't just the words, it's how they're delivered and how they're presented in the song. Look for their stuff, it's worth listening to.
The first one I can remember is in "Crimson and Clover" by Tommy James and the Shondells (although Joan Jett's version is pretty good too). I think the line "Yeah, I'm not such a sweet thing," is one of the greatest moments in rock and roll. Another is the somewhat more drawn out,
"And that villains always blink their eyes, woo!
And that, yknow, children are the only ones who blush!
And that, life is just to die!"
from Sweet jane.
A less well known moment comes from a group called the Detroit Cobras. BTW, that may be the best name of a rock band of all time... What I've heard of them so far is pretty impressive. There's a soul sound, old school rock, a little riot girrrl attitude, and general kick ass in there. Anyway, in "Bad Girl," we get a two-fer. First, we get this ennui filled stanza:
"But I said no
I must go
I'm not the one you want though I know you think so
'Cause I'm a bad girl,"
That's pretty good, but then Rachel Nagy follows it up with this:
"I'm a bad girl,
But I'm too good for you"
Wow... I have half a mind to put that short bit of the song on a loop and listen to it 17 times or so... Once again, it isn't just the words, it's how they're delivered and how they're presented in the song. Look for their stuff, it's worth listening to.
Saturday, October 25, 2008
"I'm Sorry but it's True..."
The title of this post comes from a song that could best be described as a guilty pleasure. I heard it on the radio on the way over and it prompted this post. Like I mentioned before, I tend to lump bands into like or don't like categories. Usually, if a band is in my "don't like" group it's a death sentence for all of their songs. Groups like Fleetwood Mac, Boston, REO Speedwagon, and Air Supply all fit this category. Yeah, you might hear me hum "Go Your Own Way" once in a while... I'll admit it's catchy, but it doesn't mean I like it!
There are some groups that escape my total hatred, I just mostly hate them. I still lump them into my "don't like" group, but I'm willing to admit they had at least one good song in them. Here's a list of songs I like from groups I don't:
"Do Ya" by ELO
"Bringing on the Heartache" by Def Leopard
"My Old School" by Steely Dan
"Still the Same" by Bob Seegar
"Peter Piper" by Run DMC
"Teenagers" by My Chemical Romance
"The First Cut is the Deepest" by Cat Stevens
"Simple Man" by Lynyrd Skynyrd
and there's more... What are some of your guilty pleasures?
There are some groups that escape my total hatred, I just mostly hate them. I still lump them into my "don't like" group, but I'm willing to admit they had at least one good song in them. Here's a list of songs I like from groups I don't:
"Do Ya" by ELO
"Bringing on the Heartache" by Def Leopard
"My Old School" by Steely Dan
"Still the Same" by Bob Seegar
"Peter Piper" by Run DMC
"Teenagers" by My Chemical Romance
"The First Cut is the Deepest" by Cat Stevens
"Simple Man" by Lynyrd Skynyrd
and there's more... What are some of your guilty pleasures?
Friday, October 24, 2008
"Why don't you like the Lovin' Spoonful?"
That's what my mother asked me the other day. It's true, my first reaction to the group is a bad one. I tried to come up with a reason, and the best thing I could come up with is "autoharp." I think that's a decent enough reason, but it didn't sway my mother.
I find it's always easier to say why I like something as opposed to why I dislike something. Usually, my dislike is a general one, making the object of my hatred irredeemable. Maybe that's intentional, if there was just one thing I didn't like, it could be fixed... I also notice that I tend to dislike groups and artists and then I generalize down to individual songs. While I don't claim to like the Lovin' Spoonful, "Summer in the CIty" is actually a decent song. Unfortunetly for them (and apearently my mother), the first thing that pops into my head when I hear the name of that group is "Do You Believe in Magic" which never fails to induce my gag reflex...
I wonder if part of my dislike is based on the fact that she does like it. Do not underestimate the power of generational differences... It's only natural to dismiss at least some of the things that are important to the previous generation. Of course this theory breaks down because I don't hate all of the music she likes.
So mom, I guess I don't know. I doubt I'll be losing any sleep over this though:-)
I find it's always easier to say why I like something as opposed to why I dislike something. Usually, my dislike is a general one, making the object of my hatred irredeemable. Maybe that's intentional, if there was just one thing I didn't like, it could be fixed... I also notice that I tend to dislike groups and artists and then I generalize down to individual songs. While I don't claim to like the Lovin' Spoonful, "Summer in the CIty" is actually a decent song. Unfortunetly for them (and apearently my mother), the first thing that pops into my head when I hear the name of that group is "Do You Believe in Magic" which never fails to induce my gag reflex...
I wonder if part of my dislike is based on the fact that she does like it. Do not underestimate the power of generational differences... It's only natural to dismiss at least some of the things that are important to the previous generation. Of course this theory breaks down because I don't hate all of the music she likes.
So mom, I guess I don't know. I doubt I'll be losing any sleep over this though:-)
More odd choices for commercials
What is it with ad agencies and odd/inappropriate songs for their ads? I've talked about "Every Day is Like Sunday" for the NFL network before, but there are a couple of new ones making the rounds...
A car company (Lincoln?) is using a cover of "Space Oddity" by Bowie in it's commercial. Huh? Yeah, they lead up to the line "... you've really made the grade..." but they conveniently leave out the critique of that "success" by not asking "...and the papers want to know whose shirts you wear..." Oh, and of course the elephant in the commercial is the obvious drug content. The protagonist, Major Tom, goes up in a spaceship, is amazed, and never comes back. The song is transparently about drug use. Bowie himself sums up the song (his first hit) in his later song, "Ashes to Ashes"
Ashes to ashes, funk to funky
We know major toms a junkie
Strung out in heavens high
Hitting an all-time low
The other ad that jumped out at me is an HP one using Joan Jett's ode to horniness "Do ya want to touch me?" The commercial is touting the new touch screen computer, the song is about getting to third base. The images show a finger(!) doing all sorts of things on the display. In the meantime, the song is giving this message"
"Do you wanna touch (Yeah)
Do you wanna touch (Yeah)
Do you wanna touch me there, where?
