music


1
Nov 07

How Random Is This?

Here’s a list of songs my iPod played on random tonight:

  1. Beastie Boys, “Shadrack
  2. Mos Def, “Champion Requiem
  3. Love and Rockets, “Yin and Yang the Flowerpot Man
  4. Style Council, “Wanted
  5. Alkaline Trio, “Time To Waste
  6. Brand New Heavies, “How Do You Think
  7. Pizzicato Five, “Such A Beautiful Girl Like You
  8. Ryuichi Sakamoto, “Pantonal
  9. The Church, “Russian Autumn Heart”
  10. Roxy Music, “Over You
  11. George Micheal, “Soul Free”
  12. Radiohead, “Packt Like Sardines in a Crushd Tin Box”
  13. Bjork, “One Day
  14. Hepcat, “Goodbye Street”
  15. David Bowie, “Weeping Wall
  16. David Bowie, “Cactus

To Chris: As much as you love to hate Bjork, I thought you would find it interesting that Bjork’s song was the 13th song my iPod chose at random. I did not make this up, nor did I set it up this way.


9
Oct 07

Modest Mouse, "Missed The Boat"

For your Tuesday morning viewing pleasure. Pyschic Bunny‘s video for Modest Mouse‘s “Missed The Boat.”


13
Aug 07

Video Monday: Lloyd Cole

Not my usual Monday morning MO, but here are a couple of videos of songs by Lloyd Cole, one of my favorite singers.

The darkly humorous “Morning is Broken” from Bad Vibes.

Fool Your Are,” a collaboration with some fellow musicians as The Negatives.

No Blue Skies.” Very early 1990′s video, especially his hair.

Cheers! Happy Monday!

Links


12
Jul 07

Smashing Pumpkins: Zeitgeist


Tarantula: As always, the video’s got more people than is in the music.

I always feel a little weird buying music from Target. I didn’t feel like buying the download from iTunes, and the CD was a couple of dollars lower than its digital counterpart. However, I learned there was a catch, which I’ll get to later.

After a seven year absence, Billy Corgan and Jimmy Chamberlin headed back into the studio to show their feel for the Spirit of the Times. No James Iha, D’arcy, or even Melissa Auf der Maur. They were there just for show anyway.* Corgan in this Smashing Pumpkins incarnations is a one man band save the drums. That talent solely belongs to Chamberlin.

Not content to be alt-rock dinosaurs, Corgan and Chamberlin take on a more heavy metal approach and rock their melodies with some very aggressive guitar. Don’t, however, accuse them of doing a Metallica. The dreampop element still exists to provide a counterpoint, but they are way past shoegazing.

“Tarantula” and “Doomsday Clock” nicely anchor Zeitgeist, though it’s worth letting the CD player, the computer, or the iPod play the entire album. Like any other Smashing Pumpkin album, this latest release is as album oriented as some of their progressive rock influences. The songs really are arranged like one big song. Also, Zeitgeist is a post-9/11 rock opera that takes a look at an America that has changed, not for the better.

Now, I’ll get to the catch. In a move that would make the Pet Shop Boys blush, they released several different versions of their reunion album. Each album has the same 12 tracks; however, each version has a different bonus track. The iTunes version has “Stellar” (which can’t be downloaded seperately), the Target version has the titular track, and Best Buy’s version has “Death From Above.”

Paris Hilton graces the liner notes in several photographs where the televised heiress has a mobile phone conversation as a nuclear explosion occurs behind her. Television is presented as the ultimate zeitgeist device as several evocative images follow those of Ms. Hilton.

Hilton is the perfect symbol of the zeitgeist, perhaps an interesting parallel to the career of the Smashing Pumpkins: they’ve been both loved and reviled by the public. However, Corgan and Chamberlin possess talent.

*this partially contradicts the band’s history, but it’s fun to say.


