Immigrant Song by Led Zeppelin
There is something so effing awesome about this song.
There is something so effing cheesy about this song.
I've got a new theory about "III". It's basically Jimmy Page showing off. And it's awesome. And therefore it isn't the worst Zeppelin album as I always thought in high school (personally, "IV" or whatever we're calling it today, is the worst Zeppelin song because really it's a singles album). In fact, the idea of one guy in the band just showing off for an entire album and the band being cool with it (apparently) is pretty cool.
Page is downright dirty on this album, he seems bored that he can play the guitar as well as he can. He does things with the guitar that don't really fit into half the songs, but since he can do it, he does it, and it some how works. Take his work on this song. I'm not sure what or why he does what he does in the second half of the song, but because he can do it, he does it, and it sounds good (I've just set the record for pronouns used in one sentence!)
Okay... Immigrant Song... okay... well don't they play this at every hockey game in North America? Isn't this the unofficial, official song of the NHL? Since it's Zeppelin and Plant sings "Land of the ice and snow" hearing this at an NHL game is as certain as hearing "I Will Survive" at a wedding.
Friday, March 13, 2009
Thursday, March 12, 2009
Stay or Leave
Stay or Leave by Dave Matthews
On a cold day in the middle of March, this song fits the mood. And I haven't broken up with anyone.
Since I'm not in a melancholy mood, where do break up songs fit into day-to-day life? I guess we can be taken back to past loves, but dwelling on past lovers isn't something I would guess most of us do unless something strikes us. A location, a picture, a song, a TV show... to bring back the memory. But just a random break up song? Nah. It doesn't flood my mind with images of the woman I've dated.
Of course that's me. That doesn't apply to everyone (I assume). So what happens to break up songs when we haven't broken up with someone? Do we keep them in the back of our mind and forget about them entirely? Or are they like a potato peeler... something you take out only when you need them.
I honestly don't know. I listen to "Last Goodbye" a lot more when I'm in the process of or just have broken up with someone. Does that mean at some point in my married life I'll never listen to "Last Goodbye" again? Will I just skip it? Or will I let it take my mind to the girl it associates at that moment?
Wednesday, March 11, 2009
Piano Man
Piano Man by Billy Joel
I think I'm in the minority here, and while I like this song, I don't think it's all that great. Maybe it's the uninspiring bass line.
But it's not. I'll admit it. I hate the down-on-my luck lyrics. I can't stand the people at the bar... I can't stand their defeatist bullshit. And I can't stand Joel's Piano Man... the man who makes them forget about life instead of inspiring them to do something about it all.
I know this is Joel's first big hit and it isn't a do or die song. But it sounds like a do or die song. Joel sings it as if this is his last chance in the music business. But it wasn't. And it pisses me off.
See a do or die song is Springsteen's "Born to Run". That really was Bruce's last chance. And he pours everything and then some into that song (and album). Sure it's over the top and the lyrics can be laughable at times, but it throws caution into the wind. It's about Bruce and the American Spirit.
But Piano Man? It sounds nice, it moves you, if you're drunk it's a fantastic song, but it's calculated. And Billy Joel knew it was going to be a hit. The Piano Man is a pretentious hero who helps people forget about their pathetic lives. What's the difference between the Piano Man and drugs? Should the song and the Piano Man himself, strive to be more? Should the writer and the narrator want to inspire instead of trying to tell us that he can save us for five minutes at a time? Big deal... there are so many distractions in the modern world that getting away from life isn't difficult and one should not be proud of such 'ability'.
Thirty-five years later, the sad (or ironic) part is that Billy Joel is now one of the losers he sings about in this song. He has become the drunk. On the irony scale where would Joel listening to this song at a bar rank?
I think I'm in the minority here, and while I like this song, I don't think it's all that great. Maybe it's the uninspiring bass line.
But it's not. I'll admit it. I hate the down-on-my luck lyrics. I can't stand the people at the bar... I can't stand their defeatist bullshit. And I can't stand Joel's Piano Man... the man who makes them forget about life instead of inspiring them to do something about it all.
I know this is Joel's first big hit and it isn't a do or die song. But it sounds like a do or die song. Joel sings it as if this is his last chance in the music business. But it wasn't. And it pisses me off.
See a do or die song is Springsteen's "Born to Run". That really was Bruce's last chance. And he pours everything and then some into that song (and album). Sure it's over the top and the lyrics can be laughable at times, but it throws caution into the wind. It's about Bruce and the American Spirit.
But Piano Man? It sounds nice, it moves you, if you're drunk it's a fantastic song, but it's calculated. And Billy Joel knew it was going to be a hit. The Piano Man is a pretentious hero who helps people forget about their pathetic lives. What's the difference between the Piano Man and drugs? Should the song and the Piano Man himself, strive to be more? Should the writer and the narrator want to inspire instead of trying to tell us that he can save us for five minutes at a time? Big deal... there are so many distractions in the modern world that getting away from life isn't difficult and one should not be proud of such 'ability'.
Thirty-five years later, the sad (or ironic) part is that Billy Joel is now one of the losers he sings about in this song. He has become the drunk. On the irony scale where would Joel listening to this song at a bar rank?
Tuesday, March 10, 2009
I Want To Hold Your Hand
I Want To Hold Your Hand by the Beatles
I read somewhere once (probably some review of the "I Am Sam*" soundtrack) that it is impossible to mess up most Beatles songs because they're so well crafted.
And this song is living proof of that theory. It might be the best crafted pop song of all time. As I wrote about a year ago:
"I Want to Hold Your Hand" features hand claps... you've got to love how the drums and Harrison's guitar work together... the song is about love, puppy love on top of it... the song builds up throughout, but the amazing thing is that it you really never know what it coming next. When they throw that bridge at you about halfway though the song, it's so out of the blue yet so perfect. I mean there may not be a more perfectly put together song out there.
This is pure pop bliss. There is nothing wrong with this song. Nothing. And once TV Carpio and her voice got a hold of this song... well it just goes to show how great of a song it is.
The Beatles' original is perfect because of how they play the song--the instruments, the unpredictability, and and words. TV's cover is great because of her voice... they down play the unpredictability of the song which sort of sucks. But she sings the song without any noise--true, she's showing off--and it gives the song a new lease. It's cleaner. It soars. It's beautiful...
God, I love this song. It's the type of song that makes you love music even more. It's the type of song that makes you love pop music. It's the type of song that makes you want to turn on a Michael Jackson song just so you can hear his voice. It's the type of song that makes you want to have a Coke and smile. It's the type of song that makes you realize that holding the right some one's hand is so much better than sex.
* Insert Sean Penn comment here: ______________________________________________________________
I read somewhere once (probably some review of the "I Am Sam*" soundtrack) that it is impossible to mess up most Beatles songs because they're so well crafted.
