Posts Tagged ‘Patti Smith

The Friday Writers’ Bloc: June 20th, 2008

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Download this week’s Friday Writers’ Bloc Playlist HERE

Michael-Bradley’s Picks

1. Liars – Plastic Casts of Everything

This is the opening track off the the noisey New York rockers Liars’ latest and self titled album. This album terrificly just drudges along, with robust smears of melody and rhythm. Even though I’ve heard comparisons to newer noise rockers Health (who I admit share some styles  occasionally [less so in this album]), this album reminds me more of SF punkers Flipper, in their sludgy sounds. Plaster Casts of Everything is a great opener, setting up momentum that carries through the whole album.

2. Sebadoh – Not a Friend

This may not be the best song to be singing by a friend. But i can’t help myself right now, so I apologize in advance….. Sebadoh is a wonderful band from the 90’s with a sort of post-punk sensibility, that are really important for the development of lo fi and indie music.  Their soft analog distortion used on the guitar is part of that patented Sebadoh sound that had me hooked early on.  Bakesale is I think their finest album, where I think their style really came into it’s own- mixing between real rocking songs, to quieter jams like Not A Friend.  The open writing style of Sebadoh’s lyrics are really refreshing.  Sometimes it’s nice to have a singer talk to you in the way you would to them. The final track off this album, Together or Alone can just melt me down.

3. Suffocate For Fuck Sake – Blue Lights and Sunshine

Woah, right? Either you’re incredibly interested, or you’ve already moved on.  Suffocate For Fuck Sake is a really great band I just discovered from Sweden. This clearly won’t be for most, but I suggest giving the song a whole play through, cause you’re not going to find stuff like this on the radio.  They go from quiet and beautiful post-rock pieces with clips of Swedish talking sound bites (anybody want to translate), to some really heavy stuff! Post-Rock has been a genre that always bothered me. Bands like Explosions in the Sky and Mogwai always just frustrated me. Maybe I could just not appreciate their minimalism, but I found them totally boring. Their music never went anywhere. I always thought Post-Rock would be amazing if you use it in parts, while not being afraid to blast through others. I started finding a few bands like *Shels [sic] [], who did that, but was never satisfied with the results. UNTIL, i heard SFFS, and their brief titled first album “Blazing fires and helicopters on the frontpage of the newspaper. There’s a war going on and I’m maching in heavy boots.” They’ve found the perfect match of Post-Rock and heavy-[something] for me!  Don’t be afraid of the scream.This album is mind blowing. Interesting fact is that they are the poster child of music globalization. Swedish band, with a label and publisher in Mexico? Pretty cool.

Jonathan’s Picks

1. John Legend Feat. Andre 3000 – Green Light

I like John Legend. I’ve liked him since I first heard “Used to Love U” back in 2004. And I continued to like the man and his music through his first two albums, Get Lifted and Once Again. In fact, the first time I heard “Ordinary People” and “Again,” I think I was ready to add them to the pantheon of all-time great love songs. (Or at least all-time great lovers quarreling songs). I never minded the fact that Legend seemed basically stuck in one gear all the time, never venturing far from his R&B/Soul sound, even when it meant some of his material sounded borderline repetitive. But the man is a crooner. He’s old-school like that. And I like that about him. So when I heard the first single off Legend’s upcoming third studio album, “Green Light,” I was confused. Something like: “Wait, this is John Legend? Really? Wow, dude’s really going in a different direction on this one, huh?” And that he is. “Green Light” is a catchy uptempo synth-fest, which still allows Legend to get on his love story tip, yet sounds unlike anything he’s ever done before. And this new, loosened up John Legend is brought out of his shell by a jocular (and literally laughing at times) Andre 3000, whose guest verse appears to slip away from him towards the end, only for him suddenly reveal he’s been freestyling the whole time. Jokester. But Andre’s “throwaway” line directed at Legend as the track rides out really says it all: “Sometimes you gotta step from behind that piano!” He definitely did.

