You Don’t Know Me

Song: You Don’t Know Me
Artist; Ben Folds
Album: Way to Normal



I’ve never been a HUGE fan of Ben Folds, nor of his three-man outfit the Ben Folds Five, though I have dug a song here and there so I follow the man, even if I’m not buying every one of his records. Folds is about to release his third solo record later this month and I stumbled across what I believe is the first single off the album, “You Don’t Know Me,” a duet with Regina Spektor. I am REALLY digging this song and just think this pairing is perfect. Almost like… why wasn’t this done sooner?

I’m interested in hearing the entire record based on this and will give it a listen when it comes out. At times Folds can get a little too jokey for me, but it’s reigned in here. I dig it.

Enjoy.

You Don’t Know Me


And THIS is now infamous…

Like Something for Porno

Song: Like Something for Porno
Artist: Felix Da Housecat
Album: Virgo Blaktro and the Movie Disco



Aside from being a fan of his remixes and a track here and there I know very little about Felix Da Housecat. I recently got his last proper album, “Virgo Blaktro and the Movie Disco” which was released last year and am really digging it. Felix’s influences cover a wide range, from house and soul, to R & B and funk… you name it. He is probably best known for his 2001 album ”Kittenz and thee Glitz,” which many say invented the electroclash scene and heavily influenced the sound of Goldfrapp, Fischerspooner, and Peaches. I was a big fan of the single “Silver Screen Shower Scene” from the album, though I have not heard the entire thing.

With “Virgo Blaktro” Felix has said to be trying to evoke the revival of “black music” in the 70’s and 80’s. He said:

” This is the first record I've done with black folks, but to me it's not a colour thing, it's more like a roots thing. This record has a black, soulful groove, it's more like Sly & the Family Stone. With this album I wanted to go Parliament, I wanted to go Prince, and at the same time I wanted to go like George Michael and Pet Shop Boys, only them being black. This stuff is all black-influenced.”

I partly hear what he’s saying, though it still sounds very “now” to me, though to be honest… most electronic artists today are creating “new” sounds by taking elements from underground 70’s disco, and 80’s synth. I particularly like single “Like Something for Porno” from the album which contains a great bass line and some fun sexy female cooing. Now THIS is Playboy Mansion music.

Enjoy.

Like Something for Porno


Silver Screen Shower Scene

The Songs I Didn’t Write

Song: The Songs I Didn’t Write
Artist: Creaky Boards
Album: Brooklyn is Love




Controversy alert! This is a bit of old news but it certainly is interesting. By now you should all be pretty aware of Coldplay’s latest hit, “Viva La Vida.” If you haven’t heard it on the radio, you MUST have come across the iTunes/iPod/iPhone ads using the song and trippy lighting effects. Well, a couple months ago this video popped up on YouTube from a Brooklyn-based band named Creaky Boards claiming that Coldplay ripped of their song, ironically titled “The Songs I Didn’t Write”:



Well, the songs do sound A LOT like each other… and the band specifically claimed that Coldplay lead Chris Martin attended a concert of theirs last October where they played the song. But as you can imagine… once this got enough talk and buzz from the blogosphere, Coldplay responded… that Martin could not have possibly attended the Creaky Boards concert because they have record he was recording in London. After what can only be guessed as some back and forth between Coldplay’s management and Boards’ lead Andrew Hoepfner suddenly put out the following statement:

“Well, it appears that Chris was actually recording in London during my October show and Coldplay demoed Viva La Vida in March 2007, before I taught my band “Songs” in June 2007. What’s most likely is that both Chris and I were inspired by The Legend of Zelda’s “Fairy Theme,” causing us to write similiar songs in 2006. What a coincidince! I guess Nintendo’s the big winner. But isn’t it weird how in 2008, an independent artist can make something in their bedroom that receives almost as much attention as EMI’s biggest marketing push of the year?”

Yes, suddenly he switches it around and now says they BOTH are copying… a song from a Nintendo video game. Take a listen, do you hear it?



Well I hear it a little bit… the “ah-ah’s” that make the ethereal vibe of the song. But it’s sort of a stretch. FURTHER discussion revealed that ALL of these songs seem to sound like Joe Satriani’s song “If I Could Fly” from his 2004 album “Is Their Love in Space?” Take a listen:



Ultimately, I really feel that Hoepfner just found a pretty sly way of getting his band into the spotlight. Don’t you? And I honestly find it hard to believe that SOMEHOW “The Songs I Didn’t Write” wasn’t somehow “inspired” by the Coldplay track. Having listened to the Zelda song and Satriani’s song, I do see how, almost unconsciously Coldplay could have lifted the rift… I think it’s all totally unintentional. As the minor controversy that was sparked between the Red Hot Chili Peppers track “Dani California” and Tom Petty’s “Mary Jane’s Last Dance,” there was a similar riff, though Petty never took any legal action because he knew that there are really only so many cord progressions… it’s bound to happen.

I find it completely possible that a musician, someone with an ear for melody, could hear something and have it inspire them… even years later. What do you think?

Enjoy.

Coldplay’s “Viva La Vida”

Used

Song: Used
Artist: Rocket from the Crypt
Album: Scream, Dracula, Scream!



So I’ve been going through some of my older CD’s, fining a lot of stuff from my past and a lot of albums that I really dug at the time but for whatever reason didn’t keep up with the band/artist.

“Scream, Dracula, Scream!” was the major label debut on Interscope for San Diego rock band Rocket from the Crypt. This album paved the way for a short lived stint at the forefront of American Alternative radio. Unfortunately, the band didn’t meet the “alternative” quota that Interscope was looking for, and they were dropped after a follow up, “RFTC” again failed to be a big hit.

“Scream, Dracula, Scream!” is a great rock record though, filled with hard pounding, vaguely ska-ish, rock jams that almost feel like they’re from a by-gone era. My favorite track on the album was “Used,” which has some killer horns (and this comes from a non-ska fan) and a killer hook. It was never a single, see the videos of those released from the record below, “Born in ’69” is awesome!.

Enjoy.

On a Rope


Born in ‘69


Young Livers

Barracuda (Fuse & Hiratzka Mix)

Song: Barracuda (Fuse & Hiratzka Mix)
Artist: Heart
Album: Barracuda



Heart have just recently made news by their very public disinterest in the GOP using their song “Barracuda” when Vice Presidential nominee Sarah Palin is onstage. (The song was used during her speech at the RNC convention and then again when she joined McCain after his speech, it from an old nickname she got as a high school basketball star, “Sarah Barracuda.”) I have been surprised by some of the comments I’ve read from people responding to what the Heart sisters have done, and I wonder… are we actually no longer allowed to speak our minds?

The band sent a cease and desist letter after the first use, and after last nights use they released this statement:

“Sarah Palin’s views and values in NO WAY represent us as American women. We ask that our song ‘Barracuda’ no longer be used to promote her image. The song ‘Barracuda’ was written in the late ’70s as a scathing rant against the soulless, corporate nature of the music business, particularly for women. (The ‘barracuda’ represented the business.) While Heart did not and would not authorize the use of their song at the RNC, there’s irony in Republican strategists’ choice to make use of it there.”

As I understand it, legally Heart can’t sue… while they have said they didn’t have “permission” there is a loophole in royalties and copyright law in which any song can be played during a live broadcast without paying royalties OR getting permission. (One of the reasons that the Today show can play just about anything, including Beatles tunes, during their broadcast.) But Heart just really seem to want to express their grievances publicly… and shouldn’t they?

