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Saturday, December 29, 2007

Mêlée: Devils and Angels


I'm happy to say that I got a copy of Mêlée's Devils and Angels and after many months I finally got to answer the question that had been floating around my head. Is the rest of the album as good as the six or so songs I'd become familiar with via band web site and Myspace? You bet. The disc has twelve tracks plus a bonus and from those, I already wrote about "Built to Last," "Rhythm of the Rain," Frequently Baby," "Drive Away," "You Got," and "Stand Up." The rest range from energetic piano pop to slow and sweet ballads. As always, the lyrics are clever and slick. One favorite of mine comes from "Biggest Mistake," chronicling a lapse in judgement involving a girl while in New York. "Hand full of friends and some dynamite, set to explode if you do it right. Right off a cliff on a Saturday night." The Mitch Ryder reference isn't too shabby either. Award for sweetest song goes to "She's Gonna Find Me Here." All in all it's a great album and Chris Cron's voice never ceases to evoke admiration for it's clarity and youthful tone. It's sunny stuff and the first record in a long time to really say something to me beyond an uninspiring proclamation of adequacy. If you're looking for something to put you in a good mood, Devils and Angels comes highly recommended.

Friday, December 21, 2007

Death Cab for Cutie in 2008


I've got to say that 2008 is shaping up to be quite a year for new releases. Death Cab for Cutie has put a video on their web site heralding a May 2008 album. There's no word yet on a name or anything of the sort, but if the song they were playing in the video is a part of the new album-- then I'm predicting good things. The group will be in the studio in the early part of this year. It'll be their sixth album(excluding You Can Play These Songs with Chords). Stay tuned.

Monday, December 17, 2007

The Musically Inclined's Top 10 Discoveries of 2007

Obviously, The Musically Inclined is no major establishment on the receiving end of countless promotional cds, so it would be pretty difficult to compile a list of top albums of the year. So, the spin is "discoveries" meaning these songs weren't necessarily released this year but were discovered this year. Crafty, ain't it?

1. DRIVE AWAY BY MÊLÉE- TMI loves Mêlée and this song is a perfect example of their excellent lyrics and energetic musical stylings.
2. SECRET MEETING BY THE NATIONAL- Paste Magazine's pick for album of the year...told ya they were headed for big things.
3. FINE CHINA BY ANDY DAVIS- This Nashvile artist has got a terrific voice and this song is beautifully piano-driven.
4. TRANQUILIZE BY THE KILLERS- Points for being bizarre yet promising.
5. HEY THERE DELILAH BY PLAIN WHITE Ts- It's got to be the #1 anthem of lovers this year.
6. MASSIVE NIGHTS BY THE HOLD STEADY- More literate lyrics and straight up rock.
7. DETROIT WAVES BY MATT NATHANSON- It's just a great song to listen to/sing with/get stuck on.
8. DON'T LET GO BY PACHA MASSIVE- The very definition of the term "groove."
9. THE WAY I ARE BY TIMBALAND- Surprisingly addictive. Just add strobe light.
10. THE PRETENDER BY FOO FIGHTERS- The first FF song that I've actually liked. That's got to count for something.

In other news, you can now subscribe to The Musically Inclined via email. Every time there's a new posting a lovely little email from yours truly will roll into your inbox. It's as easy as typing in your address and confirming the subscription request, so check it out! Also, The Musically Inclined now has an email address so if there's something on your mind, drop a line. The address is at the very bottom of the page.

Saturday, December 15, 2007

Defying Logic and Better Judgement


I rented a certain unspecified movie last night and was listening to the songs that play over the credits and there was one song that was so familiar but I couldn't place it. Of course, I wrote down a few lines and got on Leo's Lyrics to discover it was "Best Days" by Matt White, a music video that I caught on MTVU a while ago. Instantly that morning came back to me, standing in front of the TV, trying to decide if I liked it. Maybe it was his voice, maybe it was his face, but I was undecided when the video ended. "Best Days" seemed like a ballad worthy of James Blunt and I don't mean that in a good way. Having heard it again last night, I suppose it's okay but there is something about that song that is annoying and sub par but catchy all at once.

It's those paradoxes that drive me up the wall. Take the mystery of Maroon 5. Extremely popular, fairly reliable pop-- but what can anyone make of Adam Levine's voice? It's high, whiny, scratchy, and nasal. Yet somehow, it doesn't appear to matter because Maroon 5 is fun to listen to and appealingly commercial. It's an odd place-- critically they are nothing spectacular, so it's not that. Musically they're also average-- nothing mind blowing. My theory is that Levine is not one more lead singer in the vain of the ones from SImple Plan, Good Charlotte, or any other singer of that mid-range pitch. Won't complain about that.

I'll listen to Maroon 5 and Levine's voice doesn't bother me. It perplexes me. I don't get why it doesn't ruin everything when I know that it doesn't sound that good. Oh well, I guess in the end all that matters is that people get enjoyment from the band. What else is there to ask for?

Wednesday, December 12, 2007

Indie Rock: Take Some Time to Educate Yourself


It's really easy to get overwhelmed with the sheer amount of music there is these days, even within one genre. Trying to learn as much as possible about music in general is certainly a noble pursuit, so I found this little jewel of a feature story of sorts on the "Indie Rock Universe" from Rolling Stone and happily filled up an afternoon. The genre is comically mapped out via what looks like doodles on the back of some future art major's history notes. After a quick Rhapsody Player download, listen to the songs listed under each part of the universe. I'm not doing this thing justice...check it out if only to look at the cool artwork.

Tuesday, December 11, 2007

Green Day is Headed for the Studio


It certainly seems as though there has been an abundance of announcements recently. The latest of which comes courtesy of Yahoo news: Green Day is going to be back in the studio in January.

These 3 are a talented bunch and I'm not talking about their musical ability. Somehow they manage to maintain that whole "I'm really pissed off" persona but then turn around and act like they care by getting involved in Instant Karma and what not. Remember their participation in "Across the Universe" after Katrina? Even their site has links to Greenpeace, USA Harvest, and ONE-- and I know there's stuff I'm forgetting. We have on our hands a socially conscious band who still hates everyone in the true spirit of the punk genre. Points for being a complete paradox.

No release date has been announced, so really-- who knows? Also, they're casting off the themes from American Idiot (leaving me to wonder what's left to complain about).

We'll see where this goes, folks. Stay tuned.

Sunday, December 9, 2007

Jack Johnson: "If I Had Eyes"


One of the greatest and most inescapable influences on music has to be location. Where an artist lives or is from originally just seems to seep into the their music more often than not. I think it's pretty cool when that happens-- take the obvious reference of the Beach Boys, or the reputation Detroit has for producing a lot of tough and loud stuff like the MC5. Music is always better when it's got roots. I like Jack Johnson a lot for that reason. He produces some quality music and leaves no doubt in any mind that he's from Hawaii. His latest single, "If I Had Eyes" is yet another of his creations built on the citrus-y goodness of island influence. The guitar is as steady and light as ever while "oooh"s in the background bring to mind swaying palm trees. I have a hard time finding fault with the breeze that blows when I hit the "play" button.

