In my last post, I spoke of engaged audiences and how they can make a live show that much more enjoyable. Well, I experienced one of those audiences on Friday, September 7, 2007.
To be fair, it wasn't just the audience that made British rock band Editors' show at Webster Hall in New York City so enjoyable. The band itself put on a show so filled with energy, much of the crowd was sweaty and tired by the end. I had never seen an Editors show before, but judging by the way the music screams through the speakers of a stereo, the high energy of the live show came at no surprise.
Song after song, the urgency of the electric guitars shrieked out the melodies, the guitarists' arms furiously strumming the rhythms of almost every song on their new album An End Has a Start (and a lot of songs from their first album too). Tom Smith, the lead singer, soon drenched with sweat, moved around the stage with ease, making wild gestures with his arms. He is probably one of the most animated singers I've ever seen. He worked the stage, even climbing atop his piano at one point. And while trying to make their last song their best, he twisted his body wildly, and almost toppled over, but gracefully righted himself and continued his feverish playing, never missing a beat.
And neither did the crowd. The floor bounced with every movement of the audience. Two young men with thick British accents (or perhaps Scottish judging by their enthusiasm for opening band Biffy Clyro) jumped in place, pumping their arms up and down above their heads toward the front of the tightly packed crowd. Those standing near the barricade, not six feet from the stage, struggled to keep their personal space, but sang along with every song nonetheless.
And after every song came waves of applause and cheers. Smith's hair went from fluffy to slicked back with sweat in a matter of minutes, but so did the audience's. They danced and jumped from beginning to end, completely immersed in the experience of the show at the stage-end of the ballroom filled with Asian decor.
But that's the only way to experience a show like that: forget there are people in front of you; forget there are people behind you. Forget where you are and just dive in. Become completely engaged and enjoy yourself. That's the kind of show I love.
The audience was fun, the opening bands were great. Editors were phenomenal. And the experience I had, I would definitely want again. And the merch wasn't overpriced either!
Also, the video I took for your viewing pleasure!
Monday, September 10, 2007
Monday, August 13, 2007
Engaging Audiences
There's something phenomenal in experiencing a live performance. Seeing the intensity on a singer's face, seeing the speed of strumming, the speed of drumming, the beads of sweat developing under the hot lights. Seeing the emotion first hand is always an enlightening experience. But I find that there's another quality that makes a live show that much more amazing: an involved audience.
An audience that really seems to give a shit, I think, is one of the most amazing things you will ever find. When you find a group of people who are all actively engaged in a musician's work, you know you are in good company. The energy becomes palpable and contagious and moving. It sometimes gives me goosebumps to hear my fellow concert patrons chanting the words back at whoever is chanting them toward us.
I've experienced this a few times. The first time I conciously experienced it was during a Third Eye Blind show in October of 2005. It was at a university, so much of the audience was growing up during the peak of TEB's popularity. We all knew their songs. Most of the songs anyway. A few of the hits were played, but everyone was waiting for the same song: "How's It Going To Be."
Huddled together in a mass in the university's field house, a thousand-odd college kids jumped and cheered as those familiar starting notes rang through the air. "How's it going to be/ when there's no one there to talk to/ between you and me/ 'cause I don't care," the lead singer belts out. "How's it going to be?" chants back every single member of the mob. At one point, lead singer Stephan Jenkins had stopped singing altogether, but the crowd carried on the entire chorus, a thousand voices mingling together to deliver the words.
You know that's gotta make him feel good. I was able to record one of these moments on my phone, and though it's a crappy recording, you can still hear the crowd distinct from the band. It still gives me goosebumps when I listen to it. To know that so many people were sharing the same moment with the same (or at least similar) emotion is thrilling.
But perhaps the best example of when this happens is during a Dashboard Confessional show. Now don't put down the Dashboard. Chris Carrabba has an amazing ability to write a song, to write lyrics that connect with so many people. Yeah, so a lot of them are teenage girls. There's still a connection. And the live performance results are heart-melting and chill-inducing at the same time.
I also experienced this first hand. He probably didn't even have to sing. The crowd could have, and did, do it for him. He played and the crowd chanting his words back at him. Sometimes he couldn't even be heard. Amplified by a speakers, he was still the same volume as the hundreds of college kids who came out to see him that same October 2005 (some of who had driven in from the next state over just to see him... *cough cough*).
Perhaps the true test of popularity and "making it" is being able to play a show and end up not really having to be there. Everyone else is so willing to do it for you, you're the one who's singing with them. They're your words, but eveyone else knows them by heart too. They cared enough to learn them. And they enjoy them enough to sing them back at you, sometimes louder than you do, sometimes at the top of their lungs.
Examples for you listening pleasure:
This isn't the show I went to, but the set looks the same. The crowd is acting the same way, too.
Also not the show I went to. But it's one of the songs I heard. And this is what it was like to hear it.
An audience that really seems to give a shit, I think, is one of the most amazing things you will ever find. When you find a group of people who are all actively engaged in a musician's work, you know you are in good company. The energy becomes palpable and contagious and moving. It sometimes gives me goosebumps to hear my fellow concert patrons chanting the words back at whoever is chanting them toward us.
I've experienced this a few times. The first time I conciously experienced it was during a Third Eye Blind show in October of 2005. It was at a university, so much of the audience was growing up during the peak of TEB's popularity. We all knew their songs. Most of the songs anyway. A few of the hits were played, but everyone was waiting for the same song: "How's It Going To Be."
Huddled together in a mass in the university's field house, a thousand-odd college kids jumped and cheered as those familiar starting notes rang through the air. "How's it going to be/ when there's no one there to talk to/ between you and me/ 'cause I don't care," the lead singer belts out. "How's it going to be?" chants back every single member of the mob. At one point, lead singer Stephan Jenkins had stopped singing altogether, but the crowd carried on the entire chorus, a thousand voices mingling together to deliver the words.
