My parents, bless their hearts, for the last two Christmases have inevitably bought me one thing that always gets returned. Interestingly enough, both times it has been almost the exact same thing. In an effort to help me complete my Bob Dylan discography, the 'rents always set out with a clearly defined list of albums I don't yet have and the one or two that I want most. Unfortunately, they've had no luck and have, instead, come back with a Greatest Hits or Number 1s collection, instead. It's a well-meaning gesture. But when it comes to my favorite artists, I want the real thing.
In most circumstances, there is an art and a purpose to the production of an album. Track two follows track one for some very specific purpose. Track fourteen is the last song for another very specific purpose. The reasons are varied, depending on artist or producer. Sometimes songs are tracked by the order they were written or recorded. Often times they're tracked in order to tell a specific story and still other times they're tracked in order to evenly space out slow and fast songs. Whatever the album, there is almost always a reason for the track orders. Maybe the middle isn't such a big deal but the producer thought that a few lines of notes needed to be the opening sound. Maybe a that last song on the album is also the song that the band will play to end each concert. Either way, someone somewhere wanted me to listen to the songs on an album in a particular order. I owe it to everyone involved, including myself, to follow their advice.
You miss out on that well-orchestrated musical flow or lyrical story when you only get one or two songs from a specific album. Furthermore, most lifelong musicians will inevitably have an album or two that produced no chart toppers and were originally considered "flops." Those "Number 1s" albums obviously won't have any samples from those albums. There is something so beautifully intimate about listening to someone's entire discography in order. You can note subtle changes in everything from religious beliefs to relationship status. If you know even a little about the artist's life, the experience is only multiplied. Missing those details has to be a sin, right?
In other words: Compilations are a crime against humanity. Long live discography junkies!
Audiophiles' Red-headed Step-child
Wednesday, December 28, 2011
Wednesday, December 14, 2011
Stars Do Broadway
I’ve just read that apparently Billy Corgan is considering writing a Broadway musical. (Thanks, Paste!) I immediately wondered what, exactly, sort of musical Corgan would write. Stereotypical or not, we tend to think of Broadway musicals as upbeat…something Corgan is clearly NOT. This also led me to wonder what sort of musicals/plays other celebs might write. Behold my cliché and slightly ridiculous musings of celebrity Broadway shows.
Billy Corgan
Under-Appreciated Genius.
The story of a depressed kid who is continually taken advantage of and stolen from by schoolmates, friends and family. The climax will be a suicide and the rest of the play will be people discussing his brilliance. Plot Twist: He faked his death.
Taylor Swift
Searching for a Fairy Tale
A young girl bounces from one relationship to another, constantly depressed because she thinks she’s the only girl to ever experience heartbreak. Sign that it’s a T-Swift Production: No new scores-Just all her singles. The protagonist will “write” them after each break-up
Katy Perry & Russell Brand
The Willy Wonka Burlesque Show
Candy Bikinis, one effeminate man in multiple bright suits, and “Singin’ in the (Chocolate) Rain.” Attendees will wear ponchos for the Gallagher-style tap dancing number in the inch-thick pool of melted Wonka bars.
Steve Martin
Brooklyn Hillbillies
The story of a bunch of barefoot hipsters with Appalachian accents slouching around a cardboard Williamsburg carrying banjos and pretending like they don’t care about “making it.” Break-out hit: “She left me for a better ‘Stache.”
Radiohead
Paranoid Android in Paris
A post-apocalyptic story of a bionic man who fears he’s being tracked through Paris by Interpol. When they bust in on a one-night stand, he warns them of “Karma Police.” Orchestra will consist of one dude at a computer.
Billy Corgan
Under-Appreciated Genius.
The story of a depressed kid who is continually taken advantage of and stolen from by schoolmates, friends and family. The climax will be a suicide and the rest of the play will be people discussing his brilliance. Plot Twist: He faked his death.
Taylor Swift
Searching for a Fairy Tale
A young girl bounces from one relationship to another, constantly depressed because she thinks she’s the only girl to ever experience heartbreak. Sign that it’s a T-Swift Production: No new scores-Just all her singles. The protagonist will “write” them after each break-up
Katy Perry & Russell Brand
The Willy Wonka Burlesque Show
Candy Bikinis, one effeminate man in multiple bright suits, and “Singin’ in the (Chocolate) Rain.” Attendees will wear ponchos for the Gallagher-style tap dancing number in the inch-thick pool of melted Wonka bars.
Steve Martin
Brooklyn Hillbillies
The story of a bunch of barefoot hipsters with Appalachian accents slouching around a cardboard Williamsburg carrying banjos and pretending like they don’t care about “making it.” Break-out hit: “She left me for a better ‘Stache.”
Radiohead
Paranoid Android in Paris
A post-apocalyptic story of a bionic man who fears he’s being tracked through Paris by Interpol. When they bust in on a one-night stand, he warns them of “Karma Police.” Orchestra will consist of one dude at a computer.
Friday, December 9, 2011
Reviews & Updates
Now that I've failed yet another French exam, I thought it was time for a new blog.
I've been following the shit out of Kate Gabrielle recently. She's this crafty, stylish artist whom I dearly love. She has attempted and succeeded at blogging daily. She's my inspiration. You can (and should) check here out.
My blogging has been even less than sporadic lately. So, my new goal is to blog at least twice a week. I will do at least one album review (possibly something new or maybe something old that I've stumbled across while bin digging) and then some sort of play list. It may simply be a "this is what I'm listening to this week while driving/studying/trying not to kill myself" or it may have a more in-depth theme. BUT...there will at least be a theme.
This week I already have a couple (semi-)new album reviews written, so I'll hand one over now and save the rest for next week.
Laura Marling-A Creature I Don’t Know
A year ago, I’m not sure this album would received as much attention from the general public (or even from me) as it has recently. ACIDK is a bit like a flashback to the Folk music from the 60s and 70s, but has been slightly modified and modernized. While her London friends have gotten more synth-y (I’m lookin’ at you, Noah & The Whale) or more rock (Mumford & Sons), Laura Marling as, instead, seemingly stripped down. She turned her back on modern pop music and looked to her heroes. The best example of such an aboutface is “All My Rage” with it’s Joni Mitchell-channeling soprano and swelling, well, rage.
Marling performing "All My Rage" on Jools Holland.
For further proof of her firm allegiances with folk music, you should see her in concert. A typical Marling gig consists of a few mid-set solo songs that features only her and the guitar and often ends with her cover of Neil Young’s “Dance Dance Dance.”
Marling playing "The Needled and The Damage Done" by Neil Young.
Laura Marling has been pressed almost continuously for answers as to whom might be “The Beast.” She’s keeping her lips sealed, though, and I appreciate that. I don’t think you need to know who an artist’s beasts are to appreciate the song, so long as you have a vague of idea who or what may be your own beast. For being all of 21 years old (Sweet Jesus, I feel so unaccomplished next to her), Laura Marling has a firm grasp on what folk, and music in general, should sound like. In her case, it sounds absolutely beautiful.
"Sophia"-The first single from ACIDK
I've been following the shit out of Kate Gabrielle recently. She's this crafty, stylish artist whom I dearly love. She has attempted and succeeded at blogging daily. She's my inspiration. You can (and should) check here out.
My blogging has been even less than sporadic lately. So, my new goal is to blog at least twice a week. I will do at least one album review (possibly something new or maybe something old that I've stumbled across while bin digging) and then some sort of play list. It may simply be a "this is what I'm listening to this week while driving/studying/trying not to kill myself" or it may have a more in-depth theme. BUT...there will at least be a theme.
This week I already have a couple (semi-)new album reviews written, so I'll hand one over now and save the rest for next week.
Laura Marling-A Creature I Don’t Know
A year ago, I’m not sure this album would received as much attention from the general public (or even from me) as it has recently. ACIDK is a bit like a flashback to the Folk music from the 60s and 70s, but has been slightly modified and modernized. While her London friends have gotten more synth-y (I’m lookin’ at you, Noah & The Whale) or more rock (Mumford & Sons), Laura Marling as, instead, seemingly stripped down. She turned her back on modern pop music and looked to her heroes. The best example of such an aboutface is “All My Rage” with it’s Joni Mitchell-channeling soprano and swelling, well, rage.
Marling performing "All My Rage" on Jools Holland.
For further proof of her firm allegiances with folk music, you should see her in concert. A typical Marling gig consists of a few mid-set solo songs that features only her and the guitar and often ends with her cover of Neil Young’s “Dance Dance Dance.”
Marling playing "The Needled and The Damage Done" by Neil Young.
Laura Marling has been pressed almost continuously for answers as to whom might be “The Beast.” She’s keeping her lips sealed, though, and I appreciate that. I don’t think you need to know who an artist’s beasts are to appreciate the song, so long as you have a vague of idea who or what may be your own beast. For being all of 21 years old (Sweet Jesus, I feel so unaccomplished next to her), Laura Marling has a firm grasp on what folk, and music in general, should sound like. In her case, it sounds absolutely beautiful.
"Sophia"-The first single from ACIDK
Thursday, December 1, 2011
Mark, Tom, Travis & a lesser known Punk
I’ve accumulated a large amount of my musical preferences from the guys in my life. I fell in love with Eminem when I developed a crush on a juvenile delinquent that time I had to go to summer school. I had only a vague idea of what punk was until this strange, surly boy in the army (I’ll call him, “MOMD” because, well, I do.) scoffed at me for not knowing much about The Clash or The Sex Pistols. Soon after, my life became filled with angry accented boys. Until then, the only “punk” I knew anything about was Blink 182 and Green Day-the same mainstream poppy stuff that’s still around today. A lot of my musical and boy preferences have changed over the years. But I still regularly vie for MOMD’s attention and I still like to thrash around private spaces screaming, “I AM AN ANARCHIST!”
I recently sent MOMD a link to an article in Nylon magazine (here) where Mark Hoppus talks about being a “punk rock dad.” I thought it was cute. The swoony girl in me immediately thought about what an adorable punk rock dad MOMD might be some day, so I sent it his way. Instead, he questioned whether or not Blink 182 was really “punk.” I’ll always defend music that I love. I also revel in the chance to prove him wrong. Plus, he can no longer remember why I started (a decade ago) calling him MOMD. So, I’m going to talk about punk music. He’ll have to read this, too, because somewhere in here is the reason why I call him MOMD. (PWNED, Bitch!)
To begin with (because it’s boring as hell), you have to look at the technical aspects of punk music. Wiki, God of Knowledge, describes the typical punk instrumentation as, “includes one or two electric guitars, a bass and a drum kit, along with vocals.” This is exactly the Blink-182 set up with Mark Hoppus on bass, Tom Delonge on electric guitar, and Travis Barker on drums. Wiki also claims that punk songs are usually in the verse-chorus form and in 4/4 time signature. Oh, and they’re short songs. The Blink-182 sound has evolved over the years and their latest album, Neighbourhoods, is filled with lengthy tracks. But in the beginning, they definitely stuck to the “short song” concept. Almost all songs off their 1997 album, Dude Ranch, were under three minutes. I’m really bad at picking out time signatures, but I’ve been assured from another musical boy in my life that Blink tends to follow that time signature.