I can't say that the song blew me away. It sounds like a cohesive part of his collection-- but don't go expecting much of an evolution. As a fan, I think I'm okay with that. If I want to hear major progression I'll listen to a few choice Beatles albums. Most of the time I listen to In Between Dreams because it puts me in a good mood and the music and lyrics (good grief, do I love his lyrics) are extremely appealing. There have definitely been times when that's all I want. Reading up on Johnson's background, it just sounds like he's having a good time with life, making surfing movies and starting up a record label to release the soundtracks before recording himself. Good times. Great locale. Can't wait for the next audio dose Hawaii to roll into stores sunny-up gray old February.

In case you missed the last entry..."If I Had Eyes" will be available on iTunes this Tuesday.

Wednesday, December 5, 2007

Jack's Back Too


Yes, I know it's been a week and you've missed me greatly. These are busy times. That aside- I was clicking around and discovered that Jack Johnson is due to release a brand new CD in Feb. 2008. Let me just say I can't wait for another helping of mellowness from the king of Hawaiian chill. I just checked back on his site and found out the name of the album is Sleep through the Static and his new single "If I Had Eyes" can be heard at BrushfireRecords.com. More to follow on that later. The single will be available on iTunes Dec. 11.

Here's to sitting, waiting, and wishing for February.

Tuesday, November 27, 2007

And Now For Some Christmas Music

We've officially entered the Christmas season and for the next month Christmas music will be as ubiquitous as those garish inflatable/plastic lawn ornaments. Generally I enjoy the music, until I've heard so much of it that when Christmas morning rolls around I'm ready to punch the first person to make a move towards the radio. There are songs that I wished were played more, like the Drifters version of "White Christmas" and some songs I pray won't come on, like "Last Christmas" by whomever.

In the past couple years though, I made two discoveries that I though were pretty great. The first is this jazzed up version of The Night Before Christmas called "Be Bop Santa Claus." In this story, Santa is a cool cat who drives a red Cadillac and leaves Dizzy Gilespie albums under the tree. It was originally out in 1955 by Babs Gonzalez, but the better version is more recent by one Sweet Daddy Lowe. It's the very definition of "cool." Unfortunately iTunes only has the one from '55.

The other find is perhaps not as edgy, but: Attention Children of the 90s-- you might just like this. There's an a cappella group called the Blenders (clever ain't it?) who got started around 1992 and over the years got into releasing Christmas albums. They've made at least four. The one I have is Most Wonderful Time and it was sent free as some sort of promotion. I let that thing lay around for a while but when I played it, it was surprisingly fun to listen to-- a cappella with a dash of boy band. Normally I hate boy bands, but these guys actually have some ability to harmonize seamlessly. It's slick stuff and I play it often. A favorite of mine is "I Bought You a Plastic Star (for your aluminum tree)." All the rest are old familiars.

So, if you've had it with Burl Ives and the lot give these a try and to quote my dear Be Bop Santa, "have a crazy cool Christmas."

Thursday, November 22, 2007

Coldplay is Back-- Missed that Memo


It drives me crazy when I think I hear something or catch the very tail end of something that I no doubt would have loved to have heard. Allow me to explain. I caught a snatch of DJ blabber the other day and it sounded a whole lot like "Coldplay...new album...almost finished." Huh? I thought they were tucking themselves away for a while, or at least I remember specifically a conversation in which a friend told me that I was right and it was true what I read in a magazine. Yeah. I'd pretty much resigned myself to the fact that Coldplay was going to be gone for a while but I have to say-- I guess it's been a quick two years. After some internet surfing I confirmed that I did in fact hear the correct mix of words, but going back to that whole "what drives me crazy" thing is that Coldplay announced back in March that they were back in the studio. Not only that but they were already hyping one particular song as the greatest song in the history of their career. Hearing artists talk up their stuff too much gets old and is flat out disappointing from these guys.

And where was I in March that this got by me? I really wish I had a good excuse for that. In fact, I seem to remember March as being fantastically boring. In any case various articles claim that they are making progress and some track titles are available. There's no release date yet and no title. Great marketing strategy. What's a bit worrisome though is that they're talking so much about their new sound and their new direction, experimentation with some latin influence. I don't know folks. A lot of people like Coldplay because they sound like Coldlay. I'm all for adventure but really it feels like they're dabbling into that potentially obnoxious self-searching, so frequently found in bands with multi-platinum egos. These guys have been cool and successful, bordering on faceless at times and it works for their music which has got that ethereal touch to it. We'll see. I best I can relay is the early part of 2008.

Happy Thanksgiving.

Wednesday, November 14, 2007

Out of Exile


I firmly believe that we live in what I like to call, a "fast world." Technology being what it is, we are all residents of Mecca for the fickle. That's usually why when I hear about some band that faded out a few years back all of a sudden reinventing themselves, all I can say is "good luck." Yahoo news posted an article this morning about how Matchbox Twenty is hitting the road for the first time in four years this coming January. Four years can be a long time and funnily enough I saw them on their last tour. In the mean time I've been curious and perhaps a few years ago I would have been a little more excited, but it's hard to muster up enthusiasm for something that feels like its time has passed.

MB 20 was really and truly a creation of the 90s. Music that wasn't exactly rock because it wasn't raw or tough enough and it wasn't pop because Nsync and the Backstreet Boys had that definition cornered. Their albums got progressively more glossed and finally it seemed as though they fizzled, Rob Thomas's solo career aside. I don't mean to sound negative. There was some quality, though I'm not sure what it was that was appealing to me and inescapable-- so I called myself a fan, but these days after seeing multiple 90s acts resurrected, I wonder if they matter at all and if this is not one last gasp for air.

I groaned upon news that they were releasing a "greatest hits" album and was confused why there were six new tracks. Why not get four more and call it brand new? I don't know, but I flashed back to Sugar Ray's "greatest hits" album and the sad, sad sight it was seeing them on Leno one night. Ironically they opened for MB 20 four years ago, and that night I stayed up to catch them. It was the musical equivalent to a death rattle. Depressing.

Well, I guess we'll see. Exile on Mainstream hit #3 on Billboard and "How far We've Come hit #11 on hot 100 singles chart, Yahoo tells me. I'm not hearing much buzz but then again, I don't remember ever really hearing any buzz. Maybe it's a sign. Maybe we'll find out exactly how far we've come.

Sunday, November 11, 2007

Tranquilized Until 2008


The Killers are definitely a favorite here at The Musically Inclined and the eminent release is much anticipated. I've already soap-boxed on the album, but I wanted to go back and take a look at "Tranquilize," the only brand new song on the album. The Vegas band teamed up with Lou Reed from the legendary Velvet Underground and the product is pretty interesting. There's a darker quality to it, the same darker quality that was perhaps a bit underdeveloped on "Bones" off Sam's Town, but nevertheless present. It still definitely sounds like the Killers, which is a relief because it feels like they are taking a natural path when it comes to the stylistic progress of their music. There's even a small strain of "Read My Mind" in the chorus.

My initial reaction was that "Tranquilize" feels like that half step between Sam's Town and where ever they're headed with their 2008 scheduled release. That's a good sign.
Based on this song I'd say that they are going to hang on to a bit of the western influence but polish it with that sleekness that was so prevalent in Hot Fuss. Plus, if they are working with Lou Reed, there's probably going to be some other element thrown in there like a twist of punk, or whatever genre The Velvet Underground could be most accurately placed under. It seems to fit initial Killers tracks along the lines of "Jenny Was A Friend of Mine," at least in my mind.

