Theme [from Eternal Sunshine of the Spotless Mind] by Jon Brion
That sound that you may be hearing? That's my heart being ripped out with those first bass notes. But let's start at the beginning...
My search for this song began years ago while listening to This American Life. Every once in a while during the show, between parts in one of the many stories they tell, they would sometimes use this song. And I loved it. And a search began to find this song... Google was used, websites looked at... but nothing.
And then, two months ago, Eternal Sunshine of the Spotless Mind found it's way to the top of my Netflix queue, I brought it with me to Florida over Memorial Day, I popped the DVD in and... there were those bass notes, followed by that haunting instrument, I'm not even sure what it is, but that sort of whistling/swirling sound... and then the piano begins. And I had found that sound that I had been searching for for months.
Then I watched the movie... at first I was lukewarm, but as I look back, it has moved it's way into the top ten movies I've ever seen. Why? Because I'm still thinking about it two months later.
[Spoiler Alert]
I liked the idea and how the movie explored the whole "is there only one person in the world for everyone" subject. Even after Joel and Clementine's memories are erased, they end up meeting each other and begin to fall for each other all over again.
I love that thought. Even after they have tried to wipe the other from their mind, Joel and Clementine have too much chemistry, too much attraction, too much likeness. As the Great Spaniard Enrique Iglesias once sang: They can run, they can hide, but they can't escape their love.
I like the thought that there is only one person for me and I'm going to be that one person for someone. I guess that's egotistical, but that's better than just 'falling' into someone at different points in ones life. I like this idea more than thought that love occurs when it's convent and socially acceptable. That the person you meet, when you're single and 25 isn't the person you love and end up with because you're single and 25, but because that IS the person you're supposed to be with.
But the flip side of all this, of course, is the break up. If you love someone, and then you break up, whatever the reason... that love doesn't go away over night or over a week or even over a few months. Love dies slowly—if ever at all. So why is it that when we break up with someone we love that we try and pretend that we didn't? Or why do we do whatever we can to forget about that person? Why don't we just embrace our love and try and make things work? Why don't we surrender to our own love? Is the pain too great? Is loving someone that painful? We have to realize that we can't escape our love.
So I say embrace our love for one another, live with that love, and let it decide everything. The pain hurts, the rejection of love is truly tragic. But as time passes, that love for the girl (or guy) will abate. I'll meet new people, I'll fall in love. The person I fall in love with will be the one I was meant to be with. Love will win the day.
It just may take a few days...
As the movie played on, and Joel ran from his memories, my relationship with the Girl was the only thing I could think about.
And that's why, the song, ever so slowly rips out my heart. Each bass note slowly pulls a string that rips my heart out of my chest, little by little, bit by bit, over 2 minutes and 24 seconds.
Friday, July 18, 2008
Thursday, July 17, 2008
Portions for Foxes
Portions for Foxes by Rilo Kiley
I am always surprised by this song. I've never thought of Rilo Kiley as the type of band/artist who could write lyrics that seem like they come from a Chuck Klosterman book or something. Any fan of Mr. Klosterman* might take that as a sort of cheap shot at him... but it's not indented to be. The song is just sort of a dumbed essay that Chuck has probably written...
The song isn't all that complicated. For some crazy reason, the people who are the worst for us are the ones we want and can't be without—that's the song. "And you're bad news/My friends tell me to leave you" we've probably all been told this, I've been told this, and I sure as hell have said something like that to a bunch of friends. But despite this, we stay with this person or if we're without this person we're pulling our hair out and thinking/realizing about how easy it would be to be as insane as Rob Gordon. Sometimes the ones who are the worst for us are some how the best... or we tell ourselves this.
Of course there is a fine line, anyone that leads you to self-destructive behavior is someone that you should leave high and dry. But I've never thought that this song went down that path... it's more the selfish girl or the guy who can sweet talk his way back into your life, only to stop calling you after a few months of hanging out once again. Why do we stay with these people let alone let them back in our lives? I'm it has to do with some sort combination of sex, potential, passion, and belief that we can change the other person.
Which brings me to the one part of the song that I don't like—that somehow sex removes all the mystery of a person... Umm, no. Not at all. That couldn't be more untrue. If anything, sex only makes someone MORE mysterious. Assuming of course, the person you're sleeping with is someone you actually, you know, love.
* I am a big fan of Mr. Klosterman's work.
I am always surprised by this song. I've never thought of Rilo Kiley as the type of band/artist who could write lyrics that seem like they come from a Chuck Klosterman book or something. Any fan of Mr. Klosterman* might take that as a sort of cheap shot at him... but it's not indented to be. The song is just sort of a dumbed essay that Chuck has probably written...
The song isn't all that complicated. For some crazy reason, the people who are the worst for us are the ones we want and can't be without—that's the song. "And you're bad news/My friends tell me to leave you" we've probably all been told this, I've been told this, and I sure as hell have said something like that to a bunch of friends. But despite this, we stay with this person or if we're without this person we're pulling our hair out and thinking/realizing about how easy it would be to be as insane as Rob Gordon. Sometimes the ones who are the worst for us are some how the best... or we tell ourselves this.
Of course there is a fine line, anyone that leads you to self-destructive behavior is someone that you should leave high and dry. But I've never thought that this song went down that path... it's more the selfish girl or the guy who can sweet talk his way back into your life, only to stop calling you after a few months of hanging out once again. Why do we stay with these people let alone let them back in our lives? I'm it has to do with some sort combination of sex, potential, passion, and belief that we can change the other person.
Which brings me to the one part of the song that I don't like—that somehow sex removes all the mystery of a person... Umm, no. Not at all. That couldn't be more untrue. If anything, sex only makes someone MORE mysterious. Assuming of course, the person you're sleeping with is someone you actually, you know, love.
* I am a big fan of Mr. Klosterman's work.
Wednesday, July 16, 2008
Rise Up With Fists!!!
Rise Up With Fists!!! by Jenny Lewis
According to Jenny Lewis, trying to change someone is like cleaning the ocean... and she's right. It seems odd that changing would be so difficult, but it really is. Sure we change how we dress and who we hang out with, but changing who one is... well that, for whatever reason, is really effin' hard to do.
But why? Why is it so hard to change? Why are we so set in our ways and our personality? Why is it that we can't actually make the necessary changes to be a better person? Why is it that we all too often continue with self destructive behavior? And why is it that we think we can change other people, or at the very least, our loved ones? And why is it that change, if it does occur, a gradual process that takes months or years for it to happen?