You know that's gotta make him feel good. I was able to record one of these moments on my phone, and though it's a crappy recording, you can still hear the crowd distinct from the band. It still gives me goosebumps when I listen to it. To know that so many people were sharing the same moment with the same (or at least similar) emotion is thrilling.
But perhaps the best example of when this happens is during a Dashboard Confessional show. Now don't put down the Dashboard. Chris Carrabba has an amazing ability to write a song, to write lyrics that connect with so many people. Yeah, so a lot of them are teenage girls. There's still a connection. And the live performance results are heart-melting and chill-inducing at the same time.
I also experienced this first hand. He probably didn't even have to sing. The crowd could have, and did, do it for him. He played and the crowd chanting his words back at him. Sometimes he couldn't even be heard. Amplified by a speakers, he was still the same volume as the hundreds of college kids who came out to see him that same October 2005 (some of who had driven in from the next state over just to see him... *cough cough*).
Perhaps the true test of popularity and "making it" is being able to play a show and end up not really having to be there. Everyone else is so willing to do it for you, you're the one who's singing with them. They're your words, but eveyone else knows them by heart too. They cared enough to learn them. And they enjoy them enough to sing them back at you, sometimes louder than you do, sometimes at the top of their lungs.
Examples for you listening pleasure:
This isn't the show I went to, but the set looks the same. The crowd is acting the same way, too.
Also not the show I went to. But it's one of the songs I heard. And this is what it was like to hear it.
Sunday, July 15, 2007
Dear Ari Hest,
I think I have fallen in love with your new song "Bird Never Flies" from your most recent album, The Break-In. I heard it in a sampler CD in the 5th Anniversary issue of Paste, a cool little magazine which features awesome music, nifty movies, and fun artifacts of our present culture. It's really a publications gem.
Anyway, either last issue or the issue before, I saw an add for your 2006 project, The Green Room Sessions. I was intrigued 1) by your name and 2) by the cover, which features you, a fairly good looking man playing a guitar and sitting on a chair near a window. I was intrigued, but I'll admit I did nothing about it.
So, then I purchased the most recent issue of Paste. I put the sampler CD straight into my car's CD playing and listened. Eventually I was distracted by a deep, commanding voice. It was your song (a live recording from the Paste party back in February).
It starts with moving, driving acoustic guitar. The lower notes drive the pulse of the song, the higher notes plinking away, creating an interesting syncopation with the bass notes. Then your booming voice comes in. There's something familiar about it, but I can't quite label it. There's something comforting about it, the vibrations of it, the way your deep voice rolls and vibrates over the verses. There's something phenomenally alluring about the way your voice is so present and clear one second, but gets raspy on higher notes.
And talk about catchy-as-hell love song: "Darling, don't cry/ don't you know/ I won't give you up/ this bird never flies" and then the heartstrings-pulling repetition of the line "I won't give you up" toward the end.
Even though I haven't heard the studio recording of this song, I think I like it. The guitar, the voice, the lyrics, the emotion it evokes. It's one song definitely worth a listen.
I may have to buy the whole album. Score for the Adult Alternative Artists!
Love,
Christina
Anyway, either last issue or the issue before, I saw an add for your 2006 project, The Green Room Sessions. I was intrigued 1) by your name and 2) by the cover, which features you, a fairly good looking man playing a guitar and sitting on a chair near a window. I was intrigued, but I'll admit I did nothing about it.
So, then I purchased the most recent issue of Paste. I put the sampler CD straight into my car's CD playing and listened. Eventually I was distracted by a deep, commanding voice. It was your song (a live recording from the Paste party back in February).
It starts with moving, driving acoustic guitar. The lower notes drive the pulse of the song, the higher notes plinking away, creating an interesting syncopation with the bass notes. Then your booming voice comes in. There's something familiar about it, but I can't quite label it. There's something comforting about it, the vibrations of it, the way your deep voice rolls and vibrates over the verses. There's something phenomenally alluring about the way your voice is so present and clear one second, but gets raspy on higher notes.
And talk about catchy-as-hell love song: "Darling, don't cry/ don't you know/ I won't give you up/ this bird never flies" and then the heartstrings-pulling repetition of the line "I won't give you up" toward the end.
Even though I haven't heard the studio recording of this song, I think I like it. The guitar, the voice, the lyrics, the emotion it evokes. It's one song definitely worth a listen.
I may have to buy the whole album. Score for the Adult Alternative Artists!
Love,
Christina
Thursday, July 12, 2007
It's been a while since I posted a new installment of this series, but the music industry seemed to have taken a break from doing things that really annoy me. However, they are back at it again. But, really, who is surprised?
As you may have heard, seventies band The Rubinoos have accused Avril Lavigne of ripping off one of their songs entitled "I Wanna Be Your Boyfriend." Can you guess what Avril song has the very similar refrain? In case you're not familiar with the Rubinoos song, you can listen here (along with the comparison to "Girlfriend").
Well, that's not all. Now there's suspicion that one of her songs called "I Don't Have To Try" is a rip-off of Canadian band Peaches. The comparison of their song, "I'm the Kinda" and Avril's can be seen/heard here.
Listen for yourself and see just how similar both songs are. This is disgusting. She's stealing these people's music. That's just tacky and uncalled for. As gossip champion Perez Hilton pointed out on his website, Avril is trying to defend stealing the Rubinoos song by saying that she's never heard it. But Hilton pointed out that there's no defending stealing the Peaches song, as InStyle magazine did a feature on some music celeb's lists of "most influential" songs, and that same Peaches song was Avril's #1.
There's no defending that.
At it doesn't end here. Check Perez Hilton's page to read on (scroll down a bit to find the Avril stuff... though there's some other tasty celebrity gossip there too).
