Current Mood:
Happy
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Archive for the 'Music' Category
The Modern Edition
Inspired by Jean, a fellow local tweethead, I’ve created a list of songs that inspire me. In no particular freakin’ order, here are the top 20 semi-recent songs I wish I would have written. Later, I’ll do one of all time.
- Your Touch - The Black Keys
- Bukowski - Modest Mouse
- Flushed Chest - Joan As Police Woman
- That’s Too Bad (Byron Jam) - Donovan Frankenreiter
- 27 Jennifers - Mike Doughty
- Retirement - Kaiser Chiefs
- Black Butta - Beverley Knight
- Marching Bands of Manhattan - Death Cab for Cutie
- Take a Chance - The Magic Numbers
- O Valencia! - The Decemberists
- Hope There’s Someone - Antony and the Johnsons
- Say Goodbye to Love - Kenna
- Carolina Drama - The Raconteurs
- Jumpers - Sleater-Kinney
- You Got Yr. Cherry Bomb - Spoon
- Juno - Tokyo Police Club
- Blue Balloon - Ween
- Valerie - The Zutons
- Teddy Picker - Arctic Monkeys
- Left Foot Stepdown - A Band of Bees (The Bees)
Of course, it’s difficult to come up with a definitive list, but these are the songs that have probably moved me the most musically in the past few years. I know it’s all over the place, and I’m sure I’m missing something important, but there it is. Critique away.
Many of you who read regularly know that I am not a religious person. All the usual disclaimers apply. If you are religious, and offended by opinionated atheists/agnostics, you should stop reading now. I will not argue religious philosophy.
OK. With that out of the way, I have something to get out. Throughout history, music has been an evangelical mechanism. I don’t have an issue with that. Religious music has generally never made any bones about it’s undying endearment for its belief in ghosts and magic, and for the most part, I’ve been cool with it; even enjoying some overtly religious soul music simply for the fact that it grooved like nobody’s business. All this music is, on it’s surface, religious… and you know it.
Here’s my beef. It seems that there is a trend lately amongst Christian bands and musicians to mask their religiousness in metaphors with double-meanings. In fact, I was recently duped by one of these bands that seem almost proud of their deceiving wordsmithery.
I had mentioned this local band on Twitter and quite quickly another Tweeter pointed out that they are a Christian band. Not really paying deep attention to the lyrics, and not ever really hearing mention of the normal themes of overtly Christian rock, I asked for confirmation, which quickly arrived, direct from the mouths of the band.
Every song, every metaphor, is something to do with jesus… not hot love, not daily struggle with losing sight of your dreams, not the angst and displeasure associated with growing old… it was full of religious double-speak; a heavy veil put down on what is ultimately a Christian agenda… and the band is proud of it (sourced from a mail to that other Tweeter). It is obvious that this band has thought about this. There is no mention of even so much as thanking god in any of their material.
They are purposefully deceiving people and seem to be taking pleasure in it. Premeditated deception is unforgivable, no matter the subject. Using religion in this case (something that I have a long-standing distaste for) makes it a little worse for me. It’s like tricking me into eating foie gras by telling me it’s tofu.
And they aren’t the only ones. There are several albums from rather mainstream artists out right now that are doing the same exact thing. I don’t know what’s up with this, but it’s creeping me out. I’m no prude, but as I said above, I like to have a clue about where the music I’m listening to is coming from.
I won’t mention the band in question here. They don’t deserve any attention directly and are simply an example of what I see as a trend that bothers me. I’m not sure that the person who set me right wants to be mentioned here, but if she/he is reading this… thanks.
And on the humorous side, here’s an article from our local satire magazine that pretty much sums up what happened to me.
Laugh. This whole episode is funny; even to me.
Current Mood:
Esctatic
I’ve added that “Music” page that I’ve been swearing up and down that I’d add for MONTHS now. There’s even a built-in flash player for streaming the MP3’s! This is examples of the music I’ve done over the years and will eventually contain projects I’m working on now.
Enjoy!
Current Mood: Happy
I’ve waited some time to put this review together. I wanted to give the guitar a fair shake and get it setup the way I wanted it.
