To use an analogy that I just came up with right now, music is like the opposite of the stock market.
In the stock market, if you look at things day to day, it all seems random. What happened yesterday doesn't really do a good job of predicting what's going to happen tomorrow. However, if you look at the stock market in the long-term, you can pretty must assume that it's going to progress in a single direction -- slightly up. (Thanks, Dr. Cunningham)
Music doesn't really do that. I mean, sure, there have been changes to rock music in the long term, but I'd contend that those changes haven't been predictable. Just look at any movie that tries to portray "futuristic" music, they always produce garbage (not Garbage, Shirley Manson's band) as music for the future.
However, look at music in the short term, and you can always see where things come from. Take two of the best examples in recent rock history: the 1977 Punk scene and the early 90s Grunge scene. Many people praise these genres to be groundbreaking. They're wrong, at least stylistically (socially they were very groundbreaking). Punk was preceded by the retconned genre known as "Proto-Punk", and Grunge was preceded by some of the noisier "College Rock" bands.
This post is about bands that decided to buck that trend and make drastic changes over the period of just a few years.
Ministry
"Work For Love" to "Rio Grande Blood"
Reason for Change: Al Jourgensen didn't want to do that kind of music anymore... basically after a single album. He called With Sympathy, the album "Work for Love" is on, an "abortion".
Japan
"Communist China" to "Blackwater"
Reason for Change: David Sylvian's Japan went through quite a few changes over the years. Heck, even from their very beginnings to when they first broke up, there was a huge stylistic change. However, the bigger change came a few years later when the band got back together. Only this time, David was going to make sure he was absolutely in charge. He renamed the band Rain Tree Crow and produced the music that he wanted to do.
(Brian) Eno
"Third Uncle" to "An Ending (Ascent)"
Reason for Change: On a hospital stay, Eno had a record player that didn't work too well. The volume wouldn't go up. But listening to the music, he had the idea of music progressing to be more like ambient sounds.
Pink Floyd
"See Emily Play" to "Shine on You Crazy Diamond"
Reason for Change: Syd Barrett's breakdown. When he left the band, Pink Floyd became less psychedelic and more prog...tastic?
Jefferson Airplane/Jefferson Starship/Starship
"Somebody to Love" to "We Built This City"
Reason for Change: No clue... Grace Slick switched from acid to cocaine?
Tuesday, January 27, 2009
Monday, December 1, 2008
Top Five: Very Best ofs and the likes...
Not every artist nails down the whole album concept. Some of them are too focused on singles, some of them lack the focus or ability to make something cohesive that runs for 30+ minutes, and others just had the misfortune of recording before the format truly established itself. Here's a list of the best of the best ofs...
5.
Singles 45's and Under by Squeeze
Sample Track: "Black Coffee in Bed"
Great outfit that had high aspirations in the land of album making, but never managed to create a true classic (despite hiring Nick Lowe and Elvis Costello to produce). Regardless, this collection does their uneven catalog much justice. And yes, it does include "Tempted".
4.
The Georgia Peach by Little Richard
Sample Track: "Long Tall Sally"
Contrary to popular belief, Little Richard's career did not begin and end with "Tutti Fruiti". In fact, Little Richard had tons of hits and is probably part of the triumvirate most responsible for rock n' roll as we know it (along with Chuck Berry, James Brown, and Elvis... wait... that's 4 people... it's a fourumvirate). The songs hold up remarkably well today given their age. Perfect listening for anyone who Elton John was the first pianist to do that whole shrieking, flamboyant thing.
3.
Discography by the Pet Shop Boys
Sample Track: "Let's Make Lots of Money"
Sure, it's just pop music. But it's damn good pop music. And that's all you need to know about this collection. Oh, and this album features a lot of synthesizer. Epic amounts, actually.
2.
The Very Best of Otis Redding, Vol. 1
Sample Track: "That's How Strong My Love Is"
Perhaps only Al Green was ever in his league of soul-ness, but Al cut too many acclaimed albums to be on this list (though his Very Best of is highly recommended to those who only need 15 or songs to quench their need for smooth and awesome). This collection will not only inspire you and many others to dance (see this), but it will also be a bottomless pit of gems next time you want to woo someone with a mixed tape.
1.
The Essential George Jones: The Spirit of Country Music
Sample Track: "The Race Is On"
Avid readers of this blog (and there are so many) don't need to be reminded of my hard on for this guy. I could swoon over his pronunciation and cadence, his beautifully emotional delivery of every lyric... but instead, I'll just insist you delve into this two-disc keeper of a collection.
***
On the Bubble.
The Best of the Gap Band
Sample Track: "You Dropped a Bomb on Me"
Ok, maybe this funky troupe did make a few good albums. But be honest, can you resist record that collects the likes of "Early in the Morning", "Burn Rubber", "Outstanding", "I Don't Believe You Want to Get Up and Dance (Oops Upside Your Head)", AND "You Dropped a Bomb on Me"? Didn't think so. Never mind that the video I linked above will make your week.
Honorary Live Album.
Press Eject and Give Me the Tape by Bauhaus
Sample Track: "In the Flat Field"
Supposedly what made these guys great was their theatrics and performances during their live shows. According to my copy of The Rough Guide (Rock edition), these guys were the high point of Goth "[B]efore people began drinking blood, conjuring up demons and taking the whole thing far too seriously." I've had the pleasure of seeing their lead singer live, and it was fantastic. Not for everyone, but try it anyway.
5.
Singles 45's and Under by Squeeze
Sample Track: "Black Coffee in Bed"
Great outfit that had high aspirations in the land of album making, but never managed to create a true classic (despite hiring Nick Lowe and Elvis Costello to produce). Regardless, this collection does their uneven catalog much justice. And yes, it does include "Tempted".
4.