I’m not entirely certain, but I think MOMD’s biggest problem with calling Blink a “punk band” is that the band is so happy-go-lucky and punk has always tended to be about anger, rebellion and dissent. But, if you take a second to examine the lyrics and attitudes in their songs, you might begin to see the punk-ness. As much as I hate to do this, I think a classic example of said rebellion is “What’s My Age Again?” The whole concept is that people expect them to act a certain way and they refuse. I don’t think I need to m-w.com the definition of the verb “rebel” for you to see the similarities. That same song, along with “Dammit,” employs the “relentless, repetitive “forced rhythm”” of the bass line that is also an indicator of a punk song. I won’t even go into “Dysentery Gary”-it’s rude, irreverent and, well, punk.
Most importantly in the punk scene has always been attitude. Aside from their music, they tended to have pretty rough interactions with fans. From stage diving to cursing people out, the guys in punk bands liked to get down and dirty with fans. These days Mark & Tom don’t get to much crowd surfing-I imagine it’s a little rough to do in arenas. But they certainly did “back in the day.” MOMD has their live album, The Mark, Tom and Travis Show. They curse and carry on with their fans throughout the concert. They act like badasses and appear to have a great time doing it.
Obviously, you have to keep in mind is that everything changes. Blink-182 has chosen not to roll down the road of political dissent, like their predecessors. If that makes them “wrong,” then it also only makes them more punk. They do what they want to, using a sound that they enjoy and they don’t give a fuck what people call it.
Like Blink, MOMD does what he wants. I’ve always liked that about bands and boys. That’s why I’ve loved Blink since the ‘90s, even during all the other changes in my musical preferences. Whether I was dating a football player or married to an architect, it’s also why MOMD has always been (though often said snarkily) the man of my dreams. He quotes me Smashing Pumpkin lyrics that I only get right because of his (and Billy Corgan’s) predictability and makes fun of my love for “open mic night” music. He also says inappropriate things to me that would warrant a knee between the legs from anyone else. I guess you could say he bonds with his audience by offending them. He doesn’t have a Mohawk, keeps his mouth shut about politics, and wore camo because it was his job, not because it was “cool.” He’s punk, too.
As always, here are a few songs.
I recently sent MOMD a link to an article in Nylon magazine (here) where Mark Hoppus talks about being a “punk rock dad.” I thought it was cute. The swoony girl in me immediately thought about what an adorable punk rock dad MOMD might be some day, so I sent it his way. Instead, he questioned whether or not Blink 182 was really “punk.” I’ll always defend music that I love. I also revel in the chance to prove him wrong. Plus, he can no longer remember why I started (a decade ago) calling him MOMD. So, I’m going to talk about punk music. He’ll have to read this, too, because somewhere in here is the reason why I call him MOMD. (PWNED, Bitch!)
To begin with (because it’s boring as hell), you have to look at the technical aspects of punk music. Wiki, God of Knowledge, describes the typical punk instrumentation as, “includes one or two electric guitars, a bass and a drum kit, along with vocals.” This is exactly the Blink-182 set up with Mark Hoppus on bass, Tom Delonge on electric guitar, and Travis Barker on drums. Wiki also claims that punk songs are usually in the verse-chorus form and in 4/4 time signature. Oh, and they’re short songs. The Blink-182 sound has evolved over the years and their latest album, Neighbourhoods, is filled with lengthy tracks. But in the beginning, they definitely stuck to the “short song” concept. Almost all songs off their 1997 album, Dude Ranch, were under three minutes. I’m really bad at picking out time signatures, but I’ve been assured from another musical boy in my life that Blink tends to follow that time signature.
I’m not entirely certain, but I think MOMD’s biggest problem with calling Blink a “punk band” is that the band is so happy-go-lucky and punk has always tended to be about anger, rebellion and dissent. But, if you take a second to examine the lyrics and attitudes in their songs, you might begin to see the punk-ness. As much as I hate to do this, I think a classic example of said rebellion is “What’s My Age Again?” The whole concept is that people expect them to act a certain way and they refuse. I don’t think I need to m-w.com the definition of the verb “rebel” for you to see the similarities. That same song, along with “Dammit,” employs the “relentless, repetitive “forced rhythm”” of the bass line that is also an indicator of a punk song. I won’t even go into “Dysentery Gary”-it’s rude, irreverent and, well, punk.
Most importantly in the punk scene has always been attitude. Aside from their music, they tended to have pretty rough interactions with fans. From stage diving to cursing people out, the guys in punk bands liked to get down and dirty with fans. These days Mark & Tom don’t get to much crowd surfing-I imagine it’s a little rough to do in arenas. But they certainly did “back in the day.” MOMD has their live album, The Mark, Tom and Travis Show. They curse and carry on with their fans throughout the concert. They act like badasses and appear to have a great time doing it.
Obviously, you have to keep in mind is that everything changes. Blink-182 has chosen not to roll down the road of political dissent, like their predecessors. If that makes them “wrong,” then it also only makes them more punk. They do what they want to, using a sound that they enjoy and they don’t give a fuck what people call it.
Like Blink, MOMD does what he wants. I’ve always liked that about bands and boys. That’s why I’ve loved Blink since the ‘90s, even during all the other changes in my musical preferences. Whether I was dating a football player or married to an architect, it’s also why MOMD has always been (though often said snarkily) the man of my dreams. He quotes me Smashing Pumpkin lyrics that I only get right because of his (and Billy Corgan’s) predictability and makes fun of my love for “open mic night” music. He also says inappropriate things to me that would warrant a knee between the legs from anyone else. I guess you could say he bonds with his audience by offending them. He doesn’t have a Mohawk, keeps his mouth shut about politics, and wore camo because it was his job, not because it was “cool.” He’s punk, too.
As always, here are a few songs.
Wednesday, October 5, 2011
Music, Little Girls, and Pop Princesses
The part where I have a hissy fit over what music is doing to our next generation.
I’m on Tumblr. I’ll never tell you my name because I post all manner of inappropriate shit. This one meme keeps coming around and it angers me beyond belief every time I see it. Its song lyrics that aren’t at all bad, they’re just ridiculous to see posted over and over again. It got me thinking about other music that I have problems with which lead me to this here blog. Be prepared, though. I go full frontal bitch on this one.
This is the post that started this rant…
(brought to you by: MissCue. )
I believe you all know how much I absolutely adore Adele. The girl has had my heart for a long, long time. The song this quote is pulled from (in case it’s not obvious) is “Someone Like You.” It’s a beautiful song that certainly showcases her voice. She wrote it herself and it was, I’m sure, legitimately how she was feeling at the time. The problem, though, is that 13-19 year old girls are now quoting it en masse and seeming to be truly feeling the exact same way. All. The. Time. But letting these girls continue to swoon over someone who doesn’t want them, sulk over their failings and sink into a depression-laden song is in no way creating smart, independent women. The feelings are 100% legit and they have a right to feel that way for a while. But at some point the older and wiser women on Tumblr (and anywhere else where these words are being echoed) need to say, “No. You won’t. You’ll find someone better, because you deserve someone better.” By not saying anything and by letting our teens swoon so pathetically like this, we’re just nourishing a future society of simpering women clinging to any boy that pays attention to them. I’m pretty sure that’s not why our mothers and grandmothers burnt their bras. If they're going to quote Adele, why not "Turning Tables?" Take a listen to the bridge. "Next time I'll be braver/I'll be my own savior" are far better lyrics for girls, young and old, to be repeating to themselves and others.
On the flipside, I also have serious issues with this Princess bullshit being fed to girls by the likes of Taylor Swift. I mean, what the hell is this?
Don’t get me wrong. I love the Disney princesses and frilly dresses and tea parties. I love seeing tons of little girls dressed up as princesses for Halloween. But, at some point, little girls have to grow up and face reality. This isn’t just about thinking you deserve to be treated like a princess-It’s about the whole idea of a fairy tale romance. Too many songs have this whole, “My life isn’t complete until you notice me and marry me” vibe, as if marrying the first boy that you fall in love with will guarantee happiness. (The closest thing she has that says the opposite is "White Horse" and even that is suspect, it's mostly just about breaking up with one prince so she can find a better one)
Taylor Swift is in her twenties. Why does she still think fairy tales exist? Why is she still pushing this drama onto our cousins, nieces and daughters and why are we letting her? Our daughters need to be taught that, first and foremost, they can and will be just as happy without a Prince Charming and that their life and worth isn’t defined by what kind of Prince they married. They also need to be taught that if they do get married, it won’t necessarily be ‘happily ever after.’ Marriage is tough, even if it’s the love of your life, even if he’s a fucking prince and even if it does last forever, it won’t always be easy or happy. It was cute when Taylor was sixteen, but she’s a grown up now and she needs to lead the way for her fans to grow up and face reality, too.
Speaking of fantasy vs. reality means that we should probably talk about Ms. “Teenage Dream,” Katy Perry. Is this any more acceptable for our girls to be listening to and singing along with?
Katy Perry is no longer a teenager and neither am I, so to a certain extent this song is fun and cute. It’s fun to sing along to in the car. The problem is, though, that my seven year old cousin absolutely adores, “Firework.” Right now that’s the only song her mother allows her to listen to, but what happens when my aunt loses that control of the iPod? What happens when a nine or ten year old cousin goes into the stores and picks up the CD so she can hear the rest of the album? My cousin is young, but that’s happening. Pre-teen girls all over the world are being drawn in with the feel-good message of “Firework” and then listening to “Teenage Dream.” I’m sorry, but I’m not okay with a girl about to start high school hearing that when she’s a teenager, to be a boy’s dream girl, she needs to let him put his hands all over her. Katy Perry started out with a pretty niche audience of older teens and twenty-somethings getting a kick out of “I Kissed a Girl” and “Waking up in Vegas,” but as she’s gained popularity her audience has grown to including a lot younger crowd. I think she needs to reconsider the message of some of her songs. And, failing that, mother’s need to reconsider what they allow their girls to listen to in the car.
And, don’t even get me started on the hate that the likes of Tyler the Creator and his gang are shoving down everyone’s throat and my utter dismay at MTV’s willingness to condone such filth. At least that’s currently being contained to a slightly older audience.
Of course, to be fair, at the age of seven, I was listening to “Prop Me up beside the Jukebox,” “Going through the big D" and all of Garth Brooks’ cheating songs. I turned out mostly unscathed (minus that whole failed-marriage at 25 business), even after listening to this:
(She was still strong and independent-ish. You know, after she whore'd it up/out for a while.)
