The following is the transcript of a conversation about music that I witnessed earlier this afternoon.
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When I walked into the student lounge she was the only one there. It was impossible not to notice her; she was sitting at a table in the middle of the room, writing in a spiral notebook and singing. Not singing in the way that one normally does in a public place ~ barely discernable and so far under the breath that it sounds almost like praying. No. this was singing in the way that one does when they forget that they are not alone: not quite loud enough to be an obvious performance, but sufficiently loud to indicate that she was completely unaware that anyone could hear her.
As I took a seat a few tables away, and set my lunch down in front of me, I expected her to look up in embarrassment, silenced by the appearance of another person. But she didn’t. In fact, she didn’t look up at all. Rather, she continued to write, and more notably, to sing. Her head down, she seemed equally intent on the words flowing from the ends of her fingers as she did on those leaving her lips. I scanned for headphones, but found none. Cleared my throat. No reaction. Hmmm… I thought, and mentally shrugged as I opened a book and began to eat before ‘clocking in’ for work.
A few moments later a young blonde girl walked in, scanned the vending machine and said “doesn’t that honey bun look delicious?” Her question didn’t seem aimed at anyone in particular, but the singer looked up, silenced herself and tugged awkwardly at her pink t-shirt which read in bold black letters: [i][b]ASPEN. [/b][/i] And then just below it: [i][b]Better In Powder.[/b][/i]
Then she turned to the blonde and said: “Have you noticed how everything is emo this year? I mean, I’ve been emo since I was fucking 12 years old. Seriously, I was fucking hardcore.”
The blonde looked intimidated, shifting on her feet. She said, “I know. It’s lame.”
“No, I’m serious” the singer shot back. By this time, she was on the edge of her seat. “First it was metal heads. Then it was goth.”
“And now it’s emo” said the blonde with kind of pride that comes from having guessed the punchline to a joke moments before its delivery.
[i]“No…” [/i]the singer said seriously, “[i]then[/i] it was punk. Now it’s emo.”
All the blonde could do was giggle.
“It’s so gay,” the singer went on, closing her notebook with a long sigh, deep with resentment. “They’re all just preps in other clothes.”
Silence.
“And you know what it’s going to be next year?” she asked.
“No” the blonde replied sincerely, as though her answer really mattered.
“It’s going to be fucking hardcore,” she said shaking her head. “It’s going to be fucking hardcore. And then… then I’m going to slit my fucking wrists.”
And with that, she gathered her pen and her notebook and walked out of the room with the blonde tagging along behind. And I was left there, in silence, without so much as the honey bun for consolation.
There's been a lot written about the future of file-sharing being found in Apple's iTunes model. However, as this [url=http://www.downhillbattle.org...]site illustrates[/url] , there's a lot more to iTunes than meets the eye, and most of it is not pretty.
[i][b]iTunes Music Store. Facelift for a Corrupt Industry[/b]
People are paying for songs on the iTunes Music Store because they think it's a good way to support musicians. But iTunes misses a huge opportunity. Instead of creating a system that gets virtually all of fans' money directly to artists-- finally possible with the internet-- iTunes takes a big step backwards. Apple calls iTunes "revolutionary" but record companies are using the service to force the same exploitive and unfair business model onto a new medium.
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[b]If you build a shiny new house on a landfill it still stinks [/b] Apple says iTunes is "better than free" because it's "fair to the artists and record labels." That's simply not true. First of all, Apple gets 3 times as much money as musicians from each sale. Apple takes a 35% cut from every song and every album sold, a huge amount considering how little they have to do. Record labels receive the other 65% of each sale. Of this, major label artists will end up with only 8 to 14 cents per song, depending on their contract. Many of them will never Artists Get Ripped Off. even see this paltry share because they have to pay for producers and recording costs, both of which can be enormous. Until the musician "recoups" these costs, when you buy an iTunes song, the label gives them nothing. (Sources:[url=http://www.futureofmusic.org/...] major label musician's cut[/url] [url=http://www.delvianrecords.com...]Apple's cut[/url] For a thorough explanation of how recouping screws musicians, see [url=http://www.amazon.com/exec/ob...]Confessions of a Record Producer by Moses Avalon[/url] ).
[b]Nothing changed. [/b] So why does iTunes give artists such a raw deal? Because it's the exact same deal that artists have always gotten from the big five record companies. Despite huge new efficiencies created by internet distribution --no CDs to make, no distributors to store and ship them, no CD stores to build and run-- artists receive the same pathetic cut. That is the disaster of iTunes. Instead of using this new medium to empower musicians and their fans, it helps the record industry cartel perpetuate the exploitation. Apple might say it's not their fault: after all, they didn't write the unfair record contracts. But when Apple supports and profits from an obviously unfair system, while telling customers that it's "fair to the artists", they are just as guilty. For years, Apple Computer has built a reputation for straightforward business. [/i]
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There's a lot more here... but I'll just leave it at that. However, I would strongly recommend you check out [url=http://www.downhillbattle.org...]the entire thing. [/url]
I'm telling you, there's something about [url=http://news.bbc.co.uk/1/hi/en...]this review[/url] that I really like. It's not just that it confirms my own opinions, or that it makes me hopeful about The Cure's new album. Rather, there's something in the writing itself that I find really appealing. I think this is an exceptionally well written review. And I suppose it just confirms for me why Chris Heard is being paid by the BBC to write about music, and I am not. :|
Here's the review for those of you who refuse to click.
[b]In a world of uncertainty and constant change, there's something oddly reassuring about a new Cure album. [/b]
As English as late-running trains or rain at Wimbledon, in their subtle way they have come to represent that masochistic national trait that finds a strain of pleasure in the misery of it all.
You know where you stand with The Cure. After more than 25 years and over a dozen albums, singer Robert Smith still does paranoia and despair better than almost anyone in rock.
It's hard not to admire Smith's resilience or the consistency of his artistic vision.
In his middle years you might have expected him to be embarking on a gentler journey towards inner peace, yet the darker recesses of new album The Cure hardly point to a state of personal calm.
If anything, Smith sounds more anguished than ever - right from the first bars of opening track Lost, a harrowing reading of jealousy and loss in which he quietly pleads (and later wails): "I can't find myself."
It sets the tone for what is to follow, with Labyrinth treading a similarly claustrophobic path over Stooges guitars with its negative central theme: "It's not the same you. It never really was like this."
Fractured melodies and an air of lyrical pessimism - those essential Cure staples - permeate the next couple of tracks, too, and you soon realise this is no summer picnic for Britain's godfathers of gothic gloom.
"All I am Is ugly. Nothing I am is beautiful at all. I don't get this world," complains the narrator in Truth Goodness and Beauty. Out of context it is just another sixth-form diary rant, but in these hands it makes strangely compelling sense.
It's not all depressive and dissonant, though - although it mostly is. The pop alter-ego that produced such catchy singalongs as Friday I'm In Love and The Love Cats is alive and well in The End Of The World (an obvious single), Taking Off and alt.end.