The Georgia Peach by Little Richard
Sample Track: "Long Tall Sally"
Contrary to popular belief, Little Richard's career did not begin and end with "Tutti Fruiti". In fact, Little Richard had tons of hits and is probably part of the triumvirate most responsible for rock n' roll as we know it (along with Chuck Berry, James Brown, and Elvis... wait... that's 4 people... it's a fourumvirate). The songs hold up remarkably well today given their age. Perfect listening for anyone who Elton John was the first pianist to do that whole shrieking, flamboyant thing.
3.
Discography by the Pet Shop Boys
Sample Track: "Let's Make Lots of Money"
Sure, it's just pop music. But it's damn good pop music. And that's all you need to know about this collection. Oh, and this album features a lot of synthesizer. Epic amounts, actually.
2.
The Very Best of Otis Redding, Vol. 1
Sample Track: "That's How Strong My Love Is"
Perhaps only Al Green was ever in his league of soul-ness, but Al cut too many acclaimed albums to be on this list (though his Very Best of is highly recommended to those who only need 15 or songs to quench their need for smooth and awesome). This collection will not only inspire you and many others to dance (see this), but it will also be a bottomless pit of gems next time you want to woo someone with a mixed tape.
1.
The Essential George Jones: The Spirit of Country Music
Sample Track: "The Race Is On"
Avid readers of this blog (and there are so many) don't need to be reminded of my hard on for this guy. I could swoon over his pronunciation and cadence, his beautifully emotional delivery of every lyric... but instead, I'll just insist you delve into this two-disc keeper of a collection.
***
On the Bubble.
The Best of the Gap Band
Sample Track: "You Dropped a Bomb on Me"
Ok, maybe this funky troupe did make a few good albums. But be honest, can you resist record that collects the likes of "Early in the Morning", "Burn Rubber", "Outstanding", "I Don't Believe You Want to Get Up and Dance (Oops Upside Your Head)", AND "You Dropped a Bomb on Me"? Didn't think so. Never mind that the video I linked above will make your week.
Honorary Live Album.
Press Eject and Give Me the Tape by Bauhaus
Sample Track: "In the Flat Field"
Supposedly what made these guys great was their theatrics and performances during their live shows. According to my copy of The Rough Guide (Rock edition), these guys were the high point of Goth "[B]efore people began drinking blood, conjuring up demons and taking the whole thing far too seriously." I've had the pleasure of seeing their lead singer live, and it was fantastic. Not for everyone, but try it anyway.
Wednesday, November 12, 2008
Top Five Albums: Birthday Edition
With birthday monies, I purchased five new albums. Remarkably I contribute to a blog that uses the exact same number as an arbitrary boundary for listing things I like. How perfect. Here's a look at what I bought and how they stack up.
5.
Laughing Stock by Talk Talk
Sample Track: "Ascension Day"
Talk Talk started their career in the guise of a new wave band that produced memorable, but hardly trail blazing tracks (see this). They then reinvented themselves and started composing more experimental tracks that begun to introduce orchestral overtones (think ELO, but way more ethereal... like this). Laughing Stock however, took their experiments a step further, and the album sounds a little like a subdued cross between Classical, Ambient, and the New Romantic movements. I'm still digesting it and, though it will probably reward with additional listens and extended attention, I haven't felt the need to dive too far into it.
4.
Maxinquaye by Tricky
Sample Track: "Black Steel"
Cool album from one Massive Attack's first collaboraters. It's a much messier trip hop album than anything Massive Attack ever put together and, at its best, it's scattered-brained mash up of Mezzanine. At its worst, its merely enjoyable. The most intriguing part of the album is the plethora of appearances by Tricky's cohort, a sexy-but-dangerous siren named Martine.
3.
Entroducing... by DJ Shadow
Sample Track: "What Does Your Soul Look Like, Pt. 4"
I don't even know how to describe this album. From what I've read, DJ Shadow assembled this album out of old hooks and breaks from vintage/forgotten records as well as the occasional newscast. It creates a dense (but often beautiful) sound that is a sort of hip-hop meets Brian Eno meets Primal Scream. Can that even happen? All postmodernist bullshit aside, I think it does here.
2.
Nowhere by Ride
Sample Track: "Vapour Trail"
This album is oft cited as the second best shoegazing album of all time (the best being My Bloody Valentine's Loveless). If that sounded totally greek to you, let me explain: shoegazing was a flash-in-the-pan genre that is characterized by a swirling guitar, white-noise-induced sound that somehow retains its pop sensibilities (think of what the logical progression of the Jesus and Mary Chain would be into the 90s). The term "shoegazing" apparently has to do with the onstage personnas of most these bands, who would often stare at the ground while they played. Dumb, but whatever. At any rate, this album is fantastic and, if I dare say, better than the aforementioned Loveless, if only because it counters its own sweeping sonic chaos with moments of delicate, cinematic sound scape. It's not for everyone, but if Echo and the Bunnymen makes you go from six to midnight, these guys are worth checking out.
1.
Almost Killed Me by The Hold steady
Sample Track: "The Swish"
Killer guitar riffs, chunky bass lines, and stream of conscious lyrics about partying too hard. That is the most efficient way to summarize this album. It's a fantastic voyage of the highs and lows of living too fast and it's all half-sung/half-spoken by Craig Finn, the group's songwriter and lead singer (who sounds like a badass version of the Barenaked Ladies frontman). Listen to this album. It's worth your time.
5.
Laughing Stock by Talk Talk
Sample Track: "Ascension Day"
Talk Talk started their career in the guise of a new wave band that produced memorable, but hardly trail blazing tracks (see this). They then reinvented themselves and started composing more experimental tracks that begun to introduce orchestral overtones (think ELO, but way more ethereal... like this). Laughing Stock however, took their experiments a step further, and the album sounds a little like a subdued cross between Classical, Ambient, and the New Romantic movements. I'm still digesting it and, though it will probably reward with additional listens and extended attention, I haven't felt the need to dive too far into it.
4.