The other cool feature of "Tranquilize" is the use of a children's choir. On one hand it sounds like these youths don't belong because of that afore mentioned darker side but oddly it makes for an intriguing sound. And I can't help but imagine that those kids are going to be able to claim someday that they sang on a Killer's album. Pretty cool.

Let's hope 2008 doesn't take too long to get here.

Wednesday, November 7, 2007

Radiohead: Where's the love? (And by love I mean money).


Probably by this time, most are aware of that "crazy" thing Radiohead did, releasing their own album and allowing people to name their own price. I was intrigued by the idea. It sounded risky to me, people can be unpredictable and perhaps odd, but surely loyalty to a favorite band would count for something, right?

Guess not. According to an article I saw on the BBC news website, 62%of people who "bought," and I use the term loosely, paid absolutely nothing. 38% paid on average $6. Really? Seriously? I don't don't even really listen to the group but I'd feel so guilty for taking the culmination of hours of work for nothing. One could argue that hey, no one said anyone had to pay anything, but in my mind it's the honors system and if it was a band I liked especially-- the last thing I'd want to do would be take advantage of them.

Don't get me wrong either-- I'm under no illusion that Radiohead is depending on sales to feed their starving, malnourished families. It's the principle.

I don't want to sound too idealistic here, but the fact that a person would normally pay $14 should be a sign that they'd be willing to pay something. And if they've been willing to fork out in the past, because they like the band enough, wouldn't they feel some sense of good will toward them that they would want to pay? It's scary. Where did decency go? Or was it never here and its absence hasn't been as obvious?

Paste Magazine is having a similar promotion, letting people name their price for year-long subscription. Again-- too risky for my taste but at least they have set a minimum $1 per issue. Maybe it's better. I don't know.

Here's to hoping the Golden Rule experiences a resurgence in popularity.

Tuesday, October 30, 2007

The Killers and Their B Sides


I bet it was pretty great back in the day when artists couldn't afford to let too many months go by between albums for fear of losing relevance in popular culture. Sure, not every cut would be a mind-blower, but in today's world where artists will take years to release something new, does that ever happen? Not really, but I bet it was nice to know the wheels were always turning. Sometimes I'm not sure if bands are even together anymore. Matchbox Twenty pretty much disappeared after 2002's More Than You Think You Are. Rob Thomas was hugely successful but the rest of the band was nowhere in sight. The most detail I could ever find was that lovely ambiguous word "hiatus." What the crap does that mean exactly? If a tv show goes on hiatus, there is a good chance it's not coming back. Anyway, just as I had forgotten MB20 even existed, they came out with Exile On Mainstream (which I believe was self imposed) and Adam Gaynor was gone. Guess I missed the memo.

My rambling aside, I was intrigued by the information that The Killers are releasing an album of B sides, remixes, and other tracks previously shafted. Anyone who bought the limited edition of Hot Fuss will find "Under the Gun," "Glamorous Indie Rock & Roll," and "The Ballad of Michael Valentine." Honestly, I've always thought they were three of the best songs on the album yet ironically weren't really on the album. "Daddy's Eyes" and "All the Pretty Faces" are also included from Sam's Town. As far as I can tell there is only one brand new song, "Tranquilize," and the rest we're just going to have to wait and see.

Under any other circumstances I'd be worried that this was going to be a bunch of crap scraped off of the cutting room floor and sloppily thrown together because of the multitude of people who will buy it because it's the Killers. But then again that's what I thought when weighing the Limited Edition of Hot Fuss versus the regular one. I was wondering if I wanted those extra songs, I was thinking maybe it was just a marketing ploy to sell a few more cds to hardcore fans. Happily, I was wrong. Maybe they've got something going here, not many other bands are doing this kind of thing...so I'm willing to buy into the idea that an entire album of B sides is worth $14...so long as it's the Killers.

Sawdust will be released November 13th.

Thursday, October 25, 2007

A Marvelous Night for a Moondance


I think that sometimes people can get turned off on things that are from a past generation. Obviously, not everyone is like that, but I do think it happens even if it turns out to be unintentional. Point: Van Morrison-- for a long time he was cemented in my mind as the guy who sang "Brown Eyed Girl." That's not the worst thing to be known for, but it's not completely fair either. The song is not exactly substance-heavy. I recently hijacked my dad's copy of Van Morrison's Moondance album with the sole intention of importing the title song and "Everyone" but I had a flicker of good judgement and put the whole album on my laptop.

I'd always heard that it was a great piece of work...but some of the songs are really impressive. The very first track, "And it Stoned Me" is soulful with a hint of "The Weight" by the Band out in '68. It's very enjoyable and one of my favorites. Admittedly there are a one or two tracks that lose me to a degree, but still each one has something distinct. "Into the Mystic" is not a stick-out track for me but still it's got a quality that I find hard to deny, and by deny I mean via the skip button. Musically, it's a solid album, employing a variety of instruments including saxophone and piano which give it a loftier, more sophisticated sound. It's not guitar-driven rock and I think it sounds gorgeous and rich. The whole album has a feeling, if I may be so vague. You'll have to hear it.

So, do a little excavating beyond what's played on these blasted oldies stations and give a listen to something very chill and satisfying.

Ciao

Wednesday, October 24, 2007

Best Concert So Far Part 3: "The Weirdest F%&^@#! Show of My Life"


Nathanson's words, not mine. Happy that my city could earn that distinction. The comment stemmed from the observation that the audience was remarkably mellow. Michaelson said so too, and I guess we were, but I'm not totally sure what was expected from an all ages show on a Sunday night. I will say though, the hype surrounding Nathanson as being great with the crowd and a a lot of fun to see was true. I suppose though that the circumstances were slightly altered. Due to the fact that the concert was being broadcast live, there was to be no swearing. He was forced to give his "best PG show." After he said that, I was wondering what exactly went on during a regular show; he even called out a couple people who left after a few minutes. His shtick was engaging, entertaining, and mostly humorous. In between songs he made cracks about the radio, and random comments, like how great the E chord is. Inexplicably he read an excerpt from "You Can Run but You Can't Hide: The Life and Times of Dog the Bounty Hunter," which was hysterical in it's a) obscurity, b) absurdity, and c) delivery.

The only somewhat annoying portion of the set was when a couple who was celebrating their third anniversary, requested some song and got up right there and started slow dancing while singing into each others' faces. It was really and truly obnoxious and awkward. It's not really they kind of place where people dance and what's more-- they were blocking my view of the stage so I had no choice but to watch the luvyduvy-ness of what should had been a private moment. He opened with "To the Beat of Our Noisy Hearts" and played about 18 or 19 songs in total, switching from acoustic to electric. Major crowd-pleasers were "Come On Get Higher" and "Still" which he accompanied with an interesting metaphor...as well as "Car Crash," his single.

Unfortunately he tried on a couple of occasions to get the audience to clap along. I just wish performers would abandon that ploy altogether. He covered Journey's "Don't Stop Believing'" and hardly had to ask for participation. What is it with that song? About three quarters of the way through, the drunks showed themselves to be a small group of about four who "came all the way from Memphis to hear [Nathanson] play 'Straight to Hell,' "which is weird because I don't think that's one of his songs. In any case, as time ticked there was one song that was MIA and I kept wondering if he was going to play it at all. Finally, almost right at the end came "Detroit Waves" with a powerful extended bridge that dipped into "Paint it Black."
At 10:30 Nathanson wrapped it up with "Then I'll Be Smiling" and scooted off stage. As he passed my table someone shouted out "great job!" and in a persona much different from the one we had just seen, he shyly answered, "thanks for coming, guys."

