In every way that the Kelly Clarkson cover of Ray LaMontagne turned me off, this does the exact opposite. Brandi Carlile has such a wrenching and soulful voice, and when you combine that with some of my favorite lyrics, the result is incredible. It literally gives me shivers and this is the sixth time through that I have listened to it.
“Yes and try to ignore All this blood on the floor Just this heart on my sleeve that’s bleeding . . .
So kiss him again Just to prove to me that you can I will stand here and burn in my skin I will stand here and burn in my skin”
This made me chuckle, being the combo music-lover and uber-nerd-of-random-facts that I am.
Factual Mistakes in Famous Songs originally from The Onion’s AV Club
U2, “Pride (In The Name Of Love)” It’s probably difficult to work the assassination of a civil-rights leader into a song––but if anyone can do it, Bono can! Unfortunately, he fudges the facts a bit in the last chorus of this song, when he sings about the killing of Martin Luther King Jr., “Early morning, April 4 / Shot rings out in the Memphis sky.” King was actually shot on the balcony of the Lorraine Motel at 6:01 p.m., which makes Bono off by about 10 hours. But he did get the date and the city right. Oh, and the pride part. Which isn’t bad for a Nobel Peace Prize nominee.
Young MC, “Bust A Move“ Though Young MC is completely logical throughout most of this song––he’s absolutely right, in most situations, you should bust a move––things get a little confusing in the last verse. He raps: “Your best friend Harry / has a brother Larry / in five days from now he’s gonna marry / he’s hopin’ you can make it there if you can / ’cause in the ceremony you’ll be the best man.” Now, why would your best friend’s brother choose you as best man over his own flesh and blood? Is Harry just going to be a run-of-the-mill usher at his brother’s wedding while you’re toasting and keeping track of the rings? Also, why would Larry inform you of his family-shaking decision a mere five days before the wedding? It doesn’t make sense. Fortunately, Young MC totally compensates for any logical gaps in the next line, when he rhymes “neato” and “libido.”
‘N Sync, “Digital Get Down” On the surface, ‘N Sync’s “Digital Get Down” is just another song about mutual masturbation facilitated by webcams, but there’s a geography lesson hidden underneath all the “Baby, we can do more than just talk” talk. Turns out the lesson is that ‘N Sync doesn’t know anything about geography. In the chorus, they sing, “Digital digital get down just you and me / you may be 20,000 miles away, but I can see ya / and baby baby, you can see me.” Really? Twenty thousand miles? Well, since the Earth is round, and its circumference is roughly 24,000 miles, that means that at 20,000 miles away, ‘N Sync’s digital girlfriend would also be, at most, 4,000 miles away. Unless, of course, she’s in space, which would make Lance Bass really, really jealous.
R. Kelly, “Trapped In The Closet (Chapters 1-12)” When he started to write his ridiculous hip-hopera, R. Kelly probably had no way of knowing that the thing would stretch out to 12 chapters’ worth of guns, affairs, leg cramps, well-endowed midgets, and sirens that go “Wooo wooo wooo.” Still, he should have kept better track of who was actually telling the story. In Chapters 1-7, Kelly relays the action in the first person (“I pulled out my Beretta,” “I’m sweating like hell,” “I said ‘Baby, get off my leg’”). But around Chapter 8, the “I” turns into “Sylvester,” and a narrator is introduced in the form of the all-knowing R. Kelly, who sings keen observations like “Then he continues to rough up the midget / as if the midget was under attack.” But in Chapter 11, both R. Kelly/the narrator, and I/Sylvester are telling the story. Simply put, this song is a nightmare for any student of English, just like most R. Kelly fantasies.
Willie Nelson, Michael Jackson, Huey Lewis, Steve Perry, Dan Aykroyd, and others, “We Are The World” “We Are The World” was a very important song, both to starving Ethiopians and to comedy writers looking for an easy parody. But when the song tries to hammer home the preachiness, it ends up misquoting the Bible. Willie Nelson sings, “As God has shown us by turning stones to bread…” Biblically speaking, that never happened. In Matthew 4, the devil tries to get Jesus to turn some stones into bread, but Jesus refuses, saying, “One does not live on bread alone, but by every word that comes forth from the mouth of God.” So the bread/stone miracle never happened. Also, in spite of what the song says, we are not the world.