Maxinquaye by Tricky
Sample Track: "Black Steel"
Cool album from one Massive Attack's first collaboraters. It's a much messier trip hop album than anything Massive Attack ever put together and, at its best, it's scattered-brained mash up of Mezzanine. At its worst, its merely enjoyable. The most intriguing part of the album is the plethora of appearances by Tricky's cohort, a sexy-but-dangerous siren named Martine.
3.
Entroducing... by DJ Shadow
Sample Track: "What Does Your Soul Look Like, Pt. 4"
I don't even know how to describe this album. From what I've read, DJ Shadow assembled this album out of old hooks and breaks from vintage/forgotten records as well as the occasional newscast. It creates a dense (but often beautiful) sound that is a sort of hip-hop meets Brian Eno meets Primal Scream. Can that even happen? All postmodernist bullshit aside, I think it does here.
2.
Nowhere by Ride
Sample Track: "Vapour Trail"
This album is oft cited as the second best shoegazing album of all time (the best being My Bloody Valentine's Loveless). If that sounded totally greek to you, let me explain: shoegazing was a flash-in-the-pan genre that is characterized by a swirling guitar, white-noise-induced sound that somehow retains its pop sensibilities (think of what the logical progression of the Jesus and Mary Chain would be into the 90s). The term "shoegazing" apparently has to do with the onstage personnas of most these bands, who would often stare at the ground while they played. Dumb, but whatever. At any rate, this album is fantastic and, if I dare say, better than the aforementioned Loveless, if only because it counters its own sweeping sonic chaos with moments of delicate, cinematic sound scape. It's not for everyone, but if Echo and the Bunnymen makes you go from six to midnight, these guys are worth checking out.
1.
Almost Killed Me by The Hold steady
Sample Track: "The Swish"
Killer guitar riffs, chunky bass lines, and stream of conscious lyrics about partying too hard. That is the most efficient way to summarize this album. It's a fantastic voyage of the highs and lows of living too fast and it's all half-sung/half-spoken by Craig Finn, the group's songwriter and lead singer (who sounds like a badass version of the Barenaked Ladies frontman). Listen to this album. It's worth your time.
Monday, October 27, 2008
Top Five Rainy Day Albums
When all you want to do is mellow out and weather the storm.
5.
I Do Not Want What I Have Not Got by Sinead O'Connor
Sample Track: "Three Babies"
4.
The Velvet Underground by The Velvet Underground
Sample Track: "Pale Blue Eyes"
3.
Dummy by Portishead
Sample Track: "Wandering Star"
2.
Another Green World by Brian Eno
Sample Track: "St. Elmo's Fire"
1.
Sea Change by Beck
Sample Track: "The Golden Age"
***
Honorary Compilation Entry:
The Hi Record Years: The Best of Anne Peebles
Sample Track: "I Can't Stand the Rain"
Honorary Jazz Entry:
Undercurrent by Bill Evans and Jim Hall
Sample Track: "Darn That Dream"
5.
I Do Not Want What I Have Not Got by Sinead O'Connor
Sample Track: "Three Babies"
4.
The Velvet Underground by The Velvet Underground
Sample Track: "Pale Blue Eyes"
3.
Dummy by Portishead
Sample Track: "Wandering Star"
2.
Another Green World by Brian Eno
Sample Track: "St. Elmo's Fire"
1.
Sea Change by Beck
Sample Track: "The Golden Age"
***
Honorary Compilation Entry:
The Hi Record Years: The Best of Anne Peebles
Sample Track: "I Can't Stand the Rain"
Honorary Jazz Entry:
Undercurrent by Bill Evans and Jim Hall
Sample Track: "Darn That Dream"
Thursday, September 25, 2008
Best Uses of Music in Movies
In honor of the fact that this is the first movie post (sort of), this one goes to 11.
There are only 3 rules:
First, it cannot have been written for the movie (Sorry "Mrs. Robinson" from The Graduate).
Second, there must be a great scene that goes along with the usage of the song (Sorry "Misirlou" from Pulp Fiction)
Finally, the movie cannot be a concert/musical movie (Included: This Is Spinal Tap).
11. Superbad - "These Eyes" by The Guess Who
Michael Cera is awkward
I bought into a lot of hype about Superbad, and in the end, I didn't like it as much as I thought I would. Looking back, it was an OK movie for what it was trying to do, but I can name about 5 movies of that style from the past 3 or 4 years that were funnier.
Superbad had a few great moments, but all of them involved McLovin and the police officers... except for one: "These Eyes".
The Guess Who know how to write a good song, Canadian though they may be. Michael Cera cannot sing, at least he can act like he can't sing, and the idea of singing "These Eyes" a cappella to a bunch of stoners is just odd enough to be hilarious.
10. Almost Famous - "Tiny Dancer" by Elton John
Singin' in the bus
This movie has a lot of great music. However, while most of the songs set the theme in the background, this song is does more. At first, it seems like any other background song, bridging the farewell shots to the on-the-road shots. Then, one-by-one, the entire bus starts singing along. In doing this, director Cameron Crowe engages the audience, connecting the audience to the characters on the screen.
9. Love, Actually - "All You Need Is Love" by The Beatles
Just Married
This scene just keeps getting better and better. First, there's the choir. Then notSeal steps in to sing, and Chiwetel Ejiofor is all like, "Awwrgh," which I think means something like "Oh, you guys *finger point* *embarrassed smile*." Then the strings, then the brass, then the flutes, then trombones, then sax, then ELECTRIC GUITAR!
OK, so the electric guitar part was kinda corny and unnecessary. But the scene's pretty cool anyway.
8. Back to the Future - "Johnny B. Goode" by Chuck Berry
Rock 'n Roll Under the Sea
Now this is how you do electric guitar. Sure, there's a huge paradox created (How can Marty know the song if Chuck Berry knew the song because Marty went back in time and played the song that Chuck Berry wrote that Marty knew?). But for a movie that does such a great job at continuity, I'm willing to excuse that. Just a great use of the song.