Most people that I know are at least somewhat self aware—they know what their vices are and most people are conscious of their negative personality traits be it pride, stubbornness, arrogance, or whatever... so if we're aware of these negatives, why is it that we constantly continue to fail or fall into the same negative behaviors? Why is it, that whenever I get a bit frustrated in a relationship my gut reaction is to bolt and get away... not necessary break up, but get out of the situation at the moment? Why don't I stick around and get going with the toughness?
(Okay don't answer that, that can be summed up to immaturity).
But just because I know this and know that I can't and shouldn't do this... well I have a history of doing it. And this isn't good. And I want to change it, I'm going to change it, but will I change it?
At some point I'll have to—if I don't... well we all know.
So why is change so hard? And why can't I change my negative traits?
And here's the real kicker about change and relationships... the right person? That's the person you have to change with at the same time and at the same rate... but that's another day.
According to Jenny Lewis, trying to change someone is like cleaning the ocean... and she's right. It seems odd that changing would be so difficult, but it really is. Sure we change how we dress and who we hang out with, but changing who one is... well that, for whatever reason, is really effin' hard to do.
But why? Why is it so hard to change? Why are we so set in our ways and our personality? Why is it that we can't actually make the necessary changes to be a better person? Why is it that we all too often continue with self destructive behavior? And why is it that we think we can change other people, or at the very least, our loved ones? And why is it that change, if it does occur, a gradual process that takes months or years for it to happen?
Most people that I know are at least somewhat self aware—they know what their vices are and most people are conscious of their negative personality traits be it pride, stubbornness, arrogance, or whatever... so if we're aware of these negatives, why is it that we constantly continue to fail or fall into the same negative behaviors? Why is it, that whenever I get a bit frustrated in a relationship my gut reaction is to bolt and get away... not necessary break up, but get out of the situation at the moment? Why don't I stick around and get going with the toughness?
(Okay don't answer that, that can be summed up to immaturity).
But just because I know this and know that I can't and shouldn't do this... well I have a history of doing it. And this isn't good. And I want to change it, I'm going to change it, but will I change it?
At some point I'll have to—if I don't... well we all know.
So why is change so hard? And why can't I change my negative traits?
And here's the real kicker about change and relationships... the right person? That's the person you have to change with at the same time and at the same rate... but that's another day.
Tuesday, July 15, 2008
Hallelujah
"Hallelujah" by Jeff Buckley
One of my general rule of music thumbs is that the original song is always better than the cover. Otis Redding's "Respect" is, imo, better than Ms. Franklin's, Robert Knight's "Everlasting Love" is better than the U2 cover. I'll even take Dylan's "All Along the Watchtower" over the Hendrix version.
But there are two notable exceptions:
1) Goat's cover of Fall Out Boy's "Sugar, We're Going Down" (when I finally write about this song, I think the post will just be me staring at the screen for 45 minutes).
2) Jeff Buckley preforming Leonard Cohen's "Hallelujah".
I was going to say, Buckley totally makes this song his own and that it's nearly perfect... but I've been beaten to the punch:
I heard there was a secret chord/That David played and it pleased the Lord/But you don't really care for music, do you/Well it goes like this the fourth, the fifth/The minor fall and the major lift/The baffled king composing hallelujah
When you're working with words like that, it's hard to mess up the song, as countless number of artists have proved. Cohen, as noted, never quite can sell me when he sings the song, but with Buckley you feel just about everything that Cohen was probably hoping to get across. The song is about making music and love... and Buckley gets this across just that little bit better than Cohen.
A beautiful song, a powerful song, one where the imagery that the lyrics gives us... of David playing for the Lord and then his later affair with Bathsheba... well it's great. And Buckley wows making this is own song, leaving us singing Hallelujah long after iTunes has moved on to the next song.
One of my general rule of music thumbs is that the original song is always better than the cover. Otis Redding's "Respect" is, imo, better than Ms. Franklin's, Robert Knight's "Everlasting Love" is better than the U2 cover. I'll even take Dylan's "All Along the Watchtower" over the Hendrix version.
But there are two notable exceptions:
1) Goat's cover of Fall Out Boy's "Sugar, We're Going Down" (when I finally write about this song, I think the post will just be me staring at the screen for 45 minutes).
2) Jeff Buckley preforming Leonard Cohen's "Hallelujah".
I was going to say, Buckley totally makes this song his own and that it's nearly perfect... but I've been beaten to the punch:
"No one has made a cover this much their own since Hendrix made people think Dylan was covering him. Buckley's voice is more haunting than on any of his own tunes. His voice soars to hit notes that Cohen couldn't quite reach, giving the song life that Cohen surely intended but couldn't achieve."
Buckley had great lyrics to work with, the opening verse alone is probably one of the best in all of music:I heard there was a secret chord/That David played and it pleased the Lord/But you don't really care for music, do you/Well it goes like this the fourth, the fifth/The minor fall and the major lift/The baffled king composing hallelujah
When you're working with words like that, it's hard to mess up the song, as countless number of artists have proved. Cohen, as noted, never quite can sell me when he sings the song, but with Buckley you feel just about everything that Cohen was probably hoping to get across. The song is about making music and love... and Buckley gets this across just that little bit better than Cohen.
A beautiful song, a powerful song, one where the imagery that the lyrics gives us... of David playing for the Lord and then his later affair with Bathsheba... well it's great. And Buckley wows making this is own song, leaving us singing Hallelujah long after iTunes has moved on to the next song.
Wednesday, July 9, 2008
Babylon
Babylon by David Gray
I bought my sister this album for Christmas in 2000. It might have even been a Friday night, going no where, when I bought the album. I spent much of the fall of 2000 walking around Georgetown. This was my Friday and Saturday nights, I'd eat at 6ish, while reading a book, then take the Metro to DuPont. I'd then go west along P Street into Georgetown, then criss crossing the side streets where some of the rich and famous of D.C. live. Usually I'd stop at the Barnes & Noble on M Street and sit for a half hour or so, listening to a few albums in the process. With no where to go, I would eventually make it to Georgetown University and walk around the campus a bit taking in the boys and girls rushing off to whatever party or bar they were running off too. Then it was time to go back, this time east down Q Street... just to change things up a bit. I'd get back to the dorm between 10 and 11, right after the roommate had left for a night of drinking and hitting on girls (he had a decent success rate).
I was lonely, but I didn't entirely mind it at first. I was 18 or 19 and a freshman in college surrounded by East Coasters whose ignorance amazed me. I wasn't really making friends, so long walks in Northwest DC was what I did. It wasn't until right before Thanksgiving that I actually got lonely—and that's when I started making friends.