But, I also grew up in a time when a seven-year-old wore skirts that were plaid, instead of leopard print, sweats that had kittens on the bottoms instead of “Juicy” across the butt and Barbie wore mostly ball gowns, not hoochie skirts. The times they are a-changin’ and it’s our job to do every little bit possible to help our girls grow up at a decent speed. They can neither be rushed nor stunted. We must warn them that often times teenage dreams turn into teenage mothers, meaning they’ve dashed their own dreams to be someone else's fantasy. We can’t allow them to be Princesses forever or they will grow up to be sorely disappointed with their average ever after.
I’m on Tumblr. I’ll never tell you my name because I post all manner of inappropriate shit. This one meme keeps coming around and it angers me beyond belief every time I see it. Its song lyrics that aren’t at all bad, they’re just ridiculous to see posted over and over again. It got me thinking about other music that I have problems with which lead me to this here blog. Be prepared, though. I go full frontal bitch on this one.
This is the post that started this rant…
(brought to you by: MissCue. )
I believe you all know how much I absolutely adore Adele. The girl has had my heart for a long, long time. The song this quote is pulled from (in case it’s not obvious) is “Someone Like You.” It’s a beautiful song that certainly showcases her voice. She wrote it herself and it was, I’m sure, legitimately how she was feeling at the time. The problem, though, is that 13-19 year old girls are now quoting it en masse and seeming to be truly feeling the exact same way. All. The. Time. But letting these girls continue to swoon over someone who doesn’t want them, sulk over their failings and sink into a depression-laden song is in no way creating smart, independent women. The feelings are 100% legit and they have a right to feel that way for a while. But at some point the older and wiser women on Tumblr (and anywhere else where these words are being echoed) need to say, “No. You won’t. You’ll find someone better, because you deserve someone better.” By not saying anything and by letting our teens swoon so pathetically like this, we’re just nourishing a future society of simpering women clinging to any boy that pays attention to them. I’m pretty sure that’s not why our mothers and grandmothers burnt their bras. If they're going to quote Adele, why not "Turning Tables?" Take a listen to the bridge. "Next time I'll be braver/I'll be my own savior" are far better lyrics for girls, young and old, to be repeating to themselves and others.
On the flipside, I also have serious issues with this Princess bullshit being fed to girls by the likes of Taylor Swift. I mean, what the hell is this?
Don’t get me wrong. I love the Disney princesses and frilly dresses and tea parties. I love seeing tons of little girls dressed up as princesses for Halloween. But, at some point, little girls have to grow up and face reality. This isn’t just about thinking you deserve to be treated like a princess-It’s about the whole idea of a fairy tale romance. Too many songs have this whole, “My life isn’t complete until you notice me and marry me” vibe, as if marrying the first boy that you fall in love with will guarantee happiness. (The closest thing she has that says the opposite is "White Horse" and even that is suspect, it's mostly just about breaking up with one prince so she can find a better one)
Taylor Swift is in her twenties. Why does she still think fairy tales exist? Why is she still pushing this drama onto our cousins, nieces and daughters and why are we letting her? Our daughters need to be taught that, first and foremost, they can and will be just as happy without a Prince Charming and that their life and worth isn’t defined by what kind of Prince they married. They also need to be taught that if they do get married, it won’t necessarily be ‘happily ever after.’ Marriage is tough, even if it’s the love of your life, even if he’s a fucking prince and even if it does last forever, it won’t always be easy or happy. It was cute when Taylor was sixteen, but she’s a grown up now and she needs to lead the way for her fans to grow up and face reality, too.
Speaking of fantasy vs. reality means that we should probably talk about Ms. “Teenage Dream,” Katy Perry. Is this any more acceptable for our girls to be listening to and singing along with?
Katy Perry is no longer a teenager and neither am I, so to a certain extent this song is fun and cute. It’s fun to sing along to in the car. The problem is, though, that my seven year old cousin absolutely adores, “Firework.” Right now that’s the only song her mother allows her to listen to, but what happens when my aunt loses that control of the iPod? What happens when a nine or ten year old cousin goes into the stores and picks up the CD so she can hear the rest of the album? My cousin is young, but that’s happening. Pre-teen girls all over the world are being drawn in with the feel-good message of “Firework” and then listening to “Teenage Dream.” I’m sorry, but I’m not okay with a girl about to start high school hearing that when she’s a teenager, to be a boy’s dream girl, she needs to let him put his hands all over her. Katy Perry started out with a pretty niche audience of older teens and twenty-somethings getting a kick out of “I Kissed a Girl” and “Waking up in Vegas,” but as she’s gained popularity her audience has grown to including a lot younger crowd. I think she needs to reconsider the message of some of her songs. And, failing that, mother’s need to reconsider what they allow their girls to listen to in the car.
And, don’t even get me started on the hate that the likes of Tyler the Creator and his gang are shoving down everyone’s throat and my utter dismay at MTV’s willingness to condone such filth. At least that’s currently being contained to a slightly older audience.
Of course, to be fair, at the age of seven, I was listening to “Prop Me up beside the Jukebox,” “Going through the big D" and all of Garth Brooks’ cheating songs. I turned out mostly unscathed (minus that whole failed-marriage at 25 business), even after listening to this:
(She was still strong and independent-ish. You know, after she whore'd it up/out for a while.)
But, I also grew up in a time when a seven-year-old wore skirts that were plaid, instead of leopard print, sweats that had kittens on the bottoms instead of “Juicy” across the butt and Barbie wore mostly ball gowns, not hoochie skirts. The times they are a-changin’ and it’s our job to do every little bit possible to help our girls grow up at a decent speed. They can neither be rushed nor stunted. We must warn them that often times teenage dreams turn into teenage mothers, meaning they’ve dashed their own dreams to be someone else's fantasy. We can’t allow them to be Princesses forever or they will grow up to be sorely disappointed with their average ever after.
Friday, September 30, 2011
Dear KOЯN, It was for the Best
(Or, why I no longer own dozens of decent-ish albums)
I’m going to tell you a story that was once told to me and that dramatically changed my music collection (and life, but that’s not as important) for a few years. (This is paraphrased, because 9th grade was a really long time ago.)
I made you some brownies. They look awesome and smell oh-so-chocolate-y! I put extra chocolate chips in them. I took ‘em out of the oven a little early, too. So, they’re nice and soft, but the edges are still firm. There’s just one thing, though. Before you take that massive bite, I should probably tell you that just before I put them in the over, I decided they needed an extra special ingredient. I didn’t have anything else chocolate in my house, so I just went for adding something brown. I added some poop to the brownies. Not much! Just a tiny bit! You’re still going to eat them, right?
(Your answer should be “No.” If it’s not, you should stop reading my blog and go have a conversation with a professional.)
Of course you don’t want these brownies. They’re poo brownies. Even though it was just the tiniest bit of poo, it’s still ruining the brownies. Well, that’s how the music you listen to can effect your self and your relationship with God. If you’re being a good Christian, but you’re listening to bad, secular music, it’s still affecting you, whether you realize it or not. You need to get rid of that music. You should only listen to music that glorifies God.
That was a conversation that took place at a youth group meeting after church one Sunday evening. We were instructed to bring all our “bad,” “secular” music to church next week to purge it from our lives. The following Sunday night we took turns putting each of our collections into a pillowcase and beating them up, pulverizing the poo out of our brownies. A couple weeks later, as a reward, we were each given one shiny new Christian CD from the genre we liked most. I trashed over two dozen albums, including the entire KoRn discography (which I now realize wasn’t an horrific loss), and walked away with one new CD.
Each time I’m playing "the lyrics game" with my friend, Keeper, and he quotes something off Smashing Pumpkins’, “Mellon Collie and Infinite Sadness,” I sigh and whimper at the loss of that magnificent double-album. And each time I whine over the shattered greatness, he reminds me of what an idiot I was for trashing all those CDs. Most of the time, I silently agree.
Of course, there was an upside to the strange gesture. I’m not sure God really cares all that much about what music I listen to. But, I do believe that a thirteen or fifteen-year-old’s mood can be dramatically altered by their surroundings, including the things they listen to on their red boomboxes. At that point in my life, I already had enough things to be angry or depressed about- the last thing I needed was Jonathan Davis bringing me down even more. But as an adult, I’m more capable of listening to a morose song and not letting it get to me. It’s easy as you grow older to chose whether to allow music to manipulate your mood. I’ve long since given up on giving up “bad” music. And now that I’m able to make the choice of how a song will affect me, I miss quite a few of the albums from that pillowcase.
Of course, as an adult, I’m also capable to repurchasing those albums. But, I think most of them are best left in the sale bin for someone else’s money.
This song, though, will always have a place in my heart. But only when I’m alone. In my car. With the windows up. On an empty highway. You know, where I don’t stand a chance of anyone looking over, reading my lips and believing, even for a second, that this is the shit I listen to on a regular basis.
We had a good run, KOЯN, and you're an awesome live show. But, when our time ended, it was better for both of us. My pink hair and perky voice were probably bringing down your street cred, anyway.
Love,
AD
I’m going to tell you a story that was once told to me and that dramatically changed my music collection (and life, but that’s not as important) for a few years. (This is paraphrased, because 9th grade was a really long time ago.)
I made you some brownies. They look awesome and smell oh-so-chocolate-y! I put extra chocolate chips in them. I took ‘em out of the oven a little early, too. So, they’re nice and soft, but the edges are still firm. There’s just one thing, though. Before you take that massive bite, I should probably tell you that just before I put them in the over, I decided they needed an extra special ingredient. I didn’t have anything else chocolate in my house, so I just went for adding something brown. I added some poop to the brownies. Not much! Just a tiny bit! You’re still going to eat them, right?
(Your answer should be “No.” If it’s not, you should stop reading my blog and go have a conversation with a professional.)
Of course you don’t want these brownies. They’re poo brownies. Even though it was just the tiniest bit of poo, it’s still ruining the brownies. Well, that’s how the music you listen to can effect your self and your relationship with God. If you’re being a good Christian, but you’re listening to bad, secular music, it’s still affecting you, whether you realize it or not. You need to get rid of that music. You should only listen to music that glorifies God.
That was a conversation that took place at a youth group meeting after church one Sunday evening. We were instructed to bring all our “bad,” “secular” music to church next week to purge it from our lives. The following Sunday night we took turns putting each of our collections into a pillowcase and beating them up, pulverizing the poo out of our brownies. A couple weeks later, as a reward, we were each given one shiny new Christian CD from the genre we liked most. I trashed over two dozen albums, including the entire KoRn discography (which I now realize wasn’t an horrific loss), and walked away with one new CD.
Each time I’m playing "the lyrics game" with my friend, Keeper, and he quotes something off Smashing Pumpkins’, “Mellon Collie and Infinite Sadness,” I sigh and whimper at the loss of that magnificent double-album. And each time I whine over the shattered greatness, he reminds me of what an idiot I was for trashing all those CDs. Most of the time, I silently agree.