7. Anchorman - "Afternoon Delight" by The Starland Vocal Band
Ron Burgundy explains love
There were way too many Will Ferrell musical moments to choose from without leaving something great out (*cough* "Dust in the Wind" *cough*), but I decided I'd impose a fourth rule allowing only one moment per actor.
"Afternoon Delight" won only because it combined the talents of Will Ferrell, Paul Rudd, Steve Carell, and David Koechner.
6. American Psycho - "Hip to Be Square" by Huey Lewis and the News
Hey Paul!
I'm a big fan of this movie, but I can't explain what makes some of the scenes in this movie so funny. It's all little nuances, especially in this scene. Maybe it's the absurdity of Patrick Bateman's obsession. Or maybe it's the way he talks or smiles or gestures. It all just works together, and for some crazy reason, "Hip to Be Square" is the perfect song to go along with it.
5. Beetlejuice - "Day O (The Banana Boat Song)" by Harry Belafonte
Best haunting ever
This song is overused and annoying.
But damn it, if it isn't funny in this context.
4. Reservoir Dogs - "Stuck in the Middle" by Stealer's Wheel
Mr. Blonde goes insane
Quentin Tarantino knows how to elevate a song from the depths and put them on a pedestal. "Stuck in the Middle" sticks out from the pack because it's such a major part of Reservoir Dogs' torture scene. You don't just remember what happened, you hear the song in your head when you think about it happening, and, sometimes, just hearing the song on its own makes your ears ache. And not because it's a bad song....
3. Apocalypse Now - "Ride of the Valkyries" by Richard Wagner
Smell of napalm, sound of Wagner
Duh Dun, duh-dun, duh, duh.
Dun, duh-dun, DUH, DUH.
Dun, duh-duh, DUH, DUH!
Duh, Duh-Duh, DUH!!!
That is all.
2. Say Anything - "In Your Eyes" by Peter Gabriel
Getcha boom box ready
The 80s are my favorite years for music, and there are a lot of great musical moments in 80s movies. Unfortunately, there are some great movie moments that don't make this list due to the rules I set. However, even if I could choose songs like "Take My Breath Away" or "Don't You (Forget About Me)" or the entire soundtrack to Scarface, "In Your Eyes" would still win. The scene is just so iconic; it's been parodied countless times. It all comes down to this, though. Admit it to yourself: you've always secretly wanted to do this. And that's why it's number 2 on the list.
1. Wayne's World - "Bohemian Rhapsody" by Queen
No, they will not let him go.
I'm sure everyone has seen this scene. If you have not, you need to re-check your movie priorities. Wayne's World may be the best Saturday Night Live movie ever made*. I'm not going to ruin things by over-analyzing this scene, but I do want to mention that they went back and changed the music video to "Bohemian Rhapsody" based on this scene.
Oh, and everyone has done this. Multiple times, probably. But without the kidnapping part.
And that's why this one is number one.
So that's it. That was much harder than I expected, even given the extra 6 spots. I hope I've inspired you to go back and watch some of these great scenes. And as for that asterisk under number 1?
*OK, so The Blues Brothers is better.
There are only 3 rules:
First, it cannot have been written for the movie (Sorry "Mrs. Robinson" from The Graduate).
Second, there must be a great scene that goes along with the usage of the song (Sorry "Misirlou" from Pulp Fiction)
Finally, the movie cannot be a concert/musical movie (Included: This Is Spinal Tap).
11. Superbad - "These Eyes" by The Guess Who
Michael Cera is awkward
I bought into a lot of hype about Superbad, and in the end, I didn't like it as much as I thought I would. Looking back, it was an OK movie for what it was trying to do, but I can name about 5 movies of that style from the past 3 or 4 years that were funnier.
Superbad had a few great moments, but all of them involved McLovin and the police officers... except for one: "These Eyes".
The Guess Who know how to write a good song, Canadian though they may be. Michael Cera cannot sing, at least he can act like he can't sing, and the idea of singing "These Eyes" a cappella to a bunch of stoners is just odd enough to be hilarious.
10. Almost Famous - "Tiny Dancer" by Elton John
Singin' in the bus
This movie has a lot of great music. However, while most of the songs set the theme in the background, this song is does more. At first, it seems like any other background song, bridging the farewell shots to the on-the-road shots. Then, one-by-one, the entire bus starts singing along. In doing this, director Cameron Crowe engages the audience, connecting the audience to the characters on the screen.
9. Love, Actually - "All You Need Is Love" by The Beatles
Just Married
This scene just keeps getting better and better. First, there's the choir. Then notSeal steps in to sing, and Chiwetel Ejiofor is all like, "Awwrgh," which I think means something like "Oh, you guys *finger point* *embarrassed smile*." Then the strings, then the brass, then the flutes, then trombones, then sax, then ELECTRIC GUITAR!
OK, so the electric guitar part was kinda corny and unnecessary. But the scene's pretty cool anyway.
8. Back to the Future - "Johnny B. Goode" by Chuck Berry
Rock 'n Roll Under the Sea
Now this is how you do electric guitar. Sure, there's a huge paradox created (How can Marty know the song if Chuck Berry knew the song because Marty went back in time and played the song that Chuck Berry wrote that Marty knew?). But for a movie that does such a great job at continuity, I'm willing to excuse that. Just a great use of the song.
7. Anchorman - "Afternoon Delight" by The Starland Vocal Band
Ron Burgundy explains love
There were way too many Will Ferrell musical moments to choose from without leaving something great out (*cough* "Dust in the Wind" *cough*), but I decided I'd impose a fourth rule allowing only one moment per actor.
"Afternoon Delight" won only because it combined the talents of Will Ferrell, Paul Rudd, Steve Carell, and David Koechner.
6. American Psycho - "Hip to Be Square" by Huey Lewis and the News
Hey Paul!