I have read that people plan to boycott Heart’s music… a-la the Dixie Chicks after their George W comment. Now, the Dixie Chicks received death threats and the like for being outspoken, and some of these things I’ve been reading regarding Heart are pretty outrageous. When it comes to politics, should we silence our entertainers? In my opinion these people are artists that created a work that they have the right to protect. And I would think that a simple “please don’t use this song” would suffice in a situation like this… but the organizers of the RCN convention didn’t listen…

What do you think? Should Heart “shut up and sing” like the Dixie Chicks? Or do they have the right to say what they want like every American? You could argue that they have an unfair advantage as they have more means, based on their public status, to get their thoughts out to the public. But they earned that… shouldn’t they be able to use it?
This is a great remix of this great song.

Enjoy.

Barracuda


This is what I’m talking about:

I Seen Beyonce - Cazwell

Song: I Seen Beyonce (feat. Jonny Makeup)
Artist: Cazwell
Album: I Seen Beyonce (single)



I love Cazwell, and think that in another time, he would be plucked out of NYC obscurity and have actual hit songs. But here in America… he’s just too gay. Cazwell returns with a new single, “I Seen Beyonce,” and while it might not be as upbeat and catchy as “All Over Your Face,” it’s a winner… with a very fun-but-cheap video.

I’ve heard his music called “Homohop” or referred to as “the gay Eminem,” though I think that is only because he’s white, blond, gay, and produces hip hop. Whatever you call him, I think he’s a fun addition to the world of pop music and wish he’d catch on a little more.

Enjoy.

I Seen Beyonce


All Over Your Face


Watch My Mouth

Farewell to the Crown

Song: Farewell to the Crown
Artist: Chumbawamba
Album: Tubthumping Single



Back in the mid-90’s there was a time when you just couldn’t escape Chumbawamba’s enormous hit “Tubthumping.” You remember… “I get knocked down, but I get up again…” The song was huge, and then deemed completely annoying due to its ubiquity, and the band was relegated to a footnote in music history. I was in college at the time, and remember when it first broke… on hipster alternative radio.

I went to school in Rochester, NY and listened to WBER 90.5 FM, the self proclaimed “only station that matters,” which specialized in alternative rock music. It was perfect for a snobby “alt” guy like myself as I heard all the music that made me feel superior to say… Lou Bega fans. WBER did, and still does, a “song of the week” that they play and get their listeners to vote a song into rotation. Sometimes these would include a new song by an already established act, but more common was some new stuff that the station wanted to play. So, back in ’96 they chose “Tubthumping,” and started it as the song of the week about three weeks before the song was literally everywhere.

I’ll be honest, initially I loved the song. Thought it was fun, catchy, and just an all around party starter. I heard it as the song of the week and went to buy the single (because the album wasn’t yet out.) So I got to listen to it over and over, with a couple not so good remixes and one b-side, “Farewell to the Crown.” “Crown” was an oddity, but a dug it anyhow… a traditional Irish tinged techno-pop song that didn’t really sound like “Tubthumping.” Yet it made me interested in the album very much, despite not totally realizing (at the time) that the song was basically advocating an end to the royal system in the U.K. (It was anarchy… but really catchy!)

But back at WBER, the song was literally exploding. I remember the DJ’s saying that they had never seen a reaction like that for a song of the week before, and never seen that many positive votes. It was all “can you believe how great this song is?” UNTIL pop radio began playing it. Once it was sandwich in between the likes of Savage Garden and Sisqo it was suddenly DROPPED from their playlist. Funny huh? Unfortunately I bought the album, which was pretty awful, (and DIDN’T include “Crown!”) and can now be found in just about any used music bin.

It’s important to note that Chumbawamba is not only still making music, but had their first release in 1980. (Yes, 80) That’s some twenty five years in the business… with one hit. Can Sisqo say that?!

Enjoy.

That hit of theirs…

So What

Song: So What
Artist: Pink
Album: So What



As pop stars go you can’t really get better than Pink. I’ve been a fan of hers since her second record, and really really loved her last album “I’m Not Dead.” Despite being packed with catchy pop-rock tunes on par with the best of what Kelly Clarkson has given us. Though I think she made a mistake with have “Stupid Girls” the lead single. Despite the great message, and very funny video, the SONG itself wasn’t that good. And while Pink found herself with the best selling album of that year in Australia, the subsequent singles failed to hit here. (Though “U + Ur Hand” had a slow build here, especially the club version.)

Late October will see the release of Pink’s fifth album, “Funhouse.” There aren’t many details released as of yet, but lead single “So What” was recently leaked early and has blown up overseas. I took a listen and thought it was fun… and now I can’t stop listening to it. It’s very much in the vein of her past Max Martin produced singles “Who Knew” and “U + Ur Hand.” It’s just crawling with catchy. Catchy chorus, catchy opening, catchy breakdown… it has hit written all over it.

More interesting is the fact that it’s a (kind of) kiss off track to Pink’s former husband, motocross star Corey Hart. They divorced just two years after being married… and guess what? He’s in the video…



Totally odd right? I guess that’s breaking up as best you can in the celeb world.

Enjoy.

Who Shakes the Best

Song: Who Shakes the Best
Artist: Candyman
Album: Ain’t No Shame in My Game



The early late 80’s/early 90’s were a very exciting time for hip hop as it was gaining strength as a major force within the business despite (or because of) various content controversies that popped up (from “Cop Killer” to “Me So Horny”) and yet, comparatively… it’s was all pretty innocent, given the times.

Best known for the pop hit “Knockin’ Boots,” Candyman’s debut album “Ain’t No Shame in My Game” was released toward the end of 1990 and enjoyed some success mainly based on that single. I was actually a pretty big fan of the record at the time… it’s filled with catchy, albeit goofy, pop hip-hop tunes that really capture THAT time. I pulled the album out and listened to a few tracks recently, it really took me back. I especially was fond of “Who Shakes the Best,” a back and forth diss track that is again goofy, yet very, very endearing in its naiveté. It was never a single… just a fun lost jem of an album track, in a time when you bought a full record… not download a single.

Unfortunately for Candyman, his career sank fast. Releasing album after album of critical and commercial failures. Most recently, unfortunately, with “Knockin; Boots 2001: A Sex Odyssey” from 2001. The album included a remake of his solo smash, as well as remixes. Again, critical and commercial failure. And yet this wasn’t his first time of re-hashing old songs as his sophomore album contained, you guessed it… “Who Shakes the Best, pt. 2.” Hey-hey, you know it.

But I never got any of his other albums, so really can’t speak of them honestly. All I know is I dug his first record (he really has a nice flow) and now think upon it as a reminder of a nicer time in the record business. Not artistically per say… just nicer.

Enjoy.

Knockin’ Boots

Yo! Tone Loc makes a cameo in the intro, I totally forgot that.

Makin’ Like a Rug

Song: Makin’ Like a Rug
Artist: Eleventh Dream Day
Album: El Moodio



Chicago based Eleventh Dream Day formed in the late 80’s, and after a couple independent releases graduated to the majors but never caught on. I was first introduced by the band back in 1993 with the release of “El Moodio,” their sixth LP. Mixing straight up rock, elements of punk and rockabilly, Eleventh Dream Day to me were quintessential rock & roll, true, raw, and just plain good.