I'm too disgusted to talk about it anymore. I was never that big a fan of Avril Lavigne's anyway. I liked maybe one song. "Complicated" annoyed me. Don't get me started on "Skater Boi" or whatever it was. I'm glad that I don't have to be a disenfranchised fan -- because really, no amount of loyalty should be able to stand behind this kind of action (unless of course you're 9 and don't know any better... which most of her fans may be anyway).
Of all the awful things that happen in the world of the celebrities and music and hollywood, this is probably the lowest you can go. Never steal anyone else's artistic hard work. Disgusting.
It's one thing that will make NOT <3 Rock Stars...
As you may have heard, seventies band The Rubinoos have accused Avril Lavigne of ripping off one of their songs entitled "I Wanna Be Your Boyfriend." Can you guess what Avril song has the very similar refrain? In case you're not familiar with the Rubinoos song, you can listen here (along with the comparison to "Girlfriend").
Well, that's not all. Now there's suspicion that one of her songs called "I Don't Have To Try" is a rip-off of Canadian band Peaches. The comparison of their song, "I'm the Kinda" and Avril's can be seen/heard here.
Listen for yourself and see just how similar both songs are. This is disgusting. She's stealing these people's music. That's just tacky and uncalled for. As gossip champion Perez Hilton pointed out on his website, Avril is trying to defend stealing the Rubinoos song by saying that she's never heard it. But Hilton pointed out that there's no defending stealing the Peaches song, as InStyle magazine did a feature on some music celeb's lists of "most influential" songs, and that same Peaches song was Avril's #1.
There's no defending that.
At it doesn't end here. Check Perez Hilton's page to read on (scroll down a bit to find the Avril stuff... though there's some other tasty celebrity gossip there too).
I'm too disgusted to talk about it anymore. I was never that big a fan of Avril Lavigne's anyway. I liked maybe one song. "Complicated" annoyed me. Don't get me started on "Skater Boi" or whatever it was. I'm glad that I don't have to be a disenfranchised fan -- because really, no amount of loyalty should be able to stand behind this kind of action (unless of course you're 9 and don't know any better... which most of her fans may be anyway).
Of all the awful things that happen in the world of the celebrities and music and hollywood, this is probably the lowest you can go. Never steal anyone else's artistic hard work. Disgusting.
It's one thing that will make NOT <3 Rock Stars...
Saturday, July 07, 2007
"Amateur" by Lasse Gjertsen
I guess this technically constitutes music. It's really just some Norwegian kid playing random stuff on a drumset and a piano, and then he used a pretty cool editing technique to put it all together.
I thought it was a pretty significant YouTube find, and thus I am sharing it with you. I wish I could play half as well as this kid can edit, haha.
Apparently, he can't play the piano or the drums, which I find amazing. He can't play, and yet he's composed something beautiful out of randomness. Now, that's talent. Norwegians are awesome.
You can find some more videos by Lasse on YouTube.com.
I thought it was a pretty significant YouTube find, and thus I am sharing it with you. I wish I could play half as well as this kid can edit, haha.
Apparently, he can't play the piano or the drums, which I find amazing. He can't play, and yet he's composed something beautiful out of randomness. Now, that's talent. Norwegians are awesome.
You can find some more videos by Lasse on YouTube.com.
Wednesday, July 04, 2007
Just the Beginning: "An End Has a Start"
A couple days ago in my other blog, I mentioned the new(ish) Arcade Fire album Neon Bible. I bought it about a week and a half ago, and it's pretty good. And though I listened to it a lot those first few days, and generally approved, I haven't been listening to it lately. I need to get back into it, as it actually is very good. But I haven't been listening to Arcade Fire these past few days because I've been preoccupied with another band.
Now, this is a band that I've talked about before, and if you look in the archives, you'll find a review of their first album. So this band isn't a new find. But for about a week now, UK rockers Editors have been occupying my time.
I listen to them every once in a while, when I remember them, and I always enjoy them. Their first album was pretty top notch (as I described a few months ago). But something brought them up a couple weeks ago, and I haven't been able to get them out of my mind. I started listening to their first album, The Back Room, a lot, and, naturally, that led to my looking them up online.
I knew they had a new album coming out (An End Has a Start), but it hadn't been released in the US yet (release date is set for July 17, 2007). But I really wanted to hear this new creation. I considered downloading it from UK sites, but the conversion rate is a bitch, and I don't know if I trust overseas buying with my credit card (especially since I don't even like to use the card here in the US). But so after much mental debate I got a friend to find it for me. I know, I really hate this kind of stuff, but I'll make it up and actually buy the album when it comes out.
Because, really -- Holy Jesus. I'm listening to this song called "Escape The Nest" right now. It's track number 8 on the new album, if my data is correct, and my God this stuff is great. If you're a loyal reader, which I suspect you either 1) are, because why else would you be reading this?; or 2) are not, because why else would you be reading this?, you'll remember that in my first Editors review, I called their music something along the lines of "rock the way it's supposed to be."
Pretty much. It's hard, it's heavy, it's moving, it's even got screaming guitars. This urgency, this whimsical yet tough feel that this song oozes is... magnificent. I can't think of any other word to describe this sound (though, in my defense, it is 2:15am). It's exciting and even has a guitar shrieking out eight notes (and then, Sweet Jesus, are those sixteenth notes? My ears cannot discern). It has the kind of beat that infects your body. Your brain can't ignore it, and you find yourself two notches away from stomping your foot along with it.
Of course, it's not all fast paced; Editors have depth, too. The song just before this one is slower, calmer, more tender. "Don't drown in your tears, babe/ push your head towards the air/ now don't drown in your tears, babe/ I will always be there" lead singer Tom Smith (a nice young, almost baby face with an impossibly deep, brooding voice) croons over an dreamlike pulsing piano and strumming guitar in the track aptly named "Push Your Head Towards the Air." So far, it's my favorite track on the album. Silly sounding name aside, the steady rocking of the beat, the words flow to meet the tempo is almost enough to produce tears. Now, I'm not saying it's the most beautiful song in the world, or even the best, but I still think it's pretty damn good. It's definitely worth a listen or 50.