I'm a big fan of this movie, but I can't explain what makes some of the scenes in this movie so funny. It's all little nuances, especially in this scene. Maybe it's the absurdity of Patrick Bateman's obsession. Or maybe it's the way he talks or smiles or gestures. It all just works together, and for some crazy reason, "Hip to Be Square" is the perfect song to go along with it.
5. Beetlejuice - "Day O (The Banana Boat Song)" by Harry Belafonte
Best haunting ever
This song is overused and annoying.
But damn it, if it isn't funny in this context.
4. Reservoir Dogs - "Stuck in the Middle" by Stealer's Wheel
Mr. Blonde goes insane
Quentin Tarantino knows how to elevate a song from the depths and put them on a pedestal. "Stuck in the Middle" sticks out from the pack because it's such a major part of Reservoir Dogs' torture scene. You don't just remember what happened, you hear the song in your head when you think about it happening, and, sometimes, just hearing the song on its own makes your ears ache. And not because it's a bad song....
3. Apocalypse Now - "Ride of the Valkyries" by Richard Wagner
Smell of napalm, sound of Wagner
Duh Dun, duh-dun, duh, duh.
Dun, duh-dun, DUH, DUH.
Dun, duh-duh, DUH, DUH!
Duh, Duh-Duh, DUH!!!
That is all.
2. Say Anything - "In Your Eyes" by Peter Gabriel
Getcha boom box ready
The 80s are my favorite years for music, and there are a lot of great musical moments in 80s movies. Unfortunately, there are some great movie moments that don't make this list due to the rules I set. However, even if I could choose songs like "Take My Breath Away" or "Don't You (Forget About Me)" or the entire soundtrack to Scarface, "In Your Eyes" would still win. The scene is just so iconic; it's been parodied countless times. It all comes down to this, though. Admit it to yourself: you've always secretly wanted to do this. And that's why it's number 2 on the list.
1. Wayne's World - "Bohemian Rhapsody" by Queen
No, they will not let him go.
I'm sure everyone has seen this scene. If you have not, you need to re-check your movie priorities. Wayne's World may be the best Saturday Night Live movie ever made*. I'm not going to ruin things by over-analyzing this scene, but I do want to mention that they went back and changed the music video to "Bohemian Rhapsody" based on this scene.
Oh, and everyone has done this. Multiple times, probably. But without the kidnapping part.
And that's why this one is number one.
So that's it. That was much harder than I expected, even given the extra 6 spots. I hope I've inspired you to go back and watch some of these great scenes. And as for that asterisk under number 1?
*OK, so The Blues Brothers is better.
Sunday, September 21, 2008
Top Five Immediate Impacts
Some albums take time, repeated listens, and careful attention of detail to fully appreciate. They reward with multiple listens, slowly revealing themselves for the complicated (and possibly dense) masterpieces they are. This post is not about those albums.
Instead, this post takes a look at five albums that had an immediate impact on my life from the first listen. My first assumption was that this list would be difficult to assemble based on the fact that I wouldn't necessarily remember the "first" time I listened to each and every one of the albums in my collections. Not only was this not true (I could pinpoint most of those "firsts"), but as I poured over my collection the entries in this list made themselves blatantly apparent. And so, I present to you all, my top five immediate impact albums:
5. Something/Anything by Todd Rundgren
It's one thing to create an impeccable album that runs 10-12 tracks. It's totally new ballgame when an near perfect album has 25 tracks. I remember the first time I listened to this album, I sat mesmerized for almost 90 minutes listening to every track.
Though I fixated on a handful of singles (mostly on the first of the four sided album... little vinyl speak for you), I eventually came to love the entire album for all of its eccentricities and quirks. How an album could successfully weave together sing-song tunes like "The Viking Song" and "Wolfman Jack" with pseudo-blues numbers like "Black Maria" and what-the-fuck numbers like "I Went to the Mirror" and "Piss Aaron" is beyond me. But hell, it worked.
Though he went on to produce some great albums for XTC and Bad Finder (not to mention some badass guitar playing on Meat Loaf's Bat Out of Hell), Rundgren never managed another accessible masterpiece (Wizard, a True Star is arguably a masterpiece, but it landed closer to Frank Zappa than Carole King). Regardless, this album stands as a monument of song craft and production whose staying power has yet to waiver.
***
4. White Blood Cells by The White Stripes
I periodically lament that I was never witness (or at least in tune to) an important musical movement while it was happening. The one possible exception would be the garage revival of the late nineties that managed to sprout up more bands using "The" since... I don't know, forever, maybe.
White Blood Cells is probably the record most responsible for that surge.
The first time I heard this album (on Ross' recommendation, actually), I was astounded: I had never heard anything like it in my life. I began listening to it over and over again. I was taken in by the mix of Meg's primal (albeit amateur) drumming and Jack's riffing and wailing. I honestly think I listened to "Fell in Love with Girl" fifty times a day for three months.
I couldn't believe music this good was being made in the "now". The lasting impact of this album has less to do with the Stripes (though I have bought every one of their albums since), but more importantly, it effectively broke my spell of musical education by only purchasing albums that were reputed and at least a quarter of a century old. Suck on that, Rolling Stone.
***
3. Black Star by Black Star
One sunny summer day four years ago I found myself driving my brother's car without any of my music. I decided to turn on the radio to see what CD was awaiting me (and praying it wasn't either of Andrew's staples: Dave Matthews or Dispatch). The next fifty minutes altered the course of my entire life. When the record was over, I could only think of 3 things:
1. Have I been deaf for the past 6 years?
2. I am so white.
3. And I hate John Tesh.
Ok, that's not entirely true, but the important part is that day (that album) marks a sharp turn in my music tastes. Until that point in my life, rap was relegated to a world of high school dances (which itself was tied to general awkwardness) and a black culture from which I was mostly removed. Not that this record made me "more black" or even "more attuned to black culture", but rather its mode of storytelling spoke to me.