My introduction to the band came from seeing the video for “Makin’ Like a Rug” on 120 Minutes. The domestic drama subject and back and forth vocals of leads Rick Rizzo and Janet Beveridge Bean really wailed, and I picked up the record soon after. The rest of “El Moodio” did not disappoint, with more down and dirty rock that seemed to seep with raw rock and roll energy.

Apparently “El Moodio” was their true stab at rock stardom which didn’t happen, and Atlantic Record subsequently dropped them. They returned to an indie and continued to release records. I missed the follow up, “Ursa Major” from 1994 but did get the more moody eighth record entitled um… “Eighth.” They’ve continued to release records, most recently with “Zeroes and Ones” from ’06.

I haven’t kept tabs on the band since “Eighth,” but I must admit… a recent spin of “Makin’ Like A Rug,” and other killer tracks from “El Moodio” like “That’s the Point,” “Murder,” and “Figure it Out” surely make me want to do a little more research. They’re a band that mostly fell through the cracks, making music that “they just don’t make like they used to.”

Enjoy.

I guess they are obscure enough not to have any of their videos on YouTube… unbelievable!

Riding on the Rocket

Song: Riding on the Rocket
Artist: Shonen Knife
Album: Let’s Knife!




One of the more endearing acts that came out (at least majorly) of the “alternative” music boom of the early 90’s was Shonen Knife, three women from Japan who played punk rock music about jelly beans, bison, Barbie, ice cream, and space travel. Given that this was a time in music when it seemed any odd act could get a record deal, Shonen Knife were truly a standout. With zero pretention and charm to spare… I was a fan immediately. Though admittedly, I lasted for two records… finding the whole thing just a bit too cloying.

“Riding on the Rocket” was my introduction to the band, and can be found on their major label debut “Let’s Knife.” Check out the video below which really shows how charming and goofy they are. I must say that if you like this song you’ll like this whole record… it’s very fun, and partly comprised from tracks already released independently in Japan.

I remember Kurt Cobain being a very vocal fan of the band, and they opened for Nirvana for a leg of one of their tours. I sort of can’t imagine the more jock fans of Nirvana digging these ladies. Haha. Surprisingly, I didn’t realize that the band formed all the way back in 1982, and that they were still releasing records! (Most recently with last year’s “fun! fun! fun!”)

Enjoy.

Riding on the Rocket


Twist Barbie (live)


Brown Mushrooms

Longing for Lullabies

Song: Longing for Lullabies

Artist: Kleerup (w/Titiyo)
Album: Kleerup



Best known for writing and producing Robyn’s recent global mega-hit “With Every Heartbeat,” Kleerup is a Swedish musician, formally of “The Meat Boys,” whom just released his debut self titled album in May. The album is comprised of tracks he wrote and had other singers do vocals. Included on the album are tracks with Neneh Cherry, Marit Bergman, Lisa Millberg, Titiyo, and current Swedish indie-darling Lykke Li. The Robyn song is also included.

I have been really digging this record and specifically “Longing for Lullabies.” The album proves that Kleerup is indeed an electronic producer to watch, though he does seem to have a specific bag of tricks that he re-uses. This is not a bad thing, but if you know “With Every Heartbeat,” you’ll hear elements in that song in his others. (So to that end, if you liked that song, you’ll like this record.) I really dig “Until We Bleed,” the Lykke Li track, as well as “Forever,” which Neneh Cherry provides writing and vocals too. “Thank You For Nothing” is odd to hear as it’s basically an instrumental that created the basis for Cyndi Lauper’s “Lay Me Down” from her new album.

Like Sia’s “Breathe Me,” “Longing for Lullabies” is one of those songs that grabs you immediately. It’s very cinematic in that way, and I envision it being featured in a movie or TV show soon. It’s quite beautiful, and I can’t stop listening to it. Lyrically it’s a bit obtuse, but it has a bitter-sweet vibe to it, some sad emotional change with a touch of hope. (Or maybe that’s just me reading too much into it… or the beauty of obtuse lyrics, make it your own!)

I’m really digging this record, and as mentioned… if you’re a fan of the Robyn track I think you’ll really like this. It’s not exactly pop music, not exactly techno… it’s like singer-songwriter electronica.

Enjoy.

Longing for Lullabies


With Every Heartbeat

One Month Off

Song: One Month Off
Artist: Bloc Party
Album: Intimacy




When will this become the norm? After semi-sneak attack albums from the Raconteurs, Nine Inch Nails, and Beck we have a brand new surprise album from Bloc Party. No strangers to the loss of control that happens with album leaks, Bloc Party saw their sophomore album “A Weekend in the City” leak to the internet over three months before it was set for retail. So they have wised up and taken a bit of the new Radiohead/Nine Inch Nails model and gone digital. Currently you can buy the album as a digital release for $10, or pay $20 and get the digital download immediately, and the physical CD in the mail when it comes out in October. AND, that CD will contain other songs. (which the band has said they don’t know what will yet.)

My first reaction (besides “oh nice, a new Bloc Party album!”) is to cringe a little at this “you’ll get extra songs,” “we don’t know what yet,” thing as it seems clearly to mark the increased insignificance of the album as a complete work. You can’t just throw random songs together right? Well the truth is… most artists don’t do this, and a “record” is really just a collection of songs. Now, while I am a fan of the album as work of art, my guess is that Bloc Party have a bitter taste in their mouth in regards to this. Given the success and rocket to stardom that “Silent Alarm,” their debut, got them, they probably spent a ton of time crafting “A Weekend in the City” and to have it leak JUST as it was finished is awful… but then as the B-sides from the album began to leak, online fans began to say that some of those songs were better, compiled them together and titled it “Another Weekend in the City.” So I can see where they might just be frustrated with the lack of control.

All that said… how is “Intimacy?” Well I’ve only given it two full listens, but my initial impression is very favorable. I’ll be honest and say that I got lost in the sea of tunes that was “A Weekend” and “Another Weekend” and while specific songs really popped for me, others just went on. Since the release of “Weekend” the band put out a single, “Flux,” that sounded nothing like what the band had done prior. It was practically techno with driving beats and an urgency that wasn’t always there with the band before. They have married the new Bloc Party of “Flux” with the Bloc Party of old (a mix of “Silent Alarm” and “Weekend”) and creating something new and exciting with “Intimacy.”

The album is immediately attention grabbing and holds you throughout. First single “Mercury” is all blips and beats and stuttering voices. And while the lyrics point more inward (lead Kele Okereke apparently just went through a bitter break up) it somehow makes the songwriting more universal. “One Month Off” stopped me in my tracks (okay, I was cleaning the apartment) with its intense beat and hard guitar riff. It sounds a bit new wave, yet very Bloc Party. It’s a bitter track, but filled with more life that I thought “Weekend” had in its entirety. It’s also totally strange.

Which brings me to my next thought… while Bloc Party have always been just another band in the dance-rock movement with (minor) comparisons to Radiohead, this was really the first time where I thought they might have something Radiohead -worthy in them. They play around a lot with sounds on this record, and yet keep things catchy and moving. If they harnessed their ideas together I think they could do something really out there and brilliant. Am I crazy?

But beyond those lofty goals I think Bloc Party has released a fine collection of tunes here for their third record. And having it be a surprise is the cherry on top.

Enjoy.

