Song Re: “Ba Ba-Ba-Ba Ba”
posted by October 30 at 10:57 AMon
I totally thought this post was going to be about this song:
posted by October 30 at 10:57 AMon
I totally thought this post was going to be about this song:
posted by October 30 at 10:47 AMon
Playing In the Pocket with Eddie Bo!: New Orleans Rock & Roll, R&B, Soul, and Funk 1955-2007 (Vampisoul) last night, I came across Marilyn Barbarin & the Soul-Finders’ “Reborn” (which Mr. Bo produced) and had a mini-revelation. Check out the beginning of the song in the video below and ask yourself where you may have heard that catchy bit of scatting before.
Another mystery solved. Damn, that feels good.
posted by October 29 at 2:11 PMon
AC/DC’s “T.N.T.”: A song embedded into the collective subconscious.
Through the cathodes and the wireless controller technologies, this woman stampeded into her arena of the sun. Aries God of War looked on, spitting blood, bellowing wolved tones, cowering in a corner.
The Wii bowler, woman of power, pulled from a tallboy, dragged from her menthol light, and vanished a Frito into the recesses of her mouth. She threw the motion of the controller forward, snapped her arm, and said, “I’m T.N.T., watch this explode.” The ball lit down the lane, knocking over nine pins.
One pin was left standing. A lone, erect slave, hostage to the Wii bowler woman’s domination. She unleashed, “God fucking damnit, these toy games.” Then drew back the fulcrum of her arm and threw the second ball down the lane, which missed, whiffing way left.
Her faced reddened and she gently set the controller down. “Usually I’m the power load on this thing,” she said sadly, “usually I’m dynamite. I’m going to go home now.”
With that, she was gone. She had tried to lay her claim but missed left. Bon Scott smiled down from the peripheries of what some call heaven. His claim, already laid, already taken hold. She would try again another day.
posted by October 29 at 11:40 AMon
What other song features the word "paradiddle"? None. Future Of the Left wins.
posted by October 23 at 12:56 PMon
...did it take 15 years to come up with this bullshit? This is awful.
posted by October 16 at 1:45 PMon
Holidaying layabout Paul Constant might write it off for pure linguistics, but leave it to the, hmm, professionals.
Britney Spears' "Womanizer" is fantastic.
If you go ahead and ignore everything you personally know about The Celebrity Britney, which is almost impossible, it's everything last comeback single "Gimme More" wasn't: delirious, vibrant, beyond confident, and poisonously addictive.
It starts off a bit like "Happy Together" by The Turtles if it had sparklers -- faux drum-pads! air-raid squeals! -- and then leaps into the two scorching stutter-choruses as if it were a breathless drag-queen-club re-enactment of the this-whole-trial-is-out-of-order speech from the 1979 Al Pacino film '...And Justice For All.'
"Womanizer, woman-womanizer, you're a womanizer,
Oh womanizer, oh you're a womanizer, baby
You you you are, you you you are
Womanizer, womanizer, womanizer (womanizer)."
And that follow-up "are-are-are" flair?
A vocal hook gold-star.
Last year's Blackout was dark and odd with wonderfully confusing moments like the dubstep-steeped "Freakshow," but this is more promising than it has any right to be and a welcome shattering of general consensus baggage. The opposite of a canary in a pop coal-mine.
It's also the best video of the year that includes:
1.] Tongue-knotting a cherry stem like Audrey Horne in 'Twin Peaks.'
2.] Steering a car with the top of your foot.
posted by October 16 at 12:14 PMon
Watching the show last night, my guess was maybe something by YACHT, what with the Portland thing and the stuttering acoustic guitar edits, but it turns out that Project Runway winner Leanne's runway song was made by her equally hipster dorky bf, Nathan W. McKee. It's called "Cookie Breath," and you can hear an edit of it here.
posted by October 14 at 11:51 AMon
Dave, I'll see your My Day Sucked Until I Heard This with one of my own:
Thank Fuckin' A! "Every Stitch" and, to a less specific extent, every other song on this album was exactly the brain-flushing rock blast I needed this morning (granted, I'd heard it before). That's all.
posted by October 9 at 12:15 PMon
...or is it a terrible idea to hang an entire song around the word "womanizer?" It's like the uncatchiest word in the entire world.
posted by October 8 at 9:55 AMon
Oliver Stone might not be my favorite director, and his upcoming W. looks like it's going to be a pretty easy, cheap shot biopic just this side of That's My Bush. (Seriously, way to put it out a month before the lame duck leaves office, rather than, oh, say, in 2004—Oliver Stone doesn't care who he pisses off!)