[b]Epic [/b]
Meanwhile, the stirring Us Or Them, driven by classic rock riffery and an impassioned vocal, appears on one level to be a comment on the current world situation: "There is no terror in my heart. Death is with us all."
The Promise is a languorous 10-minute epic with a feel of Berlin-era Bowie/Iggy, while the album's closer Going Nowhere recalls the mellow piano disquiet of the band's 17 Seconds period.
The record is engrained with echoes of The Cure's stylistic past - from the quirkiness of The Head On The Door to the (more prevalent) isolated mood of Disintegration.
Even the children's painting adorning the cover takes on a sinister edge. The sun is out but there seem to be clouds overhead and portents of doom on the horizon. How very Cure. [/i]
My mother came of age in the 1960's and the music she loved most certainly reflected the social and political upheaval of the time. I grew up listening to music whose thematic foundation lied in The American Civil Right’s Movement, the Vietnam War and a shift in the social paradigm from the conservatism of the 50’s to a generation whose experiments included free love, bra burning and lots of drugs. It was easy to recognize what my mom believed, and didn’t believe, in through listening to the music that moved her. In fact, although I can only recall one conversation with her my entire life that revolved around racism, songs like [url=http://www.bobdylan.com/songs...]Bob Dylan’s ‘Hurricane’ [/url] and [url=http://lyrics.duble.com/N/nin...]Nina Simone’s ‘Mississippi Goddamn’[/url] revealed her condemnation of such things. To be perfectly honest, I hadn’t thought about these songs in a long time. But then something that happened last night that brought them and their role in both pop-culture, and my own upbringing, back into my consciousness.
There is a restaurant located about an hour away from where I live called The Depot at Cody Creek. It’s nestled in the rural countryside among the pine trees and a small river that runs so clear you can see the pebbles at the bottom glistening in the sun. The pastoral setting includes a covered bridge that all visitors must cross over in order to get to the restaurant (which resembles an ancient hunting lodge), and a small ‘old timey’ general store that sells things like rock candy and ‘chico sticks’ for a penny each. It’s really a beautiful and nostalgic place. I ate dinner there last night along with 21 other friends/family members who had gathered to celebrate a birthday. The night was filled with good food, laughter and so many smiles our cheeks began to ache. It wasn’t until the meal was finished that I learned something about Cody Creek that made me sick.
Making our way back to our cars, we stopped along the path to look at the river and chat once more before saying goodbye. There was a man sitting along the banks who worked in the general store. His face, like sun-dried leather, was worn in a grandfatherly way, each line and crease hugging his toothy grin. We chatted with him for a while and learned the history of Cody Creek, the owner, and their proud tradition in the area. He closed his story by proudly informing us that The Depot was the only restaurant that he knew of that still refused to serve black people. He explained that the restaurant was actually certified as a “members only” country club, but that they only asked to see membership from those with darker skin and that it was understood in the area that only whites ate at The Depot.
I honestly believe that trying to explain just how completely offensive this is to me would only serve to lessen the true disgust his remarks evoked. There are simply no words to describe the sinking feeling in my heart and in the pit of my stomach just thinking about it makes me feel. At first, I think I was sickened most by the fact that I had just patronized an establishment in which some of my own friends, people who are like family to me, would not be welcome. But then… during the hour-long car ride home, I came to realize that much of my dismay grew from the fact that I live in a world in which such places still exist. I suppose in my mind, places like The Depot existed only in documentaries on the history channel in which brave rebels dared to drink from white only water-fountains and ride in the front of the bus. As someone living in the south eastern United States, I am painfully aware of the reality of racism, but I think it's the existence of systematic racism, rather than merely individual prejudice that I found so horrific and shocking.
And so I come back to the music of my mother’s generation. If the music we listen to really is representative of what we believe, of what we value or deplore and what we will or will not tolerate from ourselves and others, then I’m left to wonder: what DO we believe in? And more personally, what do I believe in? I’m not sure our music makes it quite as clear as my mother’s did. Sure, some of us dream about fighting the power when we listen to [url=http://www.songlyrics4u.com/t...]The Clash’s White Riot[/url] , but still… I can’t help but wonder what my own children, should I ever have any, would be able to discern about me, and my generation, from the music we created and celebrated. Believe me, I’m not so naïve as to think that socially relevant music will somehow bring about an end to the existence of places like The Depot. On the other hand, however, I know just how powerful music can be and I’m keenly aware of how songs like [url=http://www.absolutelyric.com/...]Dylan’s 'The Death of Emmett Till' [/url] can illuminate societal problems and the urgent need for change. Further, I recognize precisely what the music we love says about who we are and what we value. And so maybe it’s time that I start seeking out the music in the world that reflects these ideas/ideals, so that it too can, in turn, reflect me. Maybe it’s time we all did.
Recently, former tblogger [url=http://www.mblog.com/the_llun...]Lloyd[/url] turned me on (oooh!) to [url=http://www.zug.com/gab/index....]this article[/url] which he found to be both funny and musically oriented... thus making him believe that I would enjoy it. Oddly enough, he was right! As I told Lloyd I am thoroughly convinced that the [url=http://www.zug.com/gab/index....]CD Continuum [/url] is the first scientific concept I have fully understood since Mr. Elder explained supernovas to me in the 10th grade. Actually, now that I think about it, I doubt seriously that I understood supernovas at all. The only thing I really understood in 10th grade science was that I was in love with Mr. Elder. But I digress...
Back in the 1800's, every gentleman of stately upbringing had a passionate interest in the world of science. You couldn't walk five feet in Victorian days without seeing a mustachioed man in contemplative thought as he attempted to cure his syphillis through studious and meticulous intercourse with a virgin, or applying a healthy dose of leeches to an orphan's brain to study the effects it would have on the steam-powered horseless carriage. This type of popular and wonderfully fruitless science eventually fell out of favor with the upper class, eventually being replaced by far more practical practices such as foppishness and gold-filligree pistol dueling. However, being the renaissance man that I am, I have taken it upon myself to re-invigorate this type of layman's scientific study. While thousands of professional scientists spend their waking moments trying to study global warming, Mad Cow disease and various other manners of scientisms, I have concentrated my efforts on the study of the arbitrary in true Victorian style. Thus, the CD continuum.
In order to understand the CD Continuum, one must first understand a thing or two about basic economics. The belief in mercantilism powered much of the world's trade from the 15th to the 18th century. One of the basic tenets of mercantilism was that the volume of trade was unchangeable. In the CD Continuum, the basic tenet is that the volume of CDs in your CD collection at any given moment is virtually unchangeable. That means that when conditions present themselves favorably for a CD Continuumatic event, you will have -- with only the smallest error -- exactly as many CDs before the continuumatic event as you did after. Let me explain with a clever and overly-worded anecdote written in the second person.