9
Jul 07

ShindoTV’s iTunes Download of the Week

Around the same time Style Council’s Confessions of a Pop Group was released on iTunes, the Jam’s Snap! was also made available, this time in its entirety. Paul Weller‘s earliest and perhaps most definitive aspect of his career, The Jam took on a mod identity (much like the Who and Small Faces during the 1960′s) for a new generation of the late 1970′s and early 1980′s, and their music shared affinities for power pop, punk rock, sixties rock, and Motown and Stax soul.

While there are many Jam compilations out there, Snap! is the most comprehensive of the collections, offering the hits such as “The Modern Word,” “That’s Entertainment,” and the R&B swansong “Beat Surrender,” and giving the listeners what other anthologies may or may not offer, such as “Man in the Corner Shop” and “Absolute Beginners” (one of my all-time favorites). Here, the listener can follow the Jam’s evolution and see how they went from playing like the Beatles and the Who to the soul style foreshadowing Weller’s work with the Style Council and his solo career. An absolute must for any fan of Paul Weller and/or the Jam, but also a great introduction to anyone discovering this legendary band’s music for the first time.

Also on the iPod
While these albums may have been on my iPod for a while, they deserve some mention.

Lloyd Cole, Antidepressant. The brainy and handsome Lloyd Cole has long toiled in obscurity, whether with his band from the 1980′s, Lloyd Cole and the Commotions, or his own solo work. The follow-up to Music in a Foreign Language, Antidepressant shows Cole as literate and artful as ever, ranging from Leonard Cohen-eque ballads (“NYC Sunshine”), witty story songs with some jangle (“Antidepressant”), and the memorable closer “Rolodex Incident,” which highlights the more instrumental aspect of Cole’s music. Antidepressant is a mature album by Cole, definitely one that won’t be dated in years to come.

Wilco, Sky Blue Sky. Putting behind the Radiohead-ish experimentation of Yankee Foxtrot Hotel and A Ghost Is Born, Wilco‘s latest effort is anything but ordinary. However, their dabbling with the sonic palette in those previous releases pays off in Sky Blue Sky. Most of the songs may be slower paced and more conventionally structured, but you can’t ever accuse Wilco of being boring. Sky Blue Sky may be one of their most country albums in a while (as evident in “Impossible Germany”), but definitely not in the same class as the commercial monstrosities that define country music.

Smashing Pumpkins, “Tarantula.” One of the 1990′s most interesting acts, Billy Corgan and company managed to defy genres in an era heavily fixated on them. Synthesizing heavy metal, goth, power pop, and new wave into something uniquely theirs, the Pumpkins were heavily prolific with their dramatic style. After an eight year absence, Corgan, Jimmy Chamberlain, and company teases old fans and a new generation of listeners with “Tarantula,” a song off the upcoming album Zeitgeist (due tomorrow). Reminiscent of “Bullet and Butterfly Wings” off Mellon Collie and the Infinite Sadness, “Tarantula” shows the Smashing Pumpkins can compete with contemporary, but comparable bands such as Muse.


2
Jul 07

True Colors Review in the OC Register

My friend Scott send me this review of last week’s True Colors show in the Orange County Register: True Colors has good intentions, mixed results.

Most telling quotes from the article:

Neither [Deborah] Harry nor [Cyndi] Lauper have scored hit songs in over a decade. And their presence in the lineup next to ultra-hip artists at the top their game like the Dresden Dolls and [Margaret] Cho underscored the outdated sound of the elder ladies’ sets

Erasure was the true headliner to the True Colors stop in San Diego.

Cho did help balance things out, as Chris Nixon points out. I dubbed her the Ass-Master (based on a raunchy revelation in her set and the old Ass Master joke in her older shows) in a caption in my entry on True Colors. Being the “ultra hip artist” she is, I think she believed more in Debbie Harry than Debbie Harry believed in her own set. Cho was funny in her mini-sets, but she was one hell of an emcee.

There’s also plenty of truth to Erasure being “the true headliner.” Like at any of their shows, the fans went crazy, but Erasure accomplished this without their usual bag of tricks (elaborate stage sets, costume changes, etc).


