Ok. I admit it, asking you to answer the question in that last post did border on cruel and unusual punishment... and believe me, you have my deepest and most sincere apologies. Although, I must admit that I did rather enjoy watching some of you squirm ~ just as I enjoyed reading your answers. Even though some of you hedged your bets a bit by trying to sneak in an extra title or two, all in all, as I said before, I think these responses speak volumes about those of you who were brave enough to take the bait:
Our favorite Brazilian reader Macki offered the following in regard to his choices: “The Style Council [and] the second would be either Pato Fu Mmtv Ao Vivo, a excellent brazilian band, or [u]Treasure[/u], from the Cocteau Twins(it would really depend on the moment i would be, right now i guess it would be cocteau twins).”
[url=http://aWindow.tblog.com]aWindow[/url] seemed to have no problem picking his/her choices: “very easy to answer i think..... Cat Stevens [u]Greatest Hits [/u][and] [u]Deep Forest [/u][by] Deep Forest.” Personal Note: Watch out, aWindow, according to jenxer Cat Stevens and I are “synonymous.” :)
Olygirl71 beat around the bush a bit, but finally came up with: “Jimmy Buffett, cause who can't help but feel better when [i]Margaritaville [/i]is playing...and, even though I don't own this disk, I would keep it anyhow because it reminds me of a true friend from HS days and beyond named JJ...Jive Bunny and the Master Mixers.” Personal Note: Now I know what to get you for Christmas. :)
[url=http://dragonbait22.tblog.com...]Dragonbait22[/url] , after overcoming her initial disappointment upon finding out that I had outlawed the use of homemade “mix CDs,” found yet another loophole in the system by choosing titles that were comprised of multiple CDs. She’s a sneaky one alright! “I will go with Smashing Pumpkins- [u]Mellon Collie and the Infinite Sadness[/u], and Nine Inch Nails- [u]Pretty Hate Machine.” [/u]Very telling choices, indeed.
Former tblogger and proud papa to be [url=http://www.mblog.com/the_llun...]Lloyd[/url] decided to copy Dragonbait22’s tactics: “I would have to say Indigo Girls' double CD: [u]1200 Curfews[/u] (Live) as my first pick. Second pick is a bit tougher, but I'll say [u]Road Apples[/u] by the Tragically Hip.”
[url=http://chicalookate.tblog.com...]Chicalookate [/url] protested a bit, but finally made the following choices (which I have to admit, are quite good!) “Peter Gabriel's [u]Passion[/u] and Tori Amos's [u]Little Earthquakes.”[/u]
After calling me a sadist, [url=http://shespecies.tblog.com]Shespecies[/url] narrowed her choices down to: “I'm going with [u]Karma [/u]by Delirium and [u]Slow To Burn[/u] by Vanessa Daou.” No word yet on whether or not her “insides” have recovered.
[url=http://darkmood.tblog.com]Darkmood [/url] definitely wins the award for most creative answer. After pondering the relative value of data CDs versus audio, he finally settled on “Twisted Sisters - [u]Stay Hungry[/u] [and] KISS –[u] Revenge[/u].”
It seems that [url=http://blondebondgirl.tblog.c...]Blondebondgirl[/url] had a hard time choosing too, but eventually decided that “[u]More B.S[/u]. by Bree Sharp and [u]Its All In Your Head [/u][by] Eve 6” were the right choices for her because “those are the 2 cd's that shed my soul.”
Not unlike myself, Jenxer changed her mind several times before deciding on “Bauhaus- [u]Flatfields[/u], and Joni Mitchell - [u]Court and Spark.[/u]” Again, excellent choices.
Other choices include [url=http://Mzmzchelle.tblog.com]Mzmzchelle[/url] who selected “Fleetwood Mac- [u]The Dance [/u][and] Marvin Gaye- [u]Greatest hits[/u]” As well as [url=http:brogonzo.tblog.com]Brogonzo[/url] who picked “[u]Recipe for Hate [/u]by Bad Religion and [u]Graceland[/u] by Paul Simon. (one of my personal faves, by the way).