Do you wanna touch (Yeah)
Do you wanna touch (Yeah)
Do you wanna touch me there? Where?
There? Yeah!
YEAH, OH YEAH, OH YEAH"
Don't get me wrong, I love the song, it even brings up happy memories (ahem), but it does seem a little inappropriate to me. I have a feeling that the people at HP are trying to be "edgy." I dunno, it seems a bit much to me...
A car company (Lincoln?) is using a cover of "Space Oddity" by Bowie in it's commercial. Huh? Yeah, they lead up to the line "... you've really made the grade..." but they conveniently leave out the critique of that "success" by not asking "...and the papers want to know whose shirts you wear..." Oh, and of course the elephant in the commercial is the obvious drug content. The protagonist, Major Tom, goes up in a spaceship, is amazed, and never comes back. The song is transparently about drug use. Bowie himself sums up the song (his first hit) in his later song, "Ashes to Ashes"
Ashes to ashes, funk to funky
We know major toms a junkie
Strung out in heavens high
Hitting an all-time low
The other ad that jumped out at me is an HP one using Joan Jett's ode to horniness "Do ya want to touch me?" The commercial is touting the new touch screen computer, the song is about getting to third base. The images show a finger(!) doing all sorts of things on the display. In the meantime, the song is giving this message"
"Do you wanna touch (Yeah)
Do you wanna touch (Yeah)
Do you wanna touch me there, where?
Do you wanna touch (Yeah)
Do you wanna touch (Yeah)
Do you wanna touch me there? Where?
There? Yeah!
YEAH, OH YEAH, OH YEAH"
Don't get me wrong, I love the song, it even brings up happy memories (ahem), but it does seem a little inappropriate to me. I have a feeling that the people at HP are trying to be "edgy." I dunno, it seems a bit much to me...
Wednesday, October 22, 2008
WCWM
I made a quick note about this station before, now I've listened to it some more and I'm even more impressed. The range of music they play is impressive. I've heard everything from Daft Punk to Stereolab to Dion (!) to a lot of stuff I've never heard before. It looks like each of the DJs have the ability to play what they want, their schedule has music from across the spectrum. You can also listen online! I'm doing that at home since the signal is so weak... What a combo, college radio and the internet! These are good times to be a music fan.
PS:
I'd be remiss if I didn't mention the station that changed my music listening habits, WICB from Ithaca College. I went there from 89-94 and soaked up a lot of music from that station. They're still there of course, they've been there forever. It is also the classic college radio rock station. They don't have as many different programs as WCWM does, but they make up for it with an enormous catalog of college rock to play. They broadcast 24 hours a day if I'm not mistaken... Also, since it's being broadcast out of the Park School of Communications, the DJs aren't bad at all. That should be expected since it's mostly radio/TV majors manning it. Listen here.
PS:
I'd be remiss if I didn't mention the station that changed my music listening habits, WICB from Ithaca College. I went there from 89-94 and soaked up a lot of music from that station. They're still there of course, they've been there forever. It is also the classic college radio rock station. They don't have as many different programs as WCWM does, but they make up for it with an enormous catalog of college rock to play. They broadcast 24 hours a day if I'm not mistaken... Also, since it's being broadcast out of the Park School of Communications, the DJs aren't bad at all. That should be expected since it's mostly radio/TV majors manning it. Listen here.
Saturday, October 18, 2008
Sinead
I've always been a big fan of Sinead O'connor. Ever since she released "The Lion and the Cobra" back in '88, I've been hooked. She had the most powerful voice I've ever heard in a pop singer. Seriously, when she opened wide, something strong was going to come out of it. I can't imagine being her son, how would you like to be yelled at by someone with a voice like that?:-) Something that added to her power was her unusual lack of vibrato, when she held notes, they just stayed there.
But a strong voice doesn't make you a great singer, just look at Linda Ronstadt if you don't believe me. Sure, she had a voice, but the songs were vapid and there was zero soul. Those things were never a problem for Sinead. She was often very personal, and you could tell that she felt them deeply. Every note of hers is invested with something. Her first big hit was Prince's "Nothing compares 2 U." The video is even more intense than her singing. It's just that beautiful face of hers, and of course the tears...
It isn't just her voice, I've rarely seen a singer as expressive with her face and body motions. She put damn near everything into her songs, and you can hear it and see it. The music seems to posses her, to move her around so it can get out. The videos I've seen of her singing "Mandinka" show her twisting and gyrating when she comes to the chorus. It's as if those words have a certain motion associated with them...
One of her most gripping songs is also probably the best hurt/angry songs of all time. It still manages to get tears from me when I listen to it. It's called "Troy" and was on her first album. Oddly enough, the credit for mixer on that album was given to T. Roy... Here's a live version that shows her expressiveness and her ability to sing live.
ANother interesting thing about her is the range of music she has performed. Everything from Irish folk to intense rock, to big band to reggae, she's done it all. All of it ends up being her version, it doesn't really remind you of anyone else.
Alas, time has not been kind to her pipes. Her top end doesn't seem to be there anymore, and she doesn't have that explosiveness at her disposal anymore. I think she's working within her limitations though, and still making interesting music. You haven't lived till you've heard reggae with an Irish accent :-) You keep going on with your bad self Sinead, hair or no hair, I'll always love you!!
But a strong voice doesn't make you a great singer, just look at Linda Ronstadt if you don't believe me. Sure, she had a voice, but the songs were vapid and there was zero soul. Those things were never a problem for Sinead. She was often very personal, and you could tell that she felt them deeply. Every note of hers is invested with something. Her first big hit was Prince's "Nothing compares 2 U." The video is even more intense than her singing. It's just that beautiful face of hers, and of course the tears...