2
Jul 07

Shindo’s Weekend Downloads from iTunes

I downloaded a few albums this weekend. I’m not into buying CD’s anymore, and being a member of the Mac cult, the iTunes store is my favorite place to get tunes. Here is what I listened to this weekend:
Bryan Ferry has covered Bob Dylan songs throughout his solo career (e.g. “A Hard Rain’s a-Gonna Fall” and “It’s All Over Now Baby Blue”), but never has he done an entire album of Dylan. The title refers less to his style of music than the material performed, but Dylanesque is different from slick productions (Boys and Girls, Taxi), overworked masterpieces (Mamouna), and even eclectic “returns to form” (Frantic). Vocally, Ferry treats Dylan with his own familiar style instead of copying Dylan’s, and the music, while low key, is Ferry at his most spontaneous. “Just Like Tom Thumb’s Blues” and “All Along The Watchtower” evoke Ferry’s solo work from the 1970’s, while he avoids the typical rock and roll temptations in doing “Knockin’ On Heaven’s Door” and transports the listener. Dylanesque is very fresh mainly because Ferry loves the songs. Definitely worth a second and a third listen.

A Beastie Boys album without the rap. It’s hard to imagine, but they pull this one off. To The 5 Boroughs was their love letter to New York, serving up affectionate addresses, pointed satire, and post-9/11 anger with old school hip hop. Here, in The Mix-Up, they forsake odd lyrics and samples, and just jam (an approach done a decade ago with Ill Communication) and they are excellent musicians. No hip hop here, just the Beastie Boys doing their take on music they enjoy very much such as jazz, blues, and bossa nova. Overall, very groovy.

I’ve been a longtime fan of Paul Weller’s music in its various incarnations: The Jam, The Style Council, and his solo stuff. I’ve had Confessions of a Pop Group on LP and CD and now I have a nice digital version of it thanks to some of the Style Council’s catalogue being released on iTunes. The artsy, pretentious answer to Wham! in the 1980’s, the Style Council predated stylish acts such as the Pet Shop Boys, Saint Etienne, and the Brand New Heavies (Paul Weller plugged them once in a radio interview and that’s how I got into them). Like a previous album Our Favourite Shop, Confessions shares the Marxist politics and the blue-eyed soul, R&B groove, but is less pop accessible. Weller and company attempt more sophisticated ballads, funkier grooves, and even 1960’s style surf music. However, this is their last full length album, as their post-ConfessionsPromised Land” (very much house music) ultimately killed them. Confessions of A Pop Group holds up to the test of time more than some other Style Council albums, but this is not an album for the casual listener.


28
Jun 07

True Colors, SDSU Open Air Theatre.

Last night, I went with my friends Scott (the same one who sent me the Conchords vid) and Jaylen to HRC’s True Colors Concert at San Diego State’s Open Air Theatre. The tour, organized by Cyndi Lauper, featured Erasure, Debbie Harry, and Lauper, of course. We were mainly drawn to the show by Erasure (though Jaylen, being a fan of Lauper’s, was there for her as well).

Erasure featuring Andy Bell and his soulful backup divas.

The first stop was Urban Mo’s (formerly Hamburger Mary’s) in Hillcrest for a pre-show dinner. If you have fond memories of Hamburger Mary’s, don’t fret. The menu’s had some changes, but for the better, and the food is still great. Plus, Andy Bell stopped by Mo’s on Monday and plugged the restaurant with a story in the middle of Erasure’s set.

Scott and Jaylen at Urban Mo’s.

Though they weren’t going to the show, our friends Kerry, Kay, and Gary joined us for dinner.

Scott, Jaylen, and me at SDSU Open Air Theatre.

We managed to get to the show around 7pm. We missed the first act, but the Dresden Dolls were playing. I’ve heard their music from time to time on 94/9 (a local independent radio station). My closest basis of comparison would be the White Stripes, both in that the Dresden Dolls are a duo and have a quirky experimental rock style. They’re definitely worth checking out again.

The Dresden Dolls.