And then there was, Mikellogg who had to think about it for a bit but then finally narrowed it down to "First:Dramarama, [u]Live at the China Beach Club[/u]. Can't do without it. [And] second: Space, [u]Spiders[/u] for the times I need a pick-me-up."
And finally, [url=http://almsthvn.tblog.com]almsthvn[/url] gets an honorable mention for being the only person to list a classical title as one of their choices, (although I’m still reeling a bit from the selection of Dvorak). However, in the end, he/she never actually narrowed it down to two choices, which I would say is cheating, if it weren’t for the fact that I am about to do the same thing.
As I stated in my initial post, this is a question that I myself am not certain that I could answer. However, as I began to read each of your responses to it, I decided that I should give it a shot. And I did. And then I changed my mind… and then I changed it again, and so on and so forth, until finally the entire thing felt like a shampoo commercial gone terribly, terribly wrong. First I chose [u]Befriended[/u] by The Innocence Mission and [u]No Secrets [/u]by Carly Simon because they both remind me of very special people and moments in my life. Then, I got to thinking that these choices were probably more alike than different, so I switched one out for[u] Led Zeppelin III,[/u] but before I knew it, that got the boot and was replaced by The Arrogant’s first album [u]Your Simple Beauty[/u]. Soon other titles like Love Spirals Downward’s [u]Ardor[/u], Simon and Garfunkel’s [u]Bookends[/u], The Clash's[u] London Calling[/u], Depeche Mode’s [u]Violator [/u]and [u]Kiss Me, Kiss Me, Kiss Me[/u] by The Cure were all in contention. But in the end, I bit the bullet and decided on REM’s [u]Document[/u] and [u]Umbrella[/u] by the Innocence Mission. Well…at least until I change my mind. :)
In my opinion, one of the most moving parts of John Steinbeck's [u]The Grapes of Wrath[/u] occurs just before the Okies begin their harrowing trek along Rt. 66 towards a new, (and what they hope will be better), life in California. In this particular scene, the family must choose what items they will take with them on their journey. Because there are so many family members going, and so little room to carry their belongings, hard choices must be made, and at one point, the children are told that they must choose two items that they can keep. Only two. Once the decisions have been made, everything else is burned in the front yard as the family watches to ensure that no one else becomes the owner of their memories. It's both poignant and brutal.
I think we've all had these types of conversations with either other people or at least with ourselves. You know... the whole "if you were stuck on a deserted island, what would you... " line of questioning. Further, I find how people answer this type of question to be infinitely telling, because the real question here is not what would you take along, but rather, what can’t you live without. Naturally, there are the practical among us who take along matches and a palm-pilot, while the romantics bring along a picture of their puppy and the stuffed elephant won at the county fair by their boyfriend in the 8th grade. Both types of responses garner scoffs and questions. And both answers often make us rethink our own.
I came to this line of thinking as a result of a recent houseguest’s astonishment at my ever-growing collection of music. Even I have to admit that it’s gotten a bit out of hand. But when faced with the option of parting with some of it, I start to exhibit symptoms of some yet unnamed mental disorder: My palms get clammy… I find myself fidgeting… my voice shakes. Soon I’ll develop an uncontrollable twitch just under my left eye. And yet… I can’t help but wonder, if I could only choose two… what would they be? Two CDs, let’s say. What music means so much to me that it would be what I'd if I could only have two to take with me on my journey towards a new (and hopefully) better life? To be perfectly honest, I’m not sure this is a question that I can answer. But that won’t stop me from asking you. :)
I think you know where this is going…
So… if you had to go through your music collection, and could only pick two CDs, and the rest you had to give away or burn or throw at young children as they bicycled past your house, what would those two be? (And no, smarty pants, you can’t make two mix-CDs). Let’s hear it. The music you can’t live without. I promise to *try* to keep the scoffing to a minimum.
I don't want to get ahead of myself, but I've been receiving some pretty exciting news from the folks at Losing Today about the new issue and its pending release. I'll write much more about LT, their site, the magazine and those Italian boys across the ocean who make it all possible, once the new issue has hit the shelves. In the meantime, here's a review I wrote that they published today. Oh... and don't forget to check out the [url=http://losingtoday.com]LT site[/url] . Good stuff!