You have been invited to a party. Knowing that you have good taste in music, your inviter has asked that you bring some of your more "rocking" or perhaps "banging" CDs. You comply, and at the party you become inebriated beyond your capacity and lose track of your dignity. (The "dignity vacuum" is discussed in another of my theories.) Upon waking the next morning in a bed of your own shame, you stumble to your CD collection to find that several of your more "blazing" CDs have gone missing. Enraged, you attempt to track down these errant CDs, but to no avail. Cursing the gods of misfortune for cursing you with misfortune, you give up and ruminate over the loss of your CDs.
Some time has passed, and your anger of the loss of your CDs has waned. You recently gave a friend a ride to work, and after dropping him off, you noticed he had left a CD in your player. Although you fully intended on returning this CD, eventually you forgot where it came from or who it belonged to in the first place. Thus, the CD Continuum has bestowed upon you the return on your unknowing investment. Soon the CDs that you lost at the earlier party are more than refunded by CDs left with you by your own acquaintances. Eventually you may even gain more than the five CDs you lost, but given a long enough time line, the Continuum always evens out in the end. This, my friends, is what we amateur scientists call "balance in the universe."
The CD Continuum also can be used as an excuse for lackluster musical tastes. For instance, when someone is browsing your collection and inquires about your purchase of "The Complete Mariah Carey" you can easily say someone left it when you threw a party. Disaster averted, all thanks to science![/i]
When I go on a trip, I tend to take along a great deal of music. Often times, I burn special CDs specifically for the journey ahead. However, like so many other things in my life, I frequently find myself overcome by something far stronger than my intentions. Indeed, despite the mountain of CDs that may get tossed in among the sunglasses, lip glosses and other particulars, it usually happens that I end up listening to the same band or song or CD the entire time. And then, suddenly, before I know it, that music becomes a soundtrack of sorts ~ thereby lending itself to future associations.
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I spent part of both last and this week with my feet in the sand and/or water. The sun was hot, the water warm, and the beaches strangely bare. Aside from the occasional giggle of children splashing in the ocean for the first time or the call of the gulls to one another as if to discuss the status of the tides, there was nothing but waves and music. (That's not to say that I was alone, mind you, but a good friend recognizes when it's time for conversation and ~ more importantly ~ when it's not).
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On this trip I listened to [url=http://www.rabbitsongs.com/]Rabbit Songs by Hem.[/url] To my knowledge, Hem has only released one CD, but my understanding is that more are in the works. Rabbit Songs will be difficult to top. For a debut it is pretty self-assured with very few instances in which the listener recognizes them as a band who is still finding themselves. Spare and lacking complication, Hem’s music is well suited to moments of quiet introspection or as in this instance for just closing your eyes and letting the waves become part of the lullaby.
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If you've gotten this far, thanks for reading not only this, but my other ramblings. As I said, a good friend knows when it's time for conversation... and I do enjoy the company.
Ok. Before you start sharpening your pitchforks and lighting your torches, let me just go on record as saying that the above quote cannot be credited to yours truly. Rather, this decidedly tasteless anti-Bush slam comes from former Smith's front man, Morrissey. As many of you have no doubt heard by now, this was Morrissey's way of letting a recent Dublin audience know that former US President Ronald Reagan had died. According to [url=http://www.manchesteronline.c...]this article: [/url]
[i]“Thousands of fans at Dublin Castle, in Ireland, cheered when the ex-Smiths frontman made the announcement that the former American president, who had battled with Alzheimer's Disease, had passed away… an even bigger cheer followed when Morrissey… then said he wished it had been the current President, George W Bush, who had died.”[/i]
Undoubtedly, many of you also know that I am not a fan of our current President, but even I know that this particular remark was not only in bad taste, but also just plain stupid. Apparently Morrissey, who has, to say the least, been out of the US limelight in the last several years, is now the subject of quite a bit of venom from this side of the Atlantic. According to [url=http://www.manchesteronline.c...]The Manchester Record[/url] , the story on Morrissey’s antics was viewed over 500,000 times in 24 hours after being linked to on [url=http://www.drudgereport.com/]The Drudge Report. [/url] Further, the article goes on to state that a record number of American’s have contacted the paper to express their outrage regarding the incident.
Again… stupid.
Of course, Morrissey isn’t the first musician to open his (her) mouth and promptly insert his (her) foot. Over the years, many, many musicians have pulled stunts and said things that left their fans and foes alike scratching their heads as if to say, “um… huh?” In fact, in response to a recent post, [url=http://brogonzo.tblog.com]Brogonzo[/url] and [url=http://kurtmaddox.tblog.com]Kurtmaddox [/url] sparred back and forth regarding some of their favorite truly bad moments in music history. You know, those incidents that all parties involved would likely spend great wads of cash trying to get cleaned up, if it weren’t for the mountains of free press that such things create. [url=http://kurtmaddox.tblog.com]Kurtmaddox[/url] (and [url=http://redtigress.tblog.com]RedTigress) [/url] even went so far as to suggest that this is a question worthy of further pursuit. And I must say that I rather agree.
After all, as a wise person recently told me “it is human nature to split our time between lamenting our own flaws and finding flaws in others.” So… let’s use this time to point our fingers happily at others and giggle unmercifully at their misfortune, shall we?
Yes… it’s time to list the most outrageously stupid things ever said or done by a musician. Sort of a “what were they thinking?” of music, if you will. The top things that made you shake your head and think, “man, I hope he fired his agent.” As usual, there are no rules to this game save that I will hold my own comments back until you have finished unleashing your wrath. Additionally, I think we’ll leave Mr. Morrissey’s remarks off our list. Clearly, his idiocy is already well established.
Am I the ONLY one who sees something wrong with this?
[i][b]INXS to star in reality TV show[/b]
Rock group INXS are to search for a new lead singer on a reality TV show. The show, titled Rock Star, will see the band hold auditions on five continents to find a replacement for Michael Hutchence, who died in 1997.
The winner will have the chance to record an album with the band as well as touring with them....
"After Michael died we wanted to search the world for a new singer but didn't know how we could effectively do that," INXS guitarist Tim Farriss said.
"But we've now found a fantastic way to make that happen."
Rock Star will differ from other TV talent shows in that the winner will not be chosen entirely by viewers.
Instead, hopefuls will work with the band and music industry professionals, who will assess their performances.
The programme will be made by Mark Burnett Productions, the company behind US reality TV hits Survivor and The Apprentice.
It will be broadcast on US screens in 2005. Mr Burnett said the band pitched the idea to him earlier this year.
"I am a long-time fan of INXS and feel very fortunate that they approached us with this idea and have entrusted us with their future," he said.
"There's room on TV for more than one great music-based show, and I feel that rock music has been totally left out of that mix." [/i] I particularly like the quote by Tim Farriss claiming that the band just "didn't know how" to go about finding a replacement singer. I think what he really meant to say was that they didn't know how to revive their lifeless careers without appearing completely pathetic and desperate. Sorry boys, you still haven't figure it out. Anyway, the entire article can be found [url=http://news.bbc.co.uk/1/hi/en...]here[/url].