Jennifer Lopez, “Jenny From The Block“ This is one of those rare songs where every other line contradicts the one before it. For example: “I love my life and my public / put God first and can’t forget to stay real.” Yes, you’re right, J. Lo. “Real” people always remember to love their “public.” Or: “I stay grounded / as the amounts roll in / I’m real I thought I told ya / I’m real even on Oprah.” Translation: “I’m so down to earth. Seriously though, I’m making truckloads of money and getting TV gigs.” And, of course: “Don’t be fooled by the rocks that I got / I’m still, I’m still Jenny from the block.” Sure, Jennifer Lopez is just another multimillionaire from the Bronx, just like Gisele Bündchen is just another beautiful model from the slums of Brazil, and Arnold Schwarzenegger is just another huge action star/California governor from a tiny town in Austria. Never mind us, they are the world.
Good morning, champs. Did everyone (in countries where they celebrate Memorial Day, i.e. the U-S-of-A) have a nice long weekend? Sunburns, BBQ-overdose, and hangovers? Check. Plus, Brad and Angelina had their new little girl (name translated means “New Messiah” – sign of the endtimes?) so, you know, I can breathe easier now. And maybe now I can schedule that trip to Namibia without needing written permission from them. Gotta love when rich Western celebrities are allowed to buy off the immigration officials in poor developing nations. It’s just so comforting.
Here are five songs that I rocked repeatedly on my recent California trip. By the way, I managed to squeeze in one more In’N'Out meal, bringing the total to two of the world’s best burgers in 3 days. Can you hear my arteries screaming?
Pink Steam Sonic Youth Nobody sounds exactly like Sonic Youth. They have a unique free-form sound all unto themselves that remains consistent (but fresh) over 25 years and more than a dozen releases. I am really, really liking this song (off their new album Rather Ripped, due June 13) for reasons I can’t completely articulate. Something about the volatile combination between the brooding heavy undertones and the harmonic accent notes, the fact that it is mostly instrumental, and the driving drumbeat. It is the perfect accompaniment to driving along a dark and winding California highway, looking at the crescent moon.
Move By Yourself Donavon Frankenreiter This is an enjoyable summer tune, a sonic hybrid reminiscent of the Isley Brothers and Jack Johnson getting down together. The opening minute is pretty smokin’ and the new album is more of a funk-groove manifesto than the laid-back surf sounds of his first disc. From Frankenreiter‘s upcoming sophomore release Move By Yourself (out June 6 on Lost Highway Records).
Broader a New Sound Nobody & Mystic Chords of Memory My eye was first drawn to this single because of Devendra Banhart’s involvement with it (he covers one of their songs called The Seed/La Semilla as a b-side here). But in the process I was introduced to a new artist. Nobody & Mystic Chords of Memory is a L.A.-based trio who has come out with a light and lively combination of toe-tapping trip-hop and summery folk music here, with slightly off-kilter Shins-eqsue vocals. Quirky and radio-friendly.
Where is My Boy? Faultline (featuring Chris Martin) c featured this song over at her blog, Scatter O’Light last week and I am loving it, the layered and fuzzy-dark feel. I have decided that for some reason, I apparently like Martin much better on guest vocals than as part of Coldplay. This is like the third guestvocal I’ve featured by him. He has such an emotive wail. From Faultline’s 2004 disc Your Love Means Everything.
L’Hotel Michael Stipe If I had to pick my three top vocalists EVER, Michael Stipe would be in that top triumvirate. He is unparalleled in sexy velvety smoothness, I could listen to him sing-talk all day (“Belong” is one of my favorite R.E.M. tunes for that reason). And then when he breaks into that naked and vulnerable falsetto, nothing compares. This is a mysterious Serge Gainsbourg tale, from the album of covers Monsieur Gainsbourg Revisited, featuring everyone from Stipe to Cat Power to Marianne Faithfull to Jarvis Cocker and more. I love it. Check out that uber-smarmy album cover. If he doesn’t give you the Old-Man-Heeby-Jeebies, I don’t know what will.
Not much hard-hitting musical coolness today – instead, let’s talk about music the whole family can love. Last night my creative friends had the idea (very late in the evening) to rig a projection of The Incredibles onto the wall on the side of their house in the backyard using the borrowed equipment from the high school where one teaches – and you always WONDERED what your teachers did afterhours! Ha! There were s’mores and my hair still smells campfirey good.
But I was reminded of this post-in-progress that I started last week as I listened. Have you noticed that animated/computer-generated films are focusing more on their soundtracks in recent years? It’s a far cry from “Under The Sea” in the Little Mermaid from the days of my elementary school youth (now I am SO gonna have that song stuck in my head all day).
Is it perhaps because all the cool teenagers of the ’80s and ’90s are growing up, having kids (see the fabulous grups article), and want to sit through obligatory movies-with-their-offspring without wanting to poke the bendy straws through their eardrums?