Between sets, Margaret Cho served up raunchy comedy interludes and acted as emcee. Before the fifteen minute intermission before Erasure’s set, Cho (being a good faghag), encouraged her audience to go cruising and get some dick.

Ass-Master, faghag extraordinaire, and all around raunchy comedian Margaret Cho.

Before we get to Erasure, there was Debby Harry’s lackluster set. Scott’s take on it was Debby Harry didn’t believe her set was great, so how would the audience get into it. Plus, much of her solo material was obscure. After performing “French Kissing in the USA,” the energy of her set went downhill, despite the power pop presentation of her songs. Perhaps if she performed some Blondie songs, the crowd would have gone crazy, but there are most likely reasons why she doesn’t play them in her solo shows.

A “Heart of Glass?”

I suspect that, like my friends and I, much of the crowd came here to see Erasure. They showed that they don’t need their fancy sets and many costume changes (very standard operating procedures for Erasure) to keep their audience’s attention. An anti-Pet Shop Boys of sorts, this prolific duo has managed in recent years to balance their sets with new material with old. The crowd went wild when they performed 1980’s hits such as “A Little Respect,” “Drama,” and and the set closing “O L’Amour,” all of which sounded as fresh as the recent “I Could Fall In Love With You.”

A not so ephemeral performance from Erasure.

Cyndi Lauper closed the show with a high energy set that included a couple of Erasure covers, her old hits, and some more recent material. Perhaps the most outgoing of the acts, she went into the audience once during a song and interacted with front row audience members and security from time to time. She closed the show with everyone involved performing “True Colors” with her,” complete with a gigantic balloon toss, a sweet but emotional ending to a busy musical evening.

Cyndi Lauper, who “bops” just like everyone else.

More photos from the concert on Flickr.


27
Jun 07

Flight of the Concords, "Inner City Pressure"

My good friend Scott sent me this video from The Flight of the Conchords, a new show on HBO.

Let’s just say it’s reminiscent of a British dance music institution that got its big start in the late 1980′s and this skit parodies their breakthrough video (and first big hit). They have also been a defining force in queer music over the past 25 years. Can you guess who their inspiration is?


26
Jun 07

Tom Waits, "Day After Tomorrow"

In tomorrow’s class at the community college, I am going to use Tom Waits‘ “Day After Tomorrow” as for discussion. I encouraged (more like assigned) my students to look for songs about social justice, politics, and/or current events to add to the conversation.

“Day After Tomorrow” is on Real Gone, which is an amazing album. And this song, while done as one of Waits’ touching ballads, beautifully condemns the Iraq war (or any other war for that matter) through the story of a young soldier:

I got your letter today
And I miss you all so much here
I can’t wait to see you all
And I’m counting the days dear
I still believe that there’s gold
At the end of the world
And I’ll come home
To Illinois
On the day after tomorrow It is so hard
And it’s cold here
And I’m tired of taking orders
And I miss old Rockford town
Up by the Wisconsin border
What I miss you won’t believe
Shoveling snow and raking leaves
And my plane will touch down
On the day after tomorrow

I close my eyes
Every night
And I dream that I can hold you
They fill us full of lies
Everyone buys
About what it means to be a soldier
I still don’t know how I’m supposed to feel
‘Bout all the blood that’s been spilled
Will God on this throne
Get me back home
On the day after tomorrow

You can’t deny
The other side
Don’t want to die
Any more than we do
What I’m trying to say,
Is don’t they pray
To the same God that we do?
Tell me how does God choose?
Whose prayers does he refuse?
Who turns the wheel
Who throws the dice
On the day after tomorrow

(Humming)

I’m not fighting for justice
I am not fighting for freedom
I am fighting for my life
And another day
In the world here
I just do what I’ve been told
We’re just the gravel on the road
And only the lucky one’s come home
On the day after tomorrow And the summer
It too will fade
And with it comes the winter’s frost, dear
And I know we too are made
Of all the things that we have lost here
I’ll be twenty-one today
I’ve been saving all my pay
And my plane will touch down
On the day after tomorrow.