And this song is living proof of that theory. It might be the best crafted pop song of all time. As I wrote about a year ago:
"I Want to Hold Your Hand" features hand claps... you've got to love how the drums and Harrison's guitar work together... the song is about love, puppy love on top of it... the song builds up throughout, but the amazing thing is that it you really never know what it coming next. When they throw that bridge at you about halfway though the song, it's so out of the blue yet so perfect. I mean there may not be a more perfectly put together song out there.
This is pure pop bliss. There is nothing wrong with this song. Nothing. And once TV Carpio and her voice got a hold of this song... well it just goes to show how great of a song it is.
The Beatles' original is perfect because of how they play the song--the instruments, the unpredictability, and and words. TV's cover is great because of her voice... they down play the unpredictability of the song which sort of sucks. But she sings the song without any noise--true, she's showing off--and it gives the song a new lease. It's cleaner. It soars. It's beautiful...
God, I love this song. It's the type of song that makes you love music even more. It's the type of song that makes you love pop music. It's the type of song that makes you want to turn on a Michael Jackson song just so you can hear his voice. It's the type of song that makes you want to have a Coke and smile. It's the type of song that makes you realize that holding the right some one's hand is so much better than sex.
* Insert Sean Penn comment here: ______________________________________________________________
Saturday, March 7, 2009
Everything in it's Right Place
Everything in it's Right Place by Radiohead
It's been a while, I know, but I've been busy out of my ears. But I'm back... if you even cared/missed me.
My freshman year of college—during the fall especially—I hadn't found my niche. And what I ended up doing to kill the time on Friday and Saturday nights would be to walk. I'd hop on the Metro, and then walk from DuPont west into Georgetown eventually hitting the Barnes &Noble on M Street.
Kid A was released the summer or fall of 2000. And this album was always on display which allowed me to throw on some headphones and listen. Every time I found myself in that Barnes & Noble, I would throw on the headphones and listen to "Everything in the Right Place". In my mind I'd debate if "waking up sucking on a lemon" was one of the worst lyrics I'd ever heard. But I loved the organ, it fit those some what lonely weekend nights, some how giving me comfort as I waited to fit my place, my friends, in college.
After the song ended, I'd put down the headphones, maybe browse for a few more minutes, and then head out into the streets of Georgetown... wondering who lived in all those beautiful houses.
Sunday, February 8, 2009
This Love
This Love by Maroon 5
I have no clue who's in this band, but I love the dude's voice (sorry for using dude there). At least during the chorus, it just sounds neat-o.
Now, do I have anything to say about Maroon 5?
No.
So I'm going to talk about how stupid the Grammy's are. I turned on the last ten minutes and unless you're down with:
a) Bizarre musical pairings that never ever work and
b) The winners being stupid, bad bands/groups who don't make good music...
Well the Grammy's are for you.
The Grammy's would be cool if say Coldplay and U2 played a song together. Or Bruce Springstein played Mr. Bojangles. Or Neutral Milk Hotel reunited. Basically it'd be cool if the could get the ironic forces of pop music to collide... or if they had our favorite good musicians play kick ass covers. But that doesn't happen. Instead we get to see Stevie Wonder play with the Jonas Brothers (not sure if this happened, but you half believe me don't you... which is exactally my point).
It'd also be good if the winners were actually good. But instead we see Robert Plant winning for some soft rock crap that he put out... not for anything he ever did with Led Zeppelin. How Radiohead didn't win album of the year I will never know. I mean it isn't even a contest... you cannot tell me that Robert Plant's soft rock album was better than Radiohead. BECAUSE IT'S IMPOSSIBLE! RADIOHEAD IS BETTER, THIS IS LIKE COMPARING BABE RUTH TO KEVIN MENCH.
Okay, for some odd reason I'm talking about the Grammy's which only gives them bizarre creditability... so I'm stopping. Maroon 5... yeah... interesting... not really.
I have no clue who's in this band, but I love the dude's voice (sorry for using dude there). At least during the chorus, it just sounds neat-o.
Now, do I have anything to say about Maroon 5?
No.
So I'm going to talk about how stupid the Grammy's are. I turned on the last ten minutes and unless you're down with:
a) Bizarre musical pairings that never ever work and
b) The winners being stupid, bad bands/groups who don't make good music...
Well the Grammy's are for you.
The Grammy's would be cool if say Coldplay and U2 played a song together. Or Bruce Springstein played Mr. Bojangles. Or Neutral Milk Hotel reunited. Basically it'd be cool if the could get the ironic forces of pop music to collide... or if they had our favorite good musicians play kick ass covers. But that doesn't happen. Instead we get to see Stevie Wonder play with the Jonas Brothers (not sure if this happened, but you half believe me don't you... which is exactally my point).
It'd also be good if the winners were actually good. But instead we see Robert Plant winning for some soft rock crap that he put out... not for anything he ever did with Led Zeppelin. How Radiohead didn't win album of the year I will never know. I mean it isn't even a contest... you cannot tell me that Robert Plant's soft rock album was better than Radiohead. BECAUSE IT'S IMPOSSIBLE! RADIOHEAD IS BETTER, THIS IS LIKE COMPARING BABE RUTH TO KEVIN MENCH.
Okay, for some odd reason I'm talking about the Grammy's which only gives them bizarre creditability... so I'm stopping. Maroon 5... yeah... interesting... not really.
Tuesday, January 27, 2009
Rain King
Rain King by Counting Crows
I'm not sure there is a song out there that makes me feel better and love life more... I mean everything about it is happy (well maybe not the lyrics), but the chords... so happy. So carefree. You can hear the band having fun playing this song.
I love that. When others are having fun, it rubs off on everyone... if most of us are having a good time then all of us are having a good time.
I guess you could call this song A Fun Drunk. You know, the guy or girl who you always love to see and hang out with when they've had a few drunks (amazingly, it was "Friends" that first tapped into this way back when with "Fun Bobby").
Rain King, the fun drunk song, the song you love to hear in almost any situation... which come to think of it is unlike the fun drunk (face it, you only want to see them on a Friday or Saturday night... and never ever during the day).
And sadly, I've been call a fun drunk (or Fun Bobby)... this is heartbreaking. Was I now fun to these people sober? Was I only worth a few drinks and a Friday night to them? I want more meaning than that damn it...
I'm not sure there is a song out there that makes me feel better and love life more... I mean everything about it is happy (well maybe not the lyrics), but the chords... so happy. So carefree. You can hear the band having fun playing this song.
I love that. When others are having fun, it rubs off on everyone... if most of us are having a good time then all of us are having a good time.
I guess you could call this song A Fun Drunk. You know, the guy or girl who you always love to see and hang out with when they've had a few drunks (amazingly, it was "Friends" that first tapped into this way back when with "Fun Bobby").
Rain King, the fun drunk song, the song you love to hear in almost any situation... which come to think of it is unlike the fun drunk (face it, you only want to see them on a Friday or Saturday night... and never ever during the day).
And sadly, I've been call a fun drunk (or Fun Bobby)... this is heartbreaking. Was I now fun to these people sober? Was I only worth a few drinks and a Friday night to them? I want more meaning than that damn it...