Mercury

The Girl You Lost to Cocaine (Sander van Doorn Remix)

Song: The Girl You Lost to Cocaine (Sander van Doorn Remix)
Artist: Sia
Album: The Girl You Lost To Cocaine




Sia is still probably best known for her 2004 single “Breathe Me” which was used in the finale of the HBO series “Six Feet Under.” I loved the song (as well as the Mylo remix) but couldn’t get into the other tracks I heard from her record, “Colour the Small One.” Earlier his year she released her follow up, “Some People Have Real Problems,” which I got, listened to, and thought was awful. Well… awful boring. So long Sia.

Well not yet. I randomly found a blog that posted this remix done by Dutch DJ Sander van Doorn. One listen and I was hooked. It gets a bit trancy at times, but it has a great build and fills a boring song with new life. As it happened again… I heard this song at my first Blowoff party… and it’s a great four-on-the-floor dance anthem. (and the irony of seeing blissed out guys on drugs dancing to a song called “The Girl You Lost to Cocaine” did not ecscape me.)

I do think Sia has a great commanding voice, but really don’t know what I think of her as a songwriter. When the Dido-esque “Breathe Me” was a hit I expected her to expand on that sound and really deliver. But instead she either followed her muse or wanted to defy expectations. Either way, it doesn’t work.

This is the only Sander van Doorn remix I’ve heard, but I did have a chance to listen to his debut album “Supernaturalistic.” Unfortunately it’s entirely instrumental… and lacks exactly what I seem to be missing in a lot of this club music. Where are the words?! While he does, as mentioned, veer the song into a few vocal free moments, he does employ them at just the right time. It works. So while Sia is so-so, and Sander’s right with her, the combo turns out to produce dancefloor bliss! Yay.

Enjoy.

Breathe Me

Cool video!

The Girl You Lost to Cocaine (original)

The Girlz & Boyz (Vandalism Club Mix)

Song: The Girlz & Boyz (Vandalism Club Mix)
Artist: Brad Hed
Album: Hed Kandi - Twisted Disco 2008




I stopped getting dance compilations a long while ago because most of them were awful. Since I didn’t understand the business, with royalties etc., I didn’t truly understand why you would get one good song married with a ton of lousy ones from artist that you’d never heard of. But now I realize why… they’re cheap! (So while all of those Now! Compilations sell like crazy, they must cost a pretty penny as well.)

My friend David introduced me to this really neat series/company called Hed Kandi that gives you the best of both worlds. While just about every one of their compilations feature an established artist like Hot Chip, Beth Orton, Shirley Bassey, Junkie XL, or Peter, Bjorn, & John, the rest of the CD’s have more obscure dance artists that are actually GOOD. It became quite obvious to me that these people knew what they were doing.

The company was started in the U.K. in 1999 by Mark Doyle, whom sold the business to Ministry of Sound. Each one of the releases has a distinct look as helped by the artwork of Jason Brooks. Mostly house music, the company releases different compilations under different titles such as “Serve Chilled,” “Twisted Disco,” “Beach House,” “Disco Heaven,” etc. They have since branched out into the fragrance business, as well as clothing and even an airline to Ibiza.

My favorite of the full compilations I’ve heard thus far (which has been limited admittedly) has been the most recent “Twisted Disco 2008” release. It opens strong with “Let it Go” by Dirty South (never heard of them) includes a new remix of Utah Saints Kate Bush biting 90’s single “Something Good,” and includes a remix of the Junkie XL track “More.” But my favorite track off the record was by someone called Brad Hed (again never heard of him.) “Girlz & Boyz” is straight up driven house that is a party starter for sure. Vandalism does the remix (of “Smash Disco” fame) and I was pretty happy several months back when it was played at my first time attending Blowoff.

If you’re interested in getting into house music a little more and don’t know where to start I highly recommend these compilations. As mentioned there is SO much garbage out there in regards to dance compilations and Hed Kandi is a safe bet from a group of dance music lovers that know their stuff.

Enjoy.

Listen to the track here:

That’s Not My Name (Tom Neville Remix)

Song: That’s Not My Name (Tom Neville Remix)
Artist: The Ting Tings
Album: That’s Not My Name




The Ting Ting’s record… which I think is about half good, has still been in pretty constant rotation on my iPod and at work. I think it’s some of the best indie-type dance pop that’s come down the pike in a while. Aside from the iPod commercial assisted “Shut Up and Let Me Go,” other singles “Great DJ” and “That’s Not My Name” have been playing over (and over) just about everywhere I go.

Also getting just as much play is this excellent club remix by Tom Neville. It actually slows the song down a bit to fit its beat, which seems odd but totally works. (Most times it’s the other way around.) Neville has only recently made a name for himself with remixes for Kelis’ “Milkshake” and Mylo’s “Destroy Rock & Roll.”

Enjoy.

That’s Not My Name (album version)

When You Touch Me

Song: When You Touch Me
Artist: Freemasons
Album: When You Touch Me




It’s taken some time but over the past couple years I have slowly gotten more and more interested in dance/house music, beyond DJ’ing dance parties and the odd workout mix. But like it or not homo culture has always had a strong dance element from disco to more recent circuit parties. And while I am finding myself more interested in dance mixes and club tracks I still ,at times, find it wildly repetitive, and the sometimes lack of vocals totally monotonous and boring.

Yesterday I went with a small group of my favorite people on the planet to help volunteer for the Gay and Lesbian Task Force sponsored “Ascension Dance Party” out on Fire Island Pines. Basically it is a huge afternoon dance party that draws a crowd in the thousands right on the beach. A wood floor is laid down, tickets are upwards of $100 (for good cause!) two tents featuring a regular and VIP bar, private little areas for the homo elite to stand and pose in the shade, and then the crashing surf of the Atlantic just feat from the whole spectacle.

The below video from last years party will give you an idea:


Anyhow, my main point in telling you all of this is that the music really wasn’t that good. The DJ for the event Chris Cox is a widely known remixer and DJ. Aside from Rhianna’s inescapable “Please Don’t Stop the Music” and the great “Let Me Think About it” by Ida Corr the music like all of these dance parties just dragged on thumping away. Now, this does not mean that he needs to play something the whole crowd will know… but can it be a little less monotonous?

Case in point, my friend Artie sent me this great song my the Freemasons, a UK based remix duo whom has reworked tracks by Angie Stone, Fatboy Slim, Luther Vandross, Jamiroquai, Kylie, Moby, and Beyonce. “When You Touch Me” was released as a single back in June and it’s just a fun bouncy track that is immediately likable. I didn’t know it… but could see myself dancing to it. I suppose that my interest in a great little pop tune skews my likes of deeper trance music. Snore City!

I found that I had a couple of the Freemasons tracks, including their re-do of the Alanis ballad “Uninvited” with vocals by Bailey Tzuke. (Which is good… but the white label remix of the Alanis version is a bit better in my opinion.) They’re pretty good, and I’m interested in hearing some of their full albums, which include remixes as well as tracks they have written.

Since I’ve most recently been finding new dance music that I’ve been digging (vs. any good rock/alternative music I dig) this Freemasons track with kick off a week of great dance music I think you should know.

Enjoy.