As is the entire album. When this thing hits the US in 13 days, I suggest you go pick yourself up a copy. I don't think you'll be disappointed. I wasn't.
And I can be hard to please.
Notable Tracks: #1 "Smokers Outside The Hospital Doors"; #2 "An End Has A Start"; #7 "Push Your Head Towards The Air"; #8 "Escape The Nest".
(Author's note: also in that first review, I mentioned the level of energy emenating from the songs. I mentioned that I can only imagine what the live shows are like. Well, turns out I will find out Sept. 7, 2007.)
Now, this is a band that I've talked about before, and if you look in the archives, you'll find a review of their first album. So this band isn't a new find. But for about a week now, UK rockers Editors have been occupying my time.
I listen to them every once in a while, when I remember them, and I always enjoy them. Their first album was pretty top notch (as I described a few months ago). But something brought them up a couple weeks ago, and I haven't been able to get them out of my mind. I started listening to their first album, The Back Room, a lot, and, naturally, that led to my looking them up online.
I knew they had a new album coming out (An End Has a Start), but it hadn't been released in the US yet (release date is set for July 17, 2007). But I really wanted to hear this new creation. I considered downloading it from UK sites, but the conversion rate is a bitch, and I don't know if I trust overseas buying with my credit card (especially since I don't even like to use the card here in the US). But so after much mental debate I got a friend to find it for me. I know, I really hate this kind of stuff, but I'll make it up and actually buy the album when it comes out.
Because, really -- Holy Jesus. I'm listening to this song called "Escape The Nest" right now. It's track number 8 on the new album, if my data is correct, and my God this stuff is great. If you're a loyal reader, which I suspect you either 1) are, because why else would you be reading this?; or 2) are not, because why else would you be reading this?, you'll remember that in my first Editors review, I called their music something along the lines of "rock the way it's supposed to be."
Pretty much. It's hard, it's heavy, it's moving, it's even got screaming guitars. This urgency, this whimsical yet tough feel that this song oozes is... magnificent. I can't think of any other word to describe this sound (though, in my defense, it is 2:15am). It's exciting and even has a guitar shrieking out eight notes (and then, Sweet Jesus, are those sixteenth notes? My ears cannot discern). It has the kind of beat that infects your body. Your brain can't ignore it, and you find yourself two notches away from stomping your foot along with it.
Of course, it's not all fast paced; Editors have depth, too. The song just before this one is slower, calmer, more tender. "Don't drown in your tears, babe/ push your head towards the air/ now don't drown in your tears, babe/ I will always be there" lead singer Tom Smith (a nice young, almost baby face with an impossibly deep, brooding voice) croons over an dreamlike pulsing piano and strumming guitar in the track aptly named "Push Your Head Towards the Air." So far, it's my favorite track on the album. Silly sounding name aside, the steady rocking of the beat, the words flow to meet the tempo is almost enough to produce tears. Now, I'm not saying it's the most beautiful song in the world, or even the best, but I still think it's pretty damn good. It's definitely worth a listen or 50.
As is the entire album. When this thing hits the US in 13 days, I suggest you go pick yourself up a copy. I don't think you'll be disappointed. I wasn't.
And I can be hard to please.
Notable Tracks: #1 "Smokers Outside The Hospital Doors"; #2 "An End Has A Start"; #7 "Push Your Head Towards The Air"; #8 "Escape The Nest".
(Author's note: also in that first review, I mentioned the level of energy emenating from the songs. I mentioned that I can only imagine what the live shows are like. Well, turns out I will find out Sept. 7, 2007.)
Wednesday, January 31, 2007
Pandora.com Is My Hero
I am proud to announce a new feature on "Play Your Stereo Loud" aptly called "Bookmarked Songs." It seems a simple name, seeing as that's what it says at the top of the feature, but it describes it well. It's located just to the left, under the profile.
What the feature does is list 10 of my bookmarked songs from Pandora.com, the Music Genome Project that takes music that you like and suggests new music you've perhaps never heard of that share qualities of the music you named. This innovation is amazing. It's introduced me several new artists who have made their way into my favorites radar (like Editors). So, thus by sharing my favorites with you, perhaps you will listen and find favorites of your own. And don't forget to set up your own Pandora account! I promise you won't be disappointed.
What the feature does is list 10 of my bookmarked songs from Pandora.com, the Music Genome Project that takes music that you like and suggests new music you've perhaps never heard of that share qualities of the music you named. This innovation is amazing. It's introduced me several new artists who have made their way into my favorites radar (like Editors). So, thus by sharing my favorites with you, perhaps you will listen and find favorites of your own. And don't forget to set up your own Pandora account! I promise you won't be disappointed.
Monday, January 22, 2007
Dear Yusuf (formerly Cat Stevens),
I eat my last words from that last entry. I kinda dig your new song "Maybe There's a World." It starts out with a nice acoustic strum, and your voice is solid and deep. It has this rough feel to it, and I love it. Vibrations, right? Haha. The beat of the song is nice too. Almost like a walking beat. Parts of the song seem a little confusing as there are voices on off-beats, but actually, when you stop to think about it, it's pretty darn cool sounding. I caught myself bobbing my head along to the music. And I didn't even know that it was your song (you're lucky I'm listening to Paste Sampler 27 - the free CD inside the new issue of Paste Magazine). And then when I found out it was you, I was surprised that I kinda dug it, haha. I guess I gotta admit. Your song is pretty good.
So I'm sorry I said I would never listen to your music. That was perhaps a little hasty. I dig that one song at least. We'll see if I feel like getting your whole album ;)
Love,
Christina
So I'm sorry I said I would never listen to your music. That was perhaps a little hasty. I dig that one song at least. We'll see if I feel like getting your whole album ;)
Love,
Christina
Monday, January 15, 2007
Good Vibrations
By Christina R.