A few months back, I did some cleaning up around here and raised enough funds to do something I’ve wanted to do for a very long time, buy a shiny new guitar. I’ve always had an unhealthy infatuation with the venerable Gibson Les Paul, but I’ve always been too cash poor in my instrument fund to buy most anything from Gibson. Now I’m kind of happy I am.
The most wonderful guitar that I’ve ever put my hands on has been the Heritage H150, from our previous home town of Kalamazoo, MI. The H150 is basically an “original” Les Paul, made in the way (and with the actual tools and by the actual luthiers in some cases) as those vintage Pauls that go for thousands in your local used shop. Of course, this guitar is fairly clearly outside of my budget. Some day, when I get good enough to own such an instrument (and possible a couple of notches richer), I will probably buy just out of “dream” status more than anything else.
So in my travels, I’ve played guitars like a 50’s Goldtop that a friend had, a number of “modern” models of Studios, Classics, and Deluxes, and I’ve even spent a little time with most of the representatives from the Epiphone line, some of which aren’t too bad. Most Epi’s I’ve played when compared with the “real deal” seem to lack a solidness in the neck, clean workmanship and they definitely lack the same sustain that the Gibson’s have.
So when it came time to get a guitar, I had done my homework. I’d played a whole bunch of guitars; ESP’s (which I liked), Gibsons (which we out of my price range), Epiphones (which I talked about above), and PRS (which are nice, but also outside my price range). I then started doing internet research to see if there was anything else out there that might fit the bill, seeing as how “settling” on an Epiphone just didn’t seem right.
I found several different makers that imported cheap guitars in flashy colors and sold them mostly on ebay and through their website. Nice looking stuff, with halfway decent electronics, but contacting them with questions got me nowhere. I was feeling that I could experiment with my purchase (I just wasn’t that excited about stuff that was less than $1k), but not -that- much.
One of the places that I had looked at when originally looking at guitars was Bumstead Guitars, here in Michigan. All they had was an SG, which I’ve tried and not really liked. Not sure what it is, but it just doesn’t sing “this is my guitar”. I kind of wrote them off, but kept checking back out of curiosity. Then, one day, while looking at Alex West, I decided to drop by Bumstead and check out what they had. To my surprise, they had begun selling the venerable Les Paul design… and with a built-in distortion circuit that didn’t sound bad!
The guitar had all the markings of a great guitar (at an unreal price). Standard Paul setup, dual humbucker, three-way switch, and nitro finish. All for around $700. I sent a couple of e-mails back and forth with Sean (the owner) and he answered all my questions promptly and even offered to meet up so I could play the guitar before I bought it. Given his answers, the fact that Bumstead is a Michigan company, the features of the guitar, and the price, I bought it sight unseen.
It was packed well and arrived hand-carried by USPS. I instantly took it out and plugged in. Hmm… bit too much buzz and I sometimes play with a slide. I figured I’d have to take it somewhere to set it up right. The overdrive circuit is surprisingly buttery sweet. I use amp modeling software to play (cheaper than a whole bunch of amps and I don’t play out at the moment) and found that I like the overdrive in the guitar (on the lower settings anyway) better than some of the OD’s in the modeling software.
The sustain in this guitar is simply sick. It really runs circles around my Frankencaster. The fit and finish is as good as any quality guitar I’ve ever seen (it is orders of magnitude better than any Epi). The binding is well done and the frets are flawless. The hardware is top class stuff, as good as any guitar three times its price. Beyond what it looks like, it plays excellently (I end up setting it up myself after reading a few things on how to do it). The guitar is lighter than a Gibson. The wood used seems to resonate more than the wood used in Gibsons and it’s much easier on the back.
I had a musician friend over to lay out some vocals and was showing him the Bumstead. He was absolutely amazed at the tone. I think he’s now wondering when I’ll be good enough to play the music that we each have rolling around in the back of our minds.
I’m certainly not even a good guitar player, but I’ve been able to really make this guitar say “this is my guitar”. It’s going to be a great instrument to own and play for years to come.