This video is SO European…


Rain Down Love

Lucid Dreams

Song: Lucid Dreams
Artist: Franz Ferdinand
Album: Madden ’09 Soundtrack




Franz Ferdinand’s as yet untitled third album is one of my most hotly anticipated for the upcoming new year (I know… still a big wait.) but we got a little bone thrown at us as a brand new song was just released that is reportedly on the new record (though not a single.) It will first be officially released on the soundtrack to a football videogame. Huh? Well, apparently there is this popular series of football video games that release about one a year called Madden (insert year.) I know I know… to you video game enthusiast I must sound like a super moron. I suppose it comes across the same as if someone asked me, “Have you heard of this band called the U2? I think they’re pretty great and may go places.” Ugh.

Well, like indie dance-rock act The Rapture showing up on the soundtrack to the latest Grand Theft Auto, which I recently blogged about… Scottish indie dance-rockers (hmmm… pattern here?) Franz Ferdinand are giving a brand new track “Lucid Dreams” for the soundtrack to this recently released game. I have no idea how Franz, and really specifically this song, fit into a football game but obviously a trend is on the horizon, and why not? Video games have become serious business, raking in more money than a lot of big-budget Hollywood movies. So if a song in a movie can change the career of a band or performer why not a video game? The audience is that big… and if the video game audience is more likely to then pick up the next album by either The Rapture or Franz vs. the latest emo crap I’m all for it. Rock on!

While “Lucid Dreams” doesn’t pop with the glorious hooks of “Take Me Out” or “Do You Want to?” after a couple listens I was sold. It has a faint needle scratch effect through the song (a notion almost extinct in the digital age) that gives the song a lo-fi charm. This is Franz at their most raw and given that the band had hinted the new record was going to focus more on the DANCE that the ROCK of their sound I’m a bit baffled. But now I’m even more excited… what are they going to surprise us with? It has an almost live quality to it that hasn’t been evident in any of their released material. But like all Franz, it’s catchy, fun, and you’ll find yourself singing along to the “whoa’s!” in the track.

Enjoy…

the wait.

Spiralling

Song: Spiralling
Artist: Keane
Album: Perfect Symmetry




I guess I still don’t know what I think of Keane. Their 2004 debut “Hopes and Fears” was the best selling record in the UK for that year, and while it took some time to make its way across the pond, their breakout single “Somewhere Only We Know” did make quite a splash here in the states. I for one found them to be a cheap Travis rip-off but nobody knows Travis here… so Keane took the sensitive music with a piano market. (Well, what was left of it from Coldplay.) For their follow-up the band seemed to be taking a leap forward in that they wanted to ROCK. I actually totally fell for their first single from their sophomore set “Under the Iron Sea,” “Is it Any Wonder?” which (again like Coldplay) showed that Keane didn’t want to be known as just a drippy piano band… they wanted to be… umm, U2. I didn’t mind though because “Is it Any Wonder?” was a killer track and I played the hell out of. So I bought the record (which, to be honest, was partly to cover up that I was buying the Paris Hilton record on the same day) and found out that Keane hadn’t really changed… the rest of the record was straight from Snore City.

The album had crazy sales in the UK… but for reasons that will probably un-earth themselves (conveniently) for the marketing of their third record, lead singer-songwriter Tom Chaplin checked himself into rehab for drugs and alcohol. The fall-out from his problems lead to a cancelling of their US tour as well as cancellations of shows in Europe.

October will see the release of “Perfect Symmetry,” and “Spiralling” the first single was recently released digitally for free via the bands website. And just like “Is it Any Wonder?,” “Spiralling” is an out-of-character rocker… and I really dig it. So who are Keane? And will this be another bait and switch? If I’m honest “Somewhere Only We Know” totally grew on me, and Lily Allen’s cover of “Everything Changes” made me re-visit, and like, the bands version. These guys are obviously talented… so I will give them the time to see what new directions they may be following.

Besides… post-rehab albums are usually such a joy.

Enjoy.

Is it Any Wonder?


Somewhere Only We Know


Everybody’s Changing

Illusions

Song: Illusions
Artist: Heloise and the Savoir Faire
Album: Trash, Rats, & Microphones



So my good friend Brian just introduced me to this new fun Brooklyn based band. Heloise Williams, the leader of the band and former Peaches bodyguard/driver (seriously) formed the band, Heloise and the Savoir Faire in 2004. Their debut, “Trash, Rats, & Microphones was released in April of this year.

This CD has either been a bit under the radar or I’m not paying enough attention… but are they just another hipster elctro outfit from Brooklyn? Yes… and no. Well yes they are… composing fun bouncy elctro-rock tunes that will fit perfectly for your next Williamsburg roof-top party, but they’re also pretty good. A bit more Scissor Sisters/Franz Ferdinand than say, Hercules & Love Affair… but only after two listens do I realize this one could make it to my “liking this! Smart playlist on my iPod. Actually, I think the perfect comparison is really a latter-day B-52’s. This is a party record in which everyone there is interesting, arty, and a bit kooky.

I’m still getting into the record but track number one “Illusions” really sets the stage, telling you “you should be dancing all night.” Catchy choruses seem to be a trademark of the songwriting… give it a chance, I think you’ll be dancing this mess around.

Enjoy

Here is the band performing on Graham Norton

Most of All

Song: Most of All
Artist: Morgan Geist
Album: Double Night Time




I’m not usually a fan of ambient, or faceless lounge music, but I do realize… the problem is me. I’m a hook guy. An emotion guy. And the idea of “background music” sort of makes me cringe. (I literally don’t own ONE film score, what’s the point?) But again… this is a little quirk in me as I just don’t connect to it. Like seafood, Cold Stone Creamery, and Celine fucking Dion.

So while “lounge” music doesn’t take up much space on my iPod, I do see how music that just sort of exists without much attention needed has its place. And I’ve DJ’d enough cocktail parties and dinners in which light music is exactly what’s needed; something in the background that doesn’t overpower conversation but alleviates awkward silence.

So recently I found a great record of this ilk in Morgan Geist’s (of Metro Area fame) upcoming September release “Double Night Time.” It reminds me a bit of Junior Boys, though there isn’t as much focus on actual “song” here. Mostly instrumental, it’s a great late night record, or early morning. “Most of All” is lyric based… so not totally representative of the record but you get the idea. Instead of “background” let’s call it “mood.”

Enjoy.

Freeway

Song: Freeway
Artist: Aimee Mann
Album: @#%&*! Smilers




While cultural osmosis lent its hand for me knowing “Voices Carry,” the biggest hit from ‘Til Tuesday by heart, to know the solo work of member Aimee Mann you have to work a bit harder. And while I knew the name and the woman… it wasn’t until her songs created the plot and soundtrack for Paul Thomas Anderson’s masterwork “Magnolia” did I really understand the true brilliance of this amazing songwriter.

The delightfully titled “@#%&*! Smilers” marks Mann’s 6th solo release and her latest since ‘05’s story/concept record “The Forgotten Arm.” I’ve been living with the record for a couple weeks now and I’ll come clean… it just doesn’t grab me the way her songs from the “Magnolia” soundtrack and the follow up album “Bachelor No. 2” did. But make no mistake… there isn’t such a thing as a BAD Aimee Mann record. Like Lucinda Williams, Aimee Mann has a couple incredibly good records in between draw-droppingly brilliant ones. As a songwriter, Mann has uncanny abilities in getting clever emotionally true lyrics to ride her bouncy melodies… which are evident once again in lead single/track “Freeway” from her latest. I really dig this song, and love the new wave synths that are added to Mann’s mainly acoustic vibe.