Over the next three and a half years, once in a while I'd still take a night to walk around Georgetown. I love the area still today and while I don't miss those nights, almost ten years ago now, walking around, I am a bit nostalgic for those nights alone, where my only worry was loneliness.
I bought my sister this album for Christmas in 2000. It might have even been a Friday night, going no where, when I bought the album. I spent much of the fall of 2000 walking around Georgetown. This was my Friday and Saturday nights, I'd eat at 6ish, while reading a book, then take the Metro to DuPont. I'd then go west along P Street into Georgetown, then criss crossing the side streets where some of the rich and famous of D.C. live. Usually I'd stop at the Barnes & Noble on M Street and sit for a half hour or so, listening to a few albums in the process. With no where to go, I would eventually make it to Georgetown University and walk around the campus a bit taking in the boys and girls rushing off to whatever party or bar they were running off too. Then it was time to go back, this time east down Q Street... just to change things up a bit. I'd get back to the dorm between 10 and 11, right after the roommate had left for a night of drinking and hitting on girls (he had a decent success rate).
I was lonely, but I didn't entirely mind it at first. I was 18 or 19 and a freshman in college surrounded by East Coasters whose ignorance amazed me. I wasn't really making friends, so long walks in Northwest DC was what I did. It wasn't until right before Thanksgiving that I actually got lonely—and that's when I started making friends.
Over the next three and a half years, once in a while I'd still take a night to walk around Georgetown. I love the area still today and while I don't miss those nights, almost ten years ago now, walking around, I am a bit nostalgic for those nights alone, where my only worry was loneliness.
Tuesday, July 8, 2008
All I Want Is You
All I Want Is You by Barry Louis Polisar
The scary thing about art are those times when you're looking for it to answer current life situations. When life is good or status quo this isn't much of a problem. You watch the movie, take in the song, read the book without much thought about how life is or isn't like whatever it is your consuming. When things are good, you can enjoy the art for what it is. This is why art imitates life.
But when things are bad, well... life starts to imitate art. Art becomes another answer or insight to one's current position. Underachieving? Flip on "Good Will Hunting" and suddenly you ARE Will Hunting. You identify with everything Will is going though, sure he's a math wiz, but that's not the point when you're underachieving. Only Will Hunting knows how you feel. When you snap out of whatever funk you're in, you realize that this is outrageous—you aren't Will Hunting because Will Hunting only exists in a movie.
Right now I'm in one of those, life imitates art stages. When I saw "Eternal Sunshine of a Spotless Mind" I tried to find meaning in my own breakup with The Girl—why couldn't we be Joel and Clementine? (well maybe not those two, but the true loves who couldn't run from love and fate). And then I saw Juno last night... and well I couldn't help but think of about a few people.
Juno WAS The Lou.
The world sees The Girl as Vanessa, which is unfair and made me sad. I know better than that, I know about her complexities, passions, and how she's oh so much more interesting and real...
I could and may very well probably become Mark.
I even saw the Girl and my relationship in Mark and Vanessa. Mark gave up so much for her, everything really, and he discovered that he didn't like it. Mark's immaturity lead him to the alter with Vanessa (irony!). Personally, the Girl and I didn't break up for the same reason, I hadn't compromised everything, in fact I wouldn't allow her to censor me. And that's why we broke up (of course it's much more complicated, but you catch my drift). As much as it sucked then and now maybe it means I won't become Mark...
Anyway, as the post-breakup shit unfold it eventually led the Girl to tell me something that no one had ever told me: "I'm not the right woman for you, Bobby."
And now when I think about what The Girl said, Mac's words to his daughter seemingly are coming out of the Girl's mouth at that moment. The Girl had seen Juno about a week or two before.
Life imitates art.
The scary thing about art are those times when you're looking for it to answer current life situations. When life is good or status quo this isn't much of a problem. You watch the movie, take in the song, read the book without much thought about how life is or isn't like whatever it is your consuming. When things are good, you can enjoy the art for what it is. This is why art imitates life.
But when things are bad, well... life starts to imitate art. Art becomes another answer or insight to one's current position. Underachieving? Flip on "Good Will Hunting" and suddenly you ARE Will Hunting. You identify with everything Will is going though, sure he's a math wiz, but that's not the point when you're underachieving. Only Will Hunting knows how you feel. When you snap out of whatever funk you're in, you realize that this is outrageous—you aren't Will Hunting because Will Hunting only exists in a movie.
Right now I'm in one of those, life imitates art stages. When I saw "Eternal Sunshine of a Spotless Mind" I tried to find meaning in my own breakup with The Girl—why couldn't we be Joel and Clementine? (well maybe not those two, but the true loves who couldn't run from love and fate). And then I saw Juno last night... and well I couldn't help but think of about a few people.
Juno WAS The Lou.
The world sees The Girl as Vanessa, which is unfair and made me sad. I know better than that, I know about her complexities, passions, and how she's oh so much more interesting and real...
I could and may very well probably become Mark.
I even saw the Girl and my relationship in Mark and Vanessa. Mark gave up so much for her, everything really, and he discovered that he didn't like it. Mark's immaturity lead him to the alter with Vanessa (irony!). Personally, the Girl and I didn't break up for the same reason, I hadn't compromised everything, in fact I wouldn't allow her to censor me. And that's why we broke up (of course it's much more complicated, but you catch my drift). As much as it sucked then and now maybe it means I won't become Mark...
Anyway, as the post-breakup shit unfold it eventually led the Girl to tell me something that no one had ever told me: "I'm not the right woman for you, Bobby."
And now when I think about what The Girl said, Mac's words to his daughter seemingly are coming out of the Girl's mouth at that moment. The Girl had seen Juno about a week or two before.
Life imitates art.
Monday, July 7, 2008
Elephant Love Medley
Elephant Love Medley by ummm, Moulin Rouge (Nicole Kidman, Ewan McGregor & Jamie Allen)
One of the better ideas of the last few years has been these mash ups that litter the Internets. From the Grey Album to half the non-whata-be-on-Pitchfork-someday bands on My Space, mash ups seem to be all the rage. And they're cool, fun, and interesting. Mash ups get a thumbs up in my book.
This classic from Moulin Rouge may be the best 'mash up' yet, even though one would never think of it as a mash up, but that's what it is. It takes a bunch of songs and combines them it to a wonderful ditty to the ears then call it a medley (or a mash up). Only a bitter cynic or a "player" could dislike Elephant Love Medley.
And I love this song, hopeless romantic that I may be, I like it all from love lifting us to where we belong to being heroes, just for one day... it gives me hope. That yes, love can win the day and will win the day. And what's wrong with that? Love and hope can get us though pretty much anything, and that's a wonderful thing. Ewan's eternal hope and quest for love is something we should all strive for in our lives.