2. Lady GaGa Feat. Colby O’Donis – Just Dance

There’s something I want to say that applies to both my second and third picks: there was a time when “pop” music (aka “popular” music) meant that the music itself was easily accessible and enjoyable to the average listener. But it absolutely did NOT mean that the music had to simplistic, dumbed-down, or mediocre, and it did NOT mean that it was to be made largely by talentless artists with no skills or ideas of their own. The Beach Boys and The Beatles were a far cry from the modern-day no-talent-ass-clownery of Paris Hilton and Lindsay Lohan. Thus, I want to highlight two new “pop” singers who bring a little more to the table. First, Lady GaGa. Horrible name aside, this 22 year old New York City lifer and downtown scenester actually possesses far greater talent than our average pop singers of today. The girl went to NYU’s Tisch School of the Arts at age 17 and Tisch isn’t like a record company — they don’t just let anybody in and hand ’em a mic. You gotta have more talent than 99 percent of the population, and Lady GaGa (sorry, but my god I hate that name) certainly has talent — the girl’s got a powerful and clear voice built for tearing down arenas and stadiums (in a good way). Her lyrics are fun, playful, and poppy to be sure, but they’re also slightly wacky and even a little edgy (gasp!) at times. “Just Dance” is the first single off her debut album, and it features rising male pop star Colby O’Donis. It’s just funny because I’ve never noticed that O’Donis had a weak or lousy voice before –and he doesn’t, really — but he is COMPLETELY outgunned and gets COMPLETELY shown up by the overly talented newcomer, Lady GaGa. So just try to forget about the clothes, the hair, and the makeup. That isn’t the point of pop music. Instead just remember the voice.

3. Keke Palmer – Bottoms Up

An even more interesting case of a new pop singer with a little too much actual talent is Keke Palmer, who’s still known mostly for her roles as a child actor in films like Akeelah and the Bee and Jump In!, though now seems to be transitioning into the music world. Now I haven’t seen either of those movies, so I have no idea if she can act. (I bet she can). But damn can she grab hold of song and take it for a ride under her control. And it’s not just that Palmer can actually sing well, it’s that she easily flits back and forth between her singing and some shockingly convincing rapping, which somehow (I have no idea how, seriously) manages to avoid sounding the least bit awkward or forced. “Bottoms Up” is clearly just a fun party track with a better-than-it-has-to-be beat before anything else — the title says it all –regardless of how you interpret the type of “bottoms” Palmer is encouraging us to raise. But here’s the thing: Palmer’s still young. How young, you ask? Very young. So now I ask that you take a good listen or two to “Bottoms Up” before running over to “the Google” to find out just how old the lovely and talented Ms. Palmer actually is. After hearing the song for the first time months ago and doing that very thing, my jaw practically hit the floor. Her self-confidence on the mic and her natural command of the song is utterly incredible for anyone Palmer’s age, so if this girl doesn’t become a star now, she damn well should be one someday.  

JustJake’s Picks

1. Fiona Apple – Extraordinary Machine

This weeks picks are from my two favorite females in pop (I guess that’s what it’s called). This first one is the title track off Fiona Apple’s extraordinary 2005 album, Extraordinary Machine. Time and again, I keep coming back to this album which has proven that it deserves every bit of credit that it got when it was released. Under the tutelage of superproducer Jon Brion, Apple broke new ground on this record, not only for her but for female pop stars in general. This song, by far my favorite of hers, is just one example of the album’s quirky-beautiful arrangements and Apple’s subtly-perfect timing.

2. Joanna Newsom – Bridges and Balloons

Another opening track to a strange, sensory, and groundbreaking album, “Bridges and Balloons” is a fantasy and a journey. I haven’t really figured out where Newsom and her nymph-like voice is taking us, but it’s somewhere quiet, fluid, and pretty. Her harp is a flurry of beautifully constructed melodies and is the true star of Newsom’s music, although many don’t get beyond her voice. Her style can seem queer or even creepy, but after watching her captivate an entire opera house, with standing ovations to boot, I will defend her magic and its power, however odd they may appear.

roswellmueller’s Picks

1. Vampire Weekend – Oxford Comma

I’ll start off by saying that I do not like Vampire Weekend. While I can sort of understand their appeal, I just really am not impressed in any way by this album – the exception being Oxford Comma. For the life of me I can’t decide why I like this song, I just know that I can’t get it out of my head and have kept it on my commuting playlist for weeks now. It might be the irritatingly catchy lick at the center of the song, or the simplistic drumming reminiscent of Ringo at his most unimaginative, I’m not sure. I just hope I either get sick of the song, or it stops getting stuck in my head sometime soon.

2. Maps & Atlases – The Ongoing Horrible

A month or so ago, Mr. Michael-Bradley put up Maps & Atlases – Trees, Swallows, Houses on Quick Hits. Now, I’ve never listened seriously to math rock but this record completely sold me, unbelievable musicianship. An early favorite (probably because it’s the most accessible from an outsider’s perspective) is “The Ongoing Horrible.” Lacking the frenetic pacing of the albums other tracks, the song highlights Maps uncanny ability to create intricate harmonic landscapes through crisp, meticulous technique and complex rhythmic structures.