BUT! Stone at least has someone clever on his ad campaign. I don't recall what music featured on the first trailer for the film, but the newer ad, the one that aired last night after the debates on some channel or other, featured the Talking Heads' awesome "Once In a Lifetime," with David Byrne's befuddled, amnesiac lyrics, "And you may find yourself in a beautiful house, with a beautiful wife/and you may ask yourself-well...how did I get here?" Maybe it's as obvious a shot as anything else, but buzzed after last night's debate, it seemed perfect.
(Also, this is as good a time as ever—except maybe during Decibel—to mention Carl Craig's epic, spaced-out re-edits of "Once in a Lifetime," "Specimen 1 & 2"—they don't seem to be anywhere on hypemachine or youtube, but they're more than worth seeking out elsewhere.)
posted by September 25 at 4:01 PMon
Even those once evangelical for the sound are starting to see minimal electronic as one of dance music's biggest problems.
The time sure is ripe for someone to barge in and make a mess of things, screwing the sound's neck around 'The Exorcist'-like, forcing it to either reorient itself with a fresh start or admit that The Point Of It All has faded forever.
It looked like A Guy Called Gerald was the one to do it.
A legend without debate, Manchester's A Guy Called Gerald helped usher in the age of acid house in the late '80s with 808 State and the timeless "Voodoo Ray," a beautiful arc of music that sampled Peter Cook and remains one of the most pivotal and precise dance singles of our time.
A Guy Called Gerald went on to immerse himself in the hardcore house scene, releasing the first proper jungle album ever made, dabbling with ambient material, and snowballing his live and studio reputation for a decade before trickling out into re-issue obscurity.
Which brings us to "In Ya Head."
Slipped out a few weeks ago on Germany's minimal Perlon label (Markus Nikolai, Pantytec, Richard Villalobos), it's A Guy Called Gerald's latest return and a straight-ahead attempt at the minimal electronic sound. And it's actually really not very worth the effort in the first place.
With such a talent behind it, one that has always had an ear for low-key mechanics -- even if it's from someone past his prime -- you'd hope more than this long, grey trail of house music smoke.
It's intangible. Aloof in the wrong way.
Static beats make graph-paper criss-cross patterns with droplets of small metallic clicks, but the whole thing waves away any expectations with a dullness and a lack of drive to shake up the sound.
Total missed opportunity.
posted by September 25 at 12:34 PMon
Okay, I should explain something. I've never posted on Line Out because I don't know shit about current music. I was raised on the edge of the Central District attending, what was then, a black church, and went to school there, too. All the boys ran track; all the girls rocked out the double dutch. Me: I would clap and sing along with the choir. I adopted the musical tastes of my friends' parents--Gospel, Soul, Disco, and R n' B--and never moved on.
My iTunes library looks like Stevie Wonder and Zapp had a gay love child.
So today I've had this song stuck in my head and can't get it out. A search of YouTube not only had Dennis Edwards and Siedah Garrett's "Don't Look Any Further," the best song of September 25, 2008 at 12:34 p.m, but it also had the best/worst video of 1984:
Now back to your contemporary programming.
posted by September 23 at 10:57 AMon
Juju & Jordash—one of my favorite new artists—transmute oldish, haunting Euro-jazz into a new strain of spy-flick/house music on “Silencio.” The track’s low tempo builds suspense and enhances sensuality, while the subtle digital textural and rhythmic embellishments keep things from becoming too sepia-toned. Gnopants’ video of “chalk”-outlined, solarized silhouettes complements the sounds.
“Silencio” appears on Juju & Jordash’s Major Mishap album (Ropeadope).
posted by September 22 at 2:09 PMon
It's the first day of fall, and it's beautiful outside. No doubt seasonally affective depression will set in mere weeks from now, but for right now, fall feels fucking great. Do what you have to do to listen to !!!'s "Feel Good Hit of the Fall" today. Or Braid's "Grand Theft Autumn." Or, I suppose, anything by the Fall, although they're not quite the mood I was going for.
posted by September 22 at 2:00 PMon
Big Business just posted a new song on their MySpace. It's heavy, I think I love it. The way it builds... the way the guitars kick in around the 2:30 mark... it makes me wanna kick some ass.