EBS' best friend, Patty, and I would sing this drunk in DC five years ago now. I'd take the Ewan parts, she'd take the Nicole parts and it was always fun. Always.
One of the better ideas of the last few years has been these mash ups that litter the Internets. From the Grey Album to half the non-whata-be-on-Pitchfork-someday bands on My Space, mash ups seem to be all the rage. And they're cool, fun, and interesting. Mash ups get a thumbs up in my book.
This classic from Moulin Rouge may be the best 'mash up' yet, even though one would never think of it as a mash up, but that's what it is. It takes a bunch of songs and combines them it to a wonderful ditty to the ears then call it a medley (or a mash up). Only a bitter cynic or a "player" could dislike Elephant Love Medley.
And I love this song, hopeless romantic that I may be, I like it all from love lifting us to where we belong to being heroes, just for one day... it gives me hope. That yes, love can win the day and will win the day. And what's wrong with that? Love and hope can get us though pretty much anything, and that's a wonderful thing. Ewan's eternal hope and quest for love is something we should all strive for in our lives.
EBS' best friend, Patty, and I would sing this drunk in DC five years ago now. I'd take the Ewan parts, she'd take the Nicole parts and it was always fun. Always.
Sunday, July 6, 2008
She Moves in Secret Ways
She Moves in Secrete Ways by Polly Paulusma
I'm not sure where I found this song or even when I first heard it, but some how I ended up with this song on iTunes in the last few years. Now that I think about it, my best guess is that The Lou gave it to me on some mix CD three years ago...
Anyway, I have no clue who Polly Paulusma is or any of her other works, but she gets it done here. The song meanders and appears to be in no rush to get anywhere, just like a walk between two people who have known each other for a few weeks and are thinking about maybe, just maybe sticking around. Polly's pretty voice takes us though the lyrics, peaking whenever she sings "she moves in secret ways".
The romantic/pop culture fool in me pictures this song being played during some scene in a movie - a kiss and she walks away, just a few feet in front of the guy as he smiles sheepishly at first, but then grinning like luckiest man on Earth. You know, one of those moments that we all dream of and wish that could happen to us... and if they do it's always in a memory, often bittersweet, thinking back at a time when something similar to this happened...
Random thought: I sort of wish I could hear Jeff Buckley do this song.
I'm not sure where I found this song or even when I first heard it, but some how I ended up with this song on iTunes in the last few years. Now that I think about it, my best guess is that The Lou gave it to me on some mix CD three years ago...
Anyway, I have no clue who Polly Paulusma is or any of her other works, but she gets it done here. The song meanders and appears to be in no rush to get anywhere, just like a walk between two people who have known each other for a few weeks and are thinking about maybe, just maybe sticking around. Polly's pretty voice takes us though the lyrics, peaking whenever she sings "she moves in secret ways".
The romantic/pop culture fool in me pictures this song being played during some scene in a movie - a kiss and she walks away, just a few feet in front of the guy as he smiles sheepishly at first, but then grinning like luckiest man on Earth. You know, one of those moments that we all dream of and wish that could happen to us... and if they do it's always in a memory, often bittersweet, thinking back at a time when something similar to this happened...
Random thought: I sort of wish I could hear Jeff Buckley do this song.
Saturday, July 5, 2008
Violet Hill
Violet Hill by Coldplay
Is Coldplay the most obvious unobvious band ever? On the face of it, just raising this question seems inane—the number of bands who are marketing creations would seemingly bump Coldplay out of contention right away. But think about it, Coldplay wants to be U2, they act like U2 in commercials where they're trying to look like U2. Coldplay is copying a band who set out on being the most obvious and pretentious without being pretentious band over 20 years ago. The only time that U2 didn't do something obvious was probably in the late 90s when they stuck with the whole "Pop" era stuff. Both 'shifts' in U2's career were actually fairly obvious:
1) Achtung Baby was really not all that big of a musical shift when you listen to the album. The biggest difference between Achtung Baby and previous U2 ablums is that Bono didn't try to write any obnoxious, yet lovable, songs like "Pride" or "I Still Haven't Found What I'm Looking For".
2) All That You Can't Leave Behind was really the only album U2 could make after "Pop". Call it a return to U2's roots or just call it an album that hasn't aged well AT ALL even though it was released less than 8 years ago.
Right after (or right when) All That You Can't Leave Behind came out, Coldplay struck it big with Yellow. A one hit wonder they were not since once one heard "Shiver" you knew Chris Martin and friends weren't going away. They had talent. And they backed it up with their second album which while maybe not as good as some fans claim, it's not as bad as some critics claim either. On their third album, Coldplay tries to sort of do what they did on their first two albums, only they don't, and aside from the bridge on "Speed of Sound" the album has more throw up moments than anything else ("My song is love" the first line of "A Message" is the worst line in music history and I will not argue this, even with Bill Simmons).
So what does Coldplay do to follow up? They hire Brian Eno to produce their next album—I'm not even making this up. Hiring Eno was the most unobvious obvious move a band like Coldplay could make. The thinking must have been, "If we hire U2's producer he'll make sure we don't sound like Coldplay!" Instead what Coldplay told the world was: "We're a poor band's U2, only we don't cover U2 songs and we never talk about Jesus." (BTW, I'd pay good money to see Coldplay cover U2 songs for two hours. It's also pay good money to watch Oasis cover Beatles songs. And I think it'd be awesome if Jet actually covered the songs they ripped off on "Get Born").
Anyway, back to Coldplay, their fourth album, Viva la Vida something and it goes on, is completely and totally underwhelming. Why? Because it is so friggin' unobviously obvious that it can't be any good. If it was obviously unobvoius I might be able to take it, but it's the other way around, and therefore I'm left listening to the same four tracks.
And good tracks they are. This song is surprisingly good, maybe it's because I totally relate to the song, always dangerous, but true at the moment. "So if you love me, why'd you let me go?... If you love me, won't you let me know". Sometimes love just doesn't go the way it's supposed to go. As U2 sang, and the Beatles too, pride can be a very very bad thing and unfortuntally gets in the way of love.