Tuesday, October 23, 2007

Best Concert So Far Part 2: Mêléerocks (that's their website...fyi)


My biggest fear going in to Mêlée's set was that it would go by too fast. There was a twenty minute break after Ingrid Michaelson. It was a really long twenty minutes for me, sitting there knowing that Mêlée was coming on next. The band members were back and forth as always to and from the stage to the dressing room until it seemed that they had made their last trip. I can only imagine the nerves. My city's only independent radio station, which happens to be the best station in the city, broadcasts live from the venue most Sunday nights and the show was featuring all of Mêlée and the first hour of Matt Nathanson. Mostly I spent the time chuckling at people who had just now realized where the dressing room was and were stealing furtive glances back or even circling it a few times. Oh, brother.

As far as music goes, there are few things better than seeing a band live and realizing that they sound better than their recordings. In a world of mumbling, grumbling, and oddly annunciating singers, it was like some one had thrown the door wide open to let in some air; there was that excellent vocal clarity that first perked my ears. I noted good vibes between the band members. They related to each other as one might imagine they would if they were playing in someone's garage. Either they really get along or they're fantastic actors. From my point of view, they looked comfortable doing what they were doing and I can't even begin to explain how much impact that has on stage presence. "We should do a song about love," dead panned lead singer Chris Cron to guitarist Ricky Sans. "Good idea, do we have one of those?" No one was trying overly hard to be some sparkling sense of humor, but it just made them seem like very likable people.

They played roughly eight songs. The best song of the night was "Drive Away." It was like they tapped into a different energy that was previously hidden in the recording. I could tell many in the audience were fighting to stay seated at times. "Built to Last" was also exceptional and I think it was this song where Cron was nearly standing on top of the keyboard. It was pretty cool and done with enough spunk to be entertaining without being obnoxious or overdone. Anyone ever seen Sugar Ray in concert? No one is quite sure how to help Mark McGrath (tranq dart?). "You Got" was great to hear live, too. I can't find fault with any of the song they performed...which included, "Love Carries On," "Rhythm of Rain," and of course, "Stand Up"-- the closing song. My only disappointment was not hearing "Frequently Baby."
Not too bad for a first time in town.

Part 3 comes tomorrow and boy do I have a some interesting stories. Stay tuned, folks.

Monday, October 22, 2007

Best Concert So Far Part 1: The Way it Was


So frequently do concert goers spend the next day raving about how they went to the greatest concert in the history of concerts. It can get pretty obnoxious. Honestly though, last night I went to a really great concert; I might even say the best one to date...in my experience,that is. It all started when a friend found out that Matt Nathanson was going to be in town and another friend and I decided to go with her. I investigated and was quite pleased with all three acts: Ingrid Michaelson, Melee, and Nathanson. Last night as I sat there taking it all in, I realized that one entry is not enough so I'm breaking it down into three. Here's the first part.

The venue is cosy. Not big, on the side of small so we wound up more towards that back, but as we were settling on that one particular table, with a decent view and limited congestion, I noticed something. We were feet from the dressing room. The end result was that all three acts were literally hovering over our shoulders the whole night to watch whomever was performing. When we first sat down I immediately recognized the lead singer of Melee, Chris Cron, and two other band members sitting in the very back eating. It was cool,being in this moment where none of the acts are too good to get their own drink from the bar, or feel the need to hide themselves away. I did not ask for autographs, pictures, did not fawn, didn't really even make eye contact on the multiple occasions they walked past or just stood there. I was contented to sit and make notes on the back of an envelope.

The show started at 7 sharp when Ingrid Michaelson came out with either a really small guitar or a ukulele to perform "The Beast." Her voice is very warm and smooth and her songs have a whimsical flare to them which is very appealing. Add in a intriguing stage presence and her set was great. Overall, she was very engaging, quipping about driving her mother's minivan on this tour and our state's many firework retailers. It felt very natural. Sometimes crowd banter can be painful and cheesy but she just talked to the whole audience with a surprising level of comfort. "Far Away" was the perfect example of said whimsy, a little reminiscent of a Natalie Babbitt story. I hadn't heard it before, but the lyrics were really colorful and enjoyable. "Overboard" was a set favorite of mine, but recognition really set in with "Keep Breathing" which is featured on the Grey's Anatomy season three soundtrack. The song's soaring chorus kept the audience attentive. After that it was the good old "everybody clap" on "The Way I Am." That was one of the few times getting the whole audience to clap was justifiable. Obviously there were a few more songs in there, but I think these were the highlights. She closed with a cover of "Fools Rush In." Usually I'm cautious of covers but she didn't let Elvis down, doing a slow, melodic, smooth, job on it with her own particular brand. When her set ended I could hardly believe it had been 40 minutes. It was far too short. Michaelson got off stage, walked past my table and was in and out of the dressing room, making an occasional trip to the merch table the rest of the night.

Either later today or tomorrow look for my next entry on Melee's set. I'll say this right now...wow. Unfortunately the venue was really dark so I didn't get but a couple usable pictures. There's so much more to say...I figured I didn't feel like trying to be concise. Until then...

Monday, October 15, 2007

Blog Action Day: Light Green



Let me go ahead and state the obvious. It's blog action day. If you're not familiar with this event, the whole point is to get a bunch of blogs to write about the same topic-- it's a little forced awareness, I guess. Normally, I think I'd stay away from all this blog brotherhood-ing but the topic this year is the environment. In all good conscience, I can't ignore this call to action via my Blogger Dashboard.

I read an article some months ago which contained John Mayer's approach to environmentalism. He calls it "Light Green," somewhere between freak out and denial. Mayer admits to driving a Porsche SUV and continuing use of privet charter flights while touring, but mostly his stance is-- here's life and here's what I can do without disrupting things too badly. It's an interesting perspective and I think that if we ramp it up a bit, it's more practical and easier to pitch, especially to people who worry "going green" is subscribing to a life of scooter riding, budget breaking, and a loss to those damn hippies.

I can't afford to switch to solar power right now, or install some fancy heating and cooling system, but as trivial as it sounds-- I can unplug my cellphone charger. There's no great sacrifice there but I'm a big believer in every little bit counts. I can't think of a single person who doesn't have a cell phone.
If everyone unplugged that charger...and maybe a few other electronic devices...don't tell me that wouldn't help. I say leave the multimillion dollar overhauls to the multimillion dollar corporations who need to clean up anyway and can afford it. That's what 's really going to take a big quick bite out of this problem.

To an extent, I'm with Mayer (just a bit more intense). Pick something(s)-- do it. Do what you can and what you're willing to do. Fear accomplishes nothing but an unevenly distributed amount of attention to a problem which needs prolonged concern.

The Musically Inclined...
~unplugs charger ~walks instead of drives
~unplugs laptop ~recycles plastic bags
~unplugs desk lamp
...refuses to believe we are powerless.

Sunday, October 7, 2007

Changing the Way We Hear Business


A couple years ago I griped about how it's so hard to take the plunge and buy an album. I don't really care to waste $14 on something that's got one good track and the rest of it makes me want to use it as a coaster. If only there was a way to hear the other tracks on an album without the awkwardness of standing in a bookstore with those gigantic headphones, pretending to be so engrossed in the album artwork because there's nowhere else to look. Fast forward slightly to one afternoon when I was killing time on my computer and saw AOL was having a "listening party," the gist being, they were featuring a couple albums about to be released and by featuring, I mean you could hear the whole thing for free. Nice. I actually bought one of the albums I heard that day. It was Rock Kills Kid. Good stuff, slightly negative at times but otherwise fun to listen to. Anyway, I figured that was a pretty good way to promote and for people like me who are always trying to keep the music machine going, it was the perfect tool in expanding the collection.