It isn't just her voice, I've rarely seen a singer as expressive with her face and body motions. She put damn near everything into her songs, and you can hear it and see it. The music seems to posses her, to move her around so it can get out. The videos I've seen of her singing "Mandinka" show her twisting and gyrating when she comes to the chorus. It's as if those words have a certain motion associated with them...
One of her most gripping songs is also probably the best hurt/angry songs of all time. It still manages to get tears from me when I listen to it. It's called "Troy" and was on her first album. Oddly enough, the credit for mixer on that album was given to T. Roy... Here's a live version that shows her expressiveness and her ability to sing live.
ANother interesting thing about her is the range of music she has performed. Everything from Irish folk to intense rock, to big band to reggae, she's done it all. All of it ends up being her version, it doesn't really remind you of anyone else.
Alas, time has not been kind to her pipes. Her top end doesn't seem to be there anymore, and she doesn't have that explosiveness at her disposal anymore. I think she's working within her limitations though, and still making interesting music. You haven't lived till you've heard reggae with an Irish accent :-) You keep going on with your bad self Sinead, hair or no hair, I'll always love you!!
Friday, October 17, 2008
Early memories...
The first non-kids song I remember being able to recognize was "Maxwell's Silver Hammer" off of Abbey Road. It has kind of a sing-song quality to it, no wonder I latched onto that so early. The first song that I remember recognizing on the radio was "Wreck of the Edmund Fitzgerald" by Gordon Lightfoot. I'm not really a big fan of that song, I wonder why I would have noticed that.. Gordon's best song has to be "Sundown," it's a classic early 70's song.
There's a certain sound that the early 70's had. Or to be more precise, there was a sound that could only have "made it" in the early 70's. I'm thinking of "Sundown," "Stuck in the Middle" by Steelers Wheel, and anything off of "Tapestry" by Carol King. This was before disco, before art rock hit it's stride, and before the identifiable genera of Arena Rock came around. There's something special to that sound. I'm not always in the mood for it, but I do think that it was a good time in music.
There's a certain sound that the early 70's had. Or to be more precise, there was a sound that could only have "made it" in the early 70's. I'm thinking of "Sundown," "Stuck in the Middle" by Steelers Wheel, and anything off of "Tapestry" by Carol King. This was before disco, before art rock hit it's stride, and before the identifiable genera of Arena Rock came around. There's something special to that sound. I'm not always in the mood for it, but I do think that it was a good time in music.
Wednesday, October 8, 2008
Went back to my hi end store today
I'm back up in Northern Virginia again. I'm seeing people and frequenting the haunts I used to hang out in. One of those haunts is a high end audio store called Deja Vu audio. It's a cleverly worded name. The owners name is Vu, and he specializes in vacuum tube equipment and turntables. He has the most exotic equipment I've ever heard or seen there. I've seen Avantgaurd horns there, all sorts of electrostatics, custom built horn monstrosities, etc. I hadn't been there in years, so I thought I'd pop in.
He's got a new location, it's a little bigger and nicer than the last place. The exotic stuff was mostly involving large, vintage speaker systems in custom enclosures. Right now he also has a pair of Gaku-an amplifiers hand built by Kondo-san himself. This series is famous in tube audio circles and are generally considered to be the height of both audio accomplishment as well as audio craft. He had wound his own silver capacitors!!! The set comes in at a cool $250,000 for the pair... I didn't listen to them while I was there, but I might have to make another trip back...
Anyway, he remembered me right off even though I hadn't seen him for 4 or 5 years. It helps that he almost got me arrested once. He locked me in the store and left. I ended up setting off the alarm system and being questioned by the police... Anyway, it was fun to sit and listen to real audio again. AHHHHHHHHHH.... You can tell it's a real audio place because he has more music than equipment. And that's saying something, there are amps, preamps, turntables, and tubes crammed in every nook and cranny. Everything else is covered with LPs (yes... remember them?) and Cds. Check out the display in his entryway!
His shop is worth a visit if you're interested in the highest of the high end of musical reproduction. You won't find typical hi-fi there. I'll probably go back in a day or so...
He's got a new location, it's a little bigger and nicer than the last place. The exotic stuff was mostly involving large, vintage speaker systems in custom enclosures. Right now he also has a pair of Gaku-an amplifiers hand built by Kondo-san himself. This series is famous in tube audio circles and are generally considered to be the height of both audio accomplishment as well as audio craft. He had wound his own silver capacitors!!! The set comes in at a cool $250,000 for the pair... I didn't listen to them while I was there, but I might have to make another trip back...
Anyway, he remembered me right off even though I hadn't seen him for 4 or 5 years. It helps that he almost got me arrested once. He locked me in the store and left. I ended up setting off the alarm system and being questioned by the police... Anyway, it was fun to sit and listen to real audio again. AHHHHHHHHHH.... You can tell it's a real audio place because he has more music than equipment. And that's saying something, there are amps, preamps, turntables, and tubes crammed in every nook and cranny. Everything else is covered with LPs (yes... remember them?) and Cds. Check out the display in his entryway!
His shop is worth a visit if you're interested in the highest of the high end of musical reproduction. You won't find typical hi-fi there. I'll probably go back in a day or so...
iPods
I've been using my mother's iPod off and on for a couple of weeks. I had always assumed that I wanted one, and I had always assumed that I would want one big enough to keep my entire library on it. I'm not so sure now. I find it odd to be carrying around something of this size and weight. Even around the house, it seems really strange and awkward. This may be blasphemy, but I really do not like the navigation system, I keep overshooting the thing I want with the wheel. I also don't like wearing headphones while I walk around. That's a strike against portable players in general I guess...