Is Coldplay the most obvious unobvious band ever? On the face of it, just raising this question seems inane—the number of bands who are marketing creations would seemingly bump Coldplay out of contention right away. But think about it, Coldplay wants to be U2, they act like U2 in commercials where they're trying to look like U2. Coldplay is copying a band who set out on being the most obvious and pretentious without being pretentious band over 20 years ago. The only time that U2 didn't do something obvious was probably in the late 90s when they stuck with the whole "Pop" era stuff. Both 'shifts' in U2's career were actually fairly obvious:
1) Achtung Baby was really not all that big of a musical shift when you listen to the album. The biggest difference between Achtung Baby and previous U2 ablums is that Bono didn't try to write any obnoxious, yet lovable, songs like "Pride" or "I Still Haven't Found What I'm Looking For".
2) All That You Can't Leave Behind was really the only album U2 could make after "Pop". Call it a return to U2's roots or just call it an album that hasn't aged well AT ALL even though it was released less than 8 years ago.
Right after (or right when) All That You Can't Leave Behind came out, Coldplay struck it big with Yellow. A one hit wonder they were not since once one heard "Shiver" you knew Chris Martin and friends weren't going away. They had talent. And they backed it up with their second album which while maybe not as good as some fans claim, it's not as bad as some critics claim either. On their third album, Coldplay tries to sort of do what they did on their first two albums, only they don't, and aside from the bridge on "Speed of Sound" the album has more throw up moments than anything else ("My song is love" the first line of "A Message" is the worst line in music history and I will not argue this, even with Bill Simmons).
So what does Coldplay do to follow up? They hire Brian Eno to produce their next album—I'm not even making this up. Hiring Eno was the most unobvious obvious move a band like Coldplay could make. The thinking must have been, "If we hire U2's producer he'll make sure we don't sound like Coldplay!" Instead what Coldplay told the world was: "We're a poor band's U2, only we don't cover U2 songs and we never talk about Jesus." (BTW, I'd pay good money to see Coldplay cover U2 songs for two hours. It's also pay good money to watch Oasis cover Beatles songs. And I think it'd be awesome if Jet actually covered the songs they ripped off on "Get Born").
Anyway, back to Coldplay, their fourth album, Viva la Vida something and it goes on, is completely and totally underwhelming. Why? Because it is so friggin' unobviously obvious that it can't be any good. If it was obviously unobvoius I might be able to take it, but it's the other way around, and therefore I'm left listening to the same four tracks.
And good tracks they are. This song is surprisingly good, maybe it's because I totally relate to the song, always dangerous, but true at the moment. "So if you love me, why'd you let me go?... If you love me, won't you let me know". Sometimes love just doesn't go the way it's supposed to go. As U2 sang, and the Beatles too, pride can be a very very bad thing and unfortuntally gets in the way of love.
Monday, June 16, 2008
Killer's Creek
Killer's Creek by Mason Jennings
When songs become biographical, it's always a weird sensation. What you're doing is using someone else's work and making it apart of your life. I'm not sure if this is fair, the artist did not write a song/book/movie with (in this case) me in mind. I'm just borrowing their words and art for my own personal purposes.
And currently, that's what I'm doing with this song. In fact, I find myself doing this with a lot of Mason songs. But right now these words stand out:
"Talk to me, please I beg you/I'm a wounded man/All is lost if trust is broken/Help me understand/Promise me that you won't let me go/If you fail me please don't fail me now"
Pretty much this is my current person life. Two people are in love, trust is broken, they break up, but the love still burns... talking between the two people is limited, at times frustrating, and all you want is for the other person to hold you, even though you DON'T want them to hold you at the same time. And in the end, you don't want them(her) to fail you. And yet she does. Even though the love still burns inside of both of you and you both admit as much to each other.
So what happens to love unrealized? What happens to that burning love? Is it real? Do we lie to ourselves until it goes away over time? Do we find distractions to take our mind off of what is real? Is this a healthy thing? And do we all do it because we don't want to face the facts? Or do we distract ourselves to make the pain go away just a little bit?
Over the course of our lives we all make decisions—some good some bad. What motivates us for each and everyone of those decisions is different. Why we do what we do is a mystery to those around us and often is a mystery to ourselves. Why am I here typing away about this? What am I getting out of this and why even bother because odds are no one is reading this?
I'm not sure... that's the mystery. Knowing ourselves is hard, if not impossible, in fact I would say knowing oneself is the hardest thing to do. So why do we even bother trying to figure out why others do (or don't do) what they do if it's so hard to know ourselves?
Too often I think we forget what matters and what should guide us. I think the answer is simple, and Victor Frankl summed it up perfectly—love. I guess we can all hope that in the end, love will win the day. And if that happens, then does anything else really matter?
When songs become biographical, it's always a weird sensation. What you're doing is using someone else's work and making it apart of your life. I'm not sure if this is fair, the artist did not write a song/book/movie with (in this case) me in mind. I'm just borrowing their words and art for my own personal purposes.
And currently, that's what I'm doing with this song. In fact, I find myself doing this with a lot of Mason songs. But right now these words stand out:
"Talk to me, please I beg you/I'm a wounded man/All is lost if trust is broken/Help me understand/Promise me that you won't let me go/If you fail me please don't fail me now"
Pretty much this is my current person life. Two people are in love, trust is broken, they break up, but the love still burns... talking between the two people is limited, at times frustrating, and all you want is for the other person to hold you, even though you DON'T want them to hold you at the same time. And in the end, you don't want them(her) to fail you. And yet she does. Even though the love still burns inside of both of you and you both admit as much to each other.
So what happens to love unrealized? What happens to that burning love? Is it real? Do we lie to ourselves until it goes away over time? Do we find distractions to take our mind off of what is real? Is this a healthy thing? And do we all do it because we don't want to face the facts? Or do we distract ourselves to make the pain go away just a little bit?
Over the course of our lives we all make decisions—some good some bad. What motivates us for each and everyone of those decisions is different. Why we do what we do is a mystery to those around us and often is a mystery to ourselves. Why am I here typing away about this? What am I getting out of this and why even bother because odds are no one is reading this?
I'm not sure... that's the mystery. Knowing ourselves is hard, if not impossible, in fact I would say knowing oneself is the hardest thing to do. So why do we even bother trying to figure out why others do (or don't do) what they do if it's so hard to know ourselves?
Too often I think we forget what matters and what should guide us. I think the answer is simple, and Victor Frankl summed it up perfectly—love. I guess we can all hope that in the end, love will win the day. And if that happens, then does anything else really matter?
Tuesday, June 10, 2008
Mrs. Potter's Lullaby
Mrs. Potter's Lullaby by Counting Crows
When I was a senior in high school, this song was near perfect. For those hot, humid nights of a Chicago summer, when you're tired more from the heat than life... this song was just right. And that's still true today. It's a pretty song, but not overly pretty in the 'drop everything you're doing' kind of way. It just sums up a night.