The terms “lush” and “atmospheric” are over used expressions in the world of music journalism. However, there are really few other turns of phrase that adequately describe the music of Santa Cruz, California’s Bethany Curve. With their typically ethereal and dreamy, reverb heavy style, BC’s latest release Flaxen, is a beautifully dissonant collection of songs that capture the essence of the band’s motto: “atmosphere, arrangement, sound, layering, noise.” This axiom, however, while certainly adequate, leaves out one key element of Bethany Curve’s music, and that is movement, an attribute that is especially present on Flaxen. Each track on Flaxen suggests sensuous and fluid motion, without the benefit of synthesizers or stringed instruments other than Nathan Guevara and Richard Millang’s guitar accompanied by Daved Lockhart’s base. Indeed, it is this ability to create soaring and sweeping guitar driven music that separates Bethany Curve from others in the shoegaze tradition in which they clearly feel at home. While certainly comfortable among bands such as Slowdive, Flying Saucer Attack, The Curve and My Bloody Valentine, Bethany Curve is carving out their own niche in the genre by creating deceptively orchestral compositions that defy traditional expectations of guitar driven music. If there is one weakness in this release it could be said that the flow between tracks is so seamless that it is sometimes difficult to distinguish where one begins and another leaves off, but personally, I find this to be part of Bethany Curve’s strength as a band. Obviously, this is a band that has found their sound, and is not afraid to place their unique musical signature on each track. To be sure, this is a solid and consistent release in which each track represents a fluid drop in the ocean that is Bethany Curve.
[url=http://www.loobie.com/]Celestial Voices:[/url] "An evolving UK-based resource with concise reviews promoting haunting, atmospheric and ethereal female vocals." ~ Thanks to [url=http://shadowmusic.tblog.com]shadowmusic [/url] for this link and the next one... and yes, the one after that. :)
[url=http://www.musicaldiscoveries...]Musical Discoveries:[/url] "actively follows and promotes contemporary, progressive and crossover music featuring female vocalists by reviewing albums and live performances, interviewing artists and by publishing comprehensive features spanning their careers."
[url=http://www.auralgasms.com/]Auralgasms: [/url]" The Web's best portal for the discovery and discussion of under-appreciated artists." ~ I have this site linked to the left. I cannot tell you how much I use it.
[url=http://ectoguide.org/]The Ectophiles' Guide to Good Music: [/url] "The Guide is our attempt to compile the many comments and recommendations about music and reviews of music made over the years by ectophiles everywhere into a useable format." This site states up front that it is a work in progress. I see its potential, but wonder if it will ever be finished. In the meantime, I recommend searching by genre.
I also recommend the following online radio stations: [url=http://www.auralgasms.com/Rad...]Auralgasms Radio: [/url] "Auralgasms Radio features the best blend of Alternative music, specializing in a unique mix of Dreampop, Triphop, Brit pop, singer-songwriters, alternative flashbacks, and gems from Alternative legends." [url=www.radioparadise.com]Radio Paradise: [/url]"Listener supported eclectic online rock."
Know of any other great online music sources? It's time to share!
I've been meaning to do an 'anatomy class' for some time now, but these types of posts require a great deal of time and attention, both of which have been sorely lacking in my world recently. However, now that I have a few moments to devote to such explorations, I've decided to take an in depth look at a band that was recently discovered by Brazilian reader Macki and that I'm sure many of you have heard of: The Cocteau Twins.
[b]History:[/b] [url=http://www.cocteautwins.com/]The Cocteau Twins' official website[/url] begins with a description that I feel only begins to scratch the surface of this band's influence on the musical landscape: [i]They were a [b]phenomenon.[/b] Not necessarily the kind that plays to stadiums or fills MTV's timeslots or even sells millions of records. Rather, the kind that quietly causes a fundamental shift in perception, exerting an influence that is universally felt if not always seen. [/i] Indeed, the unique music of this Scottish trio continues to be of relevance despite the bands disintegration in 1997.