So I still might want one for the car. It would just sit there and with the right deck, I could control it from the controls on the stereo. There's just one thing, I don't think the iPod sounds very good. Music sounds much better from my computer with the same headphones. I know, this isn't supposed to be a piece of hi-fi equipment, but still... Maybe it would be fine in the car, but it really doesn't cut it for me on headphones. Hmmm, I wonder if the smaller ones sound any better... The smaller ones are light enough to be useful when carrying them around.
I probably won't get an iPod. I've held off this long, and now that I'm actually using one, I don't really like it all that much. When I get a phone, I'll make sure I can use it to play music and that'll probably be good enough for portable use. I'll worry about the car when I get one...
So I still might want one for the car. It would just sit there and with the right deck, I could control it from the controls on the stereo. There's just one thing, I don't think the iPod sounds very good. Music sounds much better from my computer with the same headphones. I know, this isn't supposed to be a piece of hi-fi equipment, but still... Maybe it would be fine in the car, but it really doesn't cut it for me on headphones. Hmmm, I wonder if the smaller ones sound any better... The smaller ones are light enough to be useful when carrying them around.
I probably won't get an iPod. I've held off this long, and now that I'm actually using one, I don't really like it all that much. When I get a phone, I'll make sure I can use it to play music and that'll probably be good enough for portable use. I'll worry about the car when I get one...
Saturday, October 4, 2008
Worship and praise
There are a couple of "worship and praise" stations on the FM band around here. I've been wondering why I dislike them so much. I mean, I should like them, I believe in a lot of what they sing about, but still, they're annoying. My usual quip was that even the most hardcore, satanic heavy metal group would only have a song or two about Satan on each album, why can't the Christian groups sing about something else?
With a little more thought, the reason why they are so annoying seems obvious. They're too nice. There's nothing wrong with nice songs, there's nothing wrong with singing about how great God/Jesus is. But when you have a whole station that plays nothing but that all day long, it changes things.
If you listen to the station for any amount of time, you could get the idea that living a Christian life is all sunshine and lollipops. Everything is so nice, so happy, so peaceful. Unless you are incredibly shallow (don't get me started), living a life of faith is not a bucketful of puppies. Seriously, how can you listen to those stations after you got fired, your dog died, your mom died, or any other thing that happens to everyone from time to time? Those are the times when you are angry and hurt, being reminded that Jesus is the hope and the beauty just isn't going to cut it.
I've been asked why I like songs about "bad" stuff so much. I guess it's because they sound much more human to me. Humans are imperfect, we screw up and have strong emotions. That's the world we all live in. In theory, we will get to the world in the worship and praise songs, but sometimes that seems so far away. I'm a big believer in the idea that you have to stand in the dark if you want to see the light. Listening to songs about addiction, broken hearts, etc. remind me of the alternative. I'll take that any day over sweetness...
With a little more thought, the reason why they are so annoying seems obvious. They're too nice. There's nothing wrong with nice songs, there's nothing wrong with singing about how great God/Jesus is. But when you have a whole station that plays nothing but that all day long, it changes things.
If you listen to the station for any amount of time, you could get the idea that living a Christian life is all sunshine and lollipops. Everything is so nice, so happy, so peaceful. Unless you are incredibly shallow (don't get me started), living a life of faith is not a bucketful of puppies. Seriously, how can you listen to those stations after you got fired, your dog died, your mom died, or any other thing that happens to everyone from time to time? Those are the times when you are angry and hurt, being reminded that Jesus is the hope and the beauty just isn't going to cut it.
I've been asked why I like songs about "bad" stuff so much. I guess it's because they sound much more human to me. Humans are imperfect, we screw up and have strong emotions. That's the world we all live in. In theory, we will get to the world in the worship and praise songs, but sometimes that seems so far away. I'm a big believer in the idea that you have to stand in the dark if you want to see the light. Listening to songs about addiction, broken hearts, etc. remind me of the alternative. I'll take that any day over sweetness...
Thursday, October 2, 2008
First Aid Kit
My friend Randy sent me this Youtube video a little while ago. I thought it was "nice," but I also thought they were just a little rough. I've grown more attached to it and now I think it's lovely.
They're a pair of Swedish teens, 15 and 17 I think. "First Aid Kit" is an odd name for a group, but there you go. The song is called "Tiger Mountain Peasant Song" and was originally by the Fleet Foxes. It's not an easy song, I wouldn't think someone so young could do it so well. Maybe that works in their favor, if you're young enough you may not know how self-involved that song can be...
Anyway, Klara (the one with the guitar) has a really strong voice. You get the the feeling that she doesn't mind speaking her mind. Her temperament during singing and the quality of her voice reminds me of Sinead O'Connor (I keep meaning to do a blog post on her). I also think that she could do really well in Nashville, at times she flashes a little twang when she sings in English. Her sister, Johanna has a much softer voice. The two really harmonize well, the two voices combine to make a new, complex one. That reminds me of another pair of Swedish ladies that propelled their group to superstar status (ABBA anyone?).
Here's another song by them. This one's an original and I think it's probably one of the best songs I've heard written by teenagers. It's remarkable that they can be this mature and have this complete a vison of an idea at this age. It's called "Our Own Pretty Ways."
This is a different, live version than what is on their EP. The EP, entitled Drunken Trees, is much more polished, but I kind of like the electric organ. I also think they do a really good job harmonizing (despite the bad note at the end) live. Anyway, enjoy and I hope they tour the states! There's every reason to think that they'd sound fantastic...