I suppose it goes without saying that the criteria for what makes great "make-out" music varies from person to person. Sometimes, songs we never would have thought of as make-out material become fast favorites as a result of our experiences; all it takes is one evening of fogging up the windows while [i]that[/i] song plays in the background to truly convince us of its powers. Other times, it's that song's ability to make us stop what we're doing and seek out that special someone (or anyone in some cases) in the hopes that he/she suddenly feels like fogging up said windows as well. One thing is certain, great music, like all great art, triggers and inspires ~ just as this question triggered and inspired numerous comments (some of which wandered just slightly off topic!). However, all in all, I think if you look close enough, this particular dialogue reveals a great deal about those who chose to share their picks.
And so here it is: your list of GREAT make-out music.
[url=http://redtigress.tblog.com]RedTigress[/url], (who once again inspired this entire thread of discussion), ranked her list in order as follows: 5. Marvin Gaye "Let's Get It On" 4. Live "All Over You (All Over Me)" 3. Berry White (Anything by him!) 2. Chris Isaac "I Want To Fall In Love" 1. Dave Matthews Band "Crash Into Me" Thus... anyone who wishes to *score* with RT better stock up on the Dave Matthews! :)
[url=http://www.mblog.com/the_llun...]Lloyd[/url], whose t-shirt is rapidly becoming an eBay best seller, stated "The best music for making out is whatever's on" ~ which, I must say, makes me feel very sorry for Mrs. Lloyd.
[url=http://shadowmusic.tblog.com]Shadowmusic[/url] had this to say: "Make-out music: For me, it tends to be in the "instrumental or near-instrumental modern world music" category. The ideal mix would probably be the mellower moments of some of Peter Gabriel's soundtracks, plus some modern ethereal Celtic stuff like Enya or Loreena McKennitt, plus perhaps more songs from something like the Instrumental Moods / Pure Moods compilations." Very Interesting. But more interesting to me was his follow-up comment: "And while Barry White is the master of the smooth seduction, my friend Duane pointed out that Touch & Go's song "Would You?" is the antithesis of the smooth seduction... but it's a fine seduction nonetheless. As Duane says: "What guy can honestly say the shy and nervous female vocals of that song aren't straight out of your teen-age fantasies?"' Ha! While my instinct says "don't go there" I have to say that, that comment alone makes me think that your buddy Duane and my buddy Duane are the same person! :)
[url=http://brogonzo.tblog.com]Brogonzo[/url] revealed a bit of his more devious side with these comments: "I burned out on Eric Clapton's prom-tacular "Wonderful Tonight" in highschool, but that didn't stop me from wooing freshmen with it during my later years in college... me and a guitar on the frat house porch. Ha. Oh... Extreme's "More Than Words" was another favorite, as well as Dave Matthews Band's "Crash." Those freshman girls really loved those ones." (Personal note: That song by Extreme SHOULD have made my list of world's worst songs. Blech!) His later point on the subject, however, is especially well taken: "...I think it depends heavily on who that special someone is. The song has to fit the mood of the evening (or whenever!), as well as have something that both parties can connect to." Note also, that he and RT share a passion for Dave Matthews' "Crash." Hmmmmm... :)
[url=http://scarlettgkpi.tblog.com...]ScarlettGKPi[/url] chimed in with this comment: “Make-out music- tends to be a choice few songs. ‘Nobody’ by Keith Sweat and Athena Cage is excellent. Celtic, instrumental music and some techno is generally good. Enya most definitely. This type of music has a calming effect on me anyway and so it has the ability to melt me…” I hope you’re taking notes [url=http://shark99.tblog.com]Shark99![/url]
[url=http://cmaze.tblog.com]Cmaze [/url]seemed insecure in regard to his picks asking: “is it wrong to think of something like Ben Harper's ‘Forever?’ lol. or maybe Coldplay's ‘For You?”’ (Which RT seems to think is really 'Yellow'). Later, [url=http://cmaze.tblog.com]Cmaze[/url] attempted to fain amnesia when it comes to make-out tracks, but then admitted reluctantly that he may have employed a few Harry Connick Jr. songs in the past. (Don’t worry, [url=http://cmaze.tblog.com]maze[/url] . Your secret is safe with me. ;)
Olygirl71’s picks sparked some *cough* interesting dialogue. They included ‘Unchained Melody’ by The Righteous Brothers as well as tracks by Chris Isaak, Bing Crosby, Frank Sinatra or Louis Armstrong. According to Olygirl71 “mmmmmm, mmmmmm, mmmmm...those boys can melt an iceberg.” Olygirl then wondered why all of her picks were men. I would advise her to take a look at the attached picture and wonder no longer.
[url=http://dragonbait22.tblog.com...]Dragonbait22[/url] , who will forever be my #1 muse, offered the following: “Most of Nine Inch Nails' "Pretty Hate Machine" Anything by Dave Matthews Band- particularly "Crush" or "Rapunzel" "One More Time," "The Lovecats," "Let's Go To Bed," and "The 13th" by The Cure (ok, or anything else by the Cure).” And her number one choice? “I Want You" by Elvis Costello. Being the thinker that she is, Dragonbait22 also clarified her picks by stating “there are way too many great make-out songs/bands/CDs to make a decent sample list, and it all really depends on the mood you want to be set, who you're with, and how far you want things to go….” Very true.
[url=http://shespecies.tblog.com]SheSpecies[/url] suggested the following: “’Mouth to Mouth’: Vanessa Daou ’Teardrop’: Massive Attack featuring Portishead [and] most any song off Delerium's Karma cd...especially Tracks 01 (Enchanted) & 04 (Silence).” Note: Delerium is a very yummy choice.
And finally [url=http://islandartist.tblog.com...]Island Artist[/url] stated that “Blue Rodeo's album "5 days in May." Mmmm… Just thinking about it gets me tingly.”
Wow. That’s some list. Here’s what I have to add to the mix:
[b]Lenny Welch: ‘Since I Fell For You.’ [/b] ~This song is so sad and heartbreakingly lonely… and yet, absolutely perfect for turning the light’s down and getting down to business. :) [b]Sade: ‘By Your Side’[/b]The Cure: ‘Love Song’ ~I’m with Dragonbait22 on this one; just about anything by them is good. [b]Depeche Mode: ‘Blue Dress’[/b] ~ This may very well be one of the sexiest songs I have ever heard. Great stuff. [b]Sarah McClachlan: ‘I Love You’ and ‘Answer’[/b] [b]Mazzy Star: ‘Fade Into You’[/b] This song steams up the windows all by itself. [b]Spandau Ballet: ‘True’[/b] ~I know… I know… but thanks to a certain boy in high school, I will always think of making out when this song comes on. [b]The Arrogants: ‘Nothing Good Will Ever Come of This’[/b] ~Again, this song will break your heart AND make you reach out for the one you love. [b]Trespassers William: ‘Lie In The Sound.’ Red House Painters: 'Song for a Blue Guitar'[/b]
*sigh*
Ok... I believe this wraps it up. Thanks to everyone who commented. I always enjoy reading your posts.