"If you're talkin', you better be walkin'. And please take a path that you know."
Hear it at their MySpace.
posted by September 15 at 5:04 PMon
During a five-minute browse in Everyday Music recently, I heard a great psychedelic-rock song I'd never heard before—and I've heard hundreds. The tune lasted the duration of my brief visit. I headed to the checkout counter to identify the CD and it turned out to be Gun's self-titled album from 1968, which also boasts the hit single “Race with the Devil,” which has been covered by Judas Priest, Black Oak Arkansas, and Girlschool. The song that had charmed me to my curled toes was titled "Sunshine." (If you were in a rock group and didn't have a track called "Sunshine" in 1968, you'd be let go from your record deal.)
Cover art by Roger Dean, dude.
The perfunctory video below is a dud, but the music itself is quintessential psychedelia from an unlikely source; it's hard to imagine a less psychedelic moniker than Gun. Further, "Sunshine" was an anomaly among the heavier proto-metal fare that predominates Gun, making its glistening, filigreed levity all the sweeter. There’s something so archetypically late-’60s about this tune, as if Gun had tapped into the era’s collective unconscious and plucked this song out of the pot-intensive, incense-laden air.
posted by September 14 at 7:57 PMon
What a way to wake up: I arose at 11:10 am to Little Sister’s single “Stanga,” an obscure classic that Sly Stone wrote and produced for um, his little sister, Vet, and which is actually one of his best efforts. Props to the KEXP show Preachin’ the Blues host Johnny Horn, whose set from 11 am-noon was all killer; I need to make a point of catching more of his program every week.
I was mildly hung over from the Stranger’s Genius Award party Saturday night, but this low-key, high-friction funk nugget efficiently brushed away the brain cobwebs and alleviated the pain. Mr. Horn, I want to thank you fa lettin me be mice elf agin.
posted by September 3 at 12:15 PMon
Why did I wait so long to look up the lyrics to "Banging Camp" by the Hold Steady? For months now, ever since I got back into that album, into it way deeper than I ever got the first time around, I've been getting kind of giddy every time it comes to the bridge. Specifically the part where Craig Finn sings/shouts, "And he said, 'Hi! I like to party on the—" and that was as far as I could ever sing along, because the end of the line always got lost in Finn's beery spittle before I could make it out on the way to, "—and I can't stand it when the banging stops."
For some reason, in my under-researched mythologizing of the Hold Steady and the midwest, I figured Finn was saying the name of some Twin Cities neighborhood or street or plaza—the last word kind of sounded like "Platz," the German for place or plaza or square, and so I guessed there was maybe a German-settled neighborhood in Minneapolis/St. Paul with some square that had gotten a little too druggy. (The first part of the word sounded like "Plotter" or "Bahner" or "Platter," the last of which apparently means to iron or press flat in German—not a likely name for a neighborhood, even for a city that's flat all over.)
Anyway, last night, the urge to know that lyric, to sing along properly, finally drove me to spend the 30 seconds it would take to look the damn thing up (whilst listening to the recording, even). It's "problem blocks." "I like to party on the problem blocks." Which, as babelfish would have it, translates to "Problemblöcke" in German. Whatever—blöcke, platz, it's a great moment in the song, this scene of some guy walking up drunk to some girl at a party and boasting, in Finn's outsized slur, about partying and hangovers, while the rising guitar leads and horns and headache-foreshadowing kick drum all build towards a classic Hold Steady crescendo. And now I know the words.
posted by August 29 at 11:51 AMon
Last night at the Oi Vay! weekly in the Baltic Room, DJ Struggle was spinning an excellent set of unconventional deep house music to a sparse crowd. Unfortunate, but the circumstances didn’t dampen Struggle’s mood nor mar the quality of his selections.
One track in particular riveted me: Juju & Jordash’s “Blue Plates” on London’s Real Soon Records (you can hear it on the label's MySpace). The cut exists at the hazy but fascinating nexus where cosmic disco, house, and dubstep (rarely) converge. “Blue Plates” is methodical yet sexy, meticulously detailed yet pregnant with the pleasure principle, weirdly off-kilter yet danceable. I haven’t heard much like it lately, and I’m grateful to Struggle for turning me on to Juju & Jordash and Real Soon.