If you’re not familiar with Mann’s work I might suggest that you start with “Bachelor No. 2” or 1995’s “I’m With Stupid.” Two killer records. While initially she may come across as a run-of-the-mill singer-songwriter, her songs get under your skin… and at least for me new layers and meanings come clear sometimes years after I first get to know a song of hers. It’s not often that such human truth can manifest itself in something so catchy.

Enjoy.

Freeway


Save Me

An all-time favorite song with a great video

That’s Just What You Are (Live on the Jon Stewart Show)

My People

Song: My People
Artist: The Presets
Album: Apocalypso




I was a fan of The Presets 2005 album “Beams,” a mix of hard hitting electronica that had a vaguely gothic vibe to it. Their international hit from that record “Are You the One?” was killer, and later used in a BMW commercial. The band hails from Sydney, Australia, and released their follow up album “Apocalypso” this past April.

It’s taken me a while to get around to getting the new record and listening to it and for the most part… it’s more of the same. This isn’t necessarily a bad thing… it is what it is. I really do like lead single “My People” which is reminiscent of “Are You the One?” There have been two other subsequent singles from the record, which no doubt helped it reach the # 1 spot on the Australian Album chart.

To me, The Presets seem like the house band at some underground Eastern European sex club. It’s dark, a bit scary, but thrilling all the same. I can’t claim to be a HUGE fan… but I do dig their sound as it’s pretty distinct. And what they may lack in pop hooks that seem necessary for this type of music, they make up for it in mood. So throw this in when you’re throwing yourself your next Eastern European-themed orgy.

Enjoy.

My People

Creepy video.

This Boy’s in Love

Genius of London

Song: Genius of London
Artist: Tom Tom Club vs. Fergie
Album: MTV Mash Up




I’m a fan of mash ups, the name given to a song which combines elements from two or more songs to create a different one. For the most part, a mash up usually takes the vocals from one song and lays them over the music to another. One of the first known mash ups that I had heard about (and apparently started the craze) was “Love Will Freak Us,” a mash up of Missy Elliot’s “Get Your Freak On” with Joy Division’s “Love Will Tear Us Apart.” It’s pretty wild, and like the best mash ups, it infuses two songs that seemingly could not go together at all. (You can read more about the history of the mash up, and the most popular ones, here.)

A really great left-of-center mash up in a party playlist can be a beautiful thing, confusing your audience yet getting them to bop along to something that they (sort of) know. But be warned… use them sparingly as they can certainly overstay their welcome. Haha.

Never one to shy away from cashing in on a trend, MTV released a compilation of mash ups by DJ Rob Boskamp last year. It could have been aweful, but if listened to sparingly, can be a pretty enjoyable cross-genre journey. My hands down favorite is “Genius of London,” a winning combo of Tom Tom Club’s 80’s classic “Genius of Love” (which Mariah sampled er… stole the melody for “Fantasy.”) and Fergie’s bazaar pop hit “London Bridge.” It’s a party starter for sure, even if the music from “Genius of Love” isn’t 100% recognizable.

At this point the amount of mash ups floating around the internet are pretty daunting… but do some searching, you’ll get hooked for a while.

Other favorites to find:

“A Stroke of Genius” – Christina Aguilera vs. The Strokes
“George Will Freak Us” – George Michael vs. Missy Elliot
“Ziggy at the Party” – David Bowie vs. Pink
“Take Me Out for a Milkshake” – Franz Ferdinand vs. Kelis

Just to name a few…

Enjoy

Some Mash ups:

Slow My Bitch Up


Hey We Will Rock You


Genius of London

Soul Finger

Song: Soul Finger
Artist: The Bar-Kays
Album: Soul Finger



Arguably one of the most popular posts I’ve ever done was also a fun one to me… French DJ Bob Sinclar’s “Love Generation,” a song that took me ten months to figure out who did it and the title. (For the full story, check it out here.) Because I had actually put in all the wrong lyrics I had googled to find out what the song was in my post, others in the same situation got the info. Yay!

So when I was recently on vacation I finally got around to watching “Superbad” and heard another song that I didn’t know what it was, this one dates back to college so it’s practically a ten YEAR old mystery. Is that officially a “cold case?” Well I had certainly given up and stopped looking for answers. Anyhow, while I discovered the song I still haven’t found this compilation that it’s on.

Back in college a local radio station was being sold (in Rochester, NY) and a friend discovered it was no longer being programmed, it was just playing an instrumental compilation on repeat, 24/7. It was an absolutely crazy mix of all different kinds of tunes from the 50’s, 60’s, and 70’s. Since this was still before the age of burnable CD’s, I made myself a little cassette mix of my favorite tracks right off the radio. (Old school right?) Since I didn’t know the song titles or artists I have them ridiculous names like “Soulful Space Jam” or “Your Hand is Caught in My Poodle Skirt.” I loved it.

Since seeing “Superbad” I have learned that a favorite off of that compilation, The Bar-Kays 1967’s single “Soul Finger,” is not, in fact titled “Snow Finger.” (Hence another reason internet searches lead me nowhere.) The compilation also features the song “Sleep Walk” by Santo & Johnny (listen here) which I had titled “Scary Small Town Theme.” Even knowing those two tracks I still can’t find this compilation. Might a reader know it?

The Bar-Kays were a funk/R&B band that became Otis Redding’s backing band in 1967. Both “Soul Finger” and “Too Hot to Stop” were both used in “Superbad.” It’s a great little quirky party tune that’s good for any collection!

Enjoy.

Son of Shaft (Live in Los Angeles)


Holy Ghost

No Sex for Ben

Song: No Sex for Ben
Artist: The Rapture
Album: The Music of Grand Theft Auto IV




I haven’t bought a video game console since… gosh, I think it was high school. And it was the Super Nintendo. I have since played a game here and there, love the new Nintendo Wii (though my experience is only really with bowling) and really dug Guitar Hero, which lets me play out my rock star fantasies in the comfort of a living room. What has escaped me though it the “Grand Theft Auto” phenomenon. I had heard about the game when it was released due to its controversial violence and themes, but didn’t really realize just how involved the whole thing is.

I still haven’t played “Grand Theft Auto” and understand that I sound WAY old when I marvel at how far gaming has come. I read, since I was interested, a couple reviews of “GTAIV” which were pretty unanimously glowing. Many said it was the best movie of the summer, yet in a game. I can’t speak on that, but a read of the Wikipedia page devoted for the game proves one thing… Donkey Kong this ain’t!

What does interest me is the amount of time they’ve spent incorporating music into the game, and they have also gone as far as to create a soundtrack for the game with a bunch of top notch artists. Included is “No Sex for Ben” a Timbaland produced bouncy little ditty from the NYC dance-rock hipsters. I was a huge fan of the bands last record, ‘06’s “Pieces of People We Love,” and while “No Sex for Ben” doesn’t quite sound like that record I really dig it.

Apparently the game features several different radio stations that you can listen to including a couple talk stations and all. You’d expect some cheesy background music but no… they paid the price and got some really great and diverse artist to include music for the game. Kanye West, Jill Scott, R.Kelly, Bob Marley, The Black Keys, !!!, Shaggy, R.E.M., Genesis, Stevie Nicks… the list goes on and on. Totally impressive.