Wednesday, January 21, 2009
Dry The Rain
Dry The Rain by The Beta Band
The songs I listened to the most in 2008:
1) Mansard Roof by Vampire Weekend
2) Cinderella's Daydream by Zuzu's Petals
3) 11:11 by Andrew Bird
4) Walcott by Vampire Weekend
5) Don't Forget Sister by Low vs Diamond
6) Queen of Everything by Haley Bonar
7) Dry the Rain by The Beta Band
Had to go all the way to #7 to find a song I hadn't blogged about yet... wow or yikes?
Let me just put it this way—this is one of the best songs ever. I mean, there is nothing wrong with this song:
* It's got cool lines "This is the definition of my life/Lying in bed in the sunlight..." and "Spray on dust is the greatest thing/Sure is the greatest thing/Since the last, since the last"
* The opening with the acoustic guitar and pleasant chorus—some what slow and methodical—that slowly builds but never gives itself away until after the second time they bang out the chorus.
* And what happens after the second time though the chorus? The song goes to another level, drums kick in, the bass turns it up, the guitar becomes sort of harder...
* Now you nodding your head in that cool, perfect beat kind of way... electric guitars making even cooler sounds cascading over the ever present acoustic... and that perfect beat still is moving your head isn't it?
* Then all of a sudden the bass line goes to a whole new level (yes that's right this is the 3rd new level thus far)... and now your head and body are swaying to that beat.
* "If there's something inside that you wanna say/say alright it will be okay/I will be your light, I will be your light"
* And eventually you fade out...
Okay go find me a cooler, more chill, more awesome song out there? Sure "Something" and "Maps" are more beautiful... but this song is so effin' good. Love it.
The songs I listened to the most in 2008:
1) Mansard Roof by Vampire Weekend
2) Cinderella's Daydream by Zuzu's Petals
3) 11:11 by Andrew Bird
4) Walcott by Vampire Weekend
5) Don't Forget Sister by Low vs Diamond
6) Queen of Everything by Haley Bonar
7) Dry the Rain by The Beta Band
Had to go all the way to #7 to find a song I hadn't blogged about yet... wow or yikes?
Let me just put it this way—this is one of the best songs ever. I mean, there is nothing wrong with this song:
* It's got cool lines "This is the definition of my life/Lying in bed in the sunlight..." and "Spray on dust is the greatest thing/Sure is the greatest thing/Since the last, since the last"
* The opening with the acoustic guitar and pleasant chorus—some what slow and methodical—that slowly builds but never gives itself away until after the second time they bang out the chorus.
* And what happens after the second time though the chorus? The song goes to another level, drums kick in, the bass turns it up, the guitar becomes sort of harder...
* Now you nodding your head in that cool, perfect beat kind of way... electric guitars making even cooler sounds cascading over the ever present acoustic... and that perfect beat still is moving your head isn't it?
* Then all of a sudden the bass line goes to a whole new level (yes that's right this is the 3rd new level thus far)... and now your head and body are swaying to that beat.
* "If there's something inside that you wanna say/say alright it will be okay/I will be your light, I will be your light"
* And eventually you fade out...
Okay go find me a cooler, more chill, more awesome song out there? Sure "Something" and "Maps" are more beautiful... but this song is so effin' good. Love it.
Tuesday, January 20, 2009
Ready or Not
Ready or Not by the Fugees
I'd never choose this as my favorite song... but the President of the United States did back in August. Hey, I'm not going to argue with him since his taste doesn't appear to be horrible (forced, but not horrible). I guess in a way it's good that he isn't obsessing over his favorite song list ala Rob Gordon until there isn't even a list...
So in honor of President Barack Obama, today's song is his favorite song—the Fugees stellar "Ready or Not".
Congrats President Obama. You've brought change. You've brought hope. And you've done so in a poised and peaceful manner.
I'm proud to call you my President.
I'd never choose this as my favorite song... but the President of the United States did back in August. Hey, I'm not going to argue with him since his taste doesn't appear to be horrible (forced, but not horrible). I guess in a way it's good that he isn't obsessing over his favorite song list ala Rob Gordon until there isn't even a list...
So in honor of President Barack Obama, today's song is his favorite song—the Fugees stellar "Ready or Not".
Congrats President Obama. You've brought change. You've brought hope. And you've done so in a poised and peaceful manner.
I'm proud to call you my President.
Monday, January 19, 2009
Hit the Road Jack
Hit the Road Jack by Ray Charles
This is a gimme I know... but as GOB would say... COME ON!
Today is the last full day that George W. Bush will be President. Tomorrow morning, he'll be a former President, about 39 people in this country will be upset. The other 300 million of us will be happy. George is gone. Ding dong*... yada, yada, yada.
However, if nothing else, Bush will always have this moment:
It's one of the best moments of his Presidency—maybe THE best moment—not only does he not freak, he gets out of the way with ease both times. After I saw this, I thought for a few seconds that maybe I totally misjudged him. But then I reminded myself that his domestic policy has been a total disaster... and his foreign policy appears to be as bad.
But back to my real point: hit the road George, and don't you come back no more no more no more no more. And don't let the door hit you on the way out. And we're going to miss you like Poot missed The Clap. Only less. And no, we don't want you're advise ever again except when it comes to what NOT to do. And I look forward to watching "Frost/Bush" in 2033.
Hit.
The.
Road.
God, it feels good to be an American again. No more Canadian flags on backpacks when we go to Europe`! George W. Bush's time as President is over. And some how most of us lived to tell... but sadly we're all worse off than we were 8 years ago. That bums me out no matter what.
But he gone. A new day will come tomorrow, and George W. Bush won't be apart of it when the sun sets. That feels good. Really good.
* Can you imagine Hollywood remaking the Wizard of Oz?^
`Never did this.
^ Yes I realize they've already done this with Michael Jackson as the Scarecrow.
This is a gimme I know... but as GOB would say... COME ON!
Today is the last full day that George W. Bush will be President. Tomorrow morning, he'll be a former President, about 39 people in this country will be upset. The other 300 million of us will be happy. George is gone. Ding dong*... yada, yada, yada.
However, if nothing else, Bush will always have this moment:
It's one of the best moments of his Presidency—maybe THE best moment—not only does he not freak, he gets out of the way with ease both times. After I saw this, I thought for a few seconds that maybe I totally misjudged him. But then I reminded myself that his domestic policy has been a total disaster... and his foreign policy appears to be as bad.
But back to my real point: hit the road George, and don't you come back no more no more no more no more. And don't let the door hit you on the way out. And we're going to miss you like Poot missed The Clap. Only less. And no, we don't want you're advise ever again except when it comes to what NOT to do. And I look forward to watching "Frost/Bush" in 2033.
Hit.
The.
Road.
God, it feels good to be an American again. No more Canadian flags on backpacks when we go to Europe`! George W. Bush's time as President is over. And some how most of us lived to tell... but sadly we're all worse off than we were 8 years ago. That bums me out no matter what.