Of course, there was an upside to the strange gesture. I’m not sure God really cares all that much about what music I listen to. But, I do believe that a thirteen or fifteen-year-old’s mood can be dramatically altered by their surroundings, including the things they listen to on their red boomboxes. At that point in my life, I already had enough things to be angry or depressed about- the last thing I needed was Jonathan Davis bringing me down even more. But as an adult, I’m more capable of listening to a morose song and not letting it get to me. It’s easy as you grow older to chose whether to allow music to manipulate your mood. I’ve long since given up on giving up “bad” music. And now that I’m able to make the choice of how a song will affect me, I miss quite a few of the albums from that pillowcase.
Of course, as an adult, I’m also capable to repurchasing those albums. But, I think most of them are best left in the sale bin for someone else’s money.
This song, though, will always have a place in my heart. But only when I’m alone. In my car. With the windows up. On an empty highway. You know, where I don’t stand a chance of anyone looking over, reading my lips and believing, even for a second, that this is the shit I listen to on a regular basis.
We had a good run, KOЯN, and you're an awesome live show. But, when our time ended, it was better for both of us. My pink hair and perky voice were probably bringing down your street cred, anyway.
Love,
AD
Wednesday, August 31, 2011
Discography Whore
I get a lot of slack from S&P about my constant collection of complete discographies. I'm not exactly sure where this audiohoarding came from or when it started. Most people may have one or two artists where they own all or most of their albums. I, however, am on a near constant quest to own someone's discography. That "someone" changes regularly (often before I've finished the last artist's collection) and there are often multiple someones on my list at the same time. Sometimes it's easy, too. Sarah Jarosz, for instance, has two albums that are both readily available. Then there is Mumford & Sons, whom I was a fan of before they even had an album to add to my collection. There is no hunting in their case-only gathering. Of course, there are also bands like U2, whose first album came out four years before I was born and whom I only became a fan of in the last couple years. I feel like I am forever buying another damn U2 album. No regrets, though. I WILL own their discography. ...Eventually.
The reason I bring this up is simple-I just finished another discography. Sitting in my car is the last album I needed to complete my Our Lady Peace collection. Absolutely the first alternative band I ever fell in love with, Our Lady Peace has been this strange off-and-on obsession of mine since I was thirteen. ("Automatic Flowers" from their 1997 "Clumsy" is still one of my most favorite songs) Last night, venti iced chai latte in hand, I stumbled across their debut album, "Naveed," at Half Price Bookstore (why the HELL would anyone get rid of that?!). I yelped-warranting a questioning look from the older gentlemen who was hunting beside me. Yet another discography to be checked off my list.
It may sound like my fiendish collecting isn't at all selective, but you're absolutely wrong. I may have quite a few discographies, but those bands have all been worthy of my love in one way or another. For every band whose discography I own, there are a dozen more I still want, a hundred more I have no intention of buying, and a thousand more I've never even heard. The bands and artists I collect may be varied, but they're the sounds I like, the voices I want to surround myself with for the rest of my life, and the people I will go to great lengths to see live. (Just don't disappoint me, or I'll sell the whole shootin' match off to Half Price.) What's that line? Oh, yeah... "I'm not a player, I just crush a lot." Thanks, Big Punisher.
Here is some music from a few of my favorite discographies...
Automatic Flowers-Our Lady Peace
Voice. Lyrics. Late '90s-esque reverb. Awesomeness.
Penny & Me-Hanson
Don't judge me. I bet you own a Justin Timberlake CD.
Born Lonesome-Cadillac Sky
Banjo. Always the banjo.
One from a band I'm still working on completing. Because it's my blog. And I can do what I want.
Sunday Bloody Sunday-U2
This is the song that made me fall in love with U2.
The reason I bring this up is simple-I just finished another discography. Sitting in my car is the last album I needed to complete my Our Lady Peace collection. Absolutely the first alternative band I ever fell in love with, Our Lady Peace has been this strange off-and-on obsession of mine since I was thirteen. ("Automatic Flowers" from their 1997 "Clumsy" is still one of my most favorite songs) Last night, venti iced chai latte in hand, I stumbled across their debut album, "Naveed," at Half Price Bookstore (why the HELL would anyone get rid of that?!). I yelped-warranting a questioning look from the older gentlemen who was hunting beside me. Yet another discography to be checked off my list.
It may sound like my fiendish collecting isn't at all selective, but you're absolutely wrong. I may have quite a few discographies, but those bands have all been worthy of my love in one way or another. For every band whose discography I own, there are a dozen more I still want, a hundred more I have no intention of buying, and a thousand more I've never even heard. The bands and artists I collect may be varied, but they're the sounds I like, the voices I want to surround myself with for the rest of my life, and the people I will go to great lengths to see live. (Just don't disappoint me, or I'll sell the whole shootin' match off to Half Price.) What's that line? Oh, yeah... "I'm not a player, I just crush a lot." Thanks, Big Punisher.
Here is some music from a few of my favorite discographies...
Automatic Flowers-Our Lady Peace
Voice. Lyrics. Late '90s-esque reverb. Awesomeness.
Penny & Me-Hanson
Don't judge me. I bet you own a Justin Timberlake CD.
Born Lonesome-Cadillac Sky
Banjo. Always the banjo.
One from a band I'm still working on completing. Because it's my blog. And I can do what I want.
Sunday Bloody Sunday-U2
This is the song that made me fall in love with U2.
Wednesday, August 24, 2011
Audiodaughter gets Sappy
I spent my entire day today in the hospital watching nurses and doctors manhandle my mother. That sounds flippant and I suppose it is, but you should know that this is something my mother and I have been doing for several years now. It is never any less scary at first. But once the usual results are found, the frantic, anxious nausea is replaced with the sort of strangely calming worry that I’m used to by now. It’s a strange thing for an eight-year-old to be aware of her mother’s mortality. Kids are supposed to think their parents are super heroes. My mother is certainly my hero, but she’s far from invincible. I’ve grown up knowing that she probably wouldn’t live as long as most moms, dreading trying to figure out life without her and crying at sappy songs. You can see where I’m going with this, can’t you?
Here are five songs that will always make me cry, because tonight I need a good sniffle and I enjoy taking you down with me.
5) “Wind Beneath My Wings”- Bette Midler
All attachments aside, this song is just heartbreaking. The lyrics aren’t exactly sad. What makes the song so gut wrenching is the way Bette Midler sings it. The Divine Miss M may have a way with silly songs and sassy dance moves, but she can also belt out a broken heart better than anyone I know. “The Rose” was disturbing my emotions before I could even grasp what it was about. She can just sing with a voice so full of pain, it’s impossible not to feel it on even your brightest day.
4) “Mama, I’m Alright” –Miranda Lambert
Further proof that I’m basically just a hot mess. This song is about a girl who is moving away and leaving behind a fretting mother. It’s a promise that, she was raised strong and she’s going to be just fine. Yet I hear it and I sing it (oh, so badly), as a promise to my mother that when she goes, I will be okay…even if I’m not quite sure I believe it most days. Miranda Lambert sings this song in a 100% uplifting spirit. There is even a choir to back her up at the end! (It’s at the very point that the choir really kicks in that I usually skip to the next song. Choirs are not my thing.)
Here's the most decent version I could find on youtube, sadly it's one of those weird collage videos.
3) “High & Dry” –Radiohead
Let’s face it: Thom Yorke’s voice isn’t exactly uplifting. Its hard to find a Radiohead song that isn’t just a little bit a downer, even if it’s just the music, or his wailing. Radiohead isn’t party music, in my opinion. It’s the kind of music I listen to when I’m doing homework, watching a storm, or writing a particularly slow or mellow piece. But “High & Dry” has just always seemed a little more depressing than the rest of their catalog. Thom Yorke has supposedly referred to it as being Rod Stewart-esque and on the song’s Wiki page it is called the band’s “most accessible” song. I feel like a bit of a douche that this happens to be the song chosen for my first Radiohead reference. Still. It depresses me beyond belief.
2) “Joey/Nightswimming” –Sugarland
Sugarland is, in every way possible, the exact opposite of Radiohead. Until recently, even their deeper, more conscious songs have still had a poppy upbeat quality about them. On “Love on the Inside” Jennifer Nettles sings “Joey” in a voice as painful as that of the aforementioned Bette Midler. However, it went mostly unnoticed by me (and the rest of the world, it seems) until Sugarland released their Walmart exclusive, “Live on the Inside” album, which featured “Joey” paired up with several lines from R.E.M.’s single from 1993, “Nightswimming.” The additional one minute and 47 seconds turned a remorseful song into a seemingly vivid memory. As I’m sure it does for many people, this combo reminds me of a person and an event in my life that was quite different from the one described in this song and yet it still stirs up all those emotions. I’m positive that the pairing of those two songs might be one of the wisest things Sugarland has done thus far in their career.
1) “Both Sides Now” –Joni Mitchell
Oh, Joni. Much like Thom Yorke, her voice has always had a sorrowful sound to it. I don’t believe that another person’s voice could ever make this song sound more beautiful. This song is about that shift that everyone experiences at some point in their life. When something, or many things, once seen as beautiful are suddenly seen as something else: distractions, dependency, or just condensation. It’s the anti-Taylor Swift song, if you will. It’s the dispelling of true love, princesses and magical kingdoms for what they really are: Fairy tales. It’s growing up, getting a grip, and both cherishing the reality and missing the illusion. I daresay this is my absolute favorite song by Ms. Mitchell and I hope someday I can hear it live. And I will cry-No matter how many people are around me or how professional I’m supposed to be.
Sunday, July 31, 2011
Welcome to America, Spotify!
A long, long time ago I decided I didn’t belong in America. During the last year or so, that fact was drilled into me harder when I would periodically be linked to a new song, only to be told it wasn’t available in my region. What was this mythical creature, “Spotify?” Why wasn’t I allowed to use it? Why did all my favorite bands from other countries have this magnificent interweb thing? Why, oh why, was I left out?! And then the rumors started, the announcement was made, my favorite musicians talked about how they had been invited early, and I began to eagerly wait for when it would be my turn to sign up.
Last week, I was finally sent an invite. I don’t think I’ve ever filled out a registration form so quickly in my life. I’m fairly certain that even my name is spelled wrong. But, I did it! I had a Spotify account! I was in the know! I was part of this new world! I was…I was…way too excited for my own good. But was it worth the wait? Is it worth the hype?
Yes. Yes. A thousand times, yes.
If you know me well at all, you know about my brief relationship with Pandora. For about two days I was completely in lust. I created a bluegrass station for air banjo practice sessions. I had a Lady Gaga/Britney Spears station for treadmill time. I even had this killer Ray LaMontagne station for when I was “studying.” On day, three, though, I heard four Cherryholmes songs in two hours on my bluegrass station, and my LadyG station popped up with some slow-as-molasses Christina Aguilera song whilst I was mid-run on mile three and completely broke my stride. It was like I’d just walked in on my boyfriend with a fleshlight.* I was appalled. I was disgusted. I was done with Pandora forever (or at least for a couple months, until I got bored one day and gave it a 24-hour booty call).