UPDATE:
I was reading their myspace page and I got a kick out their influences, check it out:
Gary Numan
...and the rest:
Bright Eyes, Joanna Newsom, Vashti Bunyan, Cat Power, Fleet Foxes, Devendra Banhart, Karen Dalton, Judee Sill, The Carter Family, Woody Guthrie, Bob Dylan, Johnny Cash, Nick Drake, The Beach Boys, Jenny Lewis with The Watson Twins, Neko Case, The Beatles, Elliott Smith, Laura Marling, The Delamore Brothers, Leonard Cohen, Antony and The Johnsons, T.Rex, Alela Diane, Gram Parsons, Neil Young, Simon Joyner, The Flying Burrito Brothers, America, Fever Ray, The Louvin Brothers, David Dondero, Ryan Adams, Cursive, Vetiver, The Vevlet Underground, Jon Brion, Yann Tiersen, Pixies, Lefty Fritzell, Billie Holliday, Bill Monroe & The Blugrass Boys, etc.
Gotta say, I don't hear too much Gary Nueman in there, but God love them for thinking of him :-)
They're a pair of Swedish teens, 15 and 17 I think. "First Aid Kit" is an odd name for a group, but there you go. The song is called "Tiger Mountain Peasant Song" and was originally by the Fleet Foxes. It's not an easy song, I wouldn't think someone so young could do it so well. Maybe that works in their favor, if you're young enough you may not know how self-involved that song can be...
Anyway, Klara (the one with the guitar) has a really strong voice. You get the the feeling that she doesn't mind speaking her mind. Her temperament during singing and the quality of her voice reminds me of Sinead O'Connor (I keep meaning to do a blog post on her). I also think that she could do really well in Nashville, at times she flashes a little twang when she sings in English. Her sister, Johanna has a much softer voice. The two really harmonize well, the two voices combine to make a new, complex one. That reminds me of another pair of Swedish ladies that propelled their group to superstar status (ABBA anyone?).
Here's another song by them. This one's an original and I think it's probably one of the best songs I've heard written by teenagers. It's remarkable that they can be this mature and have this complete a vison of an idea at this age. It's called "Our Own Pretty Ways."
This is a different, live version than what is on their EP. The EP, entitled Drunken Trees, is much more polished, but I kind of like the electric organ. I also think they do a really good job harmonizing (despite the bad note at the end) live. Anyway, enjoy and I hope they tour the states! There's every reason to think that they'd sound fantastic...
UPDATE:
I was reading their myspace page and I got a kick out their influences, check it out:
Gary Numan
...and the rest:
Bright Eyes, Joanna Newsom, Vashti Bunyan, Cat Power, Fleet Foxes, Devendra Banhart, Karen Dalton, Judee Sill, The Carter Family, Woody Guthrie, Bob Dylan, Johnny Cash, Nick Drake, The Beach Boys, Jenny Lewis with The Watson Twins, Neko Case, The Beatles, Elliott Smith, Laura Marling, The Delamore Brothers, Leonard Cohen, Antony and The Johnsons, T.Rex, Alela Diane, Gram Parsons, Neil Young, Simon Joyner, The Flying Burrito Brothers, America, Fever Ray, The Louvin Brothers, David Dondero, Ryan Adams, Cursive, Vetiver, The Vevlet Underground, Jon Brion, Yann Tiersen, Pixies, Lefty Fritzell, Billie Holliday, Bill Monroe & The Blugrass Boys, etc.
Gotta say, I don't hear too much Gary Nueman in there, but God love them for thinking of him :-)
Wednesday, October 1, 2008
College radio station!
I was surfing the radio "dial" (remember those?) the other day and came across a gen-ewe-wine college radio station. You can tell by not only the type of music they play, but by the incompetence of the DJs and their seeming lack of excitement. In any case, it was nice to come across a station that wasn't playing the top 40 dreck but still playing some new stuff. Much to my amazement, it was a lot of guitars, and a lot of noise. I have yet to hear any hip-hop anything on there. I thought rock was dead? Some of that lack may be due to the fact that this is a station out of William and Mary. It has a little more racial diversity than my alma mater Ithaca College (what college doesn't), but not much.
Anyway, I like listening to it when I can. It's pretty low power, so I never know when it'll be clear. It just adds to the thrill of the hunt... :-)
Anyway, I like listening to it when I can. It's pretty low power, so I never know when it'll be clear. It just adds to the thrill of the hunt... :-)
Wednesday, September 17, 2008
Scary nostalgia
I worked with a guy, a rather odd guy. He could best be described as a redneck marxist. Anyway, he once related a memory from child hood that I could definitely relate to. He said that when he was a kid, the older kids that he was afraid of were the ones with the prismatic KISS belt buckles. You remember them don't you? Around 1978 or so?
(image from wesclark.com)
You remember the kinds of guys who wore them? Well, those types were still around when I got to high school. The big belt buckle thing had passed, but the attitude was the same. Check out this clip from the movie "Heavy Metal Parking Lot." It's from 1986 and filmed in front of the old Caps center in Landover MD before a Judas Priest/ Dokken concert. Check out the hair! Check out the cars! Check out the air guitar! I don't know if you guys that grew up in larger cities had a similar sub-culture, but they are unforgettable. have fun watching this!
I wonder what would have happened if you had told any of those people that Rob Haleford was gay?
(image from wesclark.com)
You remember the kinds of guys who wore them? Well, those types were still around when I got to high school. The big belt buckle thing had passed, but the attitude was the same. Check out this clip from the movie "Heavy Metal Parking Lot." It's from 1986 and filmed in front of the old Caps center in Landover MD before a Judas Priest/ Dokken concert. Check out the hair! Check out the cars! Check out the air guitar! I don't know if you guys that grew up in larger cities had a similar sub-culture, but they are unforgettable. have fun watching this!
I wonder what would have happened if you had told any of those people that Rob Haleford was gay?
"She put the bottle to her head and pulled the trigger..."
I like all kinds of music, all different genres, all different speeds, political leanings, etc. There's one sub-genres that I have always had a fascination with, the addict song. I'm not talking about "getting wasted" songs, I'm talking about songs that are sung from an addict's perspective. They may indeed be getting wasted, but there's always a context involved, and it's always kind of sad.