Here's a vid of J&J's "Time Slip," their only representation on YouTube.
posted by August 28 at 10:32 AMon
What’s this? A major-label R&B diva (or her producer[s]) sampling genius IDM recluses Boards of Canada? Holy blip, Batman! Things will never be the same again. Etc. (Oh, shit. Just found out Pitchfork reported this last November. Well, maybe you missed that post, or forgot about it, like I did. Anyway, now you have sound and images.)
But there it is on “This Bird,” off Houston vocalist Solange’s pretty all right SoL-AngeL and the Hadley Street Dreams (out now on Geffen)—a fat chunk of BOC’s “Slow This Bird Down” from their 2005 album The Campfire Headphase. Oddly, this is far from the most obvious BOC track you’d expect a mainstream artist to sample; “Aquarius” or “Roygbiv” would seem to be a more likely candidate. Credit to Solange (Beyoncé's sister) and her production team for choosing such an eerie slice of chilled slug dub to buttress a torch song.
By the way, trivia fans, “Sandcastle Disco”—also on SoL-AngeL— uses the famous drum break (Run D.M.C. and many others also ganked it) from the Monkees’ “Mary, Mary,” but sans credit.
Solange’s “This Bird”
Boards of Canada’s “Slow This Bird Down”
posted by August 26 at 10:36 AMon
GZA performs Liquid Swords in its entirety tonight at Neumo’s. I’m most excited to see him do “Shadowboxin’,” one of the most chilling and greatest rap tracks of all time from one of the most chilling and greatest rap albums of all time.
RZA’s production here is both lean and menacing and tense and lush; plus, that loop of the pitched-up “oh man” (a sample from Ann Peebles’s “Trouble, Heartache & Sadness”) has riveted the hell out of me since the first time I heard it in 1995. GZA and Method Man’s flow and lyrics are paradoxically vicious and urbane. I’m on pins and needles in anticipation…
posted by August 25 at 4:07 PMon
Back in February, I compiled a list of what I thought were the best songs to soundtrack sexual encounters in OC Weekly (my employer at the time). Space restraints limited me to 17 tracks, but one strong contender for the pantheon that I excluded was Joe Tex’s “I Gotcha.” (You may know it from the soundtrack to Quentin Tarantino’s Reservoir Dogs; older folx may have heard it blazing up the airwaves during the ’70s.) In the piece, I asserted that it’s too raunchy to score your scoring.
How can that be? Well, some songs are so over-the-top with their libido-stoking properties that you feel virtually outgunned by their sounds. Plus, with a tune like “I Gotcha,” its outrageous carnality actually distracts you from the task at hand (or tongue, or some other appendage) and it makes your actions seem almost like a spoof or cartoonization of sexuality. You’re both liable to burst out in uncontrollable laughter, which has been known to throw one off one’s rhythm.
So, yeah, Mr. Tex really gilded the lily with “I Gotcha.” He multiplied James Brown by Wilson Pickett and out came “I Gotcha”—the musical equivalent of a Viagra overdose and busted pubic bones.
posted by August 21 at 2:21 PMon
Andre Harris: Sagely advises clubbers to STFU.
The internets are abuzz with “right on”s and LOLs for Chicago DJ Andre Harris’s so-true-it’s-hilarious house track “10 Things Not to Say to a DJ,” which details the shit you should never utter to individuals working the wheels of steel. Listen, learn, and laugh.
Tip: Brian Go in The Stranger’s IT dept.
posted by August 15 at 3:47 PMon
I often fall asleep to music. Usually I play an instrumental ambient CD or I put on KEXP and drift off.
This morning at 6:55 I awoke with a start to a song I haven’t heard in ages—Swedish band Whale’s “Hobo Humpin Slobo Babe.” Some sad soul requested the fluke 1993 hit and John Richards delivered. Back-announcing the set, he accurately called “Hobo” “a mess.”
Damn, did I have flashbacks when “Hobo” started assaulting my slumbering mind. I gradually realized that 1) this song sounded really fresh after years of not even thinking about it, and 2) some songs (mainly those of the novelty bent) should only be heard every few years or so, because even after only a few consecutive listens they begin to pall.
