Posts Tagged ‘Music’
The word “Emo” has been overused for many years now, and , in fact, in many circles, has become a pejorative term for a goth-lite teenager with eyeliner, or some equally unattractive image. Long ago, in the mid 1990s, it emerged as shorthand for “emotional hardcore.” When the term “emo” was first coined, this type music was much less mainstream, the bands were not universally accepted or treated as commercially viable yet, and the listeners were a small, more tight-knit group. The bands were generally referred to as “pop punk” or “punk hardcore,” delivering a slight edge over standard punk, and in most cases, a dose of melody through the distortion.
From this scene, many bands grew, most notably in my mind: Gorilla Biscuits, Fugazi, Quicksand, Sunny Day Real Estate, and many others. Also a defining moment in emo history was the release of the commercial flop “Pinkerton,” Weezer’s 1995 masterpiece, which is now often considered the band’s best release. Although once very popular in this scene, one band that is largely forgotten is “Sense Field.” From California, former members of Reason to Believe got together and created several demos before releasing the eponymous Sense Field. 1994 welcomed the beautiful Killed for Less, which is a great album: fantastic music, but in contrast, still maturing lyrically. Then, shortly thereafter, Sense Field delivered Building. Building is an amazing album, full of energy, fun, kicking beat, and melody. The unique voice of lead singer Jon Bunch (who later fronted Further Seems Forever) is especially well suited for this type of music, which captures the 90s Gen-X angst that had yet to become whiny and obnoxious Gen-Y posing.
The first track of Building, called Overstand, is a short but sweet song that will hook you. If you like this style of music, you’ll be ready to delve in further right away. Side 1 will just keep kicking your butt. This generally continues through Different Times, Will, and Leia, and lasts all the way through the final track, Sight Unseen, which is also in the run for my favorite. In fact, there’s only one song on this CD that I’m not crazy about, but lest I spoil you, I’ll keep it a mystery. The fact remains that Sense Field delivered and then some with Building.
Sense Field went on to record three more albums including an EP, however, the final two albums never really had the magic spark, which singer Jon Bunch attributed to several factors, including the label pressures and bad financial decisions, but moreso to the fact that the scene had changed and the guys had just lost their passion for that band at that time. I was able to see Sense Field on the east coast twice on two different tours, and the final time, I was able not only to meet them all, but also chat with them. It was sad that so few people appeared to know their songs and their history. Unfortunately, Sense Field is likely to be most remembered for their one radio hit, “Save Yourself,” about abstinence, which may have ironically led to their downfall. Not only did the song get them labeled a “Christian band” (”not that there’s anything wrong with that, but we’re not a Christian band,” says Bunch) , but it also gave people a taste of Sense Field that really wasn’t who they were, leading people to check them out and then potentially be disappointed.
Nothing will change the fact that Building was and remains and incredible album, strangely as strong today as it was then. Check out Sense Field’s Building on Amazon.com.
In the early 00’s, there was a flood of what I call “new punk” or “candy punk” on the music scene, fronted by several bands, some of which I really liked. Yellowcard, New Found Glory, and many others were amongst the successful, and they brought a combination of punk, rock, and run-of-the-mill pop music together. Amongst that group was a band that was unfairly seen, I think, as one of the “candy punk.” Something Corporate demonstrated, on their two major releases, some brilliant song writing, some beautiful composition, and great musicality.
The singles released from “Leaving Though the Window,” their first album, include “Punk Rock Princess” and “If U C Jorden”, both of which, I think, hold up well today. But the masterpieces are in between: the gorgeous harmony of “Hurricane,” the slow rocking of “Fall,” the bounce of “I Woke Up in a Car,” the humor of “Drunk Girl.” Something Corporate was able to convey a sense of humor balanced against their strong composition. For example, without sounding didactic – the way they build up to the first chorus but pull it away in favor of another verse; or the way a first chorus will only give you half the lines before the fuller subsequent ones. “Leave ‘em wanting more” really does apply with music, and it leads to repeat listens.
What makes Something Corporate unique is that they are built around the piano played by their frontman, Andrew McMahon. As a result, every song has a depth and tone missed by second rate bands like “Panic! At the Disco” and “Fall Out Boy” driven by almost entirely by power chords. The future for Something Corporate is definitely cloudy: McMahon was diagnosed with leukemia shortly after recording a solo album mid-decade and has gone on record suggesting his interest in Something Corporate is more nostalgic than create, but also as suggesting that not ever recording and touring again would be a let down to fans. Not counting demos, EPs, maxi-singles, and earlier releases, we only have two major releases for this young and talented band. Every single song on “Leaving Through the Window” is worth a listen. You should check it out.
I was a huge Guns N’ Roses fan, back in the day. In 7th grade, in 1988, I got introduced to G’n'R, and I just loved it. I swallowed up every song on Appetite for Destruction and Lies. Hunted down Live Like a Suicide. Found all their demos like “Crash Diet.” I stuck by them through Use Your Illusion I and II – got them both sight unseen on opening day. Saw them live in ‘92. I even bought The Spaghetti Incident?! in 1993. As the next album delay began, my interest began to wane. I went from superfan to fan to casual fan to indifferent to hating Axl’s winded comeback performance to casually interested to seeking out Chinese Democracy. And now I have it. I’ll spare you the reading: I’m a fan again.