Some standouts in this group are "Heroin" by the Velvet Underground, "Loaded" by Hole, and even "Moonshiner" as sung by Uncle Tupelo. I think that every type of popular music is best suited for a particular emotion, or at least the type can express a particular emotion better than others. For me, country music expresses regret better than any other type of popular music. The drug of choice in country music circles has always been alcohol (notwithstanding Johnny Cash's "Cocaine Blues") and there are a lot of standouts in the addict group in country.
Alcohol songs have a special attraction to me. I think that more people can sympathize with an alcoholic than say a heroin addict. Alcohol is everywhere, who hasn't tied one on? Who hasn't gotten drunk when they probably shouldn't have? Alcohol scares me to death for that reason. It's easy to avoid and not be tempted by things like heroin and crack if you grew up the way I did. I'm very glad I developed the habit of not drinking early on. I really believe that if I didn't, I'd have a problem with alcohol today. Crawford men have a long history of being handled by alcohol, and even though I never drink regularly, I still crave it on a regular basis. Thank God for good habits...
Here's a song I just heard, it's called "Whisky Lullaby" and it's sung by Alison Krauss and Brad Paisley. This one is interesting because we get a two-fer. It isn't just an addict, it's a pair of codependents albeit codependents at a distance. It doesn't end well for them, but as Bugs Bunny once said, "You were expecting a happy ending?"
Some standouts in this group are "Heroin" by the Velvet Underground, "Loaded" by Hole, and even "Moonshiner" as sung by Uncle Tupelo. I think that every type of popular music is best suited for a particular emotion, or at least the type can express a particular emotion better than others. For me, country music expresses regret better than any other type of popular music. The drug of choice in country music circles has always been alcohol (notwithstanding Johnny Cash's "Cocaine Blues") and there are a lot of standouts in the addict group in country.
Alcohol songs have a special attraction to me. I think that more people can sympathize with an alcoholic than say a heroin addict. Alcohol is everywhere, who hasn't tied one on? Who hasn't gotten drunk when they probably shouldn't have? Alcohol scares me to death for that reason. It's easy to avoid and not be tempted by things like heroin and crack if you grew up the way I did. I'm very glad I developed the habit of not drinking early on. I really believe that if I didn't, I'd have a problem with alcohol today. Crawford men have a long history of being handled by alcohol, and even though I never drink regularly, I still crave it on a regular basis. Thank God for good habits...
Here's a song I just heard, it's called "Whisky Lullaby" and it's sung by Alison Krauss and Brad Paisley. This one is interesting because we get a two-fer. It isn't just an addict, it's a pair of codependents albeit codependents at a distance. It doesn't end well for them, but as Bugs Bunny once said, "You were expecting a happy ending?"
Technorati Tags:
alcohol, music, drugs, alison krause, brad paisley
Monday, September 15, 2008
Morrissey would be rolling in his grave...
... except that he's not dead of course. The NFL network is now using "Every Day is Like Sunday" for their ad. The title makes sense for them, but like so many other examples of this kind of ad, the rest of the song doesn't.
The song is, IMO, the best apocalypse song of all time. The great thing about the song is that he wants the world to end. C'mon, only the Moz could get away with that. In the song, he says, "Every day is like Sunday, every day is silent and gray..." Not exactly what the NFL is looking for. Funnily enough they don't have him sing the song. The NFL has revamped the song giving it a little more, um, testicularity and a little country twang. When you think of singers with the NFL Hank Williams Jr., sure. The Moz, not so much...
The song is, IMO, the best apocalypse song of all time. The great thing about the song is that he wants the world to end. C'mon, only the Moz could get away with that. In the song, he says, "Every day is like Sunday, every day is silent and gray..." Not exactly what the NFL is looking for. Funnily enough they don't have him sing the song. The NFL has revamped the song giving it a little more, um, testicularity and a little country twang. When you think of singers with the NFL Hank Williams Jr., sure. The Moz, not so much...
Technorati Tags:
morrissey
Wednesday, August 27, 2008
Shocking!
I've always loved listening to Sam Cooke, he had that butter smooth delivery that could make even the worst schmaltz tolerable. I love his album "Night Moves" despite the fact there really isn't a really good song on the whole thing. His pop stuff was always catchy and hummable. Songs like "Another Saturday Night," " Twisting the Night Away," and "Cupid," are oldies mainstays.
As good as his pop stuff was, his gospel was even better. That's what he did originally, and it's what allowed him to transition over to the pop world. There is a lot of depth and feeling in his singing, and it really rings true in his praise songs.
So imagine how shocked I was when I read about how he died. I always knew he died young, but I didn't know how. I had a vague idea that he died in a plane crash, it turns out I was probably confusing him with Otis Redding...
It turns out that like so many other popular musicians, Sam Cooke had the bad two-fer of liking to drink and not being able to keep "it" in his pants. He was a well known womanizer and had children by three different flames of his. The night he died, he drank a lot and got obsessed with a woman.
He and a woman that he interested in had been sitting and drinking for most of the night in a night club. They decided to leave together and go someplace more private. He tore out of there in his Ferrari (one HELL of a sweet ride BTW) and went to a cheap hotel in south central LA.
By that time, he had lost whatever mental faculties he had. He got violent and stripped her down to her underwear. She was afraid of being raped, so while he was going to the bathroom, she took off in her underwear.
When Sam came out, he was furious that she had left. He threw a jacket on (he wasn't wearing a shirt) and drove back to the office of the motel. For some reason he thought she had gone there. He stormed in and started screaming at the lady there, demanding what had happened to "his" woman. He grabbed her, shook her, and started to get rather violent. She reached behind the desk, pulled out her .22 pistol and shot him a couple of times. One bullet hit his heart and it was all over.
The police had gotten a call from the woman who had run away saying that she had been kidnapped and was now in a phone booth in her underwear. Within a couple of minutes, they got a call about a shooting in a nearby motel...