The Cocteau Twins, which have always been a trio, took their name from an obscure song by fellow countrymen and musicians Simple Minds. The three original members, Will Heggie, Robin Guthrie and Elizabeth Frazier crossed paths as a local dance club where Guthrie was the DJ on “punk nights.” The three formed a group as a result of what they termed as “sheer boredom” and soon caught the attention of Ivo Watts-Russell at the then fledgling London label 4AD. It wasn’t long after this that they released their first album, [u]Garlands[/u], in June of 1982, which they recorded in just seven days. However, later that year, Will Heggie left the Twins, and was not replaced until a year later when Simon Raymonde joined the band to complete the lineup that would remain for the duration of their life together.
The band went onto record seven other albums including [u]Head Over Heels[/u] (1983), [u]Treasure [/u](1984), [u]Victorialand [/u](1986), [u]Blue Bell Knoll[/u] (1988), [u]Heaven or Las Vegas [/u](1990), [u]Four-Calendar Café [/u](1993), and [u]Milk & Kisses[/u] (1996) ~ as well as eleven EPs. The band received critical acclaim early on, but it wasn’t until their 3rd release, [u]Treasure[/u], that they were fully established as an influential and important band. Again, the official Cocteau Twins' website offers this description of the band’s third outing: [i][u]"Treasure[/u] marks a trend in Cocteau Twins' music to blur the edges more, and further detach the music from any sort of definite structure. The songs themselves rely heavily on effects, and often the sounds one hears are reminiscent of the baroque or more modern gothic/synthetic music (such as the Mike Oldfield "Tubular-Bells"-like "Otterley"), accompanied by layers of delayed or fuzzed-out guitars, and the occasional acoustic-style strumming rhythm (as on "Ivo" and "Cicely," for example)."[/i] Similarly, it is on [u]Treasure[/u] that Frazer fully develops her lyrical and vocal style, which we will explore a bit later… but which has been labeled by at least one critic as being comparable to “the voice of God.” (Ironically, [u]Treasure [/u]is the band’s least favorite record. In fact, later in their career, they rarely played any of its tracks live).
After several other releases and an ambitious touring schedule, the Cocteau Twins released their final LP[u] Milk and Kisses[/u] in 1996. By this time, the band had long since parted ways with 4AD, (a label whose sound will always be associated with the Cocteau’s music), and had signed with major label Mercury Records. Although the Twins claimed to feel less pressure to produce “a single” with Mercury than they did with 4AD, two of the tracks from [u]Milk and Kisses,[/u] [i]Tishbite[/i] and [i]Violaine[/i] were in fact released as singles with accompanying videos. Both tracks received praise from critics, but this did not translate into commercial success for the band, and they were “released” from their contract with Mercury in 1997.
In 1998, the band created their own label, Bella Union, which they named as a reference to the joy their collaboration had been. However, ironically, The Cocteau Twins never released a new album on their newly formed label, as they disbanded in the middle of recording the follow up LP to [u]Milk and Kisses[/u].
[b]Description:[/b] Initially influenced by bands such as The Sex Pistols and Siouxsie and the Banshees, The Cocteau Twins began their musical journey as pioneers ~ responding to much of the music they loved in genres such as Post Punk, New Wave, New Romantics and Goth. Indeed, elements of all these movements can be found in Cocteau Twin music. However, The Cocteaus represent a truly unique and singularly expressive chapter in music history.
Musically, the Cocteau Twins’ arrangements are fluid and graceful while also being razor sharp and nearly brittle in their focus on detail. One of their greatest strengths as artists was their ability to push the envelope in terms of melody. Relying frequenly on reverb and distortion the Twins are also known for their thick baselines, soaring guitars and perfectly lovely, if often somewhat disguised, hooks, proving that this is a band that seemed to relish in finding beauty in the unexpected turns that a melody can take; (Think Stravinsky's Rite of Spring meets new- wave-synthpop and you’ve got a hint of the delicious juxtaposition that is so often found in many of The Cocteau’s musical compositions).