I'm taken back to the porch at MEW's house in Oak Park. We would sit there, in her hammock, and talk about life and the future. Neither of us knew what we wanted, but we knew that we wanted something. We knew that we were supposed to want something, we set out to find what that was. And so we would sit there, talking about friends, family, and the world. We were innocent in most ways, probably overly optimistic, and yet to be beaten down by the fact that we were young. We were wise enough to realize that there was so much life to live, but since we had yet to see anything on our own, it was hard for us to imagine what the world was actually like. To us, love was what our parents shared, relationships were not complicated, and excuses were something only adults made. Like every teenager, we weren't going to be like other adults, we were going to tell it as it was (well, me at least).
Those were such nice nights, never perfect, but nice. No night was more memorable than any other. And that's okay, it's nice to have memories like that, were no night is so much better than any other. Once in a while we might walk around Oak Park, but for the most part we would take our place on the porch. We would spend hours changeling each others minds.
I miss that.
When I was a senior in high school, this song was near perfect. For those hot, humid nights of a Chicago summer, when you're tired more from the heat than life... this song was just right. And that's still true today. It's a pretty song, but not overly pretty in the 'drop everything you're doing' kind of way. It just sums up a night.
I'm taken back to the porch at MEW's house in Oak Park. We would sit there, in her hammock, and talk about life and the future. Neither of us knew what we wanted, but we knew that we wanted something. We knew that we were supposed to want something, we set out to find what that was. And so we would sit there, talking about friends, family, and the world. We were innocent in most ways, probably overly optimistic, and yet to be beaten down by the fact that we were young. We were wise enough to realize that there was so much life to live, but since we had yet to see anything on our own, it was hard for us to imagine what the world was actually like. To us, love was what our parents shared, relationships were not complicated, and excuses were something only adults made. Like every teenager, we weren't going to be like other adults, we were going to tell it as it was (well, me at least).
Those were such nice nights, never perfect, but nice. No night was more memorable than any other. And that's okay, it's nice to have memories like that, were no night is so much better than any other. Once in a while we might walk around Oak Park, but for the most part we would take our place on the porch. We would spend hours changeling each others minds.
I miss that.
Thursday, June 5, 2008
Hold My Hand
Hold My Hand by Hootie and the Blowfish
I bet you read that and either smiled or laughed. Oh, he’s being ironic.
Well you’re wrong. This song is FANNNN-TASTIC on it’s own right.
When you get down to all time great pop songs, this song is on the short list. Hootie and his Blowfish friends nail this song. The verse is just good enough to keep you around. And then the pre-chorus/bridge, with an all time great hook “cause Ive got a hand for you/cause I wanna run with you”. And then the chorus and the hold my hand stuff.
The song even has a needless guitar solo.
Look there are two songs about hand holding – the Beatles “I Wanta Hold Your Hand” and Hootie and the Blowfish’s “Hold My Hand”. They’re both fantastic pop songs and a ton of fun to listen too. Just like holding someone’s hand.
I bet you read that and either smiled or laughed. Oh, he’s being ironic.
Well you’re wrong. This song is FANNNN-TASTIC on it’s own right.
When you get down to all time great pop songs, this song is on the short list. Hootie and his Blowfish friends nail this song. The verse is just good enough to keep you around. And then the pre-chorus/bridge, with an all time great hook “cause Ive got a hand for you/cause I wanna run with you”. And then the chorus and the hold my hand stuff.
The song even has a needless guitar solo.
Look there are two songs about hand holding – the Beatles “I Wanta Hold Your Hand” and Hootie and the Blowfish’s “Hold My Hand”. They’re both fantastic pop songs and a ton of fun to listen too. Just like holding someone’s hand.
Thursday, April 24, 2008
Don't Ask Me Why
Don't Ask Me Why by Billy Joel
(no clue what's going on with the video here)
I've always sort of considered Billy Joel and Bon Jovi East Coast phenomenons. They always seem to be so much more East Coast than American and the success to each is sort of lost on everyone west of I-95. But apparently this theory does not hold true with Billy Joel.
It's not that I don't like Billy Joel, it's just he's so New York and so Long Island that to some kid from Chicago, he doesn't translate all that well in the 21st century. Of course this is the same man that wrote "Allentown" so who knows really. Maybe I'm the one who doesn't get it.
Anyway, this is easily my favorite Joel song. It's simple, it's catchy, it's a ditty. And I sort of like the message, take a chance, go for it, and don't ask me why. You only get one chance, so take that chance. Yet another carpe diem song, which isn't a bad thing. It's just amazing how large of a market we have as a society for these types of songs.
A song that puts me in a good mood, and I like songs like that.
(no clue what's going on with the video here)
I've always sort of considered Billy Joel and Bon Jovi East Coast phenomenons. They always seem to be so much more East Coast than American and the success to each is sort of lost on everyone west of I-95. But apparently this theory does not hold true with Billy Joel.
It's not that I don't like Billy Joel, it's just he's so New York and so Long Island that to some kid from Chicago, he doesn't translate all that well in the 21st century. Of course this is the same man that wrote "Allentown" so who knows really. Maybe I'm the one who doesn't get it.
Anyway, this is easily my favorite Joel song. It's simple, it's catchy, it's a ditty. And I sort of like the message, take a chance, go for it, and don't ask me why. You only get one chance, so take that chance. Yet another carpe diem song, which isn't a bad thing. It's just amazing how large of a market we have as a society for these types of songs.
A song that puts me in a good mood, and I like songs like that.
Monday, April 21, 2008
Red-Eyed and Blue
Red-Eyed and Blue by Wilco
Let me clear my throat...
When we came here today
We all felt something true
Now I'm red-eyed and blue
If I were a really, really good writer, I would some how be able to connect this song to the Gettysburg Address. But I'm not. However, I think I'm going to try.
Like the Gettysburg Address, this song is short and doesn't mince it's words. It comes at you quickly and you listen to every word. None of the words are forced or wasted, they all mean something. And there is a brutal, honest, glorious truth to what is being said.
A mere 61 words, this song is frightfully true. This is what Tweedy does best, of course, some how packaging the heart break of relationships and life into a song that is bittersweet. Whenever I hear this song, I can't help but think of the love lost but somehow I'm better off for loving... despite being red-eyed and blue.
If you desire to love someone AND have someone love you, then eventually you'll find yourself in the position where you'll be with someone, feel something true, yet leave with tears in your eyes and a mental state that can only be described as blue. It's a horrible feeling. It's one that makes you upset and leaves you wondering why you can't keep the those true moments and hold them forever. Why you did what you did and why she did what she did. You're so close, yet so far away; like so many things in life.