You don’t get any of that with Spotify. If you search Lady Gaga, you’re going to get a list of any Lady Gaga song that exists, including all it’s remixes, karaoke versions and strange covers for those Party City kind of CDs. You can listen to them whenever you want, too…not just when Pandora deems you worthy of listening to that certain song. If you want to listen to it six times in a row, you can. If you want to skip on to a new song after 30 seconds, you won’t get penalized. And in the top right corner is a list of artists who may sound like her for you to also check out. But Spotify doesn’t assume that you must also like those artists and force you to listen to them. Want to listen to Muse’s complete discography? Have at it (if you must). You can even star the ones you like most so you can quickly return to them in the future.
The only thing Spotify asks in return is that you listen to the occasional commercial. But don’t worry. Spotify (so far) doesn’t make you hear about yogurt you have no intention of eating or cars you can’t afford to buy. Spotify only advertises music or its other services. It’s so awesome I don’t even mind hearing about the Premium plans. I’m seriously considering upgrading.
Another great thing about Spotify is that is virtually limitless. While they may advertise mostly pop music and have a top ten list that consists of mostly that, you have a much wide range of music at your disposal. If you want six dozen different versions of “Under The Boardwalk,” including the original by The Drifters and a cover by The Rolling Stones (who knew? Not me.), you’ll find just that. Or, if you’ve wanted to check out “Oh What A Nightmare,” former band of the Avett Brothers, Spotify even has that.
My only complaint about Spotify is pretty basic. Not enough of my friends are currently using it. One of Spotify’s features is the ability to connect it to your Facebook keep track of all your friends’ favorites and playlists. Currently, the free version of Spotify isn’t available to everyone just yet so I only have a handful of friends’ playlists that I can see. Since I love sharing music and exploring the inner workings of my friends’ musical tastes, I feel like I’m sorely missing out. Hopefully, as it becomes more widely available, that will change. I’m telling you friends, it’s worth it.
Now, excuse me while I go listen to ahab’s entire discography and wish upon shooting stars for them to come to America and take me on the road with them. (More on them soon. Promise.)
*Single Guys-No, I don’t currently have a boyfriend. Mom-Please do NOT Google Fleshlight.
Monday, May 16, 2011
Whatever happened to Corinne Bailey Rae? (...& Some Singers to Tide You Over)
My friend, Stef (of the oh-so-wonderful and (sadly) private Salt and Pepper Blog), recently (read: Four months ago) asked me why I thought Corinne Bailey Rae never became more popular. After all, “Put Your Records On” was a freaking fantastic song. I told her I wasn’t quite sure. I dug CBR hard when her self-titled album came out a million years ago. I related to “I’d Like To” in a really unnatural way. The whole album was jazzy, sultry and sweet. So, what happened? To begin with, I think her next album, “The Sea” veered a little too off course for mainstream fans. It lacked the catchy hooks a good portion of her first album had in songs like “Like A Star” and “Put Your Records On.” Mostly, though, I think she just got lost in the ever swelling female vocalist storm surge.
While I’m sure she’ll be back some day soon, I thought I’d suggest a few girls I think are worthy of Stef’s attention while she waits for Miss Rae’s return. I’ll leave off Adele, because I know I’ve already blogged about her ad nauseam. But you should know she’s definitely at the invisible top of my list.
First, if you want something a little louder, check out Florence & The Machine. If you’re a Gleek, you’ll already know “Dog Days Are Over”-one of Flo’s more popular songs. But don’t let the pop-iness of the single sway you from checking out the rest of her repertoire. If you love a girl who can show some range (and I know Stef does)-Then you should love Florence & The Machine. Bonus Points: She’s as freakishly white as we are!
Next, look up Laura Marling. I’ve mentioned her before, too, but she’s still under the radar enough that I think she’s worth repeating. LM is three years younger than me and I’m afraid she’s far worldlier than I’ll be even three years from now. Aside from having a tragically beautiful voice, her lyricism is absolutely stunning. Her lyrics are the definition of “imagery”. Forget seeing a scene-LM makes you feel the cold souls haunting the room’s air and sink into the depression that brought on the song. Laura Marling is my go-to girl when I know I need to feel something but I’m not sure of what. To be fair, though, I owned both of her albums for quite awhile before I understood the full extent of her greatness. I urge you, if you’re not so sure the first time, to try again. And again. And again.
(*Yes. That is banjo you hear. And, yes, she does her own backing vocals.)
I was hooked on my third girl by the time I got through the very first chorus of the first song I ever heard from her. Abigail Washburn’s song, “Banjo Pickin’ Girl” is deceptively bluegrass for a girl that seems anything but. Just like her husband, the oh-so-awesome Bela Fleck, Abigail Washburn gives banjo with a classic calmness. In ‘Overture’ on ‘Abigail Washburn & the Sparrow Quartet,’ she even yodels with sophistication. There’s a sort of Asian feel to everything that comes from Abigail’s banjo. Then. She sings. She has some of the most unique vocal melodies I’ve ever heard. Her newest album, “City of Refuge,” is great for long, mellow drives.
Here’s Abigail at NPR's Tiny Desk...
There are a million more girls worthy of your time. Jessica Lea Mayfield makes the most sullen, stripped down music I’ve ever listened to…and I love it. It’s layered and delayed and it’s beautiful. Ellie Goulding puts all the other dance queens (J Lo, Britney, Lady G) to shame. Her lyrics are actually intelligent and meaningful, they just happen to be to a lot more tech’d out sound than most. “Guns + Horses” is one of my most favorite songs right now. Plus, she’s obviously cool or she wouldn’t have performed at the royal wedding reception at the end of April (oh, yeah, she’s British). Lastly, check out The Civil Wars and Seryn. Technically, they’re mixed gender groups, but their female vocals both have beautiful voices and both bands have exceptionally lovely lyrics. While Civil Wars consists of a fairly stripped down instrumentation, Seryn’s million and a half member band features a little bit of everything. Both bands, though, boast full, rounded sounds that I think are perfect for long road trips.
Hope that helps you fill the Corinne Bailey Rae void, S&P!
Lots of Love,
Me
Monday, April 11, 2011
A (Not Quite) Brief History of John Mayer
(...and my plea for his return.)
I've been on a John Mayer kick lately. I'm not sure where it came from, especially as I've actually been a bit mad at him. Why was I mad at him, you ask? Easy. The Grammy Awards. He sang Dolly Parton's 'Jolene,' which happens to be one of my all-time favorite songs.* I was pretty stoked when it started. Then I watched him, less than gracefully, make his way through the verse while clearly reading the lyrics off the teleprompter. I know country music isn't really JM's thang. But, it was a freaking Dolly Parton tribute! If that was the best he could do, he oughtn't to have done it at all. I've digressed, though. Sort of.
So, when I say I've been listening to a lot of John Mayer, you should know that I don't just mean "Continuum." I know there are a couple million people** who think that "Continuum" was his last/only great album. I am not one of those people. When I listen to John Mayer I start with "Comfortable" (From the 'Inside Wants Out' EP, not the live album) and end somewhere around 'Assassin' or 'Crossroads.'
Actually, that's not entirely true. I usually end with '3x5.' But that doesn't really count because after a good JM session, I've probably already listened to that song roughly a dozen times. I'm a little obsessive with it. The lyrics are so poetic and full of imagery. I can't think of another song he's written that paints as vivid a picture. Of course, that's the idea behind the song: To paint a picture with words. As a writer, I can understand the sentiment and often remind myself to do that instead of always reaching for my camera. As a girl who is forever on yet another road trip, it tugs hundreds of pictures of sunsets from my memories. If I'm on the road, it makes me smile at knowing I'll be driving right under the 'cowboy cliche.' If I'm at home, it lures me into calculating cost of gas to some new place. '3x5' is one of my many, many theme songs.
But John Mayer's genius didn't stop or really even start at 'Room for Squares.' Actually, the most genius thing about that album is its pop quality. I don't imagine that when JM is listening to music in his massive mansion that it sounds anything like the music on 'Room for Squares.' He'll freely admit that the sound of that album isn't a sound he particularly loves. But he (and his record label) knew what it took to sell an album. It takes "bubblegum tongue" and chess with salt and pepper shakers.***
'Any Given Thursday' came next and is still one of my favorite JM albums in existence. In those days, I couldn't afford to go see 10 of the same concerts in one year. 'Any Given Thursday' sounded exactly like the one and only John Mayer show I could afford to go to (just a few miles down the street from my very first apartment). That album made me feel like I was able to go to a hundred of his shows. As far as live albums go, it's pretty freaking spectacular.
He followed that with his second studio album, 'Heavier Things,' which was really more of the same. But, you know, a little heavier. (True Genius) "Daughters" was, I think, the first single off 'Heavier Things.' I can still remember the first time I heard it: In my beat up ol' Neon, driving around Tallahassee during my freshman year of college. It made me swoon. It made me think, "He gets it."**** When the album came out, I immediately fell in love with "Split-screen Sadness." I still love it. I still have my made-up music video in my head and I still think it could make an amazing duet. The album went a little softer than an outright pop album. But with tracks like 'Bigger Than My Body' and 'Wheel,' it was easy for John Mayer to stay in everyone's good graces.
I think somewhere after that is where John Mayer began to pale in the eyes of wonderlandish girls everywhere. However, I also think it’s where his “genius” began to come alive. In 2005, he came up with The John Mayer Trio. If it was 100% for himself, it was also 100% not for his audience. The kid sold millions of records to, mostly, millions of college-going girls (and the guys who wanted to get in their pants). If there's one thing most 18-22 year old girls know nothing about (besides how to hold their liquor), it's blues. Six years later, I'm just now starting to love The John Mayer Trio's only album, "Try!" It's an amazing album, don't get me wrong. But the last thing you want to do to your audience of Ugg-wearing, bottle blondes is alienate them. 'Try!' was ten times smarter than 21-year-old-Me and a few feet deeper. I'd always known JM was supposed to be some sort of guitar savant, but I suddenly felt like I must be some sort of idiot for not understanding this new twist. He was above me...too far above me. I think that turned a lot of people off of him.
'Continuum' came out in 2006 and peaked at #2 on the charts ('Room for Squares' peaked at 8, but 'Heavier Things' went to number 1) and went platinum twice. The first single had a lot to do with that, though. "Waiting on the World to Change" came at a time when the world needed it the most. We were still in Iraq and Afghanistan, we were finally realizing the mistake we made by reelecting George W. Bush, and, hey, it was released just a few months shy of the five year anniversary of the September 11th tragedy. The single said everything that many young Americans didn’t know how to say. The album, to a certain extent, was what a lot of his former college student crowd was going through. "Stop This Train" reminded us that last year our dad had a heart attack or that our mums were going grey. We were getting real jobs and supposed to act as grown-ups. Stressful. Once more, John Mayer "got" what was going on in my life and the life of my friends, his fans. "Vultures" broke my heart for John. Literally, his falsetto in the chorus makes my heart shudder. It's beautiful and the slow, funky beat leaves me entirely breathless. I don't want him to be drug down and raked through the muck of the tabloids. I freaking love 'Continuum’ and I happen to think it was the most meaningful of all his albums. It’s also the albums where he lost most of his acoustic beginnings-‘Continuum’ is much more electric. I think it’s his finest work. But with a more bluesy sound than any of his previous solo albums, I think it just didn't sit as well with a lot of people as his last albums.