I guess I shouldn't be so surprised. Often times the ones who proclaim their holiness the loudest are the most corrupt. On the other hand, it's always easier to see the problems in other people... RIP Sam, hope you're doing better now...
As good as his pop stuff was, his gospel was even better. That's what he did originally, and it's what allowed him to transition over to the pop world. There is a lot of depth and feeling in his singing, and it really rings true in his praise songs.
So imagine how shocked I was when I read about how he died. I always knew he died young, but I didn't know how. I had a vague idea that he died in a plane crash, it turns out I was probably confusing him with Otis Redding...
It turns out that like so many other popular musicians, Sam Cooke had the bad two-fer of liking to drink and not being able to keep "it" in his pants. He was a well known womanizer and had children by three different flames of his. The night he died, he drank a lot and got obsessed with a woman.
He and a woman that he interested in had been sitting and drinking for most of the night in a night club. They decided to leave together and go someplace more private. He tore out of there in his Ferrari (one HELL of a sweet ride BTW) and went to a cheap hotel in south central LA.
By that time, he had lost whatever mental faculties he had. He got violent and stripped her down to her underwear. She was afraid of being raped, so while he was going to the bathroom, she took off in her underwear.
When Sam came out, he was furious that she had left. He threw a jacket on (he wasn't wearing a shirt) and drove back to the office of the motel. For some reason he thought she had gone there. He stormed in and started screaming at the lady there, demanding what had happened to "his" woman. He grabbed her, shook her, and started to get rather violent. She reached behind the desk, pulled out her .22 pistol and shot him a couple of times. One bullet hit his heart and it was all over.
The police had gotten a call from the woman who had run away saying that she had been kidnapped and was now in a phone booth in her underwear. Within a couple of minutes, they got a call about a shooting in a nearby motel...
I guess I shouldn't be so surprised. Often times the ones who proclaim their holiness the loudest are the most corrupt. On the other hand, it's always easier to see the problems in other people... RIP Sam, hope you're doing better now...
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Sam Cooke
Friday, August 22, 2008
The more things change...
My friend Tami breathlessly told me about this amazing new band that she has been listening to. The band is called the Duchess and the Duke and their from Seattle (that's where she's from to, what a coincidence). By her description, they were a totally new combo of music, they reminded her of some other bands, but nothing else sounded like them. Give a listen to "Reservoir Park" below.
It's a good tune. I really like it quite a bit. But I know why I like it so much. They sound an awful lot like the Beau Brummels. I think their first album came out in '62 and they had a few hits, Their single below (Just a Little) sounds similar in my opinion...
So I guess there really isn't anything new under the sun. Art least this sound is a good one. I'm a sucker for anything involving a hollow body guitar...
It's a good tune. I really like it quite a bit. But I know why I like it so much. They sound an awful lot like the Beau Brummels. I think their first album came out in '62 and they had a few hits, Their single below (Just a Little) sounds similar in my opinion...
So I guess there really isn't anything new under the sun. Art least this sound is a good one. I'm a sucker for anything involving a hollow body guitar...
Technorati Tags:
duchess and the duke, beau brummels
Wednesday, August 20, 2008
Merle Haggard
I went with my mother to a local resturant for dinner tonight. They had a couple of guys playing guitar and singing. It was nice to hear live music, but I remarked to my mother that all of the songs seemed to be downers of one sort or other. "Red Rubber Ball," "As Tears Go by," and "Bye Bye Love" kind of set the mood. He then said, "We're going to play an old Merle Haggard song for you..."
I only knew one song by Merle, and it was hardly a toe tapper. I used to hum it during my darker days in retail, it's called "Life in Prison." The chorus goes like this:
I'll do life in prison
for the wrongs I've done.
And I'll pray every night
for death to come.
My life will be
a burden
every day.
If I die,
my pain might go away.
Luckily, the guy didn't sing that one, but he did do one about being destroyed by a girl leaving. I dunno, maybe he was working his way up to "Life in Prison.."
I only knew one song by Merle, and it was hardly a toe tapper. I used to hum it during my darker days in retail, it's called "Life in Prison." The chorus goes like this:
I'll do life in prison
for the wrongs I've done.
And I'll pray every night
for death to come.
My life will be
a burden
every day.
If I die,
my pain might go away.
Luckily, the guy didn't sing that one, but he did do one about being destroyed by a girl leaving. I dunno, maybe he was working his way up to "Life in Prison.."
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merle haggard, prison songs
Gary Glitter is more than insane...
Remember Gary Glitter? He's the one that did the song "Rock and Roll" better known as the one that goes, "unh eh uhnh eh HEY! de duh de duh.." More recently, he become infamous for his attraction to children. He was busted a while back when he sent his computer to e repaired and left all of his kiddie porn on the hard drive. After getting out of jail, he high-tailed it to Cuba and then kind of dropped out of sight. Until recently that is, I just read a news article that says he has been released from jail in Vietnam. He was busted for doing "Unnatural acts" with 11 year old girls. After serving several years, they are now going to deport him. But to where? He claims to not to want to go home to Britain (I can't imagine why) and he can't stay in Vietnam. Honestly, I have no idea who would accept him now...
He has some ideas though. He's thinking about going to Hong Kong or the Philippines and... get this, start his music career again. What, exactly, is he smoking? He was never that much of a talent to begin with, but now not only is he totally out of touch with modern styles of music, he's a well known pedophile. Yeah, I can see his album doing real well...
He has some ideas though. He's thinking about going to Hong Kong or the Philippines and... get this, start his music career again. What, exactly, is he smoking? He was never that much of a talent to begin with, but now not only is he totally out of touch with modern styles of music, he's a well known pedophile. Yeah, I can see his album doing real well...
Technorati Tags:
music, gary glitter, pedophile
Monday, August 18, 2008
You want dark?