Current Mood:
Chillin
Back Catalog Album Review:
Tokyo Police Club : Elephant Shell
I had never heard of Tokyo Police Club. To be honest, I had never even hear their music. What kept happening to me, however, were various music recommendation sites that kept kicking this disk up based on knowing about some of the other things I like. I will tell you; I’m not disappointed that I bought this disk.
What it reminds me of is a more melodic and less tripped out Neutral Milk Hotel combined with some of the British rock sensibilities floating around as of late. The disk starts out with “Centennial”, which is an up-beat track with meandering lyrics that fit well on top of a very dance-able track.
Next up is more bouncy, meandering pop in “In A Cave”, but with an addictive melodic line, even if there really isn’t any hook to be found. As soon as I learn the lyrics, I’ll be singing along. This track reminds of upbeat Death Cab For Cutie.
The third track, “Graves” mixes the current sounds of the rock scene together. This song reminds of me a lot of Neutral Milk Hotel, but with a definite bent toward Modest Mouse with those freaking synths thrown in that finally sound like they are in the right place.
All the songs on the album are wonderfully sweet (and sadly, short). The more I listen to this album, the more excited I am about the future of music. Tokyo Police Club are the latest in a long line of bands carrying the obtuse pop-rock torch (what used to be called “alternative” or “modern rock”). This album jerks, sways, and generally grooves through and through.
Production values are as good as can be expected these days. There are no sequences so distorted that they are distracting (unlike some other really excellent disks I own… you hear that Amy Winehouse?!?!).
The only song I’ve found so far that I feel is a little weak is “Sixties Remake”, which seems to just be a mashup of their other tunes, except without that hooky melodic line that seems to be their trademark. Everything else will end up on my MP3 player.
“Your English Is Good” is probably -the- standout track on the album. The arrangement is excellent, the lyrics are well written and it perfectly exemplifies what I believe the band is trying to communicate musically. I also dig upbeat tracks with lots of emotion.
The package came with a remix disk that I haven’t spent any time with. A quick review shows that it is standard fare, interesting but no where near the meat and potatoes of the album.
The disk can be purchased here at Amazon (no… I don’t get anything for you buying from this link).
The band’s website is here.
Current Mood: Chillin
Back Catalog Album Review :
The Raconteurs - Consolers of the Lonely
I’m now on my second listen The Raconteurs latest commitment to the musical world. Consolers of the Lonely is, in my opinion, sonically superior to anything any of them have done either together or separately. There are some really excellent musical moments here. There’s also a lot to be said for just simply rocking out, and they definitely do that; a lot.
After two rockers (the title track and “Salute Your Solution”), there’s a well-composed, if not almost formulaic, piano ballad called “You Don’t Understand Me” that could have been comfortably on a 70’s Wings album. Not that it’s a bad thing or a bad track. There is definitely not a bad track on the disc, but if I had to identify a “not-as-strong” track this would be it.
The Raconteurs are showing wonderful maturity in composition and arrangement. They have graduated from the Jack White formula of obtuse odd-rock that is so much of what The White Stripes are about and moved into much more organic, root/blues-based meters and feels. This disc simply grooves. I don’t mean to come down on The White Stripes, I like what they do, but the first Raconteurs disc was highly influenced by the particular styles of the bands the members are a part of. This disc however has its own identity, is really excellently written and produced, and is quite simply one of the best discs this year.
“The Switch and the Spur” has horns. Tasty, well-written horns (the trumpet refrain, of course, is one of my personal favorites). There’s simply nothing wrong with that. I’m really digging the trend lately to re-introduce traditional instruments in popular music.
The balance of rockers to thoughtful arty pieces is really good. It’s amazing to me that these guys recorded and produced this album in only two three week sessions. They are definitely a hard-working group.
They have an expanded tour this summer, so I’m hoping to see them live in person. We’ve seen them on Austin City Limits and Jools Holland. I can attest that their live show, at least when televised, is really really good. I’d be really geeked to hear some of these tracks live.
Incidentally, the first Raconteurs discs is still one of my favorites. This one is just better.
Last night we ventured down to The Intersection to partake in some “local” music that included a performance by our favorite out-of-towners, Hello Dave. As is usual they are at the top of any game you care to mention and a good time was had by all. A crowd of the usual suspects gathered and several new-comers joined in on the fun.