In a way, Mos Def and Talib Kwelli were weaving stories in a way that I had always loved, be it the vivid detail and emotion of Lyle Lovett or the free associational surrealism of The Fall. This record landed somewhere in between, but featured lyrical stylings the likes of which I'd never heard before (take the two-fer "Definition" and RE: DEFinition", the only glaring omission from Ross' list, as an example).
Seriously though, all mental masturbation aside, this record rocked my world and became a "gateway" album that led to an obsession over hip hop and the culture surrounding it.
***
2. Grace by Jeff Buckley
This album is the raison d'etre of this list. I only recently came across the album and, after one listen, I was flabbergasted. I mean, first this happened, then this, then this. He even covers Nina Simone... and it sounds amazing.
I was completely floored (keep in mind that Buckley is a white dude). While I was listening to it for the fourteenth straight time, I still couldn't get over how amazing it was... and it was then I thought to myself, "Wow, it's been a while since an album has hit me like this. I should make a list".
My first object of fixation was Buckley's voice. It's nothing short of beautiful, and to be honest, I can't think of a white guy who sings with more emotion. I imagine this to be something like what Nick Drake would've sounded like if he had sang with any emotion whatsoever.
Quick aside: what's the obsession with Nick Drake about. Seriously. I mean, for those of you who want to cry your eyes out over his mopey whisper of a voice and subtle acoustic guitar, knock yourselves out. Of course, I suppose without him we never would have had Dream Factory's elegy, "Life in a Northern Town"... so that's good, I guess.
Back to Jeff. I could on with the importance of this album. For instance, (a la Pitchfork)
[I]t's difficult to imagine Radiohead in their current guise without the eerily affecting songcraft of Grace and its argument that modern rock needn't be just another run-through of post-Nirvana dynamics.
Or I could just tell you it's amazing. The ebb and flow of the songs, the electrifying intensity that Buckley's voice holds, and the beautiful song craft involved make this album a completely moving experience.
***
1. Purple Rain by Prince
Pop albums are supposed to have an immediate impact. Their mass appeal makes for high sales. Dense, complicated albums may top critics' polls, but they never top the Billboard listing. That's how it works.
However, most of these albums get eliminated from the list of potentials because they lack staying power or because a drunk five year old was in charge of track sequencing.
(Seriously, who was in charge of this on Thriller? It may have been a chimpanzee for all we know.)
But Prince (ah Prince)... he's a man with staying power. And the Purple One's sixth album was not only a triumph of pop music, but also one that held a remarkable amount of artistic credibility. The album is a tightly woven set of 9 songs, all of which are immediately catchy, never mind the virtuoso instrumental performances (mostly by Prince himself and most immediately apparent on the leadoff track). By the end of it you're crying, partially because it's over and partially because the lighter you've been waving through the air for the last seven or so minutes has burnt your hand. Either way, you'll never be the same. Prince may have recorded better albums, but I can't think of a single one with better hooks and riffs than this one.
A few fun facts before I leave you: Prince modeled the song "Purple Rain" after Bob Seger's work. He didn't understand why that particular kind of song was so popular, but he figured he could do it better all the same (Prince: 1, Bob: 0). Secondly, Bob Dylan was once quoted as saying that "Purple Rain" was the greatest song of the 80s. Was he doped up beyond belief? Maybe. Was he just showing some love to his Minneapolis brethren? Possibly. Was he right? Probably not, but damn if he ain't close.
***
Oh, and in case anyone actually wants to reorder their Thriller tracks on iTunes, might I suggest the following:
1. Thriller
2. Beat It
3. P.Y.T.
4. Baby Be Mine
5. Human Nature
6. Wanna Be Startin' Something
7. Billie Jean
8. The Lady in My Life
Yes, I left off "The Girl Is Mine", but that's because it's a dumb song that isn't half as good as anything else on the album (I don't care where it charted). Plus, what girl could possibly be attracted to Michael Jackson AND Paul McCartney? Or even just Michael, for that matter? See, the song doesn't even have a reason to exist. Done and done. Make it a bonus track or something.
Peace.
Instead, this post takes a look at five albums that had an immediate impact on my life from the first listen. My first assumption was that this list would be difficult to assemble based on the fact that I wouldn't necessarily remember the "first" time I listened to each and every one of the albums in my collections. Not only was this not true (I could pinpoint most of those "firsts"), but as I poured over my collection the entries in this list made themselves blatantly apparent. And so, I present to you all, my top five immediate impact albums:
5. Something/Anything by Todd Rundgren
It's one thing to create an impeccable album that runs 10-12 tracks. It's totally new ballgame when an near perfect album has 25 tracks. I remember the first time I listened to this album, I sat mesmerized for almost 90 minutes listening to every track.
Though I fixated on a handful of singles (mostly on the first of the four sided album... little vinyl speak for you), I eventually came to love the entire album for all of its eccentricities and quirks. How an album could successfully weave together sing-song tunes like "The Viking Song" and "Wolfman Jack" with pseudo-blues numbers like "Black Maria" and what-the-fuck numbers like "I Went to the Mirror" and "Piss Aaron" is beyond me. But hell, it worked.Though he went on to produce some great albums for XTC and Bad Finder (not to mention some badass guitar playing on Meat Loaf's Bat Out of Hell), Rundgren never managed another accessible masterpiece (Wizard, a True Star is arguably a masterpiece, but it landed closer to Frank Zappa than Carole King). Regardless, this album stands as a monument of song craft and production whose staying power has yet to waiver.
***
4. White Blood Cells by The White Stripes
I periodically lament that I was never witness (or at least in tune to) an important musical movement while it was happening. The one possible exception would be the garage revival of the late nineties that managed to sprout up more bands using "The" since... I don't know, forever, maybe.
White Blood Cells is probably the record most responsible for that surge. The first time I heard this album (on Ross' recommendation, actually), I was astounded: I had never heard anything like it in my life. I began listening to it over and over again. I was taken in by the mix of Meg's primal (albeit amateur) drumming and Jack's riffing and wailing. I honestly think I listened to "Fell in Love with Girl" fifty times a day for three months.