But he gone. A new day will come tomorrow, and George W. Bush won't be apart of it when the sun sets. That feels good. Really good.
* Can you imagine Hollywood remaking the Wizard of Oz?^
`Never did this.
^ Yes I realize they've already done this with Michael Jackson as the Scarecrow.
Thursday, January 15, 2009
Lovefool
Lovefool by The Cardigans
I dare you to find me a catchier chorus. Dare you.
There really isn't anything wrong with this song. The opening keyboards(?), the vocal performance, the smooth and sweet sort of Afro-pop guitar, a solid bass line, and the structure of the song are all very pleasant, cute, and catchy as hell. As unsophisticated as the song may be, it's a fun song and it's a lovely song. It's one of those songs that hits home not when you're in love, but rather when you're seeking love. Going after the crush... the girl across the room who just happens to say the most interesting things in the world.
Okay fine, this song tends to be more about the girl/guy who doesn't love you any more—about above... whatever.
Of course this song also works the other way—it can be the last song that anyone wants to hear along with being most annoying song in the world—depending on the situation. But I'm not in that type of mood right now, nor do I want to go there, so I'm just going to pretend that the ugly side of this song exists.
I dare you to find me a catchier chorus. Dare you.
There really isn't anything wrong with this song. The opening keyboards(?), the vocal performance, the smooth and sweet sort of Afro-pop guitar, a solid bass line, and the structure of the song are all very pleasant, cute, and catchy as hell. As unsophisticated as the song may be, it's a fun song and it's a lovely song. It's one of those songs that hits home not when you're in love, but rather when you're seeking love. Going after the crush... the girl across the room who just happens to say the most interesting things in the world.
Okay fine, this song tends to be more about the girl/guy who doesn't love you any more—about above... whatever.
Of course this song also works the other way—it can be the last song that anyone wants to hear along with being most annoying song in the world—depending on the situation. But I'm not in that type of mood right now, nor do I want to go there, so I'm just going to pretend that the ugly side of this song exists.
Wednesday, January 14, 2009
C'mon C'mon
C'mon C'mon by The Von Bondies
Bass lines are underrated. It's a simple fact in pop music. People get hung up on the rifts and solos and melodies... and they're nice. They can make and break songs. People who put too much faith in music (or those people who are annoying in general) love to talk about great drumming as being important in song writing, but c'mon.
It's the bass line. A good bass line is fantastic. A great bass line is mind blowing.
This song only features a good bass line. And it is fantastic. It's the perfect opening for this song, which then explodes and is all about the rocking out and good fun.
All in all, this is a very good pop-punk song from five years ago. Who knows, maybe it's even one of the fifty best songs of the decade. It's short, sweet, and hard not to like. And there is nothing wrong with this—I'm looking at you indie freaks, hipsters, and music snobs—remember.
Bass lines are underrated. It's a simple fact in pop music. People get hung up on the rifts and solos and melodies... and they're nice. They can make and break songs. People who put too much faith in music (or those people who are annoying in general) love to talk about great drumming as being important in song writing, but c'mon.
It's the bass line. A good bass line is fantastic. A great bass line is mind blowing.
This song only features a good bass line. And it is fantastic. It's the perfect opening for this song, which then explodes and is all about the rocking out and good fun.
All in all, this is a very good pop-punk song from five years ago. Who knows, maybe it's even one of the fifty best songs of the decade. It's short, sweet, and hard not to like. And there is nothing wrong with this—I'm looking at you indie freaks, hipsters, and music snobs—remember.
Monday, January 12, 2009
Be Here Now
Be Here Now by Oasis
No no, not the Mason version... which is awesome and better, but whatever.
As far as Oasis songs go, this one is just aiight, but you know what? This song sounds so friggin' huge. I mean, listen to this bad boy... it's just big. Everything about it—guitar, Noel's voice, the drums, that weird bird sounding thingie—sounds bigger than all the holes in the Royal Albert Hall.
Which leads me to this... why do we like things that are big? Sure their are exceptions (white men tend to like/claim they like smaller women... but they also like bigger boobs and there also seems to be a rejection of girls who are too skinny). ANYWAYS, why do we assume that bigger is better? Is it because as little kids when we open presents we always want to open the big one first? Why are we programed that bigger is better?
And is bigger really better? Case and point: TEXAS.
So maybe bigger isn't better... but then again, small isn't really that good either.
I have no clue what I was listening to when I started this and I can't imagine this rambling is interesting... so I'm out.
No no, not the Mason version... which is awesome and better, but whatever.
As far as Oasis songs go, this one is just aiight, but you know what? This song sounds so friggin' huge. I mean, listen to this bad boy... it's just big. Everything about it—guitar, Noel's voice, the drums, that weird bird sounding thingie—sounds bigger than all the holes in the Royal Albert Hall.
Which leads me to this... why do we like things that are big? Sure their are exceptions (white men tend to like/claim they like smaller women... but they also like bigger boobs and there also seems to be a rejection of girls who are too skinny). ANYWAYS, why do we assume that bigger is better? Is it because as little kids when we open presents we always want to open the big one first? Why are we programed that bigger is better?
And is bigger really better? Case and point: TEXAS.
So maybe bigger isn't better... but then again, small isn't really that good either.
I have no clue what I was listening to when I started this and I can't imagine this rambling is interesting... so I'm out.
Friday, January 9, 2009
Where the Streets Have No Name
Where the Streets Have No Name by U2
1) The first minute or so of this song is effing amazing. I will not argue this. If it doesn't get you pumped up, then you also hate the Beatles AND little kids. There are a lot of ways to describe 'breaking through' but that intro sounds like an individual shaking off the shackles and then bursting though a wall—the synthesizers set the scene perfectly... and then the guitar, drums, and bass all come in and the drums (off all instruments in this song?!?!) do the breaking though... just great song writing and craftsmanship.
2) I have no clue where to place "The Joshua Tree" in pop culture. In 2009 the album sounds obvious, pretentious, good, fresh, boring, clean, inspiring, non experimental, run of the mill, tired, lost, and awesome all at the same time. I'd put the first two songs up against any songs as the greatest opening songs on any album ever. I also have no clue what happens to the second half of the album. Maybe I'm alone, but I think everyone can relate to "Where the Streets Have No Name" and "I Still Have Found What I'm Looking For".
3) Not only is the Edge at the top of his game here, but Bono's vocal performance is out of this world. I'm not sure this is the best U2 song, I still think Sunday, Bloody Sunday takes the cake, but this is a close second.
4) When Bono sings/begs "Burning down love" ... well that's one of the great moments in all of music.
5) This video is amazing. I love it. U2 playing in downtown L.A.—I mean it's too perfect. It's so U2 and it's so L.A. I love Ireland.