It was great to see the guys. When I asked Magoo about how they were getting paid (it was a coverless show in the “front room”), he said they were doing the show for nothing to try to get more exposure in GR. So… here’s my plea to you good folks. If any of you are from W Michigan and would even consider seeing Hello Dave in a live venue, please drop an e-mail to scott@sectionlive.com and tell him how cool it would be to have HD here.
While I’m soap-boxing for my favorite band, I think it would be unfair to not mention one of the other two bands there. The Mines played an absolutely excellent set of well-constructed, masterfully arranged tunes. You can tell that they own their songs and love what they do. They are a really good local band and I highly recommend you check them out. They remind me of bands like the Arctic Monkeys only less frantic. We bought both of their discs and I’ll probably post a BCAR once I give them a good listen.
The third band really wasn’t very good and I can’t remember their name. They were a metal band, which is a genre that I can appreciate when the band is stellar, it’s not something that I generally enjoy out of local three-chord bands. *shrug* Different strokes, I guess.
Current Mood:
Confused
It is absolutely ludicrous. Every year, I see the list, complain about those that should have made it before, complain about those who get it and don’t deserve it and watch the RARHOF induction ceremonies anyway. And every year, I’m proven wrong regarding my loathing of some artist I believe doesn’t deserve it. I still think U2 doesn’t, but that’s another rant.
This year, it was two that I love to hate; Madonna and John Mellencamp. I’m going to start with Madonna, which initially drew a puzzled “WTF?!” from a not-so-isolated corner of my mind. How is it possible for someone who really did nothing other than create a bunch of “stylish for the times” throwaway pop make it into the Hall? My dad put it best; basically to paraphrase, she’s solely responsible for proving that a strong-willed businesswoman could kick ass and take names in the music industry. And that it didn’t even take much raw talent to do so.
Continue reading ‘Rock And Roll Hall of Fame Inductions - 2008′
No one knows yet (the cat’s outta the bag now I guess), but I’m starting a new project and as part of that, I’ve been revisiting some old demons; in this case, learning piano to a little more depth than the odd year of piano lessons I had in high school. I’ve been looking for a formidable (and cheap) set of keys for a while and settled on the M-Audio Axiom 61 MIDI controller. It has 61 semi-weighted full size keys and more buttons and sliders than you can shake a stick at.
Given the plethora of software-based MIDI sounds that can be had these days and the fact that this set of keys is going to live permanently next to a computer, I saw this as an opportunity to put more investment in the keyboard and not worry about the sounds it can make. I’ve looked at a lot of “all in one” type keyboards and none of them had the “feel” of the Axiom or the MIDI capabilities.
Fifteen years or so ago, I spent some quality time with a Kurzweil stage piano with MIDI and a nice Korg piano module (a rig that probably cost >$3k at the time). While the Kurz had 88 fully weighted keys, the built in grand piano sound was less reactive and had less depth than the Reason Steinway grand that I’m using today. I will eventually need the full 88 (and the Axiom will become a “second” board), but for initial practice and working out sequences, it’s absolutely beautiful. The aftertouch is excellent and the M-Audio sustain pedal I picked up with it is quite simply just like a piano sustain.
The Axiom is excellent for organ playing as well and does very well with B3 sounds. The drums pads, I’ve found to be much much better than other online reviews I read before picking the board up. I’ve played around quite a lot with acoustic drums sets and have been able to reproduce a pretty convincing drum set with it. The pads are more reactive than others I’ve played with, but to be honest it’s been a looong time since I last played with drum pads. Even the keys are good for drumming due to their sensitivity.
All in all, I’m very satisfied with the Axiom, but I realize that I’m not a professional keys player and this board would probably not work for someone that required a more hammer-like feel. If you are a DIY “basement” artist, have no need for built-in sounds and are looking for a really good set of semi-weighted MIDI keys to lay down basic rhythm and solos, I highly recommend it as a solution that gives you good creative controls and doesn’t break the bank.
Here’s a link to purchase the Axiom (and some more reviews), if you’re interested.
Incidentally, expect an announcement about my new project as summer gets closer and tunes get produced. I really need some time to practice…