Somewhere along the way between that 2006 album and his latest album (released in 2009), John Mayer let the vultures get him down. He lost his tan, grew his hair, got a few million tattoos and started venturing out into public. Part of me says, "Good on him!" Instead of hiding, he set about trying to live as normally as possible. Except, you can only be so normal when you own multiple watches worth tens of thousands of dollars and have a pack of photogs who follow you around just trying to get a picture of you and whatever girl you're currently with. So, he opened his mouth. He may have a 'real purdy' mouth when he sings, but not when you piss him off. And, for awhile there, it seemed as if he was always pissed off. That's the thing about fans, though. We'll give them a life that's impossible not to get caught up in and we'll give them loads of money to buy all the weird shit they get off on. But when we tear into the gossip rags, we want to see them get out of their Ferrari, smile graciously, and act like they don't have a wad of hund-os in their front pocket. We expect that to be easy for them...and it's not. John Mayer clearly illustrated that point. For the record, his mouthiness only makes me swoon. But it rubbed a lot of people the wrong way. If his experimentation with blues didn’t do it, his new attitude did: He was no longer a pop music darling.
Then he gave us ‘Battle Studies.’ The album may have debuted at number one, but it only went platinum once, which makes it his least selling album to date. It stayed on the charts for 54 weeks. His only studio album that remained charted for a shorter length of time was Continuum, at 33 weeks. The album went platinum after two weeks, which tells me that most of its original sales were from people who were already fans. "Battle Studies" certainly didn't gain him any new friends. As a matter of fact, my (mostly) reliable sources at Wikipedia only have 'Battle Studies' at selling 1.3(ish) million copies. That's less than half of the amount of followers John Mayer had on Twitter before he deleted his account in late 2010. It seems that more people cared about hearing what JM had to say than what he wanted to sing. That’s a shame, because I don’t think John ever wanted it to be that way, but it’s what we, the fans, did to him by caring so much about anything/everything besides his music.
I liked 'Battle Studies.' Even, 'Half of My Heart' holds a special place in my, well, heart. For Christmas that year, I actually received a paperweight engraved with the line, "I was born in the arms of imaginary friends." It's a beautiful song...even with Taylor Swift's appearance. Then there's 'Assassin' which evokes the imagery that I love so much with lines like, "Enter the morning light to find the day is burning the curtains and the wine" and...all of the first verse. It's freaking beautiful. For the first time in quite a few years, John Mayer has given his fans something a little more reachable than the blues he loves. This isn't the poppy sweetness of his first and second records; it's a bit rougher than that. It's electric, rock-tinged and a very reasonable step to assume his former fans would want to take with him. 'Who Says' was the first single and while it may not be my favorite song off the album*****, it is a close second. The song may feel unrealistic for people who can't afford private jets to Tokyo or who are far less likely to partake in pot, but the sentiment is the same for blue, white & no collar listeners alike, "Why Not?" It's about the desire to loosen your tie, kick off your heels and blow a bit of your savings on a weekend trip to New York. It's the reality that nothing that bad will happen if you do and the realization that you're not the only one in need of a serious escape. It's easily related to and deserves far more love than it received.
It's been a year and a half since 'Battle Studies' and I thoroughly miss John Mayer. He's been almost invisible lately-similar to how it used to be. From the record labels’ standpoint, that is a good thing. If he stops mouthing off in public, he can't alienate anyone else. The public can have time to forgive and forget his pale, grumbling days and remember the tanner, happier times. From a fan's perspective, though, I think it's a little sad. Why shouldn't he be able to be a jackass and still sell records? If his music is good (and I think it is), why should it matter what he wears, who he votes for, and who's sleeping in his bed? If we're going to make him famous and give him money to sing about his life, shouldn't we also afford him the same opportunity to discuss his life in a less melodic fashion? Our obsession with celebrities and our quickness to judge anyone has gotten out of hand. I miss John Mayer. I'm ready for new music, but I'd also be happy with some good old foot-in-mouth snarkiness, too. Just bring back my tattooed guitar god, please.
*No comments from the peanut gallery, please, about my number of "all-time favorite songs."
**Actual statistic. I think.
***At least it used to.
****Also, it made me want to have his baby.
*****First place goes to 'Perfectly Lonely.'
I've been on a John Mayer kick lately. I'm not sure where it came from, especially as I've actually been a bit mad at him. Why was I mad at him, you ask? Easy. The Grammy Awards. He sang Dolly Parton's 'Jolene,' which happens to be one of my all-time favorite songs.* I was pretty stoked when it started. Then I watched him, less than gracefully, make his way through the verse while clearly reading the lyrics off the teleprompter. I know country music isn't really JM's thang. But, it was a freaking Dolly Parton tribute! If that was the best he could do, he oughtn't to have done it at all. I've digressed, though. Sort of.
So, when I say I've been listening to a lot of John Mayer, you should know that I don't just mean "Continuum." I know there are a couple million people** who think that "Continuum" was his last/only great album. I am not one of those people. When I listen to John Mayer I start with "Comfortable" (From the 'Inside Wants Out' EP, not the live album) and end somewhere around 'Assassin' or 'Crossroads.'
Actually, that's not entirely true. I usually end with '3x5.' But that doesn't really count because after a good JM session, I've probably already listened to that song roughly a dozen times. I'm a little obsessive with it. The lyrics are so poetic and full of imagery. I can't think of another song he's written that paints as vivid a picture. Of course, that's the idea behind the song: To paint a picture with words. As a writer, I can understand the sentiment and often remind myself to do that instead of always reaching for my camera. As a girl who is forever on yet another road trip, it tugs hundreds of pictures of sunsets from my memories. If I'm on the road, it makes me smile at knowing I'll be driving right under the 'cowboy cliche.' If I'm at home, it lures me into calculating cost of gas to some new place. '3x5' is one of my many, many theme songs.
But John Mayer's genius didn't stop or really even start at 'Room for Squares.' Actually, the most genius thing about that album is its pop quality. I don't imagine that when JM is listening to music in his massive mansion that it sounds anything like the music on 'Room for Squares.' He'll freely admit that the sound of that album isn't a sound he particularly loves. But he (and his record label) knew what it took to sell an album. It takes "bubblegum tongue" and chess with salt and pepper shakers.***
'Any Given Thursday' came next and is still one of my favorite JM albums in existence. In those days, I couldn't afford to go see 10 of the same concerts in one year. 'Any Given Thursday' sounded exactly like the one and only John Mayer show I could afford to go to (just a few miles down the street from my very first apartment). That album made me feel like I was able to go to a hundred of his shows. As far as live albums go, it's pretty freaking spectacular.
He followed that with his second studio album, 'Heavier Things,' which was really more of the same. But, you know, a little heavier. (True Genius) "Daughters" was, I think, the first single off 'Heavier Things.' I can still remember the first time I heard it: In my beat up ol' Neon, driving around Tallahassee during my freshman year of college. It made me swoon. It made me think, "He gets it."**** When the album came out, I immediately fell in love with "Split-screen Sadness." I still love it. I still have my made-up music video in my head and I still think it could make an amazing duet. The album went a little softer than an outright pop album. But with tracks like 'Bigger Than My Body' and 'Wheel,' it was easy for John Mayer to stay in everyone's good graces.
I think somewhere after that is where John Mayer began to pale in the eyes of wonderlandish girls everywhere. However, I also think it’s where his “genius” began to come alive. In 2005, he came up with The John Mayer Trio. If it was 100% for himself, it was also 100% not for his audience. The kid sold millions of records to, mostly, millions of college-going girls (and the guys who wanted to get in their pants). If there's one thing most 18-22 year old girls know nothing about (besides how to hold their liquor), it's blues. Six years later, I'm just now starting to love The John Mayer Trio's only album, "Try!" It's an amazing album, don't get me wrong. But the last thing you want to do to your audience of Ugg-wearing, bottle blondes is alienate them. 'Try!' was ten times smarter than 21-year-old-Me and a few feet deeper. I'd always known JM was supposed to be some sort of guitar savant, but I suddenly felt like I must be some sort of idiot for not understanding this new twist. He was above me...too far above me. I think that turned a lot of people off of him.
'Continuum' came out in 2006 and peaked at #2 on the charts ('Room for Squares' peaked at 8, but 'Heavier Things' went to number 1) and went platinum twice. The first single had a lot to do with that, though. "Waiting on the World to Change" came at a time when the world needed it the most. We were still in Iraq and Afghanistan, we were finally realizing the mistake we made by reelecting George W. Bush, and, hey, it was released just a few months shy of the five year anniversary of the September 11th tragedy. The single said everything that many young Americans didn’t know how to say. The album, to a certain extent, was what a lot of his former college student crowd was going through. "Stop This Train" reminded us that last year our dad had a heart attack or that our mums were going grey. We were getting real jobs and supposed to act as grown-ups. Stressful. Once more, John Mayer "got" what was going on in my life and the life of my friends, his fans. "Vultures" broke my heart for John. Literally, his falsetto in the chorus makes my heart shudder. It's beautiful and the slow, funky beat leaves me entirely breathless. I don't want him to be drug down and raked through the muck of the tabloids. I freaking love 'Continuum’ and I happen to think it was the most meaningful of all his albums. It’s also the albums where he lost most of his acoustic beginnings-‘Continuum’ is much more electric. I think it’s his finest work. But with a more bluesy sound than any of his previous solo albums, I think it just didn't sit as well with a lot of people as his last albums.
Somewhere along the way between that 2006 album and his latest album (released in 2009), John Mayer let the vultures get him down. He lost his tan, grew his hair, got a few million tattoos and started venturing out into public. Part of me says, "Good on him!" Instead of hiding, he set about trying to live as normally as possible. Except, you can only be so normal when you own multiple watches worth tens of thousands of dollars and have a pack of photogs who follow you around just trying to get a picture of you and whatever girl you're currently with. So, he opened his mouth. He may have a 'real purdy' mouth when he sings, but not when you piss him off. And, for awhile there, it seemed as if he was always pissed off. That's the thing about fans, though. We'll give them a life that's impossible not to get caught up in and we'll give them loads of money to buy all the weird shit they get off on. But when we tear into the gossip rags, we want to see them get out of their Ferrari, smile graciously, and act like they don't have a wad of hund-os in their front pocket. We expect that to be easy for them...and it's not. John Mayer clearly illustrated that point. For the record, his mouthiness only makes me swoon. But it rubbed a lot of people the wrong way. If his experimentation with blues didn’t do it, his new attitude did: He was no longer a pop music darling.