The reason I bring this up is because technology is blowing my mind. NBC announced just recently that it was pulling its shows off of iTunes to put them on their web site. Now, what is true of all three major networks, is a person can watch whatever they want whenever they want and don't after to pay more than about a 1.5 minutes of attention to commercials. It's no longer a novelty trick of ABC, that's just the way things are. I think it's great and along similar lines, being able to visit a band's website or myspace and hear multiple tracks has been a major blessing, especially in writing this blog. Fans can come from odd places, going off of recommendations, or whim and maybe they like what they hear. The result? CDs, merch, and maybe I want to catch them when they come to my town.


It's no secret that the world has gone digital. Everyone's seen the charts. Downloads are up, everyone else is praying to their higher authority for salvation. I'm just hoping that no one is going to screw things up. As dopey as it sounds, I'd be pretty ticked if I was losing money because some idiot is too cheap to pay 99 cents. That's all I'm saying. Sure, I still love the feeling of personally engaging in my epic CD shrink wrap battles, but I won't blindly buy a CD without some kind of insurance that I'll like it,so hearing album cuts prior to purchase has become important to me. We're moving to a pretty cool direction with this kind of accessibility (and the way I see it, culture sharing). Let's just all try to behave ourselves, okay? Please?

Wednesday, October 3, 2007

Adventures in Getting Beaten by the System

So, I've got a little adventure to write about. Some friends and I went out to get tickets for a couple concerts last week in order to avoid the ever so stupid service charges which, when combined equal another ticket. We set out feeling vaguely proud that we were beating the system. Oh brother. The first fiasco was trying to locate the first venue, after getting some sketchy directions from someone finally we pulled up and parked in a place which we could only hope, would not result in the towing of my friend's car, only to find...

It was closed. Really. All of that and the place is sealed tight...and it's not like they even mentioned business hours on the website, because I looked. That really blew a hole in our plan then, because we were going to get directions to the second venue at the first. So basically all we had to go on was the place was on 3rd and another street. How do we get to 3rd? I'm awful at navigating and somewhat unfamiliar with the area, leaving my third friend...who is not even from this geographic region of the country, siting in the back seat with a map from AAA trying to get a grip on the downtown layout. After a lot of street weaving, and a couple bad judgments (like which way to turn once we found 3rd...we should have gone right) we were nearly there, just keeping an eye out for that intersecting street. All along, I'm drawing some amount of comfort from having in my mind the painting of the facade which they show on their website. I figured maybe I'd be able to recognize it. Wrong. The place looked nothing like it! At all! Except for the fact it had the name written across the top! That aside we parked and went in.

There wasn't exactly a hostess waiting inside. We stood there a moment, trying to see if we could find someone who at least looked like they worked there, amid blaring music. Some guy, presumably the owner or manager, poked his head out from the bar and I seized the opportunity to ask if the box office is open; can we get tickets? He asks, "what show?" I yell back because the music is garishly loud, "Matt Nathanson." His answer? "Those tickets are only available online."
That's it folks, I'm done.
Peace

Sunday, September 30, 2007

Caught in the Mêlée


There are times when it seems like we're living through an infestation of bands trying so hard to break the surface. I suppose it's always been that way, but with the internet, there is really a sense that every band is "the little band that could," or at least that's what they're hoping. I'm always running across names and sites and am frequently told that I should totally check out (insert name here). It's interesting and a whole lot to keep up with, so when I find something on my own and I instantly develop a liking for it, I'm pretty stinkin' pleased.

A couple friends and I are plotting a double concert weekend of sorts. Honestly I'm on the ignorant side as far as the acts we are seeing and have been digging around to familiarize myself with them. In the process I visited the site of a band called Mêlée...they're actually opening but that's beside the point. These four guys are from Orange County, CA and released Devils & Angels this past April and I'm banging my head on the wall, wondering why I haven't ever heard of them before. They are terrific and I can't get over how much I like their fresh sound which drips of youth. The piano on Built to Last is beautiful. Like I've said before, it's not often that I hear a song and love it on the spot. The lead singer's voice has a Beach Boys quality, like one he could be a Wilson brother. So great! Apparently they've been around since 2004 and only have one prior release, Everyday Behavior. I just keep going back to their site to listen to their audio player again and again. Addictive. Listen to Built to Last, Drive Away, Frequently Baby, Stand Up, and Rhythm of Rain. I put the link under Places to See. They most definitely have the blessing of The Musically Inclined.

Tuesday, September 18, 2007

The 60s-- Don't Disappear


About half an hour ago I arrived back at my place after attending the coolest "lecture" imaginable. It was on rock music in the 60s. To be perfectly honest and perhaps a bit big-headed, I know a lot about music in the 60s. A whole friggin' lot. For someone who wasn't actually alive back then, I've amassed a great database of information from actually listening to my dad when he talks. It's a point of pride with me, I was raised on the stuff, breathing it almost. For the first 13 years of my life I was hell bent on the idea that all music after say, 1975 was crap. Complete, shameless, pathetic, crap. It was only the realization that I was about to start high school that forced me to turn the dial on my radio to top 40. Every back story, every detail, every tiny morsel of rock history was and is so important to me. I want to know it all and preserve it because I'm worried about what will happen in twenty or thirty years. Already radio stations that played late 50s to late 60s music have dropped the format in favor of music from the 70s. Where will the Lovin' Spoonful go? How will kids in the future know who they are if their parents (my generation)were only vaguely aware of them and their golden-hued music? It scares me. Hopefully Jimi Hendrix will never be lost or The Beatles...but what about The Kinks? What about Barry McGuire?

The speaker said at the end that everything that happened during that decade was the very reason why music was so phenomennal. I guess I agree. I always thought that some portal to the music gods opened up when the stars had aligned just right. It opened up, but then it closed and I don't think we'll ever see anything like the 60s again. Everything now is derivative. That's not to say that no music can ever be good again, but it's just not the same. Listening to clips from various songs, any number of them have the power to reach out and pull you out of your seat while firmly grasping your beating heart. And those are just the opening notes. It's incomparable power. I couldn't even just isolate one because it would just not be fair, but do think of the very opening of Like a Rolling Stone by Bob Dylan. Yes, I know it's an obvious pick, but does that mean it doesn't send shiver up my spine if I haven't heard it in a while? What about The Sound of Silence by Simon and Garfunkel? Think about when the drums and other instruments kick in. For me it doesn't really happen like that too often with modern music.

At the same time I don't want to get down on what's out today. For most of my pre-teen years, I had the distinct feeling that I had been born in the wrong decade. That's really not the way to look at things. There should be no comparing between eras. No likening between bands. I like the Beatles. I like the Killers. I will never have them compete against each other because there is no available conversion scale. They are not "like" each other. One is not "the next" anything. They belong to different pantheons. There is no one to compare to Grace Slick. Pete Townsend is unto himself, only to share sentence space with the likes of Eric Clapton and such. That's just all there is to it. It should be illegal to make references otherwise.