I couldn't believe music this good was being made in the "now". The lasting impact of this album has less to do with the Stripes (though I have bought every one of their albums since), but more importantly, it effectively broke my spell of musical education by only purchasing albums that were reputed and at least a quarter of a century old. Suck on that, Rolling Stone.
***
3. Black Star by Black Star
One sunny summer day four years ago I found myself driving my brother's car without any of my music. I decided to turn on the radio to see what CD was awaiting me (and praying it wasn't either of Andrew's staples: Dave Matthews or Dispatch). The next fifty minutes altered the course of my entire life. When the record was over, I could only think of 3 things:
1. Have I been deaf for the past 6 years?
2. I am so white.
3. And I hate John Tesh.
Ok, that's not entirely true, but the important part is that day (that album) marks a sharp turn in my music tastes. Until that point in my life, rap was relegated to a world of high school dances (which itself was tied to general awkwardness) and a black culture from which I was mostly removed. Not that this record made me "more black" or even "more attuned to black culture", but rather its mode of storytelling spoke to me.
In a way, Mos Def and Talib Kwelli were weaving stories in a way that I had always loved, be it the vivid detail and emotion of Lyle Lovett or the free associational surrealism of The Fall. This record landed somewhere in between, but featured lyrical stylings the likes of which I'd never heard before (take the two-fer "Definition" and RE: DEFinition", the only glaring omission from Ross' list, as an example).Seriously though, all mental masturbation aside, this record rocked my world and became a "gateway" album that led to an obsession over hip hop and the culture surrounding it.
***
2. Grace by Jeff Buckley
This album is the raison d'etre of this list. I only recently came across the album and, after one listen, I was flabbergasted. I mean, first this happened, then this, then this. He even covers Nina Simone... and it sounds amazing.
I was completely floored (keep in mind that Buckley is a white dude). While I was listening to it for the fourteenth straight time, I still couldn't get over how amazing it was... and it was then I thought to myself, "Wow, it's been a while since an album has hit me like this. I should make a list". My first object of fixation was Buckley's voice. It's nothing short of beautiful, and to be honest, I can't think of a white guy who sings with more emotion. I imagine this to be something like what Nick Drake would've sounded like if he had sang with any emotion whatsoever.
Quick aside: what's the obsession with Nick Drake about. Seriously. I mean, for those of you who want to cry your eyes out over his mopey whisper of a voice and subtle acoustic guitar, knock yourselves out. Of course, I suppose without him we never would have had Dream Factory's elegy, "Life in a Northern Town"... so that's good, I guess.
Back to Jeff. I could on with the importance of this album. For instance, (a la Pitchfork)
[I]t's difficult to imagine Radiohead in their current guise without the eerily affecting songcraft of Grace and its argument that modern rock needn't be just another run-through of post-Nirvana dynamics.
Or I could just tell you it's amazing. The ebb and flow of the songs, the electrifying intensity that Buckley's voice holds, and the beautiful song craft involved make this album a completely moving experience.
***
1. Purple Rain by Prince
Pop albums are supposed to have an immediate impact. Their mass appeal makes for high sales. Dense, complicated albums may top critics' polls, but they never top the Billboard listing. That's how it works.
However, most of these albums get eliminated from the list of potentials because they lack staying power or because a drunk five year old was in charge of track sequencing.
(Seriously, who was in charge of this on Thriller? It may have been a chimpanzee for all we know.) But Prince (ah Prince)... he's a man with staying power. And the Purple One's sixth album was not only a triumph of pop music, but also one that held a remarkable amount of artistic credibility. The album is a tightly woven set of 9 songs, all of which are immediately catchy, never mind the virtuoso instrumental performances (mostly by Prince himself and most immediately apparent on the leadoff track). By the end of it you're crying, partially because it's over and partially because the lighter you've been waving through the air for the last seven or so minutes has burnt your hand. Either way, you'll never be the same. Prince may have recorded better albums, but I can't think of a single one with better hooks and riffs than this one.
A few fun facts before I leave you: Prince modeled the song "Purple Rain" after Bob Seger's work. He didn't understand why that particular kind of song was so popular, but he figured he could do it better all the same (Prince: 1, Bob: 0). Secondly, Bob Dylan was once quoted as saying that "Purple Rain" was the greatest song of the 80s. Was he doped up beyond belief? Maybe. Was he just showing some love to his Minneapolis brethren? Possibly. Was he right? Probably not, but damn if he ain't close.
***
Oh, and in case anyone actually wants to reorder their Thriller tracks on iTunes, might I suggest the following:
1. Thriller
2. Beat It
3. P.Y.T.
4. Baby Be Mine
5. Human Nature
6. Wanna Be Startin' Something
7. Billie Jean
8. The Lady in My Life
Yes, I left off "The Girl Is Mine", but that's because it's a dumb song that isn't half as good as anything else on the album (I don't care where it charted). Plus, what girl could possibly be attracted to Michael Jackson AND Paul McCartney? Or even just Michael, for that matter? See, the song doesn't even have a reason to exist. Done and done. Make it a bonus track or something.
Peace.
Friday, September 19, 2008
Pitchfork Media
Just found a cool new website with music news, interviews, and lists. It's called Pitchfork Media and I've taken the liberty of placing a link for it in the "Resources" list of links to the left. Here's a sampling of some of their content. Enjoy.
100 Awesome Music Videos
Top 100 Albums of the 1990s
Top 100 Albums of the 1980s
Top 100 Albums of the 1970s
100 Awesome Music Videos
Top 100 Albums of the 1990s
Top 100 Albums of the 1980s
Top 100 Albums of the 1970s
Tuesday, September 16, 2008
My Five Rules of Music
And now, the glorious return of Top 5 Records Presents!!!
Hooraaaaaaaaaaaaaaay!