1) The first minute or so of this song is effing amazing. I will not argue this. If it doesn't get you pumped up, then you also hate the Beatles AND little kids. There are a lot of ways to describe 'breaking through' but that intro sounds like an individual shaking off the shackles and then bursting though a wall—the synthesizers set the scene perfectly... and then the guitar, drums, and bass all come in and the drums (off all instruments in this song?!?!) do the breaking though... just great song writing and craftsmanship.
2) I have no clue where to place "The Joshua Tree" in pop culture. In 2009 the album sounds obvious, pretentious, good, fresh, boring, clean, inspiring, non experimental, run of the mill, tired, lost, and awesome all at the same time. I'd put the first two songs up against any songs as the greatest opening songs on any album ever. I also have no clue what happens to the second half of the album. Maybe I'm alone, but I think everyone can relate to "Where the Streets Have No Name" and "I Still Have Found What I'm Looking For".
3) Not only is the Edge at the top of his game here, but Bono's vocal performance is out of this world. I'm not sure this is the best U2 song, I still think Sunday, Bloody Sunday takes the cake, but this is a close second.
4) When Bono sings/begs "Burning down love" ... well that's one of the great moments in all of music.
5) This video is amazing. I love it. U2 playing in downtown L.A.—I mean it's too perfect. It's so U2 and it's so L.A. I love Ireland.
Thursday, January 8, 2009
Glorified G
Glorified G by Pearl Jam
Of all the songs to get me hooked on the alternative movement... it was Glorified G. I can't tell you why it was this song—I was 12 years old after all. But Tim played it for me and I fell for it. I loved it. I couldn't get enough of the song. It's got a nice rift and the bridge is pretty good. But why this over Rearviewmirror or Daughter? I'll never know.
I liked the song so much that I went out and bought the album. But first I asked my mom. The conversation took place in the kitchen and went like this:
Me: Mom, I like this band and want to buy their CD.
Mom: Okay, you have to spend your own money you know.
Me: That's fine. But one of the songs is about guns.
Mom: Guns? What kind?
Me: A pelt gun, so it's not that bad right?
Mom: Songs about pelt guns are fine.
I then went out and bought the album.
Of all the songs to get me hooked on the alternative movement... it was Glorified G. I can't tell you why it was this song—I was 12 years old after all. But Tim played it for me and I fell for it. I loved it. I couldn't get enough of the song. It's got a nice rift and the bridge is pretty good. But why this over Rearviewmirror or Daughter? I'll never know.
I liked the song so much that I went out and bought the album. But first I asked my mom. The conversation took place in the kitchen and went like this:
Me: Mom, I like this band and want to buy their CD.
Mom: Okay, you have to spend your own money you know.
Me: That's fine. But one of the songs is about guns.
Mom: Guns? What kind?
Me: A pelt gun, so it's not that bad right?
Mom: Songs about pelt guns are fine.
I then went out and bought the album.
Wednesday, December 31, 2008
#1 -- THE Best Song of 2008
Mansard Roof by Vampire Weekend
In the words of the immortal Hawk Harrelson, "sit back, relax, strap it down" 'cus this one is gonna be long.
Hope: I see a Mansard Roof through the trees
When historians finally get around to writing about 2008, there will be a bunch of things to focus on... and who knows what event will end up being the most important. It might be Obama. It might be the events on Wall Street. It could be something else that slipped through the cracks and the awareness of most journalists. We won't know for a while.
But as I sit here on the last day of 2008, it is hope that shall forever be my memory of this year. Sure Obama and his peeps capitalized on this shit from the very beginning. But the hope went beyond Obama, and then came back to him. See for some of us, 2008 meant one thing... Bush and Cheney were gonna be gone. And there are few sentences that have ever been uttered and reached my ears that have sounded more beautiful. If you want to know why... go here.
Hope... as Andy wrote to Red, "Hope is a good thing—maybe the bet thing, and no good thing ever dies." I know there is 25% of the country that disagrees with me, but this country, this world, we had lost hope. And say what you will about Obama, and no matter what happens over the next four to eight years, the fact is he gave so many of us hope.
At the same time, what annoyed me about the entire Obama 'movement'—it's about us, but it's not.
Obama gives hope to the black man, the African-American professional female. To the Cuban and the Cambodian. To the Kenyan and the slumdog. To the hipster and the square, the mechanic and the millionaire. It's hope. To the 99% of the world that's never made it and never will make it, one of them really has. To the poorest of the poor, the tired, the poor, the huddled masses who yearn to breath free... for them? There is Obama. Barack Obama. Hope.
This song gives you hope from the very start, the organ, the drums, seeing that mansard roof trough the trees, the tops of buildings... these are all good things... all hopeful things. And when you hear this song? It sounds wonderful.
Change: I see a salty message written in the eves
So if Obama was all about hope for the world's poor and minorities... then why did so many white people get behind him?
We live in an ironic age. I don't know what this means, in fact, no one really no one knows what this means, but it just seems to be a fact of life that everyone under the age of 30 accepts. So while the rise of Obama is a shocker (a black man as President, wtf?), how he got to where he is should not.
What everyone overlooked and forgot about the past 12 months is that it was whites who put Obama in the race, it was whites that delivered Iowa, and it was whites who funded his campaign from the beginning. Everyone forgets this, but blacks weren't sold on Obama at first. It wasn't until Bill Clinton opened his mouth on January 24 that the entire Presidential race changed. It was at this point that the black community finally fully supported Obama and in the end that ended up being the race.
But it was the white supporters that were there form the begining. Sure not every white person was or is behind Obama, but they were on board before many blacks. This is of course, ironic (though John Roberts would not be able to tell me why because race doesn't exist in America).
So why did white support Obama? It's simple: CHANGE. He wasn't Bush, he wasn't Clinton, he wasn't an old white dude. He was different. He looked different, he said things in a way that sounded different, the words were fresh and brand new. Obama admitted things that no politician in America would ever say—Omar from The Wire was his favorite character for crying out loud! Not someone on CSI or Friends, OMAR!!! the greatest TV character ever—and to those of us in this ironic age this was refreshing. It wasn't forced and it was hard to turn what Obama said into cynical fodder. He was real. He was different, and he was gonna replace George W. Bush.
'Okay, Fair Blog Writer,' you say, 'what does this have to do with Vampire Weekend?' Simple, the band and this album was like nothing most of us had ever heard. 'What about Graceland and all those other Afro-rock bands?' Ahhh, sure Vampire Weekend isn't reinventing rock'n'roll; but rock'n'roll doesn't need to be reinvented. Just as democracy and the United States don't need to be reinvented, rock'n'roll just needed something different, something fresh—and it got it in Vampire Weekend. They sounded clean and fresh, they dropped lyrics that upper middle class white college kids were familiar with (Lil' Jon, the Oxford comma, Washington Heights, Louis Vutton, Benetton, Cape Cod...). They were real, yet different, and it's hard to be cynical about them... unless your a hipster, but of course then that's just irony being ironic. Got it? Good.