I say, we've got to do something. Bulk up on your music history knowledge. Don't let it die. Love it, don't let it slip away into the abyss of "who are they?" We hardly know anything about our own grandparents' music. Glen Miller anyone? Don't let it spiral on when the Baby Boomer generation starts trailing off. We'll never really fully appreciate what we're doing right now if we've got no context.

Peace

Monday, September 17, 2007

Putting Out the Arcade Fire


As many of my friends have probably realized, a lot of entries on this blog stem from snippets of conversations that were often times, far too short yet thought-provoking. Thanks guys. The most recent exchange that got the wheels turning had to do with Arcade Fire, a band which has been creeping up on me for about a year. The first time I heard them, I was with a group of people and someone wanted to put on some music. The only CD anyone had was Arcade Fire. I suppose that most of the rest of us crinkled our noses thinking, "who are they?" Since then I've seen them around, popping up from time to time. I was even on their myspace page not too long ago. It seems like they have the benefit of hype and indie approval. I'll take this opportunity to shamelessly reference my own entry on The National, I'm still not into bestowing blessings, especially when I can't figure out the appeal.
I'm crazy, right? After all these guys have David Bowie to thank for label introductions (or so I've heard). Their star is rising, for Pete's sake. Nah. I'm not a big fan though I've tried. It doesn't really matter, I've heard cuts off both Funeral and Neon Bible and to me it rambles; a vast musical landscape with no known cartography. It's not even that their sound is all that bad, but the meandering just kills me. I hear vocals and whimsical accompaniment, but in my mind it never quite takes shape. For a while I wondered if it would grow on me. No, I think I'm past that point. Rockafeller Skank rambles too...but it's fun. Other songs can be so traditional that they're painfully boring and predictable. I'm looking for a middle ground, like The National. Maybe I'll just be content with them. What can I say? You can't like what you don't like, all you can do love what you do.

Thursday, September 13, 2007

The Silver Lining of Rilo Kiley


I love happy accidents. The other day I was scouring the web, as usual, for new music to keep my baby...I mean my blog going. No one likes months to pass between postings. Well, one particular web site claiming to be the last word on new releases made a little boo boo and listed Rilo Kiley's Under the Blacklight. It actually came out in August, but I won't criticize because it lead me to the Rilo Kiley myspace where I had the fortune of listening to Silver Lining, the first cut on the album. Honestly, I have not kept up with the L.A. group; they've just been part of that background buzz of bands to check into sometime. Perhaps my local radio station of choice has played them before, but I can't make any certain statements. All I know is this song was extremely appealing to me. On some level it recalled the sleek vibe of Dido, but I liked it better. It sounded cool and deliberate without sounding like it had a four-inch layer of shellac over it. There's definitely a feel of the nightlife.

It just goes to show, though that all it really takes sometimes is exposure to one good song. Now that I've heard Silver Lining, I really want to do some more investigating and if all goes well, pick up the CD wen I get a chance. From what I can tell from the other two songs featured on their Standalone Player, the rest of the album should share that subtly sophisticated sound. Stay tuned, a more lengthy review might turn up sometime. Here's to happy accidents.

Tuesday, September 11, 2007

Finally Got My Hands On...

It's been a long time coming. Last week I picked up Boys and Girls of America by The Hold Steady. I have to admit it was exciting to finally be in the check out line with this album whose shrink wrap is anointed with critical blessings from so many credible sources. How could so many be anything but dead-on?

Previously the only tracks I'd heard were "Massive Nights" and an acoustic version of "Stuck Between Stations" which I thought were absolutely great-- lyrically adroit and most of all fun. At it's best, Boys and Girls of America is upbeat and spunky plus a dash of cerebral for brilliant lines like "he was drunk and exhausted but he was critcally acclaimed and respected," plus you can't go wrong making Kerouac references. Very rarely is it possible to take the music out of the equation and be left with literary pieces instead of a song. Craig Finn writes densely with so many allusions that it's not nearly enough to just listen intently. "He's Tennyson in denim and sheepskin." I could live off lyrics like those. It reminds me of "Desolation Row" by Bob Dylan except it's obvious that Finn was not trying to be a cheap Dylan wannabe and is at heart a storyteller.


So about the rest of the album...it's a tough call. At first I was disappointed because none of the songs seemed to jump the way the other two did and there's regrettable repetition of phrases like "clicks and hisses," and "pipe made from a Pringles can." It felt like the song Marty Robins wrote so many years after "El Paso," adequately named "El Paso City," which was literally a retelling of the former but this time he was suggesting that he'd been the hero of the song in another life. Dude! I can hear the neurons frying! In this case, sharp gives way to boozy and drug-addled, resulting in the feeling that the chance for excellence was squandered.

If there is one song I really and truly hate, it's "Chillout Tent." The female vocalist grates on me like nothing ever has before. I would just remove that cut from the album all together. It's like Bonnaroo the musical. Honestly, the news coverage is enough for me. 

On the flip side, there are good things about this album. The overall sound is authentic, accessible, riff-ladden rock which doesn't take itself too seriously but is so legitimate. While not being stripped down, The Hold Steady keeps it relatively simple, avoiding getting glossy or overproduced.

The picture painted is of those lovely people we all know who are supreme underachievers. They're having a great time coasting through life and we are ever so fond of them. As for buying the CD, in the end I'm glad I did. It's worth having in the collection for the gems like "Chips Ahoy" and "Southtown Girls" which serve as incentives to play it again. So, if for some reason you don't have it yet, it is worth consideration...or impulse. Just Skip over "Chillout Tent."

Monday, September 3, 2007

Best Buy is "The Man"


Before anyone out there goes, "yeah, you're totally right, I love those guys!" hold up a second. I mean "the man" as in that soul-sucking, dream-crushing, homogenizing, corporate hulk. They've been around a while now, and it absolutely drives me out of my mind how I feel I get cornered into going into that store at all. Until a few years ago, my record place was Tower Records. Admittedly at one time they too were kind of "the man" but they really managed to shake that image, in my mind and I enjoyed walking into the old store that not only reeked of incense and general funk, but of sheer credibility. Their catalogue was deep and no one ever asked if I needed help. In fact, the staff usually looked like they would eat you if you distracted them from the sketch of the tattoo they were drawing. That was fine with me, I know my way around a record store and half the time I'd be there for the sake of being there, not because I was on I mission to get in and out with a CD. Hours would fall away like loose shingles during a tornado.

Can't do that at Best Buy. It's an instant assault on the senses, obnoxious blue and a blasting mix of movies, music videos, and Muzak from speakers bigger than me. It's hectic and it takes only seconds before some frat-looking guy in a polo (read: this means he's all laid back and cool) asks if there's something he can help me find. "I'm in the CD aisle, right?" "Right." "Then I think I'll be able to use the handy-dandy alphabetized racks to find what I want. Thanks." Honestly, it really kills browsing for someone like me who likes to get absorbed in the cover art and is completely incredulous that anyone is talking to me while I'm perusing. I remember being in a Best Buy with my dad when I was about sixteen and of course getting approached. I was super flat and maybe a bit rude as I continued on up the aisle. He then told my dad about this great option for indecisive (no doubt) teenage girls like me who don't know what they want. They'll burn a CD of whatever songs I pick. I was pretty pissed. "Oh, really? You have iTunes and a CD burner too? What are the odds." I'm just asking to be left alone here. In most cases though, I try not to hold it against the employees personally, it's the company culture...but that doesn't make it any less offensive and annoying. They're cogs in the slaughter machine that killed my baby (and I know I'm not the only one who lost a record shop).