Savant Garde, is the 3rd release from Quasimojo, a Toronto based electro-groove oriented trio made up of vocalist Maureen Spillane, multi-instrumentalist Locksley Taylor, and drummer Dean Williams. Of the album’s 10 tracks, several are quite good, showcasing the obvious talent of all three members. The album begins with “Radio Alphabet India” which is a delicate and hypnotic track consisting of interwoven layers of indistinguishable vocals, intricate synth-patterns and a cadenced drum line. This track manages to remain dreamy without sacrificing melody, which is a feat indeed, and undeniably the album’s strongest offering. “Radio Alphabet India” is followed up by “Contact Cement,” a clicking, complex ensemble of grooves wrapped around Spillane’s severed and reassembled vocals in a hypnotic refrain that defines the track. Quasimojo continues to prove themselves on the album’s 3rd track “Tristan Isolde/Mylie’s Got Something Worth Sleeping For” in which the band once again manages to infuse essentially electronic music with an emotional heart. This track begins much the same way as “The Contact Cement” left off, with a melodic arrangement of clicking and popping electro-grooves only to dive into a fragile and delicate version of the same melody that reminds the listener of an open music box. Eventually, and through several repetitions, this melody is gradually built upon until it is once again a layered and rich version of its slight and dainty original. The next two tracks, both instrumentals, are decidedly weaker. Both “Orange Room” and “Mangina!” are richly layered synth-laden tracks that provide interest, but little heart. Unlike their predecessors, both “Orange Room” and “Mangina!” lack the emotional element that defined the first part of the album. Later tracks vary in the same inconsistent manner. The 6th track, “Horse-Faced Woman” combine similar electronic grooves over what manages to sound like acoustic guitar riffs and frenetic drums. However these elements are overpowered later in the track by Spillane’s vocals, which have been given too much emphasis in the mixing. On the other hand, the album’s 7th track “Sagebrush” is another strong instrumental that is sprinkled with eastern influence and a brooding rhythm interrupted by electronic dissonance effects. And so it goes: Savant Garde continues to its end skipping from instrumentals to vocal tracks that range in style and quality. On the whole, Savant Garde is a release that is contains some really stellar moments, coupled with some truly mediocre ones as well. Overall, I would recommend this to fans of Mandalay, Portishead and to listeners who cherish those rare instances in electronic music in which emotion is not sacrificed for digital slight of hand.
It would appear that in [url=http://dragonbait22.tblog.com...]Dragonbait22's [/url] absence, [url=http://redtigress.tblog.com]RedTigress[/url] has taken over the much coveted position as my muse. Indeed, RT's suggestion for a post on the world's worst music was so popular, that I have decided to use her latest suggestion as the topic for this post as well. That's right, folks ~ Break out the Barry White, it's time to talk about...
"The World's Best Make-Out Music."
Of course, RT has already sent me her list, (which I must say, made me smile), and I am rapidly compiling my own (which I've already determined will be *quite* different from what most people will suggest)... but in the meantime, as always, I want to hear from you first.
So... go on, spill it! What songs make you want to lock-lips with that special someone (or whoever might be in the room at the time)? What songs make it most likely that your date will be able to round more than one base or even hit an unexpected home run before the night is over? We all have songs that spark an almost pavlovian response when it comes to love. What are yours?
A recent commentary from [url=http://www.pastemagazine.com/...]PASTE magazine [/url] editor Josh Jackson reflected on this very question, stating that when he asked people what kind of music they liked, the majority of responses fell into one of the following three categories:
a. All kinds. b. Anything but rap. c. Anything but rap and/or country.
If only it were so simple.
Consider for a moment your own answer to this question. Whatever it might be, I would have to argue that it's in complete. Think about it. The sheer number of musical genres out there these days is simply staggering... which is a wee bit odd when you consider the fact that when asked what genre their music falls into, most musicians reply with a glib response about not wanting to be categorized. Indeed, it's definitely not cool to have your music defined and yet the number of genres out there for that very purpose just keeps on growing.
In addition to the mainstays such as rock, country, R&B, pop, etc... here are just a few of the other "legitimate" musical genres that have become buzzwords in music journalism:
House
Trance
Anthem
Psy Trance
Ambient
Dark Ambient
Electronica
Sombient
Progressive House
Happy Hardcore
Deep House
Horrorcore
Hard House
Trancecore
Acid Trance
Punk
Punkcore
Metal
Death Metal
Hair Metal
Goth Metal
Speed Metal
Doom Metal
Black
Thrash Metal
Alternative Metal
Neo Classical Metal
Emo
Symphonic Metal
Avante Garde
Space Rock
White Metal
Decandent Metal
Rapcore
Hip Hop
Chicago House
Garage
Speed Garage
Hip House Old School
Industrial
Tribal
Lo-Fi
Organic Ambient
Isolationist
Trip Hop (aka the "Bristol Sound")
Electro
Ghettotech
Gabba
Electronic body music (EBM)
Futurepop
Old-school EBM
Noise
Intelligent dance music (IDM)
Britpop
Chip music Glitch
Musique Concrète
New Age
Nortec (electronic style from Tijuana, Mexico)
Synth pop
Synthpunk
Death techno
Freetekno
Vocal trance
Age Ambient
Alt-Country
Alt-Country Americana
Gothic
Darkwave
Ethereal
NeoClassical
Japanoise
New Romanticism
Sadcore
Twee
Cuddle Core
Slowcore
Goth Pop
Dream Pop
ShoeGaze
New Wave
Goth-Folk
Apocalyptic Folk
Celtic
Chill
Insurgent Country
Cowpunk
Rural Contemporary
Roots Country
No Depression
Indie
Piano Rock
Ethereal Electronic
Ethereal Synthpop
Jangly Twee Synthpop
Orchestral Synthpop
Orchestral Piano Pop
Orchestral Guitar Pop
Swirly Ethereal Guitar Pop
Jangly Twee Guitar Pop
Jangly Guitar Pop
Surf Rock
Shag
Funk Guitar Pop
Classic Guitar Rock
Power-Pop
Pop-Punk
Big Beat
Post Industrial
Ok... so after all that, the one thing I [i]know[/i] to be true about this list is that it is grossly incomplete. There are probably (literally) hundreds more that I could list here (given enough time, motivation and alcoholic beverages). But even from this slice of the pie, we can see that music classification has become quite popular ~ despite all claims to the contrary.
As someone who is [i][b]very, very fortunate [/b][/i]to be able to write about music from time to time, I find all of these genres a bit.... well... daunting ~ not to mention superfluous. I suppose there's a part of me that feels like [url=http://reborn.tblog.com]ReBorn[/url] who said, (when he commented on this post the FIRST time I tried to post it), "listening to music shouldn't be this hard."