When “Hobo” came out in ’93, it was a genuine one-off, a relentlessly throbbing bristle of oral-explosive pop whose only predecessors may have been Haysi Fantayzee or Bow Wow Wow. I can’t think of another similar song that followed in its wake. One wonders what sort of back-room negotiations went down to leverage “Hobo” into radio, club, and MTV ubiquity. Could it have been the lollipop-sucking, panty-flashing, casual beefcake-flaunting video? Perhaps.
The song consists of odd elements: Cia Berg’s mewling Nordic-female vocals are as sickening as they are sexy while a menacing bass line that could’ve been lifted from a sinisterly heavy psych-rock group woob woobs on one chord with a maddening compulsion. Meanwhile, the guitar shoots geysers of tangled chords more suitable for a release on PSF than Virgin.
But what drills the track into your noggin like an advert for the joys of idful living are the massed male voices on the chorus, which may be the most volcanic ever to penetrate the charts. The lyrics are basically all nonsense, but they're sung with a terrifying intensity.
Seriously, this is orgiastic, fuck-shit-up stuff. How did mid-’90s culture guardians let it through the mainstream portal where it could taint our precious children? The mass popularity of “Hobo Humpin Slobo Babe” remains one of music’s great enigmas.
posted by August 13 at 3:33 PMon
Leila gives you "Norwegian Wood."
We’re not going to go there today, thankfully. Instead, we’re going to bring to your attention a very interesting cover of “Norwegian Wood” (one of my favorite tracks on Rubber Soul, for what it's worth). It’s executed by Leila on her new album, Blood, Looms and Blooms (released July 7 on Warp).
Leila’s version (hear it on her MySpace, unmastered) is slower and murkier than the original; it seems to be recorded at 16 rpm on warped vinyl that’s swirling in a vortex of molasses. Morose synth smears replace the elegantly uplifting sitar riff and Luca Santucci’s lugubrious vocals are sung at a funereal pace. The narrator’s observation that there wasn’t a chair in the room carries an unbearable sadness. Don’t even talk to me about the girl having to work in the morning… Too sorrowful for words. The drums are like tentative knocks on a door. Oh, the pathos. The track’s heaviness and distortion add another layer of poignancy to an already touching—albeit slyly humorous—tableau.
What in the Beatles’ hands is an airy, Anglo-Indian ballad becomes a deliquescent dirge in Leila’s grubby mitts. More cover versions should be this transformational.
posted by August 13 at 2:10 PMon
Holy shit. This is amazing.
Her sophomore album This Is It And I Am It And You Are It And So Is That And He Is It And She Is It And It Is It And That Is That is out 10/7 on Kill Rock Stars.
posted by August 6 at 12:29 PMon
Minneapolis’ Jeff Hanson is something of an anomaly. He writes catchy, well-rounded pop songs that draw on modern and classic folk influences, and he plays all the instruments on his recordings, but that’s not what separates him from acoustic ilk. No, what makes Jeff Hanson different is the fact that, if you didn’t know better, you’d probably think from his singing that he was a lady. He has a beautiful, yet off-putting, lady voice. Specifically, he sounds like a female Elliott Smith. He’s put out two very good records on Kill Rock Stars, 2002’s Son and 2005’s s/t, and now he’s releasing his third effort Madam Owl on August 19th. I hadn’t thought about Hanson in a few years, but driving around listening to KEXP yesterday a song came on with a voice that seemed so familiar, and I thought to myself, “Who is this singing? I know her…” After a few moments I realized, and briefly relived that Crying Game moment from the first time I heard him back in '02. No doubt, the lady voice can be a bit of a hurdle on the track to enjoying Hanson’s songs. I was very fascinated with Son when it came out and showed it to pretty much all of my friends, curious if they would accept it, and a lot of them couldn’t get over that initial gender surprise. But once (or perhaps if) you are able to get past it, there’s a musician writing smart, lush, and often beautiful songs.
posted by July 31 at 11:11 AMon
The Ludacris freestyle "Politics as Usual" from the new DJ Drama mixtape Gangsta Grills is a ringing endorsement for Barack Obama, but Big O isn't having anything to do with lyrics like, "Paint the White House black and I'm sure that's got 'em terrified / McCain don't belong in ANY chair unless he's paralyzed," or "Yeah I said it cause Bush is mentally handicapped / Ball up all of his speeches and I throw em like candy wrap / Cause what you talking I hear nothing even relevant / And you the worst of all 43 presidents." Even though Luda is only spitting truth, and we all know Barack knows it, it's pretty much guaranteed these raps are going to be held against him by the right wing, so Barack's gotta denounce them:
"This song is not only outrageously offensive to Sen. Clinton, Rev. Jackson, Sen. McCain and President Bush, it is offensive to all of us who are trying to raise our children with the values we hold dear. While Ludacris is a talented individual he should be ashamed of these lyrics."