I was just reading Paste, a cool new magazine that I discovered back in November. On the cover of every issue, it says: “Signs of Life in Music, Film & Culture.” Now, this is my kind of magazine! I’m thinking of getting a subscription. But anyway, in the process of reading it cover to cover – as I am occasionally wont to do – I turned to an article about the recently socially reintegrated artist formally known at Cat Stevens.
Now known as Yusuf, he has just come out with a new album that seeks to bring Muslims understanding of the West, and the West understanding of Islam. This wasn’t necessarily surprising, as I already knew that this was the kind of person Cat Stevens/Yusuf is. But then he said something that blew my mind.
“The closest you can get to a person, I think, is listening to the vibrations of their voice.”
In and of itself, it is not all that astonishing a comment. And it didn’t strike me as such the first time I read it either. I nodded and said “hmm” to myself. Like “good point, Yusuf. Well done.” But then I read it again. “Wow,” I thought this time, “I agree. Those words are exactly what I’ve been thinking for the past few years.”
I always liked music; listening to cassettes and CDs was always one of my favorite pastimes. But a few years ago, my obsession began. Listening became my therapy for whatever was wrong. Depression? I have an album or song for that. Feeling anxious? I have some good calming music for that too. Over the past five or so years, Music has become my cure-all.
But trying to describe what I love about music often just brings me odd looks. I am in love with voices. Good music and good lyrics are wonderful. You can’t have a good album or song or whatever without them. But a good voice is like the end-all be-all for me. A good voice can send me to my happy place and make me forget about everything that’s wrong with my life and the world.
Emotion in a voice makes the muscles in my neck weak. The timbre of a singer’s voice can send me over the edge. Just listening to a song, the voice streaming through the air, emoting over the singer’s own laments or joys makes me almost sick to my stomach. You can kind of get the gist of what someone is feeling by the words that they write, and the music can typically add to it, but you don’t understand until you can hear their voice straining to make them understood. If you can hear the pain, you can feel it too. And there is nothing sexier than a voice ripping across lyrics, raw and honest.
So well done, Yusuf. In passing, you said something that I have been trying to put into words for years. Finally someone else gets it! And that’s awesome.
(It probably won't get me to start listening to your music though. Sorry.)
I was just reading Paste, a cool new magazine that I discovered back in November. On the cover of every issue, it says: “Signs of Life in Music, Film & Culture.” Now, this is my kind of magazine! I’m thinking of getting a subscription. But anyway, in the process of reading it cover to cover – as I am occasionally wont to do – I turned to an article about the recently socially reintegrated artist formally known at Cat Stevens.
Now known as Yusuf, he has just come out with a new album that seeks to bring Muslims understanding of the West, and the West understanding of Islam. This wasn’t necessarily surprising, as I already knew that this was the kind of person Cat Stevens/Yusuf is. But then he said something that blew my mind.
“The closest you can get to a person, I think, is listening to the vibrations of their voice.”
In and of itself, it is not all that astonishing a comment. And it didn’t strike me as such the first time I read it either. I nodded and said “hmm” to myself. Like “good point, Yusuf. Well done.” But then I read it again. “Wow,” I thought this time, “I agree. Those words are exactly what I’ve been thinking for the past few years.”
I always liked music; listening to cassettes and CDs was always one of my favorite pastimes. But a few years ago, my obsession began. Listening became my therapy for whatever was wrong. Depression? I have an album or song for that. Feeling anxious? I have some good calming music for that too. Over the past five or so years, Music has become my cure-all.
But trying to describe what I love about music often just brings me odd looks. I am in love with voices. Good music and good lyrics are wonderful. You can’t have a good album or song or whatever without them. But a good voice is like the end-all be-all for me. A good voice can send me to my happy place and make me forget about everything that’s wrong with my life and the world.
Emotion in a voice makes the muscles in my neck weak. The timbre of a singer’s voice can send me over the edge. Just listening to a song, the voice streaming through the air, emoting over the singer’s own laments or joys makes me almost sick to my stomach. You can kind of get the gist of what someone is feeling by the words that they write, and the music can typically add to it, but you don’t understand until you can hear their voice straining to make them understood. If you can hear the pain, you can feel it too. And there is nothing sexier than a voice ripping across lyrics, raw and honest.
So well done, Yusuf. In passing, you said something that I have been trying to put into words for years. Finally someone else gets it! And that’s awesome.
(It probably won't get me to start listening to your music though. Sorry.)
Wednesday, January 10, 2007
50 CENT EXPANDS HIS MERCH EMPIRE TO INCLUDE JIMMY HATS
Just days after announcing a G-UNIT book line, 50 CENT has added condoms to his growing line of gangsta rap tie-ins. What's next for Fiddy? We've got our money on a line of feminine hygiene products with the tagline "Get fresh or die trying."
I didn't know how to word that any other way (the last line especially. Hilarious!). That was in a Rock Daily email from Rolling Stone sometime last week. At first I couldn't figure out what they were talking about. But then I realized, and oh my God. That's hilarious. How ridiculous. How stupid.
How genius. Because you know people are going to buy them. People have to ensure, after all, that their g-units are hip too.
And the fact that Fiddy came up with this idea astonishes me (if he, in fact, was the one who came up with it). This is incredible. I don't even know what to say. Fiddy, I salute you. The fact that he can play on his pseudo-macho bullshit image (then again, he was shot 9 times... and lived) to get people to spend (probably) more money than necessary, amazes me. But at least he's promoting safe sex, right? We don't need any more Fiddy in this world. Incredible idea, really. This... this is why I <3 Rock Stars (and rap ones too, I guess).
Just days after announcing a G-UNIT book line, 50 CENT has added condoms to his growing line of gangsta rap tie-ins. What's next for Fiddy? We've got our money on a line of feminine hygiene products with the tagline "Get fresh or die trying."