Similarly, Liz Frazer’s vocals are legendary and unmistakable. In fact, when Macki wrote me to tell me of his discovery of them, he described her as “otherworldly,” and I have to agree. Just as the arrangements themselves stretch the boundaries of melodic invention, Frazer’s voice often and equally defies the imagination, ranging from a breathy and delicate soprano to a staccato and disjointed alto as well as various combinations of both. This is made all the more remarkable when one considers that Frazer has been the sole vocalist on each and every Cocteau Twins’ track since the band’s inception. (Well… almost all. She was accompanied on one track on their first release, but we won’t talk about that). Indeed, as noteworthy as Frazer’s voice is, even more extraordinary are her lyrics which are often debated, interpreted, and even more often, misinterpreted. In many instances, Frazer claims to be speaking in metaphor, using a created language or collection of words that were grouped because of their tonality and emotional response rather than their literal interpretation. In fact, the lyrics to [u]Violaine [/u]from [u]Milk and Kisses[/u], consists entirely of English words sung backwards. Go figure!
As someone who is sometimes fortunate to have the opportunity to write about music (semi/un)professionally, I cannot tell you the number of CDs I receive from bands who claim The Cocteau Twins as an influence… and it’s really no wonder why. (Even mainstream artists such as Prince, Madonna and Peter Gabriel have spoken on the impact of the Cocteau Twins on their own musical journey). Their music is truly unlike that of any other band and their experimentations have proven to be important steps in the evolution of music.
[b]Recommendations:[/b] While [u]Treasure[/u] is widely accepted as the essential Cocteau Twins album, I much prefer [u]Milk and Kisses[/u]. At the time of its release, response to this album was varied. While some critics dismiss this final LP as being a bit over produced in an attempt to pander to their label, others claimed it to be a triumph, that in retrospect seems to take the band full circle and back to their original outtings on [u]Garlands[/u]... only this time with the benefit of a fifteen year career behind them. I tend to agree with the latter assessment and find tracks like [i]Violaine, Tishbite, Rilkean Heart [/i]and [i]Seekers Who Are Lovers[/i] to be absolutely writhing with life. In fact, writing this post reminds me of how perfectly [u]Milk and Kisses[/u] is as an accompaniment to summer. To be sure, while I could probably rattle off an impressive list of music that I find particularly well suited to the color and shadows of autumn or the bleakness and austerity of winter, I often find myself stumped when it comes to identifying music that matches the fiery optimism and beautiful, if somewhat dangerous, vibrancy of summer. The Cocteau Twins just might be that band, however, and their final LP, [u]Milk and Kisses,[/u] receives my strongest recommendation.
~~~~~~~~~~~~~~~~~~~
Ok. So if you made it through all of that, you're certainly a trooper. This was a fun post for me to do, and I appreciate all who take the time to trudge through this dissection of one of my favorite bands.
I came of age in the 1980s when "greed was good" and the most coveted musical technology available anywhere was the Sony Walkman. I still remember when I got mine (I may actually still have it). It looked very much like the one in the picture, only perhaps even bulkier, but at that time, it seemed positively streamlined. It came with a clip, so you could hook it on your belt, and a strap, so you could sling it over your shoulder in attempt to let everyone know that you were on the cutting edge. I took mine everywhere. The sound quality was awful, it skipped when moved, and as I recall, it eventually 'ate' just about every tape I put in the thing, but I loved it as though it was my first born child.
And three days ago... my baby turned 25.
Yep. That's right, the Sony Walkman, which ushered in a new era in music by being the first portable device which allowed listeners to play music from their own collection ~ anywhere, has turned 25.
According to [url=http://news.bbc.co.uk/1/hi/en...]this article from BBC Music News[/url] , like all new parents, Sony had some problems figuring out what to call their new contraption:
[i]"Sony initially had different names for the player in different territories - everything from the Sound About in the US to Stowaway in the UK.
Stereo Walky was also suggested - but electronics rivals Toshiba had already taken the name for their brand of portable radios.
Walkman had been suggested but Sony in Japan were afraid the name might sound too much like a bad translation of a Japanese phrase into English. But in the end, to give the player a universal name, it was chosen."[/i]
(Author's Note: Um... Stereo Walky????)
[url=http://news.bbc.co.uk/1/hi/en...]The article[/url] contains many interesting tidbits about the Walkman and its role in music history, but one thing that I found especially interesting is how much they cost when first rolled off the assembly lines in 1979. It's hard to believe that the first round of these portable tapeplayers went for as much as $200.00, which was a lot of green "back in the day." (Please take note of how hip I am).