And the truth is, for most people, it probably isn't that hard. Unless of course, you're a "detail person" like me... who listens to a song and struggles to classify it within the giant html table of music genres that floats around in my head. (I know... I'm a sick, sick person). Luckily, I have [url=http://shadowmusic.tblog.com]good friends [/url] and [url=http://www.geocities.com/dhou...] the candy store [/url]to help me out in those situation. In the end, I think most people just listen without all the science. They just listen... which must be pretty nice indeed. :) One more thing... go back and take a look at that list again. Seriously. Some of those genre names are hilarious. I think my favorite is "y'allternative." C'mon... admit it. That's funny!
And special thanks to [url=http://cmaze.tblog.com]cmaze[/url] , without whom I could never have gotten this table posted. (You'll never believe how easy it was to fix our "problem"). Thanks buddy!
I know you guys are probably getting tired of these reviews... but I like to post them whenever LT decides to publish something I wrote. Sometimes, a great deal of time lapses between when I write these and when LT publishes them. Anyway, if you're on the hunt for new music, [url=www.losingtoday.com]LT [/url] is a great place to start. Check out their site.
And also... I think (maybe) all the excitement over bad music made people overlook the prior post titled [url=http://www.tblog.com/template...]"A Trip Down Memory Lane...." [/url] (Either that, or no one was interested :( ). Anyway, if you get a chance, check it out.
In The Euro, Randall Lee, and his ever-changing ensemble of band mates, pay tribute to Europe’s new unifying currency, but also to the lesser-known Australian wallaby of the same name. To say that this is an unusual and ambitious project is an understatement. The album’s ten tracks are sung in 7 different languages, and range musically from the classic guitar, bass and drum pop-rock trio on the opening track, to much more avant-garde/space-rock influenced tracks later in the lineup. Two things, however, unify all the songs on The Euro, the first being a general melancholia that pervades each song despite often-upbeat arrangements. In fact, according to the band, there was an attempt on their part to write songs of sadness and departure that “reflect upon the fear of loss of national identity through loss of currency.” To say that these tracks are truly sorrowful may be somewhat of an overstatement, but they do capture a feeling of not quite being resigned to an unfavorable circumstance. The second unifying element shared by each of the songs on this release would have to be Randall Lee’s vocals, which defy description. Fitting somewhere between Tom Waits and Brad Roberts (of the Crash Test Dummies), Lee’s vocals are deep, moody and unpredictable. All in all, this is an interesting release that is satisfying if not stellar, leaving the listener looking forward to seeing what Ashtray Boy comes up with next
It would appear that a lot of you are passionate about bad music.
Let me explain:
As you may recall, about a week ago, I received a note from [url=http://redtigress.tblog.com]RedTigress[/url] , suggesting that I do a post on the worst songs ever. Naturally, I jumped at the chance, as this type of thing is right up my alley.
Not only did I not expect the number of comments I received on the subject, but I certainly did not expect the use of quite so much profanity in said comments. (You potty mouths, you!) :)
Now, as I stated when I began this little foray into the world's worst music, this has been done before. In fact, RedTigress' note to me was actually inspired by a viewing of [url=http://www.vh1.com/shows/dyn/...]the VH-1 show [/url] on that very subject. Further, as I mentioned, [url=http://www.cs.umd.edu/~gasarch/HUMOR/worstsongs .html]Dave Barry did an entire series of columns [/url] on the world's worst songs about which he has often claimed to have received the most reader mail in response to a column... EVER!
Of course, as always, I would strongly encourage you to check out the songs on their lists (some of which I really like, by the way), but without further adieu...
Here's what you had to say:
[url=http://redtigress.tblog.lcom]RedTigress[/url] hated these songs so much she even ranked them in order of hatred: 5. "Bye bye" -N*sync 4. "Thong Song" -Sysco 3. "Barbie Girl" -Aqua 2. "Party all the Time" -Eddie Murphy (Note: This song was also later mentioned by "Newbie" who pointed out that VH-1 included it on their list as well. Sorry Eddie). 1. "Maccerena" -Los Del Rio
[url=http://cmaze.tblog.com]Cmaze[/url] , although convinced that he did not actually remember bad songs managed to point out very passionately that "ANYTHING MADE BY A BOY BAND...that’s just NOT right." He also took a jab at all 80's music, as though nothing made prior to 1991 had any merit. I'm willing to forgive him *once* for this slight error in judgment. :)
[url=http://scubadiva.com]Scubadiva[/url] , on the other hand, pointed out that "Muskrat Love" (Capt. and Tennille) was hatred worthy as well as "I've Never Been To Me" (Charlene) which according to Scubadiva is "frequently covered by drag queens." I've given this careful consideration and have decided that this fact, in and of itself, might be a qualifying criterion for "bad song" status.
[url=http://dumblondegirl.tblog.co...]Dumblondegirl[/url] nominated anything by Celine Dion (and not just because she is Canadian!) as well as Lenny Kravitz for whom she offered the following "lame lyics": [i]I wish that I could fly/Into the sky/So very high/Just like a dragonfly. [/i] Perhaps Lenny should hire a lyricist.
[url=http://chicalookate.tlog.com]Chicalookate [/url] established that "MacArthur Park" by Donna Summer (apparently Richard Harris' original version was fine by her), "You're Having My Baby" by Paul Anka and "The Pina Colada Song" by Escape were all especially terrible and to be most despised by all. (Note: she promised more suggestions later, but never delivered). :wink:
[url=http://www.mblog.com/the_llun...]Lloyd[/url] , (who likes The Pina Colada Song, by the way) stated that the "worst [song] ever might be "One of Us" by Joan Osborne." According to Lloyd, this song is so bad that it "makes me want to vomit.” According to Lloyd, the worst line in the song is: "Nobody callin' on the phone. 'Cept for the Pope, maybe, in Rome." Now THAT is bad. However, the most distressing thing about Lloyd's post is the later conversation he has with himself about possibly being stalked by Joan Osborne. Naturally, I blame this on the fact that Lloyd is Canadian.
[url=http://brogonzo.tblog.com]Brogonzo[/url] , contributed a heaping helping of bad songs to the list including: "Tiptoe through the Tulips" by Tiny Tim, "Yummy, Yummy, Yummy, I've got Love in My Tummy" by the Ohio Express. He also described quite aptly something that I know to be true about some of the songs that I despise most of all: "Some of my personal most-hated songs are by bands that I love, not just because the songs are bad, but even more so because they're huge let-downs." Some examples of this phenomenon for him include: Pearl Jam's "Bugs" and "Stupid Mop." He also hates "Lay Down Sally" by Eric Clapton. And of Jim Morrison he states: "coming from so-called "American Poet" Jim Morrison... "Come on Baby Light My Fire," while certainly anthemic, contains some of the dumbest lyrics ever put to verse: "Come on baby, light my fire / Try to set the night on / Fire." What a cop-out." Brogonzo also adds: "The current crop of unkept self-pitiers just makes me want to hurl, too... "Swing, Swing" by the All-American Rejects is lame, and the video didn't help." But he does point out that "sometimes rotten songs are put to good use in film soundtracks, or have funny, ridiculous memories associated with them, which validates them in some ways. However, insipid, uninspired, simply lousy music has no place on a CD, and especially not on the radio, where we can hear it over, and over, and over again." (Note: He later posted a great deal about the Eagles and their string of incredibly horrific hits including "Lyin' Eyes" and "Tequila Sunrise.") Yes... Brogonzo is obviously a bitter, bitter boy. :)
Jenxer added the following items to the list: "Ice Ice Baby" - Vanilla Ice. Ultimate yuck. "The Barney Song" - ?. Speaks for itself. "Rollin" by Limp Bizkut. "Sussudio" by Phil Collins. "Everybody Wang Chung Tonight" by Wang Chung and of course… "Karma Chamelion" by Culture Club She also made the following very convincing argument for a song I have never heard of: "And I'm thinking of another girl band that did some stupid song about having a baby that I hated to death. It was really popular - one of you might remember - but I wanted to kill when I heard it. Go have an abortion!"