Full lyrics after the jump.
posted by July 29 at 1:12 PMon
A showgoer from Enumclaw was in a heated discussion with his friend about why trios are better than four-pieces. He kept saying it’s all about the power trio referencing Cream and ELO. I slid into the conversation, “Dude, ELO has like seven people in it.”
He responded with complete and confident negation, “No, ELO is a three-piece. It’s three people – E, L, and O.”
His friend countered, “Who’s E?”
“Errol Flynn. I don’t know. The L is Jeff Lynne. What’s your problem?” he said.
“Where are you from?” I asked.
“The Claw. Enumclaw,” he said. Then he sang the Schoolhouse Rock song, “Three times nine is twenty-seven, three times eight is twenty-four, and three times one, what is it? Three! Three, it’s the magic number.”
If you’re going to be wrong, you should own it. And this guy owned it. He spilt half his beer owning and doing his magic number dance. When he was finished I asked him what his favorite ELO song was.
“Stroke Me, Stroke Me”, he said. Of course it was. It was perfect. He tried to walk off but there were too many people.
posted by July 29 at 12:45 PMon
...made me wake up with this song in my head this morning:
posted by July 23 at 11:58 AMon
Oh Deerhoof, you so crazy. The oft "experimental" band leaked the first single from their upcoming Offend Maggie as sheet music. They're hoping fans interpret and record their own versions of the song and link to them here. WNYC has a video of the group explaining the experiment at a show in Brooklyn last week, where they debuted their single.
posted by July 18 at 12:25 PMon
This is one of those moments where all hope for another person utterly disappears, where previously irritating transgressions become merely side notes to a thesis on creative bankruptcy. I fucking loved you, Chris Cornell.
Chris(t) Cornell ft. Timbaland - "Long Gone"
streaming exclusively at ryanseacrest.com
posted by July 16 at 10:50 AMon
The first taste of Zack De La Rocha and Jon Theodore's One Day As A Lion project is now streaming online. The simplicity of the band's setup is it's strong suit: the straightforward keyboard melodies and thick backbeats are effectively anthemic and easily digestible, leaving the focus on Rocha's always heated verse. Lyrically and stylistically he doesn't appear to have lost a step since his peak in RATM. Since his style has been oft copied but never duplicated it's refreshing just to hear him back in his element, no wild re-imagining necessary. One Day As A Lion's 5-song debut EP will be released 7/22 on Anti.
posted by July 8 at 9:37 PMon
Hank Williams Jr. had a friend who was killed in New York. Hank Williams Jr. wants revenge. He wants to spit tobacco into the eyes of the man who murdered his friend, and kill him.
Hank wrote a song about it called "A Country Boy Can Survive". I tried to talk Hank out of killing the guy, but he won't listen.
I live back in the woods, you see / A woman and the kids, and the dogs and me / I got a shotgun rifle and a 4-wheel drive / And a country boy can survive
Nice that you give your woman a name, Hank. I'm sure she appreciates that. And I'm sure she appreciates it when you beat her.
I can plow a field all day long / I can catch catfish from dusk till dawn / We make our own whiskey and our own smoke too / Ain't too many things these ole boys can't do
How about putting down the gun, can you do that?
I'd love to spit some Beechnut in that dude's eyes / And shoot him with my old 45 Cause a country boy can survive
That's just not nice at all, Hank. You can't just go around killing people and spitting tobacco in their eyes.
But my friend was killed by that dude with a switchblade knife / For 43 dollars my friend lost his life
Yeah, but if you kill him, then his friends are going to kill you. Who's going to raise your kids?
Country folks can survive
I know they'll survive, Hank, but what if you tried to go about it the right way and called the police?