I didn't know how to word that any other way (the last line especially. Hilarious!). That was in a Rock Daily email from Rolling Stone sometime last week. At first I couldn't figure out what they were talking about. But then I realized, and oh my God. That's hilarious. How ridiculous. How stupid.
How genius. Because you know people are going to buy them. People have to ensure, after all, that their g-units are hip too.
And the fact that Fiddy came up with this idea astonishes me (if he, in fact, was the one who came up with it). This is incredible. I don't even know what to say. Fiddy, I salute you. The fact that he can play on his pseudo-macho bullshit image (then again, he was shot 9 times... and lived) to get people to spend (probably) more money than necessary, amazes me. But at least he's promoting safe sex, right? We don't need any more Fiddy in this world. Incredible idea, really. This... this is why I <3 Rock Stars (and rap ones too, I guess).
Tuesday, January 02, 2007
Top 10 (Purchased or Otherwise Acquired) Albums of 2006
It's time once again for my (un)famous Top 10 list. Started last year, it compiles the Top 10 albums I purchased or otherwise acquired during the year. I don't always buy a lot of newly released albums, and somehow find myself behind the curve buying old ones. So, I have a good mix of old and new for the whole year. Because, as I always say, if I haven't heard it, it's new to me.
This year I purchased or otherwise acqured about 37 albums. Trying to narrow down the list was hard, but I think I finally managed. Admittedly, three of the albums on the list are by the same artist, but sometimes that happens, and I apologize for the, perhaps, lack of variety. But, just a thought, the albums do offer variety. It's why they're on the list. So without further ado, I give you the
Top 10 (Purchased or Otherwise Acquired) Albums of 2006
10. Augustana, All the Stars and Boulevards, (Sony 2005) – This album was added to my collection a few days before the end of 2006, and I’ve only given it a few listens, but I can tell that it’s actually a very decent album. It’s kind of pop-y but still maintains some semblance of rock (something that seemed to be lacking this year). Actually, they sort of sound like the Fray. Or the Fray sounds like them. They actually both came out around the same time. Decent lyrics, decent guitars, fun plinky pianos. It’s good. Better than a lot of what I found this year. Recommended Tracks: #4 Boston; #5 Stars and Boulevards; #9 Sunday Best.
9. Under the Influence of Giants, Under the Influence of Giants, (Island 2006) – This little gem was sort of found by accident. I won a Best Week Ever CD from Old Navy over the summer featuring UTIOG’s first single “Mama’s Room.” It was… different. It was rock, but it had this funky disco feel. It was great, refreshing. And when I purchased the album, I found out that all of their songs are the same way. The tracks on this album are new and fun. The lyrics are, at times, a little irking (like talking about having sex in your mother’s room, and enjoying the effects of the morning-after pill), but looking beyond that, you have a pretty kick-ass record. They’re also pretty cool guys (the bassist especially, haha). Recommended Tracks: #1 Ah Ha; # 2 Got Nothing; #5 Mama’s Room.
8. Radiohead, The Bends, (Capitol 1995) – Okay, I remember some of these songs. Nostalgia always plays a part in liking something. But that’s not the whole case with this album. Having always been a so-so fan of Radiohead, this album actually showed me what I was missing. The sound really does embody what I remember of the 90s, heh. The mellow but rock sound mixed with the always intriguing lyrics of Mr. Thom Yorke create an enjoyable musical experience. Great for just hanging out or driving around town. Recommended Tracks: #3 High And Dry; #4 Fake Plastic Trees; #8 My Iron Lung.
7. Travis, 12 Memories, (Sony 2003) – Another album found by accident. Browsing through the depressingly small rock collection at the local library, I came across an album by a band whom I had heard of but had never heard. Listening to it on the way home, I was reminded of the words of Chuck Klosterman (an intriguing music and pop-culture writer) when he said that Travis was just a mediocre copy of Radiohead. And that Coldplay was a mediocre copy of Travis. Well, he may be correct, but being a fan of both other bands already, Travis was a good find. The guitars are almost haunting, as are the vocals, throughout the entire album. The music provides for an almost enlightening experience. Every subsequent track seems to fit like a puzzle piece. Recommended Tracks: #1 Quicksand; # 4 Peace The Fuck Out; #10 Happy Hang Around; #11 Walking Down the Hill/Some Sad Song.
6. Editors, The Back Room, (Kitchenware 2005) – A few words come to mind when trying to describe the sound of this album. Taunting and haunting are two. Rhyming aside, these two words only begin to paint the picture that is The Back Room, the band’s debut album. And for a first effort, it is not at all disappointing. I’ve said it before, and I’ll say it again, it’s rock the way rock should be. The music is hard and fast, loud and fervent. And the lyrics are the same. Their sound is similar to that of Doves, and perhaps even the Killers (maybe), and maybe even Radiohead (and the likes), but Editors are somehow refreshingly rock. It’s definitely an album I was glad to find (listen to the first few lines of “Munich.” My sentiments exactly). Recommended Tracks: #2 Munich; #3 Blood; #4 Fall; #7 Fingers in the Factories; #8 Bullets.