Of course, as always, I would encourage you to read[url=http://news.bbc.co.uk/1/hi/en...] the entire article[/url] , but since you won't... at least remember this:
[i]"The iPod may be beautiful and sexy but it was the Sony Walkman that paved the way for the iPod's iconic success... The Walkman's design utterly changed the way we view electronic media - without it we might never have had the minidisc or the MP3, much less the digital camera, the handheld personal organiser or the mobile phone."[/i]
Oh... don't get me wrong, I still love my iPod, but every once in awhile, I have to look back and give thanks to what came before, and to Sony Music, not only for providing those of us who once wore skinny ties, huge hairdo's and Vans tennis shoes with a way to take our music to the frozen yogurt shop, but also ~ and probably more importantly ~ for having the insight not to call it the "Stereo Walky."
Our favorite Brazilian reader Macki offered the following in regard to his choices: “The Style Council [and] the second would be either Pato Fu Mmtv Ao Vivo, a excellent brazilian band, or [u]Treasure[/u], from the Cocteau Twins(it would really depend on the moment i would be, right now i guess it would be cocteau twins).” 
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Olygirl71 beat around the bush a bit, but finally came up with: “Jimmy Buffett, cause who can't help but feel better when [i]Margaritaville [/i]is playing...and, even though I don't own this disk, I would keep it anyhow because it reminds me of a true friend from HS days and beyond named JJ...Jive Bunny and the Master Mixers.” Personal Note: Now I know what to get you for Christmas. :)
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Former tblogger and proud papa to be [url
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After calling me a sadist, [url
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Other choices include [url
And then there was, Mikellogg who had to think about it for a bit but then finally narrowed it down to "First:Dramarama, [u]Live at the China Beach Club[/u]. Can't do without it. [And] second: Space, [u]Spiders[/u] for the times I need a pick-me-up." 
As I stated in my initial post, this is a question that I myself am not certain that I could answer. However, as I began to read each of your responses to it, I decided that I should give it a shot. And I did. And then I changed my mind… and then I changed it again, and so on and so forth, until finally the entire thing felt like a shampoo commercial gone terribly, terribly wrong. First I chose [u]Befriended[/u] by The Innocence Mission and [u]No Secrets [/u]by Carly Simon because they both remind me of very special people and moments in my life. Then, I got to thinking that these choices were probably more alike than different, so I switched one out for[u] Led 
[url=www.bethanycurve.com]BETHANY CURVE[/url] 
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While [u]Treasure[/u] is widely accepted as the essential Cocteau Twins album, I much prefer [u]Milk and Kisses[/u]. At the time of its release, response to this album was varied. While some critics dismiss this final LP as being a bit over produced in an attempt to pander to their label, others claimed it to be a triumph, that in retrospect seems to take the band full circle and back to their original outtings on [u]Garlands[/u]... only this time with the benefit of a fifteen year career behind them. I tend to agree with the latter assessment and find tracks like [i]Violaine, Tishbite, Rilkean Heart [/i]and [i]Seekers Who Are Lovers[/i] to be absolutely writhing with life. In fact, writing this post reminds me of how perfectly [u]Milk and Kisses[/u] is as an accompaniment to summer. To be sure, while I could probably rattle off an impressive list of music that I find particularly well suited to the color and shadows of autumn or the bleakness and austerity of winter, I often find myself stumped when it comes to identifying music that matches the fiery optimism and beautiful, if somewhat dangerous, vibrancy of summer. The Cocteau Twins just might be that band, however, and their final LP, [u]Milk and Kisses,[/u] receives my strongest recommendation.
I came of age in the 1980s when "greed was good" and the most coveted musical technology available anywhere was the Sony Walkman. I still remember when I got mine (I may actually still have it). It looked very much like the one in the picture, only perhaps even bulkier, but at that time, it seemed positively streamlined. It came with a clip, so you could hook it on your belt, and a strap, so you could sling it over your shoulder in attempt to let everyone know that you were on the cutting edge. I took mine everywhere. The sound quality was awful, it skipped when moved, and as I recall, it eventually 'ate' just about every tape I put in the thing, but I loved it as though it was my first born child.