I could’ve told you well ahead of time how much this album was going to suck. After all, it’s been 14 years in the making. Axl has gone through several line up changes and at least 3 lead guitarists since Slash. All of them have some appearance on the album, I’m told. 14 years of nonstop revision has got to lead to the inability to be objective. And it’s gotta be overproduced as all hell as Axl does nonstop tweaking.
So when I got my hands on the album and gave it a listen, I was surprised to find that it was actually… pretty damned good. Read on for the full treatment.
1997’s The Colour and the Shape
Quite the contrary: The Colour and The Shape remains The Foo Fighters’ masterpiece, despite many subsequent hits. The Colour and The Shape proved that Dave Grohl could exist in a post-Nirvana band with its own identity.
The Colour and The Shape
Every so often, I’m going to post an album recommendation. I have lots of “favorite” albums, but I’m going to share a few that I find especially good. Today brings an album that really captures the flavor of rock in the early 1990s.
In the early 90s, Guns N’ Roses had successfully killed off hair metal in favor of accessible heavy metal. That changed when the Use Your Illusion albums came out – as “rock” more than metal – and rock softened up a little. Bands like Mr. Big and Firehouse were suddenly relevant. A little known Southern band who had been around since the mid-80s dropped into the scene with a fantastic album called “Fly Me Courageous.”
Fly Me Courageous features several great songs besides the title track which became a successful single, most notably “Let’s Go Dancing.” Other songs such as “For You,” “Look What You’ve Done to Your Brother,” and “Around the Block Again” are really great songs that are a throwback to that period in rock music. While it certainly won’t feel like current music, it will certainly prove to be a successful demonstration of just good, catchy song writing.
Fly Me Courageous
The first time I saw Phish was in Hampton. The last time I saw Phish was in Hampton. The best Phish show I saw was in Hampton (11/22/97, best Piper ever!).
It would be awesome to see them in Hampton in 2009.
Boinga!
Unfortunately, having a baby around means that I often find myself watching shows such as “The Backyardigans”. As someone who has, since I was very young, considered myself pretty in touch with music and appreciative of true musicians, I am strangely compelled by much of the music found in these shows. For every ten terrible songs, there’s one or two good ones that are so catchy you’d never believe it. But if you dig deep enough, you’ll find some interesting lyrics hidden within. Lately, I’ve had several Backyardigans songs in my head, but one of them, the Alicia Keys’ backed “Almost Everything Is Boinga Here” has got me a little worried. Let’s examine:
Austin: Boinga’s a word we don’t understand.
Mommy Martian: Well, words are different in Martian Land.
Pablo: Well, we don’t know your language yet.
Austin: Maybe you could teach us?
Mommy Martian: Sure, you bet.
Baby Boinga: Boinga!Mommy Martian: Almost everything is boinga here,
Just in case you hadn’t heard.
Almost everything is boinga here,
It’s the Martians’ favorite word.Uniqua: Do you call these hands?
Mommy Martian: Nope, we call them boinga!
Austin: Do you use pots and pans?
Mommy Martian: Yup, we call them boinga!
Baby Boinga: Boinga!Pablo: We wear hats on our heads.
Mommy Martian: Really? We wear boinga!
Uniqua: Do you guys sleep in beds?
Mommy Martian: Nope, we sleep in boinga!
Pablo: Hey!
Austin: That’s good.Mommy Martian: Do your birds say boinga?
Uniqua: No, our birds say tweet!
Mommy Martian: Do your flowers smell boinga?
Pablo: No, they just smell sweet!
Mommy Martian: Do you walk on your boinga?
Austin: No, we walk on our feet!
Mommy Martian: Do you sit on your boinga?
Uniqua: No, we sit on our seat!Baby Boinga: Boinga! Boinga!
Pablo: You certainly use that word a lot.
Mommy Martian: Well, it means a lot of things, so why not?
Austin: Is there anything boinga doesn’t mean?
Mommy Martian: Well maybe there is but not that I’ve seen.
Pablo, Uniqua, and Austin: Almost everything is boinga here.
Mommy Martian: We boinga all boinga long.
Baby Boinga: Boinga!Pablo, Uniqua, and Austin: Almost everything is boinga here.
Mommy Martian: So we boinga this boinga song.
Baby Boinga: Boinga!
Pablo, Uniqua, and Austin:Boinga this boinga
Mommy Martian: Boinga!
Pablo, Uniqua, and Austin:Boinga this boinga
Mommy Martian: Boinga!
Pablo, Uniqua, and Austin:This boinga song!
Mommy Martian: Boinga!
Pablo, Uniqua, and Austin:Boinga this boinga
Mommy Martian: Boinga!
Pablo, Uniqua, and Austin: Boinga this boinga
Baby Boinga: Boinga! Boinga! Boinga!