5. Josh Rouse, Subtitulo (Nettwerk Records 2006) – This is another album that barely made the cut-off. Though I had heard of Rouse in years previous, and I had heard and liked one song (not on this album), I was not too familiar with him when this album was released. After listening to a few other records, I finally decided that I was ready for the most recent, post-Rouse-moves-to-Spain album. I wasn’t really sure what I was expecting, but this wasn’t it. This is so much better. The sound is more like 2003’s 1972 than 2005’s Nashville, which makes sense seeing as Rouse now lives in Spain, where soul is in the water. The music is funky and moving, and the words are, as always, delightfully simple but incredibly insightful. Even the instrumental track gets you humming along. Recommended Tracks: #1 Quiet Town; #3 It Looks Like Love; #4 La Costa Blanca; #6 His Majesty Rides; #9 The Man Who…
4. Josh Rouse, 1972 (Rykodisc 2003) – This album was actually semi-recommended by my favorite Manifest employee. After discussing Rouse a bit and listening to some of his songs, (and being the only used Rouse CD in the joint at the time) I decided to purchase it. An outstanding mix of rock and soul, this album instantly become one of my favorites. It’s perfect for that afternoon, or late night, of just relaxing. The music is funky and mellow all at the same time, while the lyrics suggest something deeper. Metaphors of love lost and detached loneliness are worded in ways that make you think “damn, I wish I thought of that.” Recommended Tracks: #4 James; #5 Slaveship; #6 Comeback (Light Therapy); #9 Sparrows Over Birmingham; #10 Rise.
3. Damien Rice, 9, (Heffa/Vector/Warner Bros. 2006) – This album was the brilliant follow-up to Rice’s 2003 album O (#1 on last year’s list). As expected, Rice delivered with his unique brand of heartwrenching melodies and lyrics. Rice’s vocals are perfectly complimented by Lisa Hannigan’s again on this album. Together their voices are too haunting to not leave an impression. Perfection in an album, is what this is. Though most of the songs are quiet and calm, mellow, like with O, there are a few songs featured on this album that provide just a little more life, with just as astonishingly sad lyrics. Depressing is too strong a word, but sometimes that feeling is needed. And this album gives it like no other (except maybe O). Recommended Tracks: #1 9 Crimes; #3 Elephant; #4 Rootless Tree; #5 Dogs; #7 Me, My Yoke, And I.
2. Chris Whitley, Dirt Floor, (Messenger Records 1998) – Another recommendation from the record store employee (so helpful!). He handed it to me and I headed over to the little listening station set up in the store. Now this album was different. The very first track on this album starts with a twang of strings that is way more country than anything I own. But surprisingly, it’s enjoyable. Whitley’s deep voice, mostly soft and smooth, with the ever so slight rough inflection seriously cascades over the melodies. And the liner notes actually include “foot stomp” with “vocals, guitar, banjo” as Whitley’s contributions to the album. How can you not like the foot stomp? Probably one of the most enlightening albums I’ve ever heard. The lyrics, the music. Overall, and enjoyable album. I can hardly find the words. Recommended Tracks: #1 Scrapyard Lullaby; #2 Indian Summer; #5 Ballpeen Hammer; #8 Dirt Floor.
1. Josh Rouse, Nashville, (Rykodisc 2005) – What can I say about this album? I purchased a lot of Rouse albums this year (four), but this has definitely got to be my favorite. I bought it sometime in August, and it’s January of 2007 now, and I still have not grown tired of it. iTunes labels it as country, and you can definitely hear sounds indicative of the album’s namesake, but the overall sound of the album strays away from that stigma. Rouse’s sweet, but slightly raspy voice floats over the upbeat melodies. It’s the last album he recorded as a resident of the United States (though released after he had moved), and those sort of end-but-beginning emotions can be felt throughout. Though more solidly rock (and country, I suppose) than the albums previous (1972) and after (Subititulo), Nashville is invigorating while still being able to maintain a tranquil tone. It’s great music that makes you happy you’re alive to hear it. Recommended Tracks: #1 It’s The Nighttime; #3 Streelights; #4 Carolina; #6 My Love Has Gone; #8 Sad Eyes.
Honorable mentions include both Cary Brothers EPs – All the Rage and Waiting for Your Letter; Built to Spill, You In Reverse; Snow Patrol, Eyes Open.
This year I purchased or otherwise acqured about 37 albums. Trying to narrow down the list was hard, but I think I finally managed. Admittedly, three of the albums on the list are by the same artist, but sometimes that happens, and I apologize for the, perhaps, lack of variety. But, just a thought, the albums do offer variety. It's why they're on the list. So without further ado, I give you the
Top 10 (Purchased or Otherwise Acquired) Albums of 2006
10. Augustana, All the Stars and Boulevards, (Sony 2005) – This album was added to my collection a few days before the end of 2006, and I’ve only given it a few listens, but I can tell that it’s actually a very decent album. It’s kind of pop-y but still maintains some semblance of rock (something that seemed to be lacking this year). Actually, they sort of sound like the Fray. Or the Fray sounds like them. They actually both came out around the same time. Decent lyrics, decent guitars, fun plinky pianos. It’s good. Better than a lot of what I found this year. Recommended Tracks: #4 Boston; #5 Stars and Boulevards; #9 Sunday Best.
9. Under the Influence of Giants, Under the Influence of Giants, (Island 2006) – This little gem was sort of found by accident. I won a Best Week Ever CD from Old Navy over the summer featuring UTIOG’s first single “Mama’s Room.” It was… different. It was rock, but it had this funky disco feel. It was great, refreshing. And when I purchased the album, I found out that all of their songs are the same way. The tracks on this album are new and fun. The lyrics are, at times, a little irking (like talking about having sex in your mother’s room, and enjoying the effects of the morning-after pill), but looking beyond that, you have a pretty kick-ass record. They’re also pretty cool guys (the bassist especially, haha). Recommended Tracks: #1 Ah Ha; # 2 Got Nothing; #5 Mama’s Room.
8. Radiohead, The Bends, (Capitol 1995) – Okay, I remember some of these songs. Nostalgia always plays a part in liking something. But that’s not the whole case with this album. Having always been a so-so fan of Radiohead, this album actually showed me what I was missing. The sound really does embody what I remember of the 90s, heh. The mellow but rock sound mixed with the always intriguing lyrics of Mr. Thom Yorke create an enjoyable musical experience. Great for just hanging out or driving around town. Recommended Tracks: #3 High And Dry; #4 Fake Plastic Trees; #8 My Iron Lung.