First, I'd like you to notice something. I used the word "my" for a reason. This is how I judge the merits of music. You can have entirely different criteria for how you enjoy music.
Rule 1: Lyrics should always be less important than or equally important as the music.
Or, to put it another way, greatness is not found in the lyrics. It's almost a cliche: "I listen to everything but Country and Rap." Why do these two genres constantly get derided by casual music listeners? Because most of the time, they rely primarily on what's being said instead of how it's delivered. For example, from what I've heard, mainstream Country has devolved into songs about pickup trucks. This doesn't mean that Country music fails as a genre. I've heard some great Country songs, and most of them are thematically similar. But the reason why I enjoyed those songs (e.g. Garth Brooks) rather than this is the difference in musicality. Alan Jackson's song may be dripping with nostalgia that appeals to a large proportion of the population, but that's all it will ever amount to: nostalgia.
Rule 2. Great technical skill can make any instrument worthy of music.
I've heard it so many times. I listen to a lot of music from the 80s, and when people hear that, most people think bad synthesizers. Synthesizers aren't bad instruments. They've just been given a bad rap by fly-by-night artists with little skill. A synthesizer isn't just a piano that makes funny noises. It's this, not this.
The same argument applies for sampling. There's a difference between a good sample and a bad sample, and I can prove it using the same artist: Kanye West.
Good Sample: Touch the Sky
Kanye sampled this song for "Touch the Sky" by taking the main hook and slowing it down noticeably. He took it and made it his own, unlike...
Bad Sample: Diamonds from Sierra Leone
Kanye heavily samples "Diamonds are Forever" without really distinguishing it from the source material.
To paraphrase Kanye himself, now, I ain't sayin' he's a master sampler, but I think the juxtaposition helps prove my point.
Rule 3. Too much showmanship turns music into performance art.
This is more of a personal thing for me. During the summer, Lee and I saw Peter Murphy with Ali Eskandrian as an opening act. Ali was an interesting fellow. He had a great stage presence. Emotional but natural. However, what would have been a captivating performance fell flat because it was hardly music. At one point, he basically broke into the Muslim call to prayer. He tried to make it a sexy call to prayer, but it was a call to prayer, nonetheless. It was performance art. He was acting. Not that that's bad. It's just not music.
Rule 4. All music "steals" from previous forms of music.
Led Zeppelin's debut contains very little original music. Riffs and lyrics were "influenced" by previous blues records. But you know what? I'm OK with that because they're not the first to do it and they certainly won't be the last. No music is made in a vacuum. Everything comes from somewhere else. As long as you understand this and make a point to seek out your music's influences, whether a song was stolen from somewhere else should be of little consequence.
Rule 5. Don't listen to anyone else about how to enjoy your music.
I'm no expert. Your friends are not experts. MTV, your local Clear Channel station, and Rolling Stone magazine are not experts. We're just very opinionated. You are your own expert. Love what you love. Be proud of it. And don't shy away from what you listen to. Even if it's Wham!.
Hooraaaaaaaaaaaaaaay!
First, I'd like you to notice something. I used the word "my" for a reason. This is how I judge the merits of music. You can have entirely different criteria for how you enjoy music.
Rule 1: Lyrics should always be less important than or equally important as the music.
Or, to put it another way, greatness is not found in the lyrics. It's almost a cliche: "I listen to everything but Country and Rap." Why do these two genres constantly get derided by casual music listeners? Because most of the time, they rely primarily on what's being said instead of how it's delivered. For example, from what I've heard, mainstream Country has devolved into songs about pickup trucks. This doesn't mean that Country music fails as a genre. I've heard some great Country songs, and most of them are thematically similar. But the reason why I enjoyed those songs (e.g. Garth Brooks) rather than this is the difference in musicality. Alan Jackson's song may be dripping with nostalgia that appeals to a large proportion of the population, but that's all it will ever amount to: nostalgia.
Rule 2. Great technical skill can make any instrument worthy of music.
I've heard it so many times. I listen to a lot of music from the 80s, and when people hear that, most people think bad synthesizers. Synthesizers aren't bad instruments. They've just been given a bad rap by fly-by-night artists with little skill. A synthesizer isn't just a piano that makes funny noises. It's this, not this.
The same argument applies for sampling. There's a difference between a good sample and a bad sample, and I can prove it using the same artist: Kanye West.
Good Sample: Touch the Sky
Kanye sampled this song for "Touch the Sky" by taking the main hook and slowing it down noticeably. He took it and made it his own, unlike...
Bad Sample: Diamonds from Sierra Leone
Kanye heavily samples "Diamonds are Forever" without really distinguishing it from the source material.
To paraphrase Kanye himself, now, I ain't sayin' he's a master sampler, but I think the juxtaposition helps prove my point.
Rule 3. Too much showmanship turns music into performance art.
This is more of a personal thing for me. During the summer, Lee and I saw Peter Murphy with Ali Eskandrian as an opening act. Ali was an interesting fellow. He had a great stage presence. Emotional but natural. However, what would have been a captivating performance fell flat because it was hardly music. At one point, he basically broke into the Muslim call to prayer. He tried to make it a sexy call to prayer, but it was a call to prayer, nonetheless. It was performance art. He was acting. Not that that's bad. It's just not music.
Rule 4. All music "steals" from previous forms of music.
Led Zeppelin's debut contains very little original music. Riffs and lyrics were "influenced" by previous blues records. But you know what? I'm OK with that because they're not the first to do it and they certainly won't be the last. No music is made in a vacuum. Everything comes from somewhere else. As long as you understand this and make a point to seek out your music's influences, whether a song was stolen from somewhere else should be of little consequence.
Rule 5. Don't listen to anyone else about how to enjoy your music.
I'm no expert. Your friends are not experts. MTV, your local Clear Channel station, and Rolling Stone magazine are not experts. We're just very opinionated. You are your own expert. Love what you love. Be proud of it. And don't shy away from what you listen to. Even if it's Wham!.
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