3. Peter Gabriel – That Voice Again

I’m currently in the midst of a nostalgia binge, reverting back to some of the old chestnuts from my childhood. Specifically, the period where my parents’ music was still the only stuff I was listening to (I’ll spare everyone the Kenny Loggins and Gordon Lightfoot my dad was partial to around this time period). But, it should come as no surprise that Peter Gabriel was in heavy rotation for as long as I can remember being able to recognize the music that was playing around me. Either by osmosis or on its musical merits, which are considerable, “So” remains one of my favorite touchstone albums to return to every now and again.

Carman’s Picks

1. Lizzy Mercier Descloux – Sports Spootnick

The story of Lizzy is pretty cool actually: hot French chick comes to New York in the ’70s, befriends Patti Smith and Richard Hell, and records cool mutant disco. Mambo Nassau, her second album, was a departure from the sparse sounds of post-punk disco (like the ESG and Bush Tetras I posted before) that she helped establish with her debut album Press Color. Instead it was a globetrotting pastiche of world music that sounded like the Talking Heads on acid. Interestingly enough, it was recorded at the same studio in the Bahamas where Tom Tom Club recorded their debut album and Wally Badarou contributes synths to both Mambo Nassau and the Heads’ Speaking in Tongues.

2. Alice Coltrane – Sita Ram

Alice Coltrane is an unusual and incredibly influential figure in the jazz world whose impact cannot be minimized by the enormous shadow cast by her husband. Not only was one of her main instruments of choice rather unusual (harp), she was one of the primary figures in developing fusion by introducing Eastern spirituality to the music and also emphasised the organ (much like Larry Young and Jimmy Smith, but in a different way) as a lead instrument. On top of all that, her free jazz leanings not only continued to the idea of spotaneous spirituality and expression that John showcased, but also made emphasized the peaceful and meditative qualities of the style with her gorgeous string arrangements. Universal Consciousness, the album from which this cut appears, is her finest of these early records.

Download this week’s Friday Writers’ Bloc Playlist HERE


The Friday Writers’ Bloc: April 11th, 2008

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Download this week’s Friday Writers’ Bloc Playlist HERE

Michael-Bradley’s Picks

1. Hella – The D. Ekan/Biblical Violence

Welcome to Hella (You’re Gonna Live!). This is one of my favorite bands of all time. They’re just the best. It took me about a year of listening to them though to begin liking or comprehending them though. At first it will sound like total chaos to you-guaranteed. It takes a bunch of listens to understand what exactly you’re hearing. I would characterize it as a brutal version of math rock. This is the first song off their first full length (Hold Your Horse Is). Just a guitarist and a drummer. The drummer, Zach HIll, is probably the sickest drummer alive. He just kills it. I love it. For those who don’t think they could actually play like that in real life, think again: Hella on YouTube.

2. The Plugz – El Claro y La Cruz

I wrote about these guys in my first blog ever, and noticed it was catching some views of late. Again one of my favorite early LA Punk Bands. This song is probably where they mixed their punk and latino styled best. I first heard this off the Repo Man soundtrack.

3. Butthole Surfers – Cherub

I just bought an original pressing of this vinyl (Psychic….Powerless…Another Man’s Sac) last week at Amoeba. I want to write about these guys soon so I won’t get into too much detail. Probably best known for their hit single Pepper from the 90’s, they started off as a completely drugged out punk band in the early 80’s out of San Antonio. Psychedelia and punk rarely join forces so the results are pretty interesting. This one in particular is a real psych rocker.

Jonathan’s Picks

1. Heavy D. & The Boyz – Now That We Found Love

Earlier this week I pretty much savaged longtime Hip Hop/R&B producer Teddy Riley in my review of Snoop Dogg’s new album. While I stand by my negative opinions of Riley’s recent work, the same cannot be said about his past productions. Bobby Brown, Guy, New Kids on the Block, Michael Jackson, and of course, Blackstreet all benefited from Riley’s R&B expertise. But that was 20 years ago. And while many people may remember Teddy Riley for “My Prerogative” and “No Diggity,” few know of his hand in Heavy D. & the Boyz’ 1991 classic single, “Now That We Found Love.” Now you do.