[url=http://shespecies.tblog.com]SheSpecies[/url] sparked some dialogue with her suggestions, which included: "My Band" by Eminem, "Love Hurts" by Nazareth and "most music by Rush.” ~ This, naturally, inspired a discussion in which she and Brogonzo tried to describe Geddy Lee's voice. Brogonzo (quoting Dennis Miller): "A cat being chainsawed inside an airborne Cessna with engine trouble." SheSpecies: "Geddy Lee sounds like someone's squeezing his balls." You both are indeed poets.
I think it's clear you folks have some issues. I would suggest years of intense therapy, but it would appear that I have some of my own demons to deal with: So here they are. Some of my picks for worst songs ever....
"Tubthumping" by Chumbawamba "Ironic" by Allanis Morrisette "Ode to Billy" Joe by Bobby Gentry "We Built This City" by Starship "Seasons in the Sun" by Terry Jacks "Abracadabra" by Steve Miller "Lovin' You" by Minnie Riperton "Mambo #5" by Lou Bega "Last Kiss" by J. Frank Wilson & the Cavaliers and then further mutilated later by Pearl Jam (both versions were baaaaaad). "Mr. Roboto" by Styx "Sometimes When We Touch" by Dan Hill "All I Have" by Beth Nielsen Chapman "Blue" by Eiffel 65 "The Bad Touch" by The Bloodhound Gang"
Ok... at the risk of seeming too venomous, I will stop there, but just know, that I could probably name others. Many, many others.
Thanks again to [url=http://redtigress.tblog.com]RedTigress [/url] for leading me down this path, and to all of you who contributed. See... don't you feel better now? :)
BBC News | Entertainment has posted a very interesting slideshow of 1970's - 80's music icons. Some of these [url=http://news.bbc.co.uk/1/hi/in...]black and white stills [/url] really took me back to a very specific period of my life... but then I suppose that's one of the great things about music: how easily a song/lyric can transport the listener back in time to a specific moment. (Have you ever heard a song and suddenly you could see everything just exactly as it was during the moment with which this song is associated? Sometimes, the memory is so vivid, other sounds and even scents are evoked as well). Yes... music is indeed powerful. Anyway, I think this grouping of photographs is pretty incredible... and yet... if the years in question are 1976 - 1986, it would appear that this photographic retrospective is, to say the least, incomplete. It seems to me that some pretty important musicians from that 10 year span are missing.
What do you think? Who should have made the list that didn't? Hmmmmm???
Oddly, this seems more like non-fiction than satire.
[i][b]RIAA Report: CD Sales Down Because New Music Sucks[/b]
Los Angeles, CA | The 25th anniversary of the audio CD next month is being greeted with dwindling sales figures. But an industry-wide study indicates that Napster-type downloads are not the real problem behind a sluggish market.
The report clearly documents a brief spike in sales whenever something new comes along, followed by a long period of disinterest. "This is because most artists squirt out one decent song, then follow it up with a bunch of crap," RIAA analyst Lorenzo Spazcolon explained. "Britany Spears, Christina Aguilara, Tatu... gimme a break. More people download their pictures than their music."
The biggest industry losers, the RIAA study sites are companies heavily invested in hip-hop performers. "I guess it's like, how long can you expect people to tolerate some obnoxious twerp screaming bad poetry in your face?" Spazcolon concluded.
The documnetation indicates that years ago, when hip-hop was fresh, it appealed to an older college-age market. But it's success was short-lived.
"After all the Eminem, 'I hate my mommy' crap, only teenagers listened to it. Now it's cycling down to pre-teens." Spazcolon predicts at some point the hip-hop audience won't actually have any disposable income [to spend on CDs.] "Do six year olds even get an allowance?"
As a result, the recording industry will now shift its focus from sales to litigation. "Why try to sell cuts online for a buck," he explained, "when we can sue everyone for a couple of thousand dollars each? In the long run, legal action is more cost effective than quality control.[/i] [url=http://www.thespeciousreport....]Source Link[/url]
Like I said, it's funny because it's true (which, when you think about it, is the reason it's sad too).
Here's my latest review for LT. (I plan on doing more writing this summer... please let me know what you think).
BLACK FOREST/BLACK SEA SELF TITLED (Secret Eye)
The shining stars of Black Forest/Black Sea’s self-titled debut are Jeffrey Alexander’s guitar work and Miriam Goldberg’s cello accompaniment. Woven together they paint a dark and beautiful canvas that requires no vocals. Intricate and rich, the instrumental tracks on this release range from simple acoustic arrangements to drone infused modern tracks that incorporate short wave radio noise and various ambient background sounds that add interest and mystery. However, if these are the CD's strengths then there are also a few weaknesses as well. For example, the few tracks that do include vocals are by far the least alluring of the album’s 7 offerings, although there is something to be said about the echoed refrain on track #5, “It’s Beautiful Here,” which is both playful and infectious. Additionally, the album’s 6th and 7th tracks, which stray away from the traditional aspects of earlier songs and into more experimental and tentative soundscapes, seem completely out of place on this album. Although the entire release is drenched in melancholy, it almost seems as if there are really two different albums in the works here – and while each offers something distinctive and interesting, it’s a safe bet that most listeners will enjoy one while feeling let down by the other.
Basically, you type in your favorite band or album, and a very bitter music critic tells you how horrible it is and how stupid you are for liking it. What fun! This is what I got when I typed in Chandeen:
[i]"Like a rusty saw being slowly dragged through my grandfather's genitalia, track 2, Easy to Fly is only really listenable after carefully inserting your fists into your ears. Don't worry about getting them out again - there's more on this album you'll want to not hear too. Track three, Silver Days isn't that bad. Ha ha. Got you. It's just a tiny bit worse than, say, the sound of a hamster being gently castrated with some nice rusty pliers. Anyone's View to the Inside really should never be played in intelligent company if you want to retain your friends.[/i]
[i]To be honest, it's been a long time since I've heard an album quite this bad. I do this for a living, and you won't believe the shit you get sent as the 'Next Big Thing'. Take track 6, Walking Through the Rain for example - if I'd wanted a recording of Monica Seles' serve grunts looped repeatedly over three pandas attempting to play the drums I'd have asked for it. Take it away and put it out of its misery. Please. Three people died whilst track 7, Before Sunrise was being created. I can only say that they are the lucky ones and missed out on what sounds like the elephant man attempting to whistle the gentle 70s synthesiser pap used to make porn more interesting. Track 9, Fire and Water or the stomach rumblings of Miss 'Overweight Texas' 1994? You decide, I'm not playing it again."[/i]
So... I just got a note from [url=http://redtigress.tblog.com/]RedTigress [/url] saying that she had seen a show on VH1 in which folks had the opportunity to list what they considered to be the WORST songs of all times. For *some* reason, this made RT think about me (Hmmmmm... :wink:). Of course, she provided me with a list of her own worst songs, and I have to admit she's hit upon some pretty foul stuff with her countdown of musical ickiness... but I'm going to save her picks for just a bit.