Frankly, I don’t need another thing to waste any of my time so I don’t see myself becoming any kind of game addict. But if they’re a conduit for odds and sods songs getting released I’m all for it. Especially if their as fun as this Rapture track.

Enjoy.

Don’t Call Me Baby

Song: Don’t Call Me Baby
Artist: Kreesha Turner
Album: Passion




Last week I spent an entire glorious week on vacation in Provincetown, MA. I pretty much go every year and one of my favorite things to do is hear new music and see what is grabbing the DJ’s and audiences. While not as fruitful on a discovery front as a trip to Europe, what I do get from a summer weekend in PTown is usually a handle on what the hot songs are for the summer. Provincetown, if you didn’t know, is big homo vacation destination and not for nothing… fags tend to be a step ahead on the pop front. It was four years ago that I realized just how big Kelly Clarkson was going to be, and last year it was “Umbrella” all the time. So what was it going to be this year?

In Provincetown there is what is known as “tea dance” every day at the Boatslip resort from 4 – 7 PM. It’s basically a happy hour (minus any kind of drink special) where you can meet up with friends, make plans for the evening, watch the sun set over the bay, get a little drunk, and dance to hot remixes of today’s hottest pop hits. Now don’t get me wrong, tea dance isn’t the absolute barometer of what IS the song of the summer. When discussing this topic with my very good friend John and he threw out Madonna’s “Give it 2 Me” as his guess, though I needed to remind him that she’s the biggest homo icon still working it today… so despite hearing it at EVERY party (matched up with “4 Minutes” for good measure) both day and night all week, I didn’t really think it could count. It was sort of expected. Like running into dudes on ecstasy.

By the end of the week I had two contenders that I think have a good chance or seriously blowing up by the rapidly approaching end of Summer. First, there was Jennifer Hudson’s “Spotlight,” her first official single from her album that has taken forever to get done. (I mean… haven’t there been like four seasons of American Idol since she was on?) But to be fair she was busy getting a (wildly undeserved) Oscar for her role in “Dreamgirls” as well as the “Sex and the City” movie. And while I think she is a mediocre to poor actress that happens to have the biggest luck I’ve ever seen, the girl certainly can sing. I heard “Spotlight’ wanting to dislike it and was happily bored to tears. But I must be honest… the DJ played it towards the end one tea dance and I don’t know if it was the pina coladas that I had enjoyed by the pool all day, or just the energy of being surrounded by people happily dancing and singing along but the tune got to me. I really dug the dance version, and found myself LOVING the “woo-hoo’s” in it.

Take a listen to the album version:


In the end, I decided the song of the week was a pleasant surprise… and one hat I think is STILL gaining momentum. “Don’t Call Me Baby” by Canadian singer-songwriter Kreesha Turner was indeed a surprise for me. I heard it at tea dance every time I went, but was most shocked when I heard it at the Blowoff party Tuesday night. Ironically, I had been first introduced to Kreesha just two weeks before as she performed three songs live at a corporate event I attended. I hadn’t heard of her before, and while I thought she was good, sweet, and had a great voice I wasn’t BLOWN away. Her songs have been gaining a bit of play on shows like “Lipstick Jungle” but her album “Passion” doesn’t hit stores until mid-August. But the more I heard “Don’t Call Me Baby” I knew it had hit summer jam written all over it. It’s a “you done me wrong” anthem that speaks to women and gay men alike. I can’t seem to track down Rich Morel’s “Pink Noise Remix” which was played at tea as well as at the Blowoff party, but the original is actually pretty great. It’s not my usual thing but I’ve been listening to it a lot.

So what’s your song of the summer?

Enjoy

Don’t Call Me Baby


Bounce With Me

Gamma Ray

Song: Gamma Ray
Artist: Beck
Album: Modern Guilt




If I am totally honest with you, I should mention that I approach every new Beck record in really one way… absolute excitement. Despite his shifts in style and tone from album to album I can officially say that not one of his records has disappointed me. I can usually find something to like in every one of his records and for many of them, they just are some of my favorite records of all time. I think he is, and has always been, equal parts innovator, fun, goofy, introspective, and mysterious.

Today marks the release of his new album “Modern Guilt” which on the surface seems to be his attempt at 60’s style psychedelia. A mix of Nuggets-era rock and well… Beck. It’s important to note that while Beck has changes styles from album to album they all in effect sound like non-other than just Beck. I think, given another decade or two, that Beck will be considered one of the most import singer-songwriters in rock history. But hey, I’m a fan.

Depending on how you count, “Modern Guilt” is either Beck’s 8th, 10th, or 12th album. (If you count his indie records, and if you count the ones that are still in print, etc.) I think that officially it should be considered his 10th and because of this, and my outrageous fandom… I thought I’d write up a little bit about all of his records thus far…

Stereopathetic Soulmanure
His first release on an indie, a wild mix of acoustic jams, hip-hop, crazy noises, and samples from all over the place. It’s sort of like Beck’s idea of a mix-tape… except he wrote all the songs. My guess is that he was trying to create a record to get high to and nothing more. Except there are some cool songs on there, including the sweet acoustic “Rowboat” (which was later covered by Johnny Cash) and jokey but fun tracks “Satan Gave me a Taco” and “Puttin It Down.”

Mellow Gold
The record that introduced Beck to the world, including blow-up single “Loser” and less successful (but totally great) “Beercan.” The album comes across as a more serious take on “Stereopathetic’s” out-there mix-match style. But really, there is nothing serious about it. I remember listening to this pretty much non-stop for a good two years. Though aside from” Loser,” I rarely play it anymore.

One Foot in the Grave
For his third (yes… THIRD!) album of 1994 Beck went indie again for this “anti-folk” record. This was the first hint that Beck was more than a stoner “slacker” who specialized in off-the-wall sound collages. While lyrically it maintained some of his goofy and sometimes free-association words, there were hints at darker things on the horizon. “I Get Lonesome” is a dirge-like favorite, as well as “Cyanide Breath Mint” and “Asshole,” which was covered by Tom Petty for his soundtrack to “She’s the One.” In a way, while these albums didn’t come close to the sales of “Mellow Gold,” it helped create a buzz around the guy, more so than just the stellar major-label debut.

Odelay
Maybe it was because people thought of him as a one hit wonder, or the fact that it built upon what he had done before to create a modern classic, but his major-label follow up to “Mellow Gold,” “Odelay” pretty much sent Beck into the stratosphere. Not only did it have a string of actual hit songs, “Where it’s At,” “Devil’s Haircut,” and “New Pollution,” but in a way it re-defined pop music in the 90’s. Almost every musical genre is touched upon and it began the start of Beck finding smart producers (The Dust Brothers of “Paul’s Boutique” fame) that help him lift his musical ambitions. I wore this out at the time, and many consider it his best… I frankly haven’t listened to it in a while.

Mutations
Beck’s first curve ball (if you didn’t pay attention to his indie releases, or the onslaught of b-sides released on singles) a folk-blues record that sounded nothing like “Gold” or “Odelay” yet remained completely Beck. I remembered feeling so-so about this record at the time of release but it soon grabbed me, solidifying my love for the man. He can do anything!

Midnight Vultures
This album was an audience divider. Some raved about the Prince 80’s inspired set of jams and others thought he’d just gone too far. I was with the latter at first, but then slowly understood its brilliance. It’s a big dumb party record, a pitch-perfect recreation of a lot of 80’s R & B, or a one-joke record… all in one. I can see why people hate it, and I know why I love it.