I'm particularly bothered today because I was just forced into making a purchase there. Unfortunately I'm out of driving distance from my legitimate alternatives. Where does that leave a person land-locked by suburbia? Walmart...which has about one aisle of current Top 40 crap at not so "Walmart prices." Target is okay, but still, their catalogue is only slightly deeper than Walmart. Not much indie stuff or local artists. Try getting your tiny little band into a Target or Walmart. (Oh Tower, I'm still crying over you). Hopefully there might be some place in the mall, but nothing is guaranteed. The most perfect illustration of this mess occurred when I was trying to find Sufjan Steven's Greetings from Michigan. Walmart didn't have a single copy, Tower had an entire shelf. It's the Starbucks syndrome. Unless I'm in a more urban locale, where else can I get coffee? Can anyone get coffee? It's not even a price issue anymore because it's all ridiculously expensive, but as a matter of principle I'd rather not go if I'm not backed into that corner. I don't want to be part of driving the "little guy" over the edge and out of business. The irony is that with the record industry in the state it's in, those plummeting record sales are going to catch up with giants like Best Buy eventually. It might take longer but it's coming. Their saving grace is that music isn't their only trick. Maybe Tower would still be around if they sold washing machines. Good grief. I need a nap.

Happy Labor Day.

Friday, August 31, 2007

Sweet Memories


So, musically...it's been a little slow the past couple days. Bands don't really fall out of trees and land on my doorstep no matter how much I might want them to,(although they do have little smoking clutches not far from where I live) but that's okay. There are quite a few stories in my pipeline which are just on hold until the calendar gets around to them. It's cruise control at the moment. I suppose it's times like these that make a person wax nostalgic. When there's nothing else going on, the easy thing to do is flip through the ol' album collection and pick something that's got dust on the cover. I've got a few of those. They're from the days before I had to get one of those monstrous CD racks so they just sat on my desk at home while the sun poured in the window and bleached the spines. They're the ones that get shafted to a box in my closet when I need to make room for something new and "cool." Yeah, those. It's funny the way that life circles around though, because things like music tastes have stages, I've noticed. The first stage is that initial infatuation with a group or band, it was the kind of thing that would strike right after summer vacation in middle school with half the class. At that moment, everyone is madly in love with the artist and who wants to be left off the band wagon? But then there's that screwy little period when all you want to do is separate yourself from the idea that that music ever got pipped through your headphones (and I guess this is more true in the young years, but I'm not exactly old so I'll let you know when I get there). Affinity levels drop, sometimes because of the shine that's worn off or because of a real drip of a sophomore album. Honeymoon's over folks, there's nothing to see here. After that, time passes and every last tiny spark has died. That band is over and there is no doubt that they've been over for a while and people feel distanced enough from the old days that it comes back into vogue to admit formerly questionable tastes. Personally, I think it stems from that desire to come across as self assured and confident, the way we all would like to be all the time about our tastes, especially back then. Weird. It's a false sense of maturity and an idea that we've moved passed it all. "Look how above everyone's opinion I am," when really it the same type of conformity as third grade when everyone wore Nike.

But then it's also important to separate a stroll down memory lane. It's not a matter of somewhat self consciously proclaiming ,"I totally just listened to the Backstreet Boys," but more a matter of figuring out what everyone was doing back in the day, where they come from, and ultimately who they were before we knew each other. I know in my case, there are few people that I've known more than five years, so I love talking about the music and the toys that we had or never got and of course the old commercials. For my age group, the Spice Girls were a collective experience
that nowadays we shake our heads about, because apparently they're trying to or actually did get back together. Good stuff. Did we really dig that? Yeah. In fact I never took their CD off my rack. Why would I? I might get sentimental one of these days.

I say that no one should ever be ashamed of what they once liked, even if it's not really en vogue yet to say so. One way or another that group or singer influenced their tastes whether it was to keep moving in that direction or run in the opposite. Plus, what would we talk about at lunch?

Saturday, August 25, 2007

Open Mic Night is...


Open mic nights are sticky. Really sticky. In an ideal situation, there would be previously untapped talent sitting in the audience nursing a drink, then shyly sauntering up to the stage only to remind the rest of the venue why they love music like a second pulse. That's an ideal situation. Usually it doesn't quite work out that way. A lot of the time events like these are filled with alcohol-influenced delusion and unfortunate access to an instrument. At first, people are trying so hard to be polite but all it takes is a couple of bad notes, a failed falsetto, wrong note, and half the audience collectively winces and chokes on whatever they're drinking. It can be rough, an hour of misguided musical meanderings for a few instances of glowing talent. Personally, during the duds I start watching the chords the "artist" plays and scribble the progression on a napkin. It works.

Thankfully, I actually went to an open mic night that was heavier on the side of enjoyable than painful. Granted, the area is particularly musician-y, but that's still never a guarantee. I was surprised and the crowd was hyper sensitive. Chatter died as interest spiked and of course there were times when chatter threatened to drown the the ill-fated performance. The fourth act got up and hooked everyone with the first line. He was a little bit raspy. Combine that with witty, relatable lyrics, and decent guitar skills and those three minutes were truly his. Prize for best crowd reaction though, definitely went to one guy-- one of the few who wasn't playing a guitar-- who sat down at the piano and ripped it up with an incredibly smooth and soulful original song. It was proof that there are little buried diamonds out there which have yet to be placed in a setting. Standing ovation. The guy who followed even was forced to self-consciously acknowledge his unbelievable musical magnificence. If the other guy had everyone from the first line, this one had us by the first note.

Less successful acts included teeth grindingly long songs done in barley audible voices. "Sing along with me, everybody." No! I came here to listen. I write, not sing. A full minute of a mind numbing chorus and all I could do was pass impatient looks to my friend who looked incredulous at what we were witnessing. Others wouldn't have been so bad if they'd have been a little original and busted out of the whole sensitive songwriter schtick. We get it. You're in pain. Don't pass it along. Breathy and angsty only goes so far.

In the end, it's a tough thing to get up in front of people and try to act cool and professional, or at least not like you're about to wet yourself. It's hard, kudos to the person lacking in inhibitions enough to sing something that sounds like it was written by the guy who spiked the punch. They certainly have company. They are the proverbial "spice" of life.

Thursday, August 23, 2007

The Mix Tape


I'd like to think that most of us have caught up with and are currently living in the very modern age of technology. I'd like to think that most of us take advantage of it. Sure, there are always exceptions, but on the whole it seems that if something becomes available-- especially if that technology involves music, people jump. It's like the iPod. Didn't see that coming, despite my unhappiness with one of those early portable CD players that skipped if I breathed too hard. Storing an entire life's worth of albums in a space the size of a credit card, if not smaller, is pure brilliance, and hearing it all shuffled together in an new invigorating order is ground breaking too...right? Everything's has got it's roots.