I heartily enjoy the trend towards decent music (and even a few adult jokes in the subtext) in these animated films. Superb songwriter Randy Newman‘s continuing involvement with recent animated films has brought newly focused attention to the audio portion of these flicks. Subsequent Pixar (and Dreamworks) movies have capitalized on that trend, from Shrek to Shark Tale to the recent Cars. Even The Incredibles tapped composer Michael Giacchino (Alias theme song – mp3) to do the stealth techno instrumental soundtrack.
So, in borrowing a page from (sm)all ages today, here is some music from recent kid films that doesn’t suck. On my next “decide what you want to do with your life/shadow a professional day” (wait, I’m not in high school anymore, dang) I want to learn more about making movie soundtracks. How cool of a job would that be?
Visit I Guess I’m Floating for a few more of those. Also, the Cars soundtrack (out June 6) is loading up on the big names in alt, rock & country. I can’t find any preview tracks to share with you, but it’ll have Sheryl Crow, James Taylor, Jimi Hendrix, John Mayer, Chuck Berry, and Hank Williams, as well as the obligatory Randy Newman score. None of this will alter your world, but it’s pleasant enough to pass the time. Which is, I guess, what kids’ movies are looking for.
Although I definitely would argue that all this cool music started back with the Muppets:
I’ve been in the Golden State for less than 2 hours and I’ve already gorged myself on In’N'Out (I was trying to explain the phenomenon of In’N'Out to my friend earlier in the week when we were out for a run, and I found it inexplicable, other than to say “It’s REALLY GOOD”), and run into some old students from the University where I work(ed) as I was getting into the airport.
I am in my (OG) element, and I am a happy camper. Posting will, obviously, be scanty this weekend, but I have some ready-prepared stuff that I may throw out there. Be good, kids, and thank a veteran this weekend! I am off to go out with some old friends, and I can’t tell you how good it feels.
Now here’s an excellent little gem of pop goodness that you may not have heard, discussing the relative merits of everyone’s favorite (and seemingly oft-misunderstood) topic: American girls. And no, it has nothing to do with Farah Fawcett, other than that this picture represented the concept quite nicely to a generation of pubescent boys.
This song “American Girls” was written by Rivers Cuomo (Weezer) during his solo show era (97-98), it was eventually recorded for the Meet the Deedles soundtrack, of all things, under the band moniker “Homie”.
The Homie supergroup line-up included: *Rivers Cuomo (Weezer) — vocals, acoustic guitar, piano, lyrics, and melody *Yuval Gabay (Soul Coughing) — drum loops *Matt Sharp (Weezer) — co-producer and background vocals *Sebastian Steinburg (Soul Coughing) — upright bass *Pat Wilson (Weezer) — miscellaneous, drum playing (what got looped) *Greg Brown (Cake) — electric guitar (lead and solos) *Brian Bell (Weezer), Justin Fisher, Adam Orth (both ex-Shufflepuck) and Todd Sullivan (Weezer’s A&R guy from Geffen ) — backing vocals
This song has an supremely chill drumbeat (especially after it really kicks in at about 1:03) and some nice harmonica flourishes with playful electric guitar riffs. It ponders the question, “Why are all American girls so rough?” (which we’re not) with golden lines like, “Darlin, I’m afraid to close my eyes when we’re going to bed, afraid you’ll crack the phone down over my head….” I’ve never heard it on the radio except for one cosmically odd time just a few weeks after I was introduced to it, in the middle of the afternoon, in a little pub. Like when you are whistling a song and then it comes on the radio, and it makes you smile.
Apparently, Homie has recorded other material, which has only been performed live. Rivers has said that he may release this material some day – maybe as an extra disk in a Weezer discography. If it sounds anything like this tune, that’d be okay with me.
I know that I promised the rest of these live Ryan Adams Bedhead compilation recordings a long time ago, and posted Disc One, Disc Two, and Disc Three, but then fell off the wagon. I kind of figured that after the ginormous orgy of Ryan Adams posts following the San Francisco concert that I would just give it a rest for a few weeks.
But now I’m recovered and am going to go ahead and post up these last two batches, there is some really fantastic live stuff on them from the 2005 tour. Check out the scorching, bluesy rendition of “I See Monsters,” the stunning piano of “Nightbirds,” and darned if you can’t help but laugh at the “Summer of ’69″ (BRYAN Adams cover). That’s the spirit, sport.
Also, I was reminded of this vastly entertaining interview with Ryan Adams via Pitchfork last year. Worth a read (or re-read). It’s like listening in on a phone conversation or something, very fly-on-the-wall.
When you think of Supergrass, it’s probable that you think of ungainly muttonchop sideburns, music videos of them romping through a grassy park, and a lead singer who I find reminiscent of the lead flying monkey in the Wizard of Oz. The playful indie-rock quartet from Oxford stopped by the KCRW studios in September of 2004 to record some nice acoustic versions of songs from I Should Coco (1995), In It For The Money (1997) and Life on Other Planets (2003).