Then he gave us ‘Battle Studies.’ The album may have debuted at number one, but it only went platinum once, which makes it his least selling album to date. It stayed on the charts for 54 weeks. His only studio album that remained charted for a shorter length of time was Continuum, at 33 weeks. The album went platinum after two weeks, which tells me that most of its original sales were from people who were already fans. "Battle Studies" certainly didn't gain him any new friends. As a matter of fact, my (mostly) reliable sources at Wikipedia only have 'Battle Studies' at selling 1.3(ish) million copies. That's less than half of the amount of followers John Mayer had on Twitter before he deleted his account in late 2010. It seems that more people cared about hearing what JM had to say than what he wanted to sing. That’s a shame, because I don’t think John ever wanted it to be that way, but it’s what we, the fans, did to him by caring so much about anything/everything besides his music.
I liked 'Battle Studies.' Even, 'Half of My Heart' holds a special place in my, well, heart. For Christmas that year, I actually received a paperweight engraved with the line, "I was born in the arms of imaginary friends." It's a beautiful song...even with Taylor Swift's appearance. Then there's 'Assassin' which evokes the imagery that I love so much with lines like, "Enter the morning light to find the day is burning the curtains and the wine" and...all of the first verse. It's freaking beautiful. For the first time in quite a few years, John Mayer has given his fans something a little more reachable than the blues he loves. This isn't the poppy sweetness of his first and second records; it's a bit rougher than that. It's electric, rock-tinged and a very reasonable step to assume his former fans would want to take with him. 'Who Says' was the first single and while it may not be my favorite song off the album*****, it is a close second. The song may feel unrealistic for people who can't afford private jets to Tokyo or who are far less likely to partake in pot, but the sentiment is the same for blue, white & no collar listeners alike, "Why Not?" It's about the desire to loosen your tie, kick off your heels and blow a bit of your savings on a weekend trip to New York. It's the reality that nothing that bad will happen if you do and the realization that you're not the only one in need of a serious escape. It's easily related to and deserves far more love than it received.
It's been a year and a half since 'Battle Studies' and I thoroughly miss John Mayer. He's been almost invisible lately-similar to how it used to be. From the record labels’ standpoint, that is a good thing. If he stops mouthing off in public, he can't alienate anyone else. The public can have time to forgive and forget his pale, grumbling days and remember the tanner, happier times. From a fan's perspective, though, I think it's a little sad. Why shouldn't he be able to be a jackass and still sell records? If his music is good (and I think it is), why should it matter what he wears, who he votes for, and who's sleeping in his bed? If we're going to make him famous and give him money to sing about his life, shouldn't we also afford him the same opportunity to discuss his life in a less melodic fashion? Our obsession with celebrities and our quickness to judge anyone has gotten out of hand. I miss John Mayer. I'm ready for new music, but I'd also be happy with some good old foot-in-mouth snarkiness, too. Just bring back my tattooed guitar god, please.
*No comments from the peanut gallery, please, about my number of "all-time favorite songs."
**Actual statistic. I think.
***At least it used to.
****Also, it made me want to have his baby.
*****First place goes to 'Perfectly Lonely.'
Monday, March 14, 2011
AD Reads..."Let It Blurt"
Big News! This is the first ever official Audiodaughter book review. I’m not sure if there will ever be a second (Okay, there will probably be another. I’m halfway through a Pamela DesBarres book right now), but that’s okay. If this were the only book review I ever wrote-I would be proud to admit it! Ready? Here goes…
Let It Blurt: The Life and Times of Lester Bangs, America's Greatest Rock Critic
“Let it Blurt” paints a much different picture of that ‘Lester Bangs’ guy from ‘Almost Famous.’ While Cameron Crowe saw Bangs as his hero (and painted him so), Jim DeRogatis’ account dives deeper into the heart, soul and history of Lesley Bangs. After all, Bangs’ real life contained a lot more than speed and his paranoia and cynicism ran a lot darker than what was shown on the silver screen. DeRogatis even recounts the same story of when Crowe and Bangs first met, afterward informing the reader that the time with Crowe was one of his only pleasant moments on that trip back to California. But where ‘Almost Famous’ stops (after one meeting and multiple phone calls in a few weeks’ time span), ‘Let it Blurt’ keeps going all the way up until the ultimate demise of “America’s greatest rock critic.”
To be honest, I haven’t yet finished “Let it Blurt.” However, I fear that if I wait until it’s finished, this review could go unwritten for a few more months. It’s not that the book is poorly written-It’s certainly not. As a matter of fact, I believe the reason it’s taking me so long is due to the sheer depth of knowledge that spills from its pages. It’s intense and it’s awesome. The stories of Lester and his friends are so well researched and colorfully described, I often find myself lost in imagination only halfway through a sentence. I keep stopping to take in the scenery, to look around the party and see who else I can spot in the crowd. I keep trying to imagine just how amazing it would be to sit across the room from Lou Reed- and give him shit.
It may be dreary at times, but ‘Let it Blurt’ is also filled with humor-if only in accounts of Bangs’ absurd antics. There are moments when I’ve gasped and wondered how the book would continue on for a hundred more pages if Lester got himself killed in yet another episode of drunken stupidity. I’ve also spent a lot of time swooning over the incredible situations Bangs found himself in with various musicians. This book is heavy (both in theme and size), but it’s amazing. I may not be through with it yet, but I’m sure I won’t be giving up my red Chuck Taylors any time soon.
Let It Blurt: The Life and Times of Lester Bangs, America's Greatest Rock Critic
“Let it Blurt” paints a much different picture of that ‘Lester Bangs’ guy from ‘Almost Famous.’ While Cameron Crowe saw Bangs as his hero (and painted him so), Jim DeRogatis’ account dives deeper into the heart, soul and history of Lesley Bangs. After all, Bangs’ real life contained a lot more than speed and his paranoia and cynicism ran a lot darker than what was shown on the silver screen. DeRogatis even recounts the same story of when Crowe and Bangs first met, afterward informing the reader that the time with Crowe was one of his only pleasant moments on that trip back to California. But where ‘Almost Famous’ stops (after one meeting and multiple phone calls in a few weeks’ time span), ‘Let it Blurt’ keeps going all the way up until the ultimate demise of “America’s greatest rock critic.”
To be honest, I haven’t yet finished “Let it Blurt.” However, I fear that if I wait until it’s finished, this review could go unwritten for a few more months. It’s not that the book is poorly written-It’s certainly not. As a matter of fact, I believe the reason it’s taking me so long is due to the sheer depth of knowledge that spills from its pages. It’s intense and it’s awesome. The stories of Lester and his friends are so well researched and colorfully described, I often find myself lost in imagination only halfway through a sentence. I keep stopping to take in the scenery, to look around the party and see who else I can spot in the crowd. I keep trying to imagine just how amazing it would be to sit across the room from Lou Reed- and give him shit.
It may be dreary at times, but ‘Let it Blurt’ is also filled with humor-if only in accounts of Bangs’ absurd antics. There are moments when I’ve gasped and wondered how the book would continue on for a hundred more pages if Lester got himself killed in yet another episode of drunken stupidity. I’ve also spent a lot of time swooning over the incredible situations Bangs found himself in with various musicians. This book is heavy (both in theme and size), but it’s amazing. I may not be through with it yet, but I’m sure I won’t be giving up my red Chuck Taylors any time soon.
AD Wandering-Bobby Long, Columbus
I bought tickets for Bobby Long's performance the same day the show was announced. I'd only discovered him a few weeks prior, but I was still pretty hooked. The album came a week or so before the gig and I loved every second of it. I knew, knew, knew it was going to be an excellent show! I'd seen quite a few interviews and clips of Long performing on his couch at home. His painful shyness always amused me. It never occurred to me that his timidity would affect his performance. That's exactly what it did, though.
Not to say it wasn't a good performance. He voice was as lovely as on the album and his picking was sensational. He sounded exactly like he did on 'A Winter Tale.' There's a connection you can feel with an album that's incredibly important. Equally important, though, is the connection you can feel with an artist during a gig. A good show can take those emotions from the record and quadruple them. They can turn a packed venue into a cathartic event, no matter how big the crowd. A great gig will leave you still feeling the emotion of that night, under those lights, with all those other people long after you've returned home. That connection is hard to make when the singer spends the entire hour staring down at his feet.
The opening act, local band Yellow Light Maybe, was definitely the highlight of the evening for me. Not only did I get my fair share of eye contact, but so did the rest of the audience. Even after a fowl-up at the beginning, the guys pulled it off with a laugh and a story. For a bar packed with Bobby Long fans-there was much more movement during YLM. Afterward, while the local guys hammed it up with friends, fans and bartenders, the England-native stood behind a merch table while his keeper herded fans through the line as quickly as possible.
Maybe I've become spoiled. I spent last year following a band around who's crowd size tripled in 6 months. Those fine gentlemen still came out after each show, signed autographs, posed for pictures and hugged fans. They scream out to people in the balcony and tease rowdy, swooning girls in the most charming way possible. Then, when they perform, they do it with passion, power, musicianship and tons of eye contact with their fans. Yes, I'm definitely spoiled. But if a relatively unknown band like Yellow Light Maybe can make me happy, I feel like Bobby Long should have been able to have done a better job, too.
All in all, I don't regret driving the hour and half to Columbus or spending my money on the ticket. Yellow Light Maybe would have been worth my 15 quid even without Long. I missed the connection with Bobby and skipped his show when he came to Cincinnati. He sounds great live, he puts on a less than moving show. I will, however, head out to see Yellow Light Maybe again.
Not to say it wasn't a good performance. He voice was as lovely as on the album and his picking was sensational. He sounded exactly like he did on 'A Winter Tale.' There's a connection you can feel with an album that's incredibly important. Equally important, though, is the connection you can feel with an artist during a gig. A good show can take those emotions from the record and quadruple them. They can turn a packed venue into a cathartic event, no matter how big the crowd. A great gig will leave you still feeling the emotion of that night, under those lights, with all those other people long after you've returned home. That connection is hard to make when the singer spends the entire hour staring down at his feet.
The opening act, local band Yellow Light Maybe, was definitely the highlight of the evening for me. Not only did I get my fair share of eye contact, but so did the rest of the audience. Even after a fowl-up at the beginning, the guys pulled it off with a laugh and a story. For a bar packed with Bobby Long fans-there was much more movement during YLM. Afterward, while the local guys hammed it up with friends, fans and bartenders, the England-native stood behind a merch table while his keeper herded fans through the line as quickly as possible.
Maybe I've become spoiled. I spent last year following a band around who's crowd size tripled in 6 months. Those fine gentlemen still came out after each show, signed autographs, posed for pictures and hugged fans. They scream out to people in the balcony and tease rowdy, swooning girls in the most charming way possible. Then, when they perform, they do it with passion, power, musicianship and tons of eye contact with their fans. Yes, I'm definitely spoiled. But if a relatively unknown band like Yellow Light Maybe can make me happy, I feel like Bobby Long should have been able to have done a better job, too.