On the way over to dad's place I heard "Angel of Death" by Slayer on the radio. It may be the hardest, heaviest music I have ever heard on the air. I had to change the station because I couldn't really take any more of it. It wasn't the style, it just unnerved me... Maybe that's why I didn't think the Batman film was all that, I had already been creeped out by pros...
Sunday, August 17, 2008
German Sopranos can be Evil
Check out this aria from Mozart's "The Magic Flute." As mom said, they're lucky she didn't kill that girl.. This is the infamous Queen of the Night Aria. The Queen of the Night is supposed to be beautiful and terrifying, I think Diana Damrau nailed it... Wait through the talking until you get to the singing, it's worth it!
Isaac
Isaac
Monday, August 11, 2008
I have forgiven Jesus
It's not often you hear any sort of Christian sentiments from a gay person. Usually, they are so alienated and treated like pariahs by Christians they say, "The hell with it," and never look back. This song is done by Morrissey, called "The Moz" by his fans, and is an interesting look at how a gay man can get on with his life.
Yes, strictly speaking, the title is blasphemous. But this is what I like about it, he may have a legitimate beef. When he asks, "Why did you give me so much desire/When there is nowhere to offload this desire?" I find myself scratching my head and saying, "Yeah, why did He do that?" I find this to be a rare combination of Christianity and homosexuality, and neither are shown in a really bad light. Part of me is happy to see that he is still talking to The Man at all...
The Moz has always had a certain way of delivering lyrics, love him or hate him, you know exactly what he means. The video isn't much (see below), but he does do a good job of subtly reinforcing the gay angle. He also looks disturbingly good as a vicar.
For those of you without broadband, here's the lyrics:
I was a good kid
I wouldn't do you no harm
I was a nice kid
With a nice paper-round
Forgive me any pain
I may have brung to you
With God's help I know
I'll always be near to you
But Jesus hurt me
When he deserted me, but
I have forgiven Jesus
For all the desire
He placed in me when there's nothing I can do
With this desire
I was a good kid
Through hail and snow I'd go
Just to moon you
I carried my heart in my hand
Do you understand?
Do you understand?
But Jesus hurt me
When he deserted me, but
I have forgiven Jesus
For all of the love
He placed in me
When there's no-one I can turn to with this love
Monday - humiliation
Tuesday - suffocation
Wednesday - condescension
Thursday - is pathetic
By Friday life has killed me
By Friday life has killed me
(Oh pretty one, Oh pretty one)
Why did you give me
So much desire?
When there is nowhere I can go
To offload this desire
And why did you give me
So much love
In a loveless world
When there's no one I can turn to
To unlock all this love
And why did you stick me in
Self-deprecating bones and skin
Jesus - do you hate me?
Why did you stick me in
Self-deprecating bones and skin
Do you hate me? do you hate me?
Do you hate me? do you hate me?
Do you hate me?
Yes, strictly speaking, the title is blasphemous. But this is what I like about it, he may have a legitimate beef. When he asks, "Why did you give me so much desire/When there is nowhere to offload this desire?" I find myself scratching my head and saying, "Yeah, why did He do that?" I find this to be a rare combination of Christianity and homosexuality, and neither are shown in a really bad light. Part of me is happy to see that he is still talking to The Man at all...
The Moz has always had a certain way of delivering lyrics, love him or hate him, you know exactly what he means. The video isn't much (see below), but he does do a good job of subtly reinforcing the gay angle. He also looks disturbingly good as a vicar.
For those of you without broadband, here's the lyrics:
I was a good kid
I wouldn't do you no harm
I was a nice kid
With a nice paper-round
Forgive me any pain
I may have brung to you
With God's help I know
I'll always be near to you
But Jesus hurt me
When he deserted me, but
I have forgiven Jesus
For all the desire
He placed in me when there's nothing I can do
With this desire
I was a good kid
Through hail and snow I'd go
Just to moon you
I carried my heart in my hand
Do you understand?
Do you understand?
But Jesus hurt me
When he deserted me, but
I have forgiven Jesus
For all of the love
He placed in me
When there's no-one I can turn to with this love
Monday - humiliation
Tuesday - suffocation
Wednesday - condescension
Thursday - is pathetic
By Friday life has killed me
By Friday life has killed me
(Oh pretty one, Oh pretty one)
Why did you give me
So much desire?
When there is nowhere I can go
To offload this desire
And why did you give me
So much love
In a loveless world
When there's no one I can turn to
To unlock all this love
And why did you stick me in
Self-deprecating bones and skin
Jesus - do you hate me?
Why did you stick me in
Self-deprecating bones and skin
Do you hate me? do you hate me?
Do you hate me? do you hate me?
Do you hate me?
Technorati Tags:
music, religious freedom, Christianity, gay, homosexual, religion, morissey, the moz
Sunday, August 10, 2008
My latest find on youtube
This is amazing. I've started to do some free association on youtube, just to see what I could find. A search under Dick Cavett turned up something really interesting. I do love ABBA. Don't give me that look, you love them too. They are one of the purest forms of pop ever made, and they are one of the best examples of that genre. I think that a lot of the appeal of the group has to do with how the two women harmonized. Their voices combined in a magical way. The only other time I have heard something similar is with the two women in the B-52s. There's no doubt that both of these groups would not be nearly as popular without the sounds of their harmonizing women.
We all know all of the songs by ABBA, but here's something a little different, ABBA doing Americana, and doing it pretty well. Yes, they are doing "Don't Fence Me in." I had no idea that Cole Porter wrote that, who knew? Enjoy...
My new blog...
I've come to realize how silly it is for me to post things about "The Magic Flute" and lovely sitar music in a blog entitled "Blogging in Yemen." So I've started this one for all of my music thoughts. I'm in the process of falling in love with trolling youtube, so expect some interesting content. Let me know if there's anything you want me to look into, any music that I should know about. I love music!
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