Let me clear my throat...
When we came here today
We all felt something true
Now I'm red-eyed and blue
If I were a really, really good writer, I would some how be able to connect this song to the Gettysburg Address. But I'm not. However, I think I'm going to try.
Like the Gettysburg Address, this song is short and doesn't mince it's words. It comes at you quickly and you listen to every word. None of the words are forced or wasted, they all mean something. And there is a brutal, honest, glorious truth to what is being said.
A mere 61 words, this song is frightfully true. This is what Tweedy does best, of course, some how packaging the heart break of relationships and life into a song that is bittersweet. Whenever I hear this song, I can't help but think of the love lost but somehow I'm better off for loving... despite being red-eyed and blue.
If you desire to love someone AND have someone love you, then eventually you'll find yourself in the position where you'll be with someone, feel something true, yet leave with tears in your eyes and a mental state that can only be described as blue. It's a horrible feeling. It's one that makes you upset and leaves you wondering why you can't keep the those true moments and hold them forever. Why you did what you did and why she did what she did. You're so close, yet so far away; like so many things in life.
Thursday, April 17, 2008
Your Song
Your Song by Elton John
When it comes to all time greatest love songs, this has to crack the top five right? Top three? Isn't it pretty much everyone's dream to have someone write a song about them (this actually happened to my sister, I've never really known how she felt about that).
Anyway, I'm not sure who Elton is signing this song to, but it doesn't matter. I do love how he forgets the color of the girl/guys eyes, that's always made me smile. And when they're on a roof with moss on it beats me. But it's a great song that you can't help thinking of the person you're in love with. And I'm not adding to this song... so enjoy it.
"My gift is my song and/this one's for you"
When it comes to all time greatest love songs, this has to crack the top five right? Top three? Isn't it pretty much everyone's dream to have someone write a song about them (this actually happened to my sister, I've never really known how she felt about that).
Anyway, I'm not sure who Elton is signing this song to, but it doesn't matter. I do love how he forgets the color of the girl/guys eyes, that's always made me smile. And when they're on a roof with moss on it beats me. But it's a great song that you can't help thinking of the person you're in love with. And I'm not adding to this song... so enjoy it.
"My gift is my song and/this one's for you"
Tuesday, April 8, 2008
The Obvious Child
The Obvious Child by Paul Simon
Without a doubt, it's the percussion that dominates this song. At the beginning it sounds like near chaos, yet the percussion quickly gains order and then drives the song the rest of the way. Sometimes it lingers in the background, but usually it's pounding away, driving one of the more interesting and better songs out there.
Simon's always been a gifted lyricist, but I'm not sure what to do with this line:
"Crosses in the ballpark".
This is either one of the most symbolic American lines ever penned or it's crap. I'm not sure. I think it I like it.
And count me as one who enjoys the story of Sonny.
At times this is a beautiful song, one of Simon's finest. At other times, it really is a near perfect combination, or fusion, of the Latin American (Brazilian in this case) rhythm with Simon's song writing. And finally, there are times when the percussion, by Olodum, are the genius of the song. It's a shame this song is over looked when one talks about the Simon catalogue. It's right up there with his best.
Without a doubt, it's the percussion that dominates this song. At the beginning it sounds like near chaos, yet the percussion quickly gains order and then drives the song the rest of the way. Sometimes it lingers in the background, but usually it's pounding away, driving one of the more interesting and better songs out there.
Simon's always been a gifted lyricist, but I'm not sure what to do with this line:
"Crosses in the ballpark".
This is either one of the most symbolic American lines ever penned or it's crap. I'm not sure. I think it I like it.
And count me as one who enjoys the story of Sonny.
At times this is a beautiful song, one of Simon's finest. At other times, it really is a near perfect combination, or fusion, of the Latin American (Brazilian in this case) rhythm with Simon's song writing. And finally, there are times when the percussion, by Olodum, are the genius of the song. It's a shame this song is over looked when one talks about the Simon catalogue. It's right up there with his best.
Wednesday, April 2, 2008
1997
1997 by Mason Jennings
This is D's favorite Mason song... and it's probably in my top three. Just a pretty and thoughtful song. It reminds me of all those days past that were nice, good days. Days that were some how special... days that linger in the back of your mind for some reason, neither good or bad, they just were. Some times the best of days are days that just were.
These days tend to be a bit bittersweet. They weren't perfect days, but upon reflection, it's the imperfect of these days that makes them perfect. (I realize that by saying that I don't mean anything, but I think it sounds cool and it makes perfect sense in my mind; and yes I said perfect three times in that sentence). ANYWAYS, maybe it was just a bit too cool out side. Maybe it was a little too humid out. Maybe you didn't say the right things that night, but you still kissed and cuddled when you went to bed. And for that reason, you still remember that day. Maybe not what you talked about, but how you felt.
Literally, this song is much different. But forget that for the moment... the song reminds me of those days when I'd walk around Old Town. And when the chorus starts up, I take a deep breath, and a small smile comes across my face. Those weren't always the best of days. But they weren't the worst of days either. I had a piece of mind and that's always nice.
Was it a sign? I think it probably was.
This is D's favorite Mason song... and it's probably in my top three. Just a pretty and thoughtful song. It reminds me of all those days past that were nice, good days. Days that were some how special... days that linger in the back of your mind for some reason, neither good or bad, they just were. Some times the best of days are days that just were.
These days tend to be a bit bittersweet. They weren't perfect days, but upon reflection, it's the imperfect of these days that makes them perfect. (I realize that by saying that I don't mean anything, but I think it sounds cool and it makes perfect sense in my mind; and yes I said perfect three times in that sentence). ANYWAYS, maybe it was just a bit too cool out side. Maybe it was a little too humid out. Maybe you didn't say the right things that night, but you still kissed and cuddled when you went to bed. And for that reason, you still remember that day. Maybe not what you talked about, but how you felt.
Literally, this song is much different. But forget that for the moment... the song reminds me of those days when I'd walk around Old Town. And when the chorus starts up, I take a deep breath, and a small smile comes across my face. Those weren't always the best of days. But they weren't the worst of days either. I had a piece of mind and that's always nice.
Was it a sign? I think it probably was.
Saturday, March 22, 2008
New Soul
"New Soul" by Yael Naim
Sometimes music can take you away. Where the melody and vocal makes you feel all warm and fuzzy inside. Problems fade... hope springs... freedom is obtained... the existential crisis is forgotten, or even overcome, for a moment in time.