All in all, I don't regret driving the hour and half to Columbus or spending my money on the ticket. Yellow Light Maybe would have been worth my 15 quid even without Long. I missed the connection with Bobby and skipped his show when he came to Cincinnati. He sounds great live, he puts on a less than moving show. I will, however, head out to see Yellow Light Maybe again.
Friday, March 11, 2011
Pains of Being Pure at Heart's Belong
While I'm still not 100% sold on PoBPaH, I have no major beef with the band or their new album. Instead of reviewing this too soon, I thought I'd embed their album up here and let you have a listen for yourself. Feel free to leave a comment or shoot an email with your thoughts. As always, if you like it-Buy it.
Wednesday, February 23, 2011
Tax Return Splurge
Tax returns always have and always will mean only one thing for me: Music. This year a massive chunk of that money went to paying off my credit card. But, what was on my credit card? Concert tickets, gas to get to concerts, and hotels for after the gigs. Those who think the music industry is failing have clearly never seen my credit card bills, bank statements and constantly overflowing Amazon.com cart. So, with only enough fivers left in my account to cover parking at University, I thought it was time to give you an update on my latest purchases. Get ready. It's a long one...
Abigail Washburn-City of Refuge (CD)
-Dear Mr. Fleck, Your wife is my hero. Her sugared tinsel voice is lovely and her banjo pickin' leaves me breathless. Give her my love. -AD
Adele-21 (CD)
-As predicted, 21 is killing it. By Tuesday afternoon, it took a trip to three different Target stores before I finally found a store that hadn't already sold out. Bonus-The Target edition comes with a second four-song bonus CD. It's the best 10 bucks I spent all month.
Bruno Mars-Doo-Wops and Hooligans (CD)
-Forget the hair, the eyes, that grin and those dance moves-Bruno Mars' voice makes my knees jelly and there's not a single beat on this album that isn't absolutely hip swishingly good. Admittedly, my only regret for this album was that I didn't buy it sooner. "Count on Me" is sweet and "Runaway Baby," with its funky familiar guitar rifts and urgent drums, is pretty much my most favorite thing I've found this month.
Alison Krauss-New Favorite (CD)
-I own this on tape and haven't been able to listen to it for forever. "New Favorite" turned up on Pandora Radio the other night and I suddenly missed the it and new I needed it on CD. I bought it that night.
Joni Mitchell-Both Sides Now(CD) and Blue (CD)
-I have Blue on vinyl, but it's getting pretty worn out. I decided it was time to invest in some Joni CDs so she could come with me on my next road trip.
Carole King-Tapestry (CD)
-How have I never owned this? I do now and it won't be leaving my car any time soon.
Johnny Flynn-Hong Kong Cemetery EP (Vinyl)
-This EP has a really strange version of my favorite Flynn song, "Tickle Me Pink" (from "A Larum"). I heard it for the first time the other night and immediately added the EP to my cart. No regrets.
Laura Marling-Cross Your Fingers single(?) (Digital)
-This has a song on it that you can't find on "Alas, I Cannot Swim" or "I Speak Because I can." It's called "I'm a Fly" and it's brilliant. Also, great live versions of a couple songs from "Alas..." Great way to spend $3.
Bobby Long-A Winter Tale (CD)
-Everything I said about it in my last post, I still believe. It's a great, mellow album with a lot of heart and even more depth. He sounds just as good live, too-Though his shyness adds a bit of distance between him and the crowd.
Yellow Light Maybe-More of the World
-Five songs by four guys from Ohio. They opened for Bobby Long in Columbus and now they're back in the studio working on their first full-length album. It's pop-rock at it's most fun. I honestly left the gig more excited about discovering these guys than anything else, including meeting Bobby Long. Check em out on Facebook.
Abigail Washburn-City of Refuge (CD)
-Dear Mr. Fleck, Your wife is my hero. Her sugared tinsel voice is lovely and her banjo pickin' leaves me breathless. Give her my love. -AD
Adele-21 (CD)
-As predicted, 21 is killing it. By Tuesday afternoon, it took a trip to three different Target stores before I finally found a store that hadn't already sold out. Bonus-The Target edition comes with a second four-song bonus CD. It's the best 10 bucks I spent all month.
Bruno Mars-Doo-Wops and Hooligans (CD)
-Forget the hair, the eyes, that grin and those dance moves-Bruno Mars' voice makes my knees jelly and there's not a single beat on this album that isn't absolutely hip swishingly good. Admittedly, my only regret for this album was that I didn't buy it sooner. "Count on Me" is sweet and "Runaway Baby," with its funky familiar guitar rifts and urgent drums, is pretty much my most favorite thing I've found this month.
Alison Krauss-New Favorite (CD)
-I own this on tape and haven't been able to listen to it for forever. "New Favorite" turned up on Pandora Radio the other night and I suddenly missed the it and new I needed it on CD. I bought it that night.
Joni Mitchell-Both Sides Now(CD) and Blue (CD)
-I have Blue on vinyl, but it's getting pretty worn out. I decided it was time to invest in some Joni CDs so she could come with me on my next road trip.
Carole King-Tapestry (CD)
-How have I never owned this? I do now and it won't be leaving my car any time soon.
Johnny Flynn-Hong Kong Cemetery EP (Vinyl)
-This EP has a really strange version of my favorite Flynn song, "Tickle Me Pink" (from "A Larum"). I heard it for the first time the other night and immediately added the EP to my cart. No regrets.
Laura Marling-Cross Your Fingers single(?) (Digital)
-This has a song on it that you can't find on "Alas, I Cannot Swim" or "I Speak Because I can." It's called "I'm a Fly" and it's brilliant. Also, great live versions of a couple songs from "Alas..." Great way to spend $3.
Bobby Long-A Winter Tale (CD)
-Everything I said about it in my last post, I still believe. It's a great, mellow album with a lot of heart and even more depth. He sounds just as good live, too-Though his shyness adds a bit of distance between him and the crowd.
Yellow Light Maybe-More of the World
-Five songs by four guys from Ohio. They opened for Bobby Long in Columbus and now they're back in the studio working on their first full-length album. It's pop-rock at it's most fun. I honestly left the gig more excited about discovering these guys than anything else, including meeting Bobby Long. Check em out on Facebook.
Wednesday, January 19, 2011
Two Reasons to LOVE February
You already have two reasons to hate February. To begin with, there's no sign that February will be any less Siberian than January. Then you must factor the pink and red Valentine's Day signs, bags of candy and overly sentimental cards-All stabbing reminders that you're single this year. (If you're not single, then they're reminders of the amount of money you are expected to shell out for your significant other.) There isn't a reason in sight to get you excited for February, is there?
Lucky for you, audiodaughter has two incredibly awesome reasons to look forward to waving January good-bye.
Feb. 1- Bobby Long's 'A Winter Tale'
Female Anglophiles all over the world are waiting with baited breath for the release of Bobby Long's debut album. The singer/songwriter/guitar player has been playing it safe under the radar for quite awhile now-Mostly only known by London Folk-scene-ers and the Americans who wish they were in on it. With mellow backing music and soft, sorrowful lyrics-Mr. Long writes a perfect 'Winter Tale,' indeed. His smooth voice will leave you anything but cold, though. Check out "Dead and Done" on Bobby Long's facebook page for a perfect taste of his album.
Here's a video for "What To Say" -Posted for only a limited time. Not on the new album-It was recorded as a thanks for a boost in friends on his website. (PS-AD & Friends love how painfully shy he appears in the video!)
Feb. 22- Adele's '21'
February is the month for Brits! Two and a half years after the release of her debut album, '19,' Adele puts forth a new record that promises to be just as beautiful. (You can read AD's thoughts on '19' by clicking this sentence.) Adele's voice is all at once boisterous, soothing and soulful. It's the perfect remedy for any mood and any situation. The last couple months have afforded us sneak peaks of multiple songs off her forthcoming album. The first single, "Rolling In The Deep," is the song for anyone who's overcoming heartache. It's, quite possibly, our generation's version of Gloria Gaynor's "I Will Survive." Meanwhile, Adele herself describes "Someone Like You" as feeling the exact opposite. It's for wallowing in your defeat and drowning in your tears. The songstress has also been out and about singing a third song off "21" called "Don't You Remember" which explores the root of the heartbreak from the last two songs. Adele's gorgeous voice and the piano she parades throughout most of her songs are the key elements to Adele's success and they're why we can't wait for her new album.
Here's a clip of Adele discussing and performing "Someone Like You."
Need a few more reasons to love February? Be sure to check out new albums by Bright Eyes (The People's Key 2/15), Drive-By Truckers (Go-Go Boots 2/15), & PJ Harvey (Let England Shake 2/15)
Lucky for you, audiodaughter has two incredibly awesome reasons to look forward to waving January good-bye.
Feb. 1- Bobby Long's 'A Winter Tale'
Female Anglophiles all over the world are waiting with baited breath for the release of Bobby Long's debut album. The singer/songwriter/guitar player has been playing it safe under the radar for quite awhile now-Mostly only known by London Folk-scene-ers and the Americans who wish they were in on it. With mellow backing music and soft, sorrowful lyrics-Mr. Long writes a perfect 'Winter Tale,' indeed. His smooth voice will leave you anything but cold, though. Check out "Dead and Done" on Bobby Long's facebook page for a perfect taste of his album.
Here's a video for "What To Say" -Posted for only a limited time. Not on the new album-It was recorded as a thanks for a boost in friends on his website. (PS-AD & Friends love how painfully shy he appears in the video!)
Feb. 22- Adele's '21'
February is the month for Brits! Two and a half years after the release of her debut album, '19,' Adele puts forth a new record that promises to be just as beautiful. (You can read AD's thoughts on '19' by clicking this sentence.) Adele's voice is all at once boisterous, soothing and soulful. It's the perfect remedy for any mood and any situation. The last couple months have afforded us sneak peaks of multiple songs off her forthcoming album. The first single, "Rolling In The Deep," is the song for anyone who's overcoming heartache. It's, quite possibly, our generation's version of Gloria Gaynor's "I Will Survive." Meanwhile, Adele herself describes "Someone Like You" as feeling the exact opposite. It's for wallowing in your defeat and drowning in your tears. The songstress has also been out and about singing a third song off "21" called "Don't You Remember" which explores the root of the heartbreak from the last two songs. Adele's gorgeous voice and the piano she parades throughout most of her songs are the key elements to Adele's success and they're why we can't wait for her new album.
Here's a clip of Adele discussing and performing "Someone Like You."
Need a few more reasons to love February? Be sure to check out new albums by Bright Eyes (The People's Key 2/15), Drive-By Truckers (Go-Go Boots 2/15), & PJ Harvey (Let England Shake 2/15)
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