It’s a harmonic, bright, and thoroughly enjoyable little set.
Thanks to Fluxblog, here is a live recording of a new track from New York’s reigning disco-diva throwback group, Scissor Sisters. This is described by singer Ana Matronic as “a hot little banjo ditty.”
“I Can’t Decide” – Live at the Mercury Lounge, April 2006 – Scissor Sisters
Their new disc comes out this fall, and features none other than their sonic idol Elton John on the piano keys for one track (“I Don’t Feel Like Dancing”). I, personally, am NOT an Elton fan – but some of their stuff is undeniably good fun.
I must say that if I am gonna listen to the Scissor Sisters, I vastly prefer this killer remix of Filthy/Gorgeous, which will make anyone feel sassy. Just listen to that thumping bass drumbeat, and lyrics that make me blush a little bit (“wrap your fuzzy with a big red bow“?!)
I got to see Live in concert on Friday night in Denver, at the Paramount Theatre (which is a very cool venue, but I have to say the Paramount in Oakland will always be my first love!).
My sister and I were saying that we are kind of glad that many folks seem to have forgotten about Live (the venue was rather intimate, at only about 1500 people) because I still think they rock as hard as some of the bigger names from the ’90s, like Pearl Jam, with some great quality songs and a unmistakable soaring voice from lead singer Ed Kowalcyzk.
Live has a new CD coming out in June (or already out for you non-USAers), Songs From Black Mountain. They performed several songs off of it, and overall it seems like a strong return to melodic/anthemic form from their albums past (my two favorite are Throwing Copper and The Distance To Here) after forays into the world of rap-rock with albums like V (“Deep Enough” was a debacle I never want to see repeated: “Does he run it deep enough – yeah – to take you there?” Thanks, Ed, for your compassion for my well-being.)
As they worked their way through some of their older songs, I was reminded of how much I love them and how much I listened to them in high school. Here were some of the highlights from the setlist:
Iris(off Throwing Copper, my sister rightly commented that this song is the audio equivalent of a heart attack)
Heaven (this is really a great song, the closest you’ll get to church at a rock concert, with lyrics that I think are undeniably true. From 2003′s Birds of Pray.)
Run To The Water(they did NOT play this one, but we kept wishing they would, so I will throw it on here as wishful thinking. Also from The Distance To Here)
And new ones from Songs From Black Mountain:
Mystery(a striking song, which they will apparently be playing on the American Idol finale tomorrow night) and Wings
Now about the title of this post. The most disturbing aspect of the show, for me, was lead singer Ed Kowalcyzk‘s over-the-top sexual posturing, swaggering, crotch-gesturing, and general badass-act. This is a far cry from the wispy, sensitive unibrow man who we first met in 1991. Yes, okay, you’re fairly cut and sweaty. That does not mean I want to see your navel as you sing “Show me your love…” I found Ed to be a distraction from the music, ESPECIALLY at the end when he actually removed his fitted tank top and performed the last song and both encores shirtless, often while thrusting his crotch in my general direction.
Yeah, that’s what I’m talkin’ about. My sister made the observation that his nipples were tiny, and looked like they were drawn on with a felt tip marker. So then I just couldn’t stop looking at them and it was just all bad. Bad, bad, I tell you.
Name: Heather Browne Location: Colorado, originally by way of California Giving context to the torrent since 2005.
"I love the relationship that anyone has with music: because there's something in us that is beyond the reach of words, something that eludes and defies our best attempts to spit it out. It's the best part of us, probably, the richest and strangest part..."
—Nick Hornby, Songbook
"Music has always been a matter of energy to me, a question of Fuel. Sentimental people call it Inspiration, but what they really mean is Fuel." —Hunter S. Thompson
Mp3s are for sampling purposes, kinda like when they give you the cheese cube at Costco, knowing that you'll often go home with having bought the whole 7 lb. spiced Brie log. They are left up for a limited time. If you LIKE the music, go and support these artists, buy their schwag, go to their concerts, purchase their CDs/records and tell all your friends. Rock on.
In every way that the Kelly Clarkson cover of Ray LaMontagne turned me off, this does the exact opposite. Brandi Carlile has such a wrenching and soulful voice, and when you combine that with some of my favorite lyrics, the result is incredible. It literally gives me shivers and this is the sixth time through that I have listened to it.
Yeah, that’s what I’m talkin’ about. My sister made the observation that his nipples were tiny, and looked like they were drawn on with a felt tip marker. So then I just couldn’t stop looking at them and it was just all bad. Bad, bad, I tell you.
Name: Heather Browne