Sea Change
Like “Mutations” before it, Beck slowed things down and went more folk based with this record. In my mind it solidified any questions about his songwriting ability, and acted as a response to any negative feedback from “Midnight Vultures.” Despite “Mutations,” whos songs were still a bit jokey, “Sea Change” debuted Beck as the serious artist. It’s a heartbreaking break-up record, and probably his most critically adored. (Well… along with “Odelay.”)

Guero
I think it’s his best. Many argued that he was just re-doing all things Beck over again, which is easy to say about someone whom has basically re-invented themselves with ever record. Yes he returned to the stylings of “Odelay” (along with its producers the Dust Brothers) but listening to that record and “Guero” side to side show where he’s come as a songwriter. There is bubbling mystery and dread that started for “Sea Change” but they’re married with sunny Beck jams. While you might bop along to “Girl” because it’s one of his sunniest fun pop songs, it’s about a guy killing a girl. And Beck sings as the guy. It’s such a killer record and one that I have not stopped listening to since its release. If you only own one Beck record, this should be it.

The Information
After going gaga for “Guero,” I suppose I couldn’t help but be let down by “The Information,” Beck’s speedy follow up. I recently re-listened to the full album and realized I liked it better than I remembered. It’s too long, and all over the place, but what it lacks in focus it gains in tunes. “Think I’m in Love” is a straight up classic… and SO Beck, “Strange Apparition,” “Nausea,” “We Dance Alone,” and the title track are highlights. What it sounds like is a great B-Sides collection, it just doesn’t say one thing… which Beck hadn’t really done since… well his first two records.

Modern Guilt
I’ve been listening to Beck’s latest pretty much on repeat since I got it late Sunday. Initially, right off the bat, I loved it. Beck gets with Producer of the moment Danger Mouse to craft a swirling 60’s Psychedelic rock record that fits in our times of mass fear, confusion, and uncertainty. At just over thirty minutes he clears the problems he had with the overloaded “The Information,” and mixes his (and DM’s) ear for a killer groove and new lyrical weight. “Gamma Ray” is a groovy Bond-ish number that go-go’s on about seriously bad weather. The title track is as well a highlight.

If “Guero” and “the Information” were a return to the sound collage style that made him a house-hold name, “Guilt” is his return making a single concept record… yet it’s obtuse, strange, a bit scary, and surprisingly upbeat. Thus far the only misstep I find is the drum and bass rerun “Replica” that is more annoying than… well anything else. If we learn anything from “Modern Guilt” it’s that Beck is going to continue surprising us and making some of the best modern music around. At this point he’s carved out a place in rock history for himself being nothing but himself.

Enjoy.

Find the River

Song: Find the River
Artist: R.E.M.
Album: Automatic for the People




There have been times in my life where music and the current circumstances I was dealing with strangely collided. Times where I felt life’s answers were hidden in a song, despite the knowledge that the songwriter no doubt knew nothing about me, nor the state at which my life was currently at. Once again, it’s moments like these that prove the case for the power of music, and the artistry of songwriting.

I discovered R.E.M. after “Out of Time” and had just about gotten their entire back catalog by the time “Automatic” came out. I was a full-fledged new fan and “Automatic” solidified them as one of the most popular bands of the early 90’s. I loved the album at first listen pretty much, but over time it grew on me in a way very few albums have. And at one point in my life I felt like the record had literally been written FOR ME. “Find the River” specifically caught my ear as it vaguely seems to be about the struggle of finding your true path in life. This song spelled a few things out to me many moons ago and when I hear it I am forced to think about my current life, the choices I’ve made, and where I was when this song so impacted me. Pretty powerful.

The river to the ocean goes,
A fortune for the undertow
None of this is going my way
There is nothing left to throw
Of ginger, lemon, indigo,
Coriander stem and rows of hay
Strength and courage overrides
The privileged and weary eyes
Of river poet search naivete
Pick up here and chase the ride
The river empties to the tide
All of this is coming your way

As I was thinking about not only some of my favorite songs of all time, but albums I think “Automatic” might take the lead spot. I have not since had a work of music that has changed meaning for me over time. And there have been times (specifically when listening to a new, wildly disappointing, R.E.M. album) where I absolutely marvel at this record. Song for song it’s one of R.E.M.’s best, but beyond that it holds together like a true album with a common theme of loss, re-birth, and personal discovery.

I acknowledge that I could be totally alone in how much this albums means to me, and that’s the great thing about music. Sure I have, at times, had a friend or two that RAVED up and down on a beautiful song to have me think it’s over-produced garbage… but that’s why the song got to THEM and not ME. It found them because it needed to speak to them. In essence I believe that like finding the river for ourselves, music can find us to direct us.

Enjoy.

Find the River


Man on the Moon


Drive

Hyper-Ballad

Song: Hyper-Ballad
Artist: Björk
Album: Post




Sometimes I feel that when you are introduced to an artist, it’s usually that first initial impression that formulates your opinion and usually that first album, of movie, or book is your favorite. My good friend Lizzy and I had a conversation about this regarding filmmaker Wes Anderson. I believe it was at the time of the release of “The Life Aquatic with Steve Zissou” which we both hadn’t seen, she was interested, and I was on the fence. See I was a HUGE fan of “Rushmore,” thought it was one of the smartest comedies I had seen in a long while and thought his follow up; “The Royal Tenenbaums” was good but not great. But Lizzy LOVED “Tenenbaums” and thought that “Rushmore,” which she saw after, was good but was missing something that she saw in the previous picture. Her hypothesis, given that Anderson has a very particular style and approach to his films, was that the first of his films you see is the one you’ll love and subsequent movies will leave you feeling like you wanted more. I went along with this though after seeing “Aquatic” which I though was actually bad, I haven’t seen another of his films. Oh well.

Despite going on and on about this artistic theory, I actually do NOT think this applies to Icelandic singer Björk. Actually… I’m not sure what applies to Björk because I am still not convinced the woman is 100% human. But today while I let her catalog play on my iPod I remember being a touch disappointed with her debut album when it came out. “Debut,” (haha) was released in 1993 amid the Alternative music boom in which totally avant-garde artist got record deals AND had alt. radio hits. While I really dug like half of the tracks others I did not, oh well. Despite this, when the follow up, “Post” came in 1995 I got it anyhow and was literally blown away by it. She not only seemed to re-invent herself, but she seemed to be reinventing a different genre with each song. It is my favorite of her records and still stands as one of the best records of the 90’s.

If I had to pick one song off “Post” I would certainly without hesitation pick “Hyper-Ballad,” a strange, moving track that slowly builds over the course of its five and a half minutes. It’s a love ballad, in which Björk pictures herself falling off a mountain and crashing on rocks below. She sings with such passion that while you might not connect all the dots you just FEEL what she is saying. And when the song does finally kick in, it’s nothing short of miraculous. It’s an odd comforting song to me; I find it mysterious, joyous, and just killer. And it hasn’t aged at all, despite being as electronic as it is.

I wasn’t a big fan of Björk’s last two records but REALLY love her 2001 release “Vespertine.” It’s a quiet beautiful record, nothing like “Post” but just as exhilarating in another way.

Enjoy.

Videos from “Post”

Hyper-Ballad


Army of Me


It’s Oh So Quiet

Possibly my favorite music video of all time.