Bailout: The Argentines collapse in defeat
My favorite line in the song. Why? Because the Argentines are good at two things and bad at two things.
The Two Things Argentines are good at:
1) Beef
2) Soccer
The Two Things Argentines are bad at:
1) Military victories
2) Capitalism
So naturally the Argentines collapse in defeat... along with much of the capitalistic world. This mess didn't start in 2008 (you could argue that this started in the early 1970s), but it came to ahead this year. The world as we knew it almost ceased to exist. And who knows, maybe by 2010 it will cease to exist. But today? The world of capitalism that we live in is still here no matter what they're saying in Lower Manhattan. We came close to collapse but between bailouts and—maybe—luck it looks like the world will survive for another few decades.
'Okay fine, my fair blogger, you've made a ton of connections from the lyrics of this song to the most important events of 2008, but why is this the #1 song?'
That's easy. It's awesome. It's got a great beat. The hook is killer. The rift, the strings, the crisp Afro-pop guitar, the keyboard, the drums... it is all so wonderful. So pleasant. So hopeful. Different from everything else out there today even if it isn't brand new. It's just good. The first song of the first major album of 2008, it set the tone—knowingly or not—of bailouts, change, and hope.
And hope is a good thing, maybe the best of things and no good thing ever dies.
In the words of the immortal Hawk Harrelson, "sit back, relax, strap it down" 'cus this one is gonna be long.
Hope: I see a Mansard Roof through the treesWhen historians finally get around to writing about 2008, there will be a bunch of things to focus on... and who knows what event will end up being the most important. It might be Obama. It might be the events on Wall Street. It could be something else that slipped through the cracks and the awareness of most journalists. We won't know for a while.
But as I sit here on the last day of 2008, it is hope that shall forever be my memory of this year. Sure Obama and his peeps capitalized on this shit from the very beginning. But the hope went beyond Obama, and then came back to him. See for some of us, 2008 meant one thing... Bush and Cheney were gonna be gone. And there are few sentences that have ever been uttered and reached my ears that have sounded more beautiful. If you want to know why... go here.
Hope... as Andy wrote to Red, "Hope is a good thing—maybe the bet thing, and no good thing ever dies." I know there is 25% of the country that disagrees with me, but this country, this world, we had lost hope. And say what you will about Obama, and no matter what happens over the next four to eight years, the fact is he gave so many of us hope.
At the same time, what annoyed me about the entire Obama 'movement'—it's about us, but it's not.
Obama gives hope to the black man, the African-American professional female. To the Cuban and the Cambodian. To the Kenyan and the slumdog. To the hipster and the square, the mechanic and the millionaire. It's hope. To the 99% of the world that's never made it and never will make it, one of them really has. To the poorest of the poor, the tired, the poor, the huddled masses who yearn to breath free... for them? There is Obama. Barack Obama. Hope.
This song gives you hope from the very start, the organ, the drums, seeing that mansard roof trough the trees, the tops of buildings... these are all good things... all hopeful things. And when you hear this song? It sounds wonderful.
Change: I see a salty message written in the evesSo if Obama was all about hope for the world's poor and minorities... then why did so many white people get behind him?
We live in an ironic age. I don't know what this means, in fact, no one really no one knows what this means, but it just seems to be a fact of life that everyone under the age of 30 accepts. So while the rise of Obama is a shocker (a black man as President, wtf?), how he got to where he is should not.
What everyone overlooked and forgot about the past 12 months is that it was whites who put Obama in the race, it was whites that delivered Iowa, and it was whites who funded his campaign from the beginning. Everyone forgets this, but blacks weren't sold on Obama at first. It wasn't until Bill Clinton opened his mouth on January 24 that the entire Presidential race changed. It was at this point that the black community finally fully supported Obama and in the end that ended up being the race.
But it was the white supporters that were there form the begining. Sure not every white person was or is behind Obama, but they were on board before many blacks. This is of course, ironic (though John Roberts would not be able to tell me why because race doesn't exist in America).
So why did white support Obama? It's simple: CHANGE. He wasn't Bush, he wasn't Clinton, he wasn't an old white dude. He was different. He looked different, he said things in a way that sounded different, the words were fresh and brand new. Obama admitted things that no politician in America would ever say—Omar from The Wire was his favorite character for crying out loud! Not someone on CSI or Friends, OMAR!!! the greatest TV character ever—and to those of us in this ironic age this was refreshing. It wasn't forced and it was hard to turn what Obama said into cynical fodder. He was real. He was different, and he was gonna replace George W. Bush.
'Okay, Fair Blog Writer,' you say, 'what does this have to do with Vampire Weekend?' Simple, the band and this album was like nothing most of us had ever heard. 'What about Graceland and all those other Afro-rock bands?' Ahhh, sure Vampire Weekend isn't reinventing rock'n'roll; but rock'n'roll doesn't need to be reinvented. Just as democracy and the United States don't need to be reinvented, rock'n'roll just needed something different, something fresh—and it got it in Vampire Weekend. They sounded clean and fresh, they dropped lyrics that upper middle class white college kids were familiar with (Lil' Jon, the Oxford comma, Washington Heights, Louis Vutton, Benetton, Cape Cod...). They were real, yet different, and it's hard to be cynical about them... unless your a hipster, but of course then that's just irony being ironic. Got it? Good.
Bailout: The Argentines collapse in defeat
My favorite line in the song. Why? Because the Argentines are good at two things and bad at two things.
The Two Things Argentines are good at:
1) Beef
2) Soccer
The Two Things Argentines are bad at:
1) Military victories
2) Capitalism
So naturally the Argentines collapse in defeat... along with much of the capitalistic world. This mess didn't start in 2008 (you could argue that this started in the early 1970s), but it came to ahead this year. The world as we knew it almost ceased to exist. And who knows, maybe by 2010 it will cease to exist. But today? The world of capitalism that we live in is still here no matter what they're saying in Lower Manhattan. We came close to collapse but between bailouts and—maybe—luck it looks like the world will survive for another few decades.
'Okay fine, my fair blogger, you've made a ton of connections from the lyrics of this song to the most important events of 2008, but why is this the #1 song?'
That's easy. It's awesome. It's got a great beat. The hook is killer. The rift, the strings, the crisp Afro-pop guitar, the keyboard, the drums... it is all so wonderful. So pleasant. So hopeful. Different from everything else out there today even if it isn't brand new. It's just good. The first song of the first major album of 2008, it set the tone—knowingly or not—of bailouts, change, and hope.
And hope is a good thing, maybe the best of things and no good thing ever dies.
#2 -- Best Songs of 2008
American Boy by Estelle (featuring Kanye West)
Ahh, we finally reach the point where I think we have the songs that will go down as the best of the decade...
This starts with some of the best production you'll ever hear drawing you with these just cool and smooth—and I'm not even sure what it is... but you're hooked before the song even really gets started. Then Kanye starts up and whatever beat is being laid down is pretty slick. Enter Estelle singing the chorus in that flirty voice she's got... and it is OV-AR.