That's right, folks... it's list time!
So... here's our topic: The WORST songs of all time. As many of you may know, Dave Barry did a series of columns on this topic a few years back (I'll speak of this more on my follow-up post)... but I'm fairly certain we can cover some new ground with our list. As always, it's perfectly acceptable for you to just list the songs you wish to admonish here, but [i][b]ideally[/b][/i] your picks will be ranked, contain the name of the criminals...er... artists responsible for these most despised of tracks... and, if you're feeling particularly venomous, you can also consider this to be an opportunity for you expound upon the reason(s) why hearing this song even one more time would make you consider a slow and painful death (for the "musician" of course!)
Ok... tag! You're it! (And thanks again RT for the suggestion!)
------------------------- ------------ [i]Editor's Note: I added the cartoon after posting the original text. I'm afraid the reference might be a bit on the obscure side... but I thought it was hilarious! PS: [url=http://web.fccj.org/~hdenson/cartoon.html]Credit to the artist.[/url] [/i]
Some of the most amazing interactions I've ever had with music, have occurred when I've all but forgotten about a song, album, band, etc. I'm sure we've all had the experience of running across a CD that we've not played in ages, or of hearing a song on the radio that had, for whatever reason, been pushed to the way back of our mental filing systems ~ nearly lost forever. The joy of rediscovering such music is sometimes even better than finding it to begin with. It's like a reunion with an old friend; as exciting as the first meeting might have been, there's something overwhelmingly special in finding that something that you once thought was incredible, in fact, still is. Anyway, a recent post by [url=http://www.tblog.com/template...]brogonzo[/url] reminded me of one of my favorite albums, by one of my favorite people, that for whatever reason, I had all but forgotten.
Now, at this point, some of you are probably going... "um... who?" And others of you who read this regularly might even be shaking your heads thinking "does this girl listen to anything normal??? (I can assure you that the answer to that question is no!) But I bet most of you actually [b]know[/b] who Mark Kozelek is and don't even realize it.
Here are a few hints:
#1 Mark Kozelek is probably best known as the lead singer of [url=http://www.allmusic.com/cg/am...]Red House Painters[/url], a guitar driven indie band out of California, that gained somewhat of a cult following in the late 90's.
#2 A few years ago the, The Gap ran some great Christmas Khaki commericals, and in one they used the Red House Painters' remake of All Mixed Up (originally by The Cars) as the back drop to a particularly snowy and popular spot (that, now that I think about it, may have actually been for sweaters or even scarves).
#3 Mark Kozelek was in one of my favorite movies: Almost Famous. He played the bass player for the band "Stillwater." Admittedly, this was a minor role. But if you remember the scene where they are all on the tour bus and someone starts singing Elton John's "Tiny Dancer," well that person was Mark Kozelek.
See... you really do know who he is.
Anyway, brogonzo's post reminded me of Mark and one of his solo albums [u]Rock 'N' Roll Singer[/u], because 4 or the album's 7 tracks are actually AC/DC covers. (Of course, there's also a John Denver cover on the album, but we won't go there). Now, for those of you who [b]are [/b] familiar with Mark and his work, you realize the delicious irony of such a combination. (I remember reading an interview with Kozelek at the time this album came out. I don't recall the exact wording of the question, but the interviewer said something to the effect of "Why AC/DC? Most people would expect to see you cover songs by artists such as Nick Drake or Tim Buckley?" Mark's response: "Exactly.") And for those of you who don't know who he is... well, suffice it to say, not only does this odd marriage work, it's pretty damn amazing. To be honest, this is one of my favorite Kozelek albums. It's typically understated, sparcely produced, intimate and raw, but without being quite so serious... which is kind of a nice juxtaposition. If you're at all interested in Mark Kozelek, I would also give my highest recommendation to RHP's [u]Songs For a Blue Guitar[/u]. This is the album to which all other RHP albums and all Mark's solo work will forever (and probably unfairly) be compared. In fact, when I bought [u]Old Ramon[/u], the last RHP album, the boy behind the counter looked at me and said "Hey, I heard it's almost as good as Blue Guitar" as though a great deal of hope was pinned on this statement being true. I just smiled... but deep down, I knew (because of statements like that) [u]Old Ramon[/u] was doomed.
So... for the last few days, I've been rediscovering Mark Kozelek... and it's been absolutely exquisite. I understand he has a new project out called [url=http://www.sadreminders.com/d...]"Sun Kil Moon," [/url]which, naturally, I will have to check out soon. In the meantime, I'm pretty satisfied with getting to know my old friend again. He's just as talented as I remember.
As English as late-running trains or rain at Wimbledon, in their subtle way they have come to represent that masochistic national trait that finds a strain of pleasure in the misery of it all. 
Rock group INXS are to search for a new lead singer on a reality TV show. The show, titled Rock Star, will see the band hold auditions on five continents to find a replacement for Michael Hutchence, who died in 1997. 
I suppose it goes without saying that the criteria for what makes great "make-out" music varies from person to person. Sometimes, songs we never would have thought of as make-out material become fast favorites as a result of our experiences; all it takes is one evening of fogging up the windows while [i]that[/i] song plays in the background to truly convince us of its powers. Other times, it's that song's ability to make us stop what we're doing and seek out that special someone (or anyone in some cases) in the hopes that he/she suddenly feels like fogging up said windows as well. One thing is certain, great music, like all great art, triggers and inspires ~ just as this question triggered and inspired numerous comments (some of which wandered just slightly off topic!). However, all in all, I think if you look close enough, this particular dialogue reveals a great deal about those who chose to share their picks. 
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Olygirl71’s picks sparked some *cough* interesting dialogue. They included ‘Unchained Melody’ by The Righteous Brothers as well as tracks by Chris Isaak, Bing Crosby, Frank Sinatra or Louis Armstrong. According to Olygirl71 “mmmmmm, mmmmmm, mmmmm...those boys can melt an iceberg.” Olygirl then wondered why all of her picks were men. I would advise her to take a look at the attached picture and wonder no longer. 
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"Tubthumping" by Chumbawamba 
BLACK FOREST/BLACK SEA
... come sit next to me!