Country folks can survive
What if the guy is wearing Kevlar when you shoot him, and it doesn't kill him?
Country folks can survive
posted by July 8 at 4:30 PMon
But "Purple Rain" is not an appropriate song for a perfect summer day like today. Take note, Broadway Grill.
posted by July 7 at 1:15 PMon
I have a crush on Say Hi. But unlike most musical crushes of mine, where I can't get enough no matter what, Say Hi's mellow and sweet indie pop isn't something I can listen to all the time. It has specific purposes.
For instance, Say Hi is one of my favorite things to listen to while I go for a relaxed, contemplative walk after dark. 2006's Impeccable Blahs is a collection of love songs hidden under the guise of vampire fairy tales and they make the most sense in the shadows of the street lights. It's cute but not dismissively so, and it's not overbearing, so my mind can wander.
When I was fighting crippling heartache over a year ago, Imbeccable Blahs was one of the records that kept me company--it wasn't overtly bitter, and it wasn't too optimistic either. It is low-key. It's playful and distracting while still having heart. Plus, there's a song called "Snowcones and Puppies"... two of my favorite things in the whole world.
With the follow up record The Wishes and the Glitch, Say Hi to Your Mom shortened their moniker to Say Hi and they ditched the vampire theme (something like that is only good for one record anyway). Now living in Seattle (by way of Brooklyn), Say Hi starts their new album with the song "Northwestern Girls," and unlike the band's previous work, I can't get enough of it... no matter the circumstance. It's basically the only thing I've listened to for the past week.
It's singer Eric Elbogen's ode to the ladies of the Northwest. He's smitten with their "fresh faces," he loves that they all "seem so nice"--he has a crush on each and every one of them (us?). In the chorus he sings over and over, with part disbelief and part excitement, "It must be in the air here..." Because that's the only way to explain how so many amazing women can exist in one place--there got to be something in the air.
I'm a Northwestern Girl. Looks like Say Hi has as much a crush on me as I do on them.
Say Hi play the Vera stage at the Capitol Hill Block Party Friday, July 25th. Click here for all your Block Party info, including the full line-up and where to buy tickets.
posted by July 2 at 12:53 PMon
posted by July 1 at 2:49 PMon
That Melvins cover just brought back a memory I repressed from last night. Words can't properly describe how I felt seeing this trailer in the theater. My brain barfed all over itself. This clip actually caused me to yell "NOOOOO!!!" out loud involuntarily. The song. The premise. Lord God why? Fuck everyone who was involved in making this film and anyone who goes to see it. Be warned, this may ruin the rest of your day:
On a brighter note, the film that followed the trailer, Wall-E, was spectacular.
posted by July 1 at 2:11 PMon
From the Daily Telegraph, here' what Australians have been playing at their funerals:
Queen’s The Show Must Go On, Led Zeppelin’s Stairway to Heaven and AC/DC’s Highway to Hell top the list of South Australia’s most unusual funeral songs, released by Centennial Park, the state’s largest provider of cemetery, crematorium and memorial services.
The organisation also released a list of the most played funeral songs, which included classic ballads, including My Way by Frank Sinatra, Andrea Bocelli and Sarah Brightman’s Time to Say Goodbye and Louis Armstrong’s What a Wonderful World.
There has been a trend in recent years towards such unusual songs as Ding Dong the Witch is Dead from the Wizard of Oz, Queen’s Another One Bites the Dust and Willie Nelson’s Hit the Road Jack.
Centennial Park chief executive officer Bryan Elliot said the choice of funeral song could provide an opportunity for families to express the individuality of their loved one and personalise the service.
“Music played during a funeral service helps to set the mood, whether it’s emotive, humorous or bittersweet,” Mr Elliot said.
Choosing what song to play at your memoriam is a really big decision. I feel like it's probably something I should lay out so my friends and family don't screw it up when I die. If I'm murdered, especially if by a lover, please play "The Broken Vow" by Converge and make everyone at the funeral chant "I'll take my love to the grave!" If I die doing something heroic, like saving a bus full of orphans, play the Advantage's version of the Contra theme song set to a photo montage of particularly regal shots of me (if I die in said situation but fail to save the orphan bus, change song to "Children of the Grave" by Black Sabbath, keep the montage). For all other situations, please play "Bananaphone" by Raffi.
(ht Daily Swarm)