Alright. So let’s take a closer look at few lines, shall we? Let’s start with this one: “We boinga all boinga long.” Aside from the fact that – I promise you – way too many dirty-minded people are going to interpret this as ”we f#@% all night long,” partly because “boinga” sounds a lot like “boing,” which is colloquially used as a cleaner version of “screw,” it proves that the word “boinga” is both a noun and a verb. Once we concede that Martians use “boinga” as a univeral verb and a universal noun, it contradicts earlier sentences.
Shouldn’t “Do your birds say boinga?” be “Do your boinga say boinga?” Actually, given the verb, shouldn’t it be “Do your boinga boinga boinga?” Shouldn’t that whole verse be mostly “boingas?” In fact, why is the word “do” allowed? “Boinga your boinga boinga boinga” just doesn’t make a lot of sense. Stupid Martians.
Let’s assume that we can get over Mommy Martian’s arbitrary use of the word boinga as a replacement for some words but not others. Why would Martians refer to Mars as “Martian Land?” Have you ever refered to our planet as “Earthling Land?” Of course, because it’s just weird.
Also, the Martian Mommy seems awfully fluent in English, and yet, she doesn’t know what birds say or how flowers smell. She can sing an impromptu song, but appears entirely unaware of the words “sweet,” “feet,” “seat,” or “tweet.”
Also, do you find it a smidge naive that Austin and Pablo seem to believe that they are capable of learning the native language in “Martian Land” in the course of one 2 minute song? …and do?
This is the line that kills me: “So we boinga this boinga song.” Please! You can’t convince me that many young moms and dads don’t hear “So we sing this fuckin’ song.“
Who said childrens’ songs were boring?
I once posted some rather prescient Rush lyrics. Today, whilst listening to the 1975 album “Fly By Night,” I was struck by how applicable the lyrics to yet another Rush classic have become.
Ten score years ago, defeat the kingly foe
A wondrous dream came into being
Tame the trackless waste, no virgin land left chaste
All shining eyes, but never seeingBeneath the noble bird
Between the proudest words
Behind the beauty, cracks appear
Once with heads held high
They sang out to the sky
Why do their shadows bow in fear?Watch the cities rise, another ship arrives
Earth’s melting pot and ever growing
Fantastic dreams come true, inventing something new
The greatest minds, and never knowingThe guns replace the plow, facades are tarnished now
The principles have been betrayed
The dreams’s gone stale, but still, let hope prevail
History’s debt won’t be repaid
All too often, pop culture deaths have a more profound effect than they should. However, I was surprised when in January, I was more affected by the death of Heath Ledger than I expected to be. I guess I felt as though Ledger was part of my “generation.” Fast forward to today, and I’m really quite upset to see that Leroi Moore, saxophonist for the Dave Matthews Band, has passed away. It appears that there were complications from an ATV accident in June. He was 46.
Leroi Moore, 1961-2008
This is a great loss for music in general, and while it might not be on par with the passing of Jerry Garcia or Kurt Cobain, I really think the Dave Matthews Band has an enormous following, and like The Grateful Dead, operate as a unit that will certainly be worse off without Moore’s unique style. Not only was Moore the saxophonist for DMB, he also played a large role, we’re told, in helping Dave arrange his many songs.
In July of 1997, I was fortunate enough to get to see Phish in Virginia Beach for their US tour opener. We were so excited, not only because it was the tour opener, not only because they would end up opening the tour with 4 new-to-the-US songs, but also because it had rained torrentially and right before the show, and while we were all drenched, a fantastic rainbow enveloped us and everybody had to simply relax and enjoy the seemingly cosmic event.
Imagine our surprise when, not long into the second set, Mr Leroi Moore joined Phish on stage for solid renditions of Theme From the Bottom and Funky Bitch.
Leroi Moor will be missed, but I suspect his legacy will live on for some time via the Dave Matthews Band.
The new Decemberists album was loosed last Tuesday, March 24, and has been met with enthusiasm almost universally. I purchase only a few discs a year these days, preferring to spend the majority of my music dollars online. This disc, I knew in advance, would be one of my purchases.
Upon purchase, I quickly came to understand that “The Hazards of Love” is a concept album in the truest sense: the songs are a single, uninterrupted blob – continuous sound from the haunting opening notes of “Prelude” to the final waves of “The Hazards of Love, Part 4.” The challenge, as with any Decemberists offering, is to decipher the meaning of the often Victorian-style lyrics, and with “The Hazards of Love,” it’s proven to be a challenge. However, within, find my interpretation of the Hazards of Love story.
Before I get into it, let me address a few complaints I have with this album:
I have no other complaints about this disc at all. In fact, I’ve read only two complaints online, the first being that the talented Jenny Conlee is underused. To those who have noted that, I urge you to relisten. Her harpsichord, the Hammond, and her accordion can be heard throughout the album, and while she certainly takes a backseat on some songs, she provides depth to many of the themes that might otherwise deliver much less forcefully their message.
To those who felt this album is too “heavy metal” and too far a departure from previous Decemberists material, I ask you to relisten paying greater attention to the story. There is no unnecessary “metal” here. There is only emotion to properly align to the lyrics. The queen is accompanied by loud electric guitar.
So, let’s get on with it, shall we? Please read on, I’ll include my entire dissection of “The Hazards of Love.”