Yael is a new soul in a new world. She came eyes wide open, has felt some fear and some joy, but she seems to be making mistakes. But this does not seem to faze her. In fact, she seems totally down with her mistakes since they appear to be society being stupid more so than she being stupid. She's a new soul. La, la, la, la...
Not a bad way to look at the world. The world is stupid... I'm not sure why other than everyone thinks they're right and the guy next door is wrong. But really, who cares?
Sometimes music can take you away. Where the melody and vocal makes you feel all warm and fuzzy inside. Problems fade... hope springs... freedom is obtained... the existential crisis is forgotten, or even overcome, for a moment in time.
Yael is a new soul in a new world. She came eyes wide open, has felt some fear and some joy, but she seems to be making mistakes. But this does not seem to faze her. In fact, she seems totally down with her mistakes since they appear to be society being stupid more so than she being stupid. She's a new soul. La, la, la, la...
Not a bad way to look at the world. The world is stupid... I'm not sure why other than everyone thinks they're right and the guy next door is wrong. But really, who cares?
Tuesday, March 11, 2008
America
America by Simon and Garfunkel
At one point in my life, this was probably my favorite song. I was probably in 6th or 7th grade at this point and America by Simon and Garfunkel was my favorite song. America. I don't know what to make of myself looking back.
I loved the bridge into the verse where Simon sings "She said the man in the gabardine suit was a spy/I said 'Be careful his bow-tie is really a camera/Toss me a cigarette/I think there's one in my raincoat'" and in between there is some instrument sounding oh so bittersweet, and Simon's voice, when he starts up with the toss is defeated. I love it. One of my favorite parts of a song in all of music. I could listen to that for hours on end.
Also dig the story the song tells, traveling across the U.S. Who wouldn't want to do that? To just check out the country... see what's up. See what places and people are like - it's the hipster of course who wants to do this. "On the Road" all that stuff... the man who has no restraints and is limitless. A person I'd love to be.
Anyway, what a great song.
At one point in my life, this was probably my favorite song. I was probably in 6th or 7th grade at this point and America by Simon and Garfunkel was my favorite song. America. I don't know what to make of myself looking back.
I loved the bridge into the verse where Simon sings "She said the man in the gabardine suit was a spy/I said 'Be careful his bow-tie is really a camera/Toss me a cigarette/I think there's one in my raincoat'" and in between there is some instrument sounding oh so bittersweet, and Simon's voice, when he starts up with the toss is defeated. I love it. One of my favorite parts of a song in all of music. I could listen to that for hours on end.
Also dig the story the song tells, traveling across the U.S. Who wouldn't want to do that? To just check out the country... see what's up. See what places and people are like - it's the hipster of course who wants to do this. "On the Road" all that stuff... the man who has no restraints and is limitless. A person I'd love to be.
Anyway, what a great song.
Tuesday, March 4, 2008
Tubthumping
Tubthumping by Chumbawamba
Pop music is weird. In a way I've never been into it... I rarely ever have the 'it' song. The idea that some Top-40 radio station actually played consistently good music did not exist and still does not really exist in my mind. I didn't listen to the Top-40 stations, I stuck to XRT, the Hip, and the Who for much of the late '90s.
It wasn't that I was musically ignorant, because all hit songs have a way of oozing into the mainstream to the point where it would take someone who neglects media to not know the big songs. Eventually I would hear them. It's just that I wasn't always conscious of the big songs from the get go.
My younger sister helped at times - a year younger than me in school she was much more conscious of what was cool. While I attempted to find indie music (with little success), she would play whomever was big at the time (within reason and in her defense I don't think she ever seriously played the Backstreet Boys).
The first time I hard about "Tubthumping", was the night of the first dance of the school year. I was a sophomore and she was a freshman. It was the fall of 1997 and as we were about to go, my mom looked us both over and then probably went to give us a kiss. She looked at my sister and said, "I hope they play that Tub-song!"
"What song?" I asked.
"The big song that everyone is listening too. Come on Bobby!" responded my mom. At this point I probably shrugged and moved on with the night. I didn't know it. And that night they did play Tubthumping at the dance. It would be the first time I had heard it and probably used it as a conversation piece the rest of the night.
For the next few months it was impossible to avoid "Tubthumping" on the radio. And this wasn't a bad thing. I mean the song is catchy as hell, and it's a really hard song to not like. The song is just fun and it proves that pop music and Top-40 radio isn't evil. The world, in my opinion, is a better place for having "Tubthumping" dominating the air waves for a few months in late 1997.
And then the song disappeared forever. Why, I'm not sure. Ben Folds, Oasis, and Elliott Smith still get solid play, but one of the few illegitimately fun songs of the late 1990s has died out. For reasons that I cannot figure.
Maybe it can be the "Bohemian Rhapsody" of the 2010s...
Pop music is weird. In a way I've never been into it... I rarely ever have the 'it' song. The idea that some Top-40 radio station actually played consistently good music did not exist and still does not really exist in my mind. I didn't listen to the Top-40 stations, I stuck to XRT, the Hip, and the Who for much of the late '90s.
It wasn't that I was musically ignorant, because all hit songs have a way of oozing into the mainstream to the point where it would take someone who neglects media to not know the big songs. Eventually I would hear them. It's just that I wasn't always conscious of the big songs from the get go.
My younger sister helped at times - a year younger than me in school she was much more conscious of what was cool. While I attempted to find indie music (with little success), she would play whomever was big at the time (within reason and in her defense I don't think she ever seriously played the Backstreet Boys).
The first time I hard about "Tubthumping", was the night of the first dance of the school year. I was a sophomore and she was a freshman. It was the fall of 1997 and as we were about to go, my mom looked us both over and then probably went to give us a kiss. She looked at my sister and said, "I hope they play that Tub-song!"
"What song?" I asked.
"The big song that everyone is listening too. Come on Bobby!" responded my mom. At this point I probably shrugged and moved on with the night. I didn't know it. And that night they did play Tubthumping at the dance. It would be the first time I had heard it and probably used it as a conversation piece the rest of the night.
For the next few months it was impossible to avoid "Tubthumping" on the radio. And this wasn't a bad thing. I mean the song is catchy as hell, and it's a really hard song to not like. The song is just fun and it proves that pop music and Top-40 radio isn't evil. The world, in my opinion, is a better place for having "Tubthumping" dominating the air waves for a few months in late 1997.
And then the song disappeared forever. Why, I'm not sure. Ben Folds, Oasis, and Elliott Smith still get solid play, but one of the few illegitimately fun songs of the late 1990s has died out. For reasons that I cannot figure.
Maybe it can be the "Bohemian Rhapsody" of the 2010s...
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