2. Tupac Shakur – Heartz of Men

In my review I wasn’t exactly easy on DJ Quik either, the third member of the newly formed production team QDT (Quik, Dogg, & Teddy). But like Teddy Riley, Quik still deserves props for much of his early production work. And though he found his niche in gangsta rap rather than pop music, Quik turned out serious beats for both ‘Pac and Snoop Dogg a few long minutes ago, as well as one of the funkiest hip hop songs (and videos) ever, “Break Bread,” by Flexxarally & AMG. To me, “Heartz of Men” is a perpetually underrated Tupac track, not often mentioned among his best work. And a big part of what makes it great is DJ Quik’s sick beat. Just try not to move your head once ‘Pac hits his stride on this one…..It’s impossible. This is just hip hop.

3. Beyoncé – Beautiful Nightmare (Advance)

I mentioned this song a couple of weeks ago while talking about the increased used of prominent synth sounds in American hip hop and R&B, which I think is a great thing. Now technically this new Beyoncé track hasn’t been released yet — only leaked to a few places — but word is that “Beautiful Nightmare” will serve as the first single from B’s upcoming album. While it has been reported that Timbaland has agreed to do much of the production for the new album, Freemasons, top-shelf dance producers from the UK, have also signed on to the project. (More synths). All that aside, there is still some controversy surrounding the production of this particular track, with some sources crediting Polow da Don and others crediting Jim Jonsin. Given the synthy baseline and the fact that the track was mysteriously leaked, it sounds like Polow to me. But either way, the track’s still hot and a good indication of what’s to come from Beyoncé.

roswellmueller’s Picks

1. The Microphones – The Glow, Pt. 2

Its album’s title track, it seems fitting that The Glow, Pt. 2 somehow manages to touch on so many of the places explored throughout the album, unfolding like a preview for sounds to come. As usual, Phil Elvrum’s use of lo-fi recording ads elements of both intimacy and fierce intensity. If you haven’t heard of the Microphones, I can’t recommend this album highly enough – a true favorite.

2. Philip Glass, Performed by the Kronos Quartet – String Quartet no. 5, V

Whenever I try and convince people that classical composition has more to offer than ridged baroque structure I play them this track from a collection of Philip Glass’ string quartet’s. I don’t expect to change too many minds, but this is an amazing piece of musicianship and composition.

Carman’s Picks

1. Noah Howard Quartet – Apotheosis

ESP-Disk was a label founded in 1966 with the intention of releasing Esperanto-based music. However, by their second release, The Albert Ayler Trio’s superb Spiritual Unity, they had already branched out into improvisational jazz and there was no turning back. One of the 45 gems from their first 18 months in existence was by a then-unknown saxophonist named Noah Howard who at the age of 23 recorded his first album as a bandleader with 1966’s Noah Howard Quartet. According to the liner notes of one of his earliest records, Howard was among the “first generation of post-Ornette Coleman saxophonists,” having been inspired by the reinvention of the genre that Coleman brought. Like most American free jazz musicians, Howard would defect to Europe where they were welcomed with open arms and continue recording (still to this day!), but my favorite record of his remains his debut. The collective gusto and intensity that both Howard and trumpeter Ric Colbeck play with on this record is unparalleled by any other woodwind/brass tandem I’ve ever heard.

2. Jackie McLean & The Cosmic Brotherhood – New York Calling

Like Howard above, McLean was welcomed in Europe by the Danish label SteepleChase when he was released by Blue Note, for whom he released almost a decades worth of material. Through SteepleChase he released more albums through the 70s with his new group The Cosmic Brotherhood. The year 1974 saw the release of New York Calling, an ode to his bustling hometown. McLean’s saxophone is obviously the main thrust of this song that captures the energy of the city, but I always found the performance of pianist Billy Gault to be the highlight of the song as it recalls the meticulous arrangements of George Gershwin, a man who also perfectly captured the spirit of The Big Apple.

3. John Cale – Child’s Christmas in Whales

It’s so unfair to me that Lou Reed was always hailed as the genius behind the Velvets when plenty of credit should also go to Cale. Cale’s post-VU resume is certainly stronger than Lou Reed’s, with production credits including The Stooges, Patti Smith’s Horses, and most of The Modern Lovers along a string of solid and experimental solo albums that Lou Reed can’t even hold a candle to (sorry, but Transformer is waaaaay overrated). This gem opens Cale’s excellent Paris 1919, and right away it showcases the pomp and flowery string arrangements by Cale and his erudite brand of songwriting that make Paris such a wonder.

Download this week’s Friday Writers’ Bloc Playlist HERE