7. Travis, 12 Memories, (Sony 2003) – Another album found by accident. Browsing through the depressingly small rock collection at the local library, I came across an album by a band whom I had heard of but had never heard. Listening to it on the way home, I was reminded of the words of Chuck Klosterman (an intriguing music and pop-culture writer) when he said that Travis was just a mediocre copy of Radiohead. And that Coldplay was a mediocre copy of Travis. Well, he may be correct, but being a fan of both other bands already, Travis was a good find. The guitars are almost haunting, as are the vocals, throughout the entire album. The music provides for an almost enlightening experience. Every subsequent track seems to fit like a puzzle piece. Recommended Tracks: #1 Quicksand; # 4 Peace The Fuck Out; #10 Happy Hang Around; #11 Walking Down the Hill/Some Sad Song.
6. Editors, The Back Room, (Kitchenware 2005) – A few words come to mind when trying to describe the sound of this album. Taunting and haunting are two. Rhyming aside, these two words only begin to paint the picture that is The Back Room, the band’s debut album. And for a first effort, it is not at all disappointing. I’ve said it before, and I’ll say it again, it’s rock the way rock should be. The music is hard and fast, loud and fervent. And the lyrics are the same. Their sound is similar to that of Doves, and perhaps even the Killers (maybe), and maybe even Radiohead (and the likes), but Editors are somehow refreshingly rock. It’s definitely an album I was glad to find (listen to the first few lines of “Munich.” My sentiments exactly). Recommended Tracks: #2 Munich; #3 Blood; #4 Fall; #7 Fingers in the Factories; #8 Bullets.
5. Josh Rouse, Subtitulo (Nettwerk Records 2006) – This is another album that barely made the cut-off. Though I had heard of Rouse in years previous, and I had heard and liked one song (not on this album), I was not too familiar with him when this album was released. After listening to a few other records, I finally decided that I was ready for the most recent, post-Rouse-moves-to-Spain album. I wasn’t really sure what I was expecting, but this wasn’t it. This is so much better. The sound is more like 2003’s 1972 than 2005’s Nashville, which makes sense seeing as Rouse now lives in Spain, where soul is in the water. The music is funky and moving, and the words are, as always, delightfully simple but incredibly insightful. Even the instrumental track gets you humming along. Recommended Tracks: #1 Quiet Town; #3 It Looks Like Love; #4 La Costa Blanca; #6 His Majesty Rides; #9 The Man Who…
4. Josh Rouse, 1972 (Rykodisc 2003) – This album was actually semi-recommended by my favorite Manifest employee. After discussing Rouse a bit and listening to some of his songs, (and being the only used Rouse CD in the joint at the time) I decided to purchase it. An outstanding mix of rock and soul, this album instantly become one of my favorites. It’s perfect for that afternoon, or late night, of just relaxing. The music is funky and mellow all at the same time, while the lyrics suggest something deeper. Metaphors of love lost and detached loneliness are worded in ways that make you think “damn, I wish I thought of that.” Recommended Tracks: #4 James; #5 Slaveship; #6 Comeback (Light Therapy); #9 Sparrows Over Birmingham; #10 Rise.
3. Damien Rice, 9, (Heffa/Vector/Warner Bros. 2006) – This album was the brilliant follow-up to Rice’s 2003 album O (#1 on last year’s list). As expected, Rice delivered with his unique brand of heartwrenching melodies and lyrics. Rice’s vocals are perfectly complimented by Lisa Hannigan’s again on this album. Together their voices are too haunting to not leave an impression. Perfection in an album, is what this is. Though most of the songs are quiet and calm, mellow, like with O, there are a few songs featured on this album that provide just a little more life, with just as astonishingly sad lyrics. Depressing is too strong a word, but sometimes that feeling is needed. And this album gives it like no other (except maybe O). Recommended Tracks: #1 9 Crimes; #3 Elephant; #4 Rootless Tree; #5 Dogs; #7 Me, My Yoke, And I.
2. Chris Whitley, Dirt Floor, (Messenger Records 1998) – Another recommendation from the record store employee (so helpful!). He handed it to me and I headed over to the little listening station set up in the store. Now this album was different. The very first track on this album starts with a twang of strings that is way more country than anything I own. But surprisingly, it’s enjoyable. Whitley’s deep voice, mostly soft and smooth, with the ever so slight rough inflection seriously cascades over the melodies. And the liner notes actually include “foot stomp” with “vocals, guitar, banjo” as Whitley’s contributions to the album. How can you not like the foot stomp? Probably one of the most enlightening albums I’ve ever heard. The lyrics, the music. Overall, and enjoyable album. I can hardly find the words. Recommended Tracks: #1 Scrapyard Lullaby; #2 Indian Summer; #5 Ballpeen Hammer; #8 Dirt Floor.
1. Josh Rouse, Nashville, (Rykodisc 2005) – What can I say about this album? I purchased a lot of Rouse albums this year (four), but this has definitely got to be my favorite. I bought it sometime in August, and it’s January of 2007 now, and I still have not grown tired of it. iTunes labels it as country, and you can definitely hear sounds indicative of the album’s namesake, but the overall sound of the album strays away from that stigma. Rouse’s sweet, but slightly raspy voice floats over the upbeat melodies. It’s the last album he recorded as a resident of the United States (though released after he had moved), and those sort of end-but-beginning emotions can be felt throughout. Though more solidly rock (and country, I suppose) than the albums previous (1972) and after (Subititulo), Nashville is invigorating while still being able to maintain a tranquil tone. It’s great music that makes you happy you’re alive to hear it. Recommended Tracks: #1 It’s The Nighttime; #3 Streelights; #4 Carolina; #6 My Love Has Gone; #8 Sad Eyes.
Honorable mentions include both Cary Brothers EPs – All the Rage and Waiting for Your Letter; Built to Spill, You In Reverse; Snow Patrol, Eyes Open.
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