This might be the best constructed song of the year and Estelle never let's you forget that she's the star of this—not the great production, not the addictive beat, not Kanye amazing performance just over half in, and not those interesting 'what instrument is that' parts that kick in between every verse and chorus. Estelle steals the show during every chorus (and the bridge) where her voice is so gosh darn flirty, you can hear the smile every time she sings "American Boy". Every time she sings it, you want to take her to Brooklyn, L.A. Chicago, and San Fran.
I don't want to over shadow Kanye's performance and Will.i.am's work, but somehow, someway, Estelle steals the show. But Kanye is great and the sounds and music going on behind her voice are great. But it's Estelle's easy, playful vocals that put this song over the top. In a year where nearly everything that happened had a hint of playfulness, no matter how bad the news was, this song sums up that fun, flirty side of 2008.
Ahh, we finally reach the point where I think we have the songs that will go down as the best of the decade...
This starts with some of the best production you'll ever hear drawing you with these just cool and smooth—and I'm not even sure what it is... but you're hooked before the song even really gets started. Then Kanye starts up and whatever beat is being laid down is pretty slick. Enter Estelle singing the chorus in that flirty voice she's got... and it is OV-AR.
This might be the best constructed song of the year and Estelle never let's you forget that she's the star of this—not the great production, not the addictive beat, not Kanye amazing performance just over half in, and not those interesting 'what instrument is that' parts that kick in between every verse and chorus. Estelle steals the show during every chorus (and the bridge) where her voice is so gosh darn flirty, you can hear the smile every time she sings "American Boy". Every time she sings it, you want to take her to Brooklyn, L.A. Chicago, and San Fran.
I don't want to over shadow Kanye's performance and Will.i.am's work, but somehow, someway, Estelle steals the show. But Kanye is great and the sounds and music going on behind her voice are great. But it's Estelle's easy, playful vocals that put this song over the top. In a year where nearly everything that happened had a hint of playfulness, no matter how bad the news was, this song sums up that fun, flirty side of 2008.
Tuesday, December 30, 2008
#3 -- Best Songs of 2008
Viva La Vida by Coldplay
I could write about Coldplay for a long, long time... and I have like when I attempted to figure out if Coldplay was the most obviously unobvious band of all time. I'm never sure what to do with them. Take this song. The string arrangement is sweet. The vocals are nice, the song is well constructed and builds to something. It sounds good. You want to hear it again. The lyrics are oddly charming and give great imagery. The song sort of pumps you up. It's a great song right?
But it is so obvious. I feel lame for even putting it on the list... because it's so obvious. Everyone knows this song is good, but it's by Coldplay so intellectually there is some problem with the song. But I can't downgrade the song just because Coldplay does it. It's like this song should be better almost...
And then there is the issue that they stole the rift from Joe Satriani. But here's the thing—Coldplay does it so much better. And even though musically they don't take any chances, they make better music because they're really good musicians. Think about how great a Coldplay best of album is after only four records? Who wouldn't buy that CD?
#3a -- Life in Technicolor ii by Coldplay
Going back to the obviously unobvious idea... the frustrating thing about Coldplay is that Viva La Vida is a really good, but unadventurous song when compared to the opener off of their underwhelming album, "Life in Technicolor". But LiT doesn't do enough to warrant a place in the top 25...
And then came the release of the Prospekt's March EP. And even though the lyrics don't add anything imo, it puts "Life in Technicolor" over the top. THIS is an adventurous and beautiful song. And this is what Coldplay should be doing (along with, arguably, Lovers in Japan).
These two songs sum up the frustrating thing about Coldplay: they are better musicians and can do things better than most other musicans (ala Viva La Vida) but it isn't all that adventitious even though it sounds really good. BUT then they do something adventurous and different and it's better than nearly everything else out there.
Coldplay is stuck in some weird spiral... I won't say they're as talent as say, Radiohead, or even U2, but it's not like they're all that far behind at the same time. But unlike both bands Coldplay ALWAYS plays it safe. They could write an album of "Shiver" and "Life in Technicolor"... but they play it safe... it's like they're scared to try and fulfill their potential. They're like the anti-indie band in many ways. Which is a bummer... I'd love to see Coldplay go though a strech like U2 did in the 90s.
Finally... why is this Life in Technicolor and not Life in Technicolour?
I could write about Coldplay for a long, long time... and I have like when I attempted to figure out if Coldplay was the most obviously unobvious band of all time. I'm never sure what to do with them. Take this song. The string arrangement is sweet. The vocals are nice, the song is well constructed and builds to something. It sounds good. You want to hear it again. The lyrics are oddly charming and give great imagery. The song sort of pumps you up. It's a great song right?
But it is so obvious. I feel lame for even putting it on the list... because it's so obvious. Everyone knows this song is good, but it's by Coldplay so intellectually there is some problem with the song. But I can't downgrade the song just because Coldplay does it. It's like this song should be better almost...
And then there is the issue that they stole the rift from Joe Satriani. But here's the thing—Coldplay does it so much better. And even though musically they don't take any chances, they make better music because they're really good musicians. Think about how great a Coldplay best of album is after only four records? Who wouldn't buy that CD?
#3a -- Life in Technicolor ii by Coldplay
Going back to the obviously unobvious idea... the frustrating thing about Coldplay is that Viva La Vida is a really good, but unadventurous song when compared to the opener off of their underwhelming album, "Life in Technicolor". But LiT doesn't do enough to warrant a place in the top 25...
And then came the release of the Prospekt's March EP. And even though the lyrics don't add anything imo, it puts "Life in Technicolor" over the top. THIS is an adventurous and beautiful song. And this is what Coldplay should be doing (along with, arguably, Lovers in Japan).
These two songs sum up the frustrating thing about Coldplay: they are better musicians and can do things better than most other musicans (ala Viva La Vida) but it isn't all that adventitious even though it sounds really good. BUT then they do something adventurous and different and it's better than nearly everything else out there.
Coldplay is stuck in some weird spiral... I won't say they're as talent as say, Radiohead, or even U2, but it's not like they're all that far behind at the same time. But unlike both bands Coldplay ALWAYS plays it safe. They could write an album of "Shiver" and "Life in Technicolor"... but they play it safe... it's like they're scared to try and fulfill their potential. They're like the anti-indie band in many ways. Which is a bummer... I'd love to see Coldplay go though a strech like U2 did in the 90s.
Finally... why is this Life in Technicolor and not Life in Technicolour?
#4 -- Best Songs of 2008
Queen of Everything by Haley Bonar
It's the voice. The guitar, the drums... they're nice. But it's the voice and how she sings this song. You can hear the sorrow in her voice. "Rock'n'roll... will tear you from the inside fuck with your spine, take you to the same place I lost my mind" she sings. Why? "Then they hear what I want, and I'm the Queen of Everything." And I love that part... it sounds so good.