Lucky me, I recently was given a mix CD by someone with some local artists and such. "Cool stuff." "Favorite stuff." Granted it is very cool and I plan on listening to it frequently along with my other great loves, but it got me thinking about something. The classic mix tape has been around since somebody figured out it could be done due to lack of vinyl. Great for road trips, unfortunately used as poor excuses for birthday presents...the perfect mix tape is an art form that is either great or sucks. I haven't seen them around that much lately. I remember days when kids would jam the locking mechanism on their CD player and hit play so they could make Sharpie art on the label. It's been years since the last time I saw that. CDs are not long for this world. Mixes are now playlists, so how does that impact the fate of such glorious musical indulgence? They're kind of fun. It's like taking a peek into someone's head, into their way of thinking. The intrigue is endless. Being the perfect example of "it's the thought that counts," scanning a playlist on a tiny screen on someone's mp3 player just doesn't color the way a mysterious mix tape does. It's a tangible piece of personality when ambiguity is rampant in our species. I wonder if the playlist threatens to usurp the mix in a way that will make us even less connected with each other, designing playlists for ourselves and slowly forgetting to burn a copy for a friend.

Maybe I'm barking up the wrong tree, and I'm not saying they're gone, but I've found that it's an accumulation of the small changes that morph the bigger picture. If you're going to make a mix, do it well, and give it to someone who'll appreciate it. To the good person responsible for my mix. Thanks.

Monday, August 20, 2007

Listening Live


Let me start by saying I'm in the middle of a move so apologies for large gaps in time between postings...but I'm going to try really hard.

Moving on, I was walking around and stumbled on a congregation of guys sitting around playing their guitars and singing. It was surprising because despite the rather spontaneous nature of their gathering, they sounded really good. I couldn't help but think how great that was, what a terrific excuse to hang out and, as always, rock out. Of, course this kind of thing is nothing new and I'm raving like I just discovered sno cones, but in the past I have not been that exposed to that kind of pure, just sing-it type music. It's never been so accessible, it's always been a rare find for me. No one was worried about sounding stupid or hitting the wrong note because they were so wrapped up in the sheer momentum of the music itself and the approval of the crowd. Beautiful.

Later on I checked out a little music festival of sorts, showcasing several bands and singers, mostly college kids. I believe that some would have blown it off, thinking back to the crappy talent shows in high school, manned by a bunch of inexperienced students, but I figured maybe this would be different. It was terrific. Partly because the acts were good and fresh but also because the whole street was lit up and the music was loud. Makes a person want to swear off anything recorded. The other really nice thing, it was free. That definitely helps too attract a crowd of willing listeners who might just check out the band the following night for five dollars at a local whole in the wall. Sampler CDs, flyers, it was a lot of fun and the performers were so unjaded, it wasn't like listening to the crowd banter of someone who has been on the road fifteen years. They're either really good or burnt out. "Anybody from Cleveland?" Good energy, good crowd, good music, good ambiance. It was electric, guitar saturating the very air we were breathing. So once my friends and I decided to head home, it made it really hard to do. There were a couple acts left and even though they were going to be more country possibly fused with something else, oh was it hard to walk away from the music. So very, very hard to leave.

Thursday, August 16, 2007

The Glory of the New Album


There are too few surprises in life. Way too few. Things are either predictable or given away easily. The magic 8 ball only has so many answers, too many colors will always make brown, an apple cut horizontally has a star in the middle. I think though, that one of the few experiences that is relatively difficult to spoil, is the experience of listening to an album for the first time. Sure, reviews are available and word spreads quickly, especially if it's a real dog, but it really doesn't matter who thinks you'll like an album. There is only one person who can decide that and I would hope that a person would be true enough not to subject themselves to music they absolutely despise. Nobody is convincing me that Modern Times by Bob Dylan rivals Highway 61 Revisited. Hell no, sugar. New music is great, or at least the prospect of new music. Who knows what's really been burned on those tracks? Musical innovation and enlightenment or warmed-over crap?

Then there's when you actually get to hit 'play' that first time. With me, I've got to listen to something several times before I make a decision. I distinctly remember being less than thrilled the first time I heard Hot Fuss by the Killers and then all of a sudden it all came together, it made sense as one piece of music, as one piece of style. Gaps closed and a definitive story line of sorts surfaced.I love that CD, but it was an interesting ride getting there. I think that ride is priceless. Every listen brings new twists and turns, new interpretations and details. At this very moment there is a brand new CD sitting in my bag that I have never heard before. It is something that has been around for maybe three years and despite talk I never really got around to buying it. Now it's mine and I can't wait to see if I agree or if I think it is grossly crushed by the hype. We'll see. It's a surprise.

Wednesday, August 15, 2007

Music to Me


Sometimes it is very easy to forget that not everyone shares your own particular tastes and preferences, especially when there is one particular thing that seems so vital to your life that it is completely beyond comprehension that one could exist with out it. One such example is chocolate. In my mind there are few things better-- bars, cake, milk, candy, I'd eat it all. Yet I happen to know someone who does not at all like chocolate..hates it in fact. I'll never understand it but I try to reason that it's no reflection on her personality or worth as a person. Obviously though, I'm not just talking about chocolate, unless Hershy's started giving out free downloads, and then we'd have an exclusive entry. What I'm talking more specifically about is the idea that some people don't feel the same way about music as say, I do. I can think of a couple of conversations I've had with people and it's always weird to stumble upon someone who says that they just don't listen to music that much. It's just not that important. Music is for the background in the car other selected moments. Technically it could be lived without. It's around this point that I physically move my jaw into the closed position, because I know I'm not the only one who counts music as a second heart beat, an ever present rhythm of life that fills in the gaps in my history. The different albums I've purchased over the years often come to represent that season in my life from the time I was in the sixth grade. There have even been times when I have felt so defined by a song that that's pretty much all she wrote. It's me. It's my soundtrack. It's all of our soundtracks. Songs and events become iconic in memory just because of the pairing. I listen to the radio, mp3 player, or a CD whenever I get a chance. Basically, just because I can, I do. So someone who is not on that wavelength becomes almost an oddity to me...as if I found Bigfoot in my back yard and all I could do was stare and marvel at how I didn't know he actually existed. To each it's own. I'm not much for judging and I'm sure equally strong passions spring up in different places. But man, what a quiet world.

Monday, August 13, 2007

In Case You Missed It


Normally I try to write about current items of interest, but every now and then I like to go back and look at things a second time. Whenever I discover a band that I really like, I investigate--look up bios, band member names, histories, and of course discographies. If a band is really good, and I mean really good...I try to get a hold of their older albums. One band like that is Death Cab for Cutie. I tuned in around the release of Plans which happened to the band's fifth disc and knew almost immediately that this was going to be a long term relationship. The next time I got a chance, I picked up their second CD, We Have Heard the Facts and We're Voting Yes. Honestly, when I first played it I thought it was kind of slow but I sat with the lyrics and a certain tranquil beauty surfaced from that fusion of words and music. So mellow, so cool. Anybody that can romanticize the mundane and suburban truly must have a gift with words. There are some real gems on the album like "405" which is that kind of odd stream of thoughts had while driving an endless highway, plus the added action on the idea of "what if I just kept driving?" Tantalizing. Then there's "Company Calls" which also makes eyes at the thought of just picking up and getting out. Death Cab are the masters of the melancholy without the depressing part. I particularly like "No Joy in Mudville" for it's sheer imagery. Brownstone buildings, southern corruption, incomparable cool. It's not flowery stuff but when combined with the tone of the song, it just evokes explosions of images. Death Cab lyrics are always great, but this is just so finely crafted. If for some reason, this disc has not made it's way into your collection, check it out. It was released some time ago but it's worth another look if you skipped over it at some point. You might just hear flashes of your own life in it's notes.