Culture and art never explore the REAL heartbreak of females. Movies are usually about the tortured male who will go to the end of the Earth to get back to Penny. Or if it's told from the female point of view, it's something along the lines of, "It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife" and the women that line up for Prince Charming... see the female always NEEDS the man. Even in the 'ground breaking' "Sex in the City" the moral of the show is that those four women CANNOT LIVE WITHOUT A MAN (even though we're supposed to believe that they can). Movies are simplistic and chauvinist—women needs man and cannot live without him. Women are there for the men. It's tired and boring and totally false. But Hollywood has somehow convinced us that this is real... even though it isn't. It isn't for guys and it isn't for girls.
But Haley is doing something else with this heartbreak... she broke up with her man (a good man no less), and instead of sitting there feeding into this chauvinist world, she goes somewhere else: I'm the Queen of Everything. She's basically saying, "I'm not demanding, but everyone wants to make me out to be that demanding. But the reality? You, my man, want everything." She blows up this Hollywood/fairy tale world we want to believe in—but not in the 'fuck Hollywood' kind of way. Rather in the 'this is how I feel and the way I see it' kind of way.
This song is refreshing for two reasons:
1) The backlash against feminism is in full force only no one really will say that... but think about it for a minute or two. In an election between a black man and a woman, we heard little to no racial talk... but it was totally acceptable to call Clinton or Palin pretty much any name you wanted without any consequences. Young white males (children of the Boomers) have somehow made it cool and politically correct to reject and suppress feminism. And misogyny is still prevalent in black art.
2) The irony pours out of this song yet irony was seemingly forgotten by those who champion it as a lifestyle this year (hipsters supporting Obama was NOT ironic and frankly I'm disappointed in them). There was nothing IRONIC about 2008. This might not be a bad thing since we went a tad over board with the whole irony movement/era thanks mainly to George W. Bush. But this song gets back to what irony really is, it's unfortunate and not that funny when it happens to you.
It's the voice. The guitar, the drums... they're nice. But it's the voice and how she sings this song. You can hear the sorrow in her voice. "Rock'n'roll... will tear you from the inside fuck with your spine, take you to the same place I lost my mind" she sings. Why? "Then they hear what I want, and I'm the Queen of Everything." And I love that part... it sounds so good.
Culture and art never explore the REAL heartbreak of females. Movies are usually about the tortured male who will go to the end of the Earth to get back to Penny. Or if it's told from the female point of view, it's something along the lines of, "It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife" and the women that line up for Prince Charming... see the female always NEEDS the man. Even in the 'ground breaking' "Sex in the City" the moral of the show is that those four women CANNOT LIVE WITHOUT A MAN (even though we're supposed to believe that they can). Movies are simplistic and chauvinist—women needs man and cannot live without him. Women are there for the men. It's tired and boring and totally false. But Hollywood has somehow convinced us that this is real... even though it isn't. It isn't for guys and it isn't for girls.
But Haley is doing something else with this heartbreak... she broke up with her man (a good man no less), and instead of sitting there feeding into this chauvinist world, she goes somewhere else: I'm the Queen of Everything. She's basically saying, "I'm not demanding, but everyone wants to make me out to be that demanding. But the reality? You, my man, want everything." She blows up this Hollywood/fairy tale world we want to believe in—but not in the 'fuck Hollywood' kind of way. Rather in the 'this is how I feel and the way I see it' kind of way.
This song is refreshing for two reasons:
1) The backlash against feminism is in full force only no one really will say that... but think about it for a minute or two. In an election between a black man and a woman, we heard little to no racial talk... but it was totally acceptable to call Clinton or Palin pretty much any name you wanted without any consequences. Young white males (children of the Boomers) have somehow made it cool and politically correct to reject and suppress feminism. And misogyny is still prevalent in black art.
2) The irony pours out of this song yet irony was seemingly forgotten by those who champion it as a lifestyle this year (hipsters supporting Obama was NOT ironic and frankly I'm disappointed in them). There was nothing IRONIC about 2008. This might not be a bad thing since we went a tad over board with the whole irony movement/era thanks mainly to George W. Bush. But this song gets back to what irony really is, it's unfortunate and not that funny when it happens to you.
Monday, December 29, 2008
#5 -- Best Songs of 2008
Don't Forget Sister by Low vs. Diamond
I downloaded a bunch of classical music the other day and while I was listening to it, I was amazed at how similar each song was. Not in the notes being played or the instruments being used but rather how each and every song builds to something. How the different movements usually lead to some big blow out that sounds really cool.
And if it wasn't for rock'n'roll and the indie explosion of the last few years, this would never have clicked for me. For years I've heard all about different movements in classical music, but I never knew what this meant. But thanks to crappy indie bands and songs it all came together for me.
It's quite simple really, these crappy songs don't go anywhere, nothing happens. There is no build up, just a lame dude singing crappy lyrics. And after four minutes the song ends. On the flip side, your classical pop song is the same: verse, chorus, verse, chorus, bridge, chorus, maybe a coda [end] (or something like that).
Now the real great rock songs build up into something. They may follow this simple formula, but they go somewhere... and then at the end there is so much going on that the hooks and rifts all cascade into one beautiful sound. Classical music doesn't follow that verse, chorus structure... but the great classical songs build up and up and up and then explode (maybe most famously in the 1812 Overture). But so many rock/indie songs today don't do that. They don't build and they don't go anywhere.
But this song? It builds and it goes somewhere and by the end of the song it sounds wonderful. The passion in the singers voice combined with all the rifts, hooks, and background vocals exploding create just some wonderful music that is hard to turn off. A great song.
So sister... take me away with youuuuuuu!
I downloaded a bunch of classical music the other day and while I was listening to it, I was amazed at how similar each song was. Not in the notes being played or the instruments being used but rather how each and every song builds to something. How the different movements usually lead to some big blow out that sounds really cool.
And if it wasn't for rock'n'roll and the indie explosion of the last few years, this would never have clicked for me. For years I've heard all about different movements in classical music, but I never knew what this meant. But thanks to crappy indie bands and songs it all came together for me.
It's quite simple really, these crappy songs don't go anywhere, nothing happens. There is no build up, just a lame dude singing crappy lyrics. And after four minutes the song ends. On the flip side, your classical pop song is the same: verse, chorus, verse, chorus, bridge, chorus, maybe a coda [end] (or something like that).
Now the real great rock songs build up into something. They may follow this simple formula, but they go somewhere... and then at the end there is so much going on that the hooks and rifts all cascade into one beautiful sound. Classical music doesn't follow that verse, chorus structure... but the great classical songs build up and up and up and then explode (maybe most famously in the 1812 Overture). But so many rock/indie songs today don't do that. They don't build and they don't go anywhere.
But this song? It builds and it goes somewhere and by the end of the song it sounds wonderful. The passion in the singers voice combined with all the rifts, hooks, and background vocals exploding create just some wonderful music that is hard to turn off. A great song.
So sister... take me away with youuuuuuu!
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