I woke up this morning to the news that after more than a decade, musician David Bowie had finally released a new song (appropriately titled "Where Are We Now?") on this... his 66th birthday!
Being a fan, I was excited to give this a listen...
... but actually clicked it off less than a minute into it.
A very gloomy, downbeat song after all this time, and definitely not what I expected. Sure, I am used to Bowie venturing into some odd sonic territories... at his best, that's what makes him David Bowie! But at first, second, and third listen, there is something very awkward and dreary about this one... makes it hard to listen to (not unlike the latest from fellow rock veterans Bob Dylan and The Rolling Stones).
I will say that Bowie earns points for continuing to be experimental. Apparently the song deals with the city of Berlin, where the artist lived in the late 70s, and perhaps looks at how much he and the city have changed since that time (it has a very regretful, sad feeling to it).
Following his tremendous rise in early '70s, Bowie moved to Berlin, Germany, to exorcise his rock and roll excesses, which included a heavy drug addiction. He recorded three very interesting, experimental albums with producer Brian Eno (Low, Heroes, and Lodger), and set the template for much of the electronic sound and style that would emerge in the 1980s. Listening to the song (and watching the video) from that perspective, I am somewhat more sympathetic... it gets better towards the end actually. There is a very heavy conceptual thing happening in the video, directed by Tony Oursler... it wouldn't feel out of place as a video art installation, which is cool.
At the moment, I'm also intrigued by the upcoming album. The cover design takes one of those 70s Berlin albums, Heroes, and simply places a blank square over top with type that reads "The Next Day" (the new album title). I'm a little more prepared to see the brilliance in that minimalist move, following last year's graphic design class.
As for the song... I have to say that it is hard to listen to work by an artist you admire, and admit to yourself that you're not really sure you dig it (I'm ok with melancholy, but prefer a little more melody to balance things out). Maybe I'll have to give it more time...
In any event, I'm relieved to hear that David Bowie is back. Happy Birthday to one of the true originals, who apparently still has a few tricks up his sleeve...
Related Links:
www.davidbowie.com
"Everything We Know About New David Bowie Album 'The Next Day,'" Flavorwire.com, January 8, 2013
"David Bowie: The Next Day. That album cover design." Barnbrook Blog, January 8, 2013
"Born To Rock," Blue-eyed Soul Productions blog, January 8, 2012
Showing posts with label alternative music. Show all posts
Showing posts with label alternative music. Show all posts
Tuesday, January 8, 2013
Friday, December 7, 2012
The ∆ Experience
Here's a weird video for an equally weird (but catchy) song by the band alt-J:
A quick search, and it looks like they're British... of course. One of the more interesting things I have heard this year, and there's definitely been some cool things. I see the top 10 lists of 2012 are starting up... maybe I'll attempt my own in the coming weeks.
For now, it's the weekend!... Thank God. Long week... looking forward to some downtime.
Wednesday, October 24, 2012
I Belong with You/You Belong with Me
Here's another new band that me and the missus enjoy:
Yes, this was song has been sung to each other on a few occasions recently... pre and post-wedding... and we'll have another opportunity as The Lumineers play the Albany area on Monday, December 17... for free! Another Miller Light Concert show, so you know what that means... yes, WEQX rules.
thelumineers.spinshop.com
Yes, this was song has been sung to each other on a few occasions recently... pre and post-wedding... and we'll have another opportunity as The Lumineers play the Albany area on Monday, December 17... for free! Another Miller Light Concert show, so you know what that means... yes, WEQX rules.
thelumineers.spinshop.com
Sunday, October 21, 2012
Everyday Is Like Sunday
Sorry, I couldn't resist that title. I thought today was as good a chance as any to finally talk about last Thursday's concert. I had seen Morrissey live a few times before, so I felt I was somewhat prepared...
The first time I saw the Mozzer was in 1992, Springfield, Massachusetts--it was my junior year of college, and around the time I really started getting into his work. He had just released Your Arsenal, and I was taken by the aggressive, guitar sound (at times rockabilly) that somehow worked alongside his personal, introspective lyrics. In retrospect, it was an approach he had already successfully utilized during his time with the Smiths, but I wasn't as aware of that music when it was originally released. This album, however, came out right during the grunge music years... and it seemed a bit more energetic and fresh in comparison. There was also the "look" of Morrissey (again, sort of a rockabilly meets beat poet) and the opinionated yet ambiguous way that he presented himself, which both confounded and intrigued the public. He just seemed awfully cool and different... somehow I always find myself going "against the grain."
Another album followed in the spring of 1994--the more reflective Vauxhall and I. It seemed a perfect "release" for me at the time (especially the track "Hold On To You Friends"), as I had experienced a rather rocky, emotional year, and was just figuring out how to find my footing. I appreciated the comfort of the artist's work so much that I traveled out to New York City to try and meet him during a signing he was giving at Tower Records. What I found were blocks of fans lined on the streets for the opportunity, making me realize the extent to which people had connected with his work. Unfortunately, I did not get in... I stood out for a few hours, and only caught a glimpse of the artist, holding up a sign that read "I'm sorry" for the many he did not have time to get to--I think that simple gesture said something about the respect he felt for his fans, in contrast to the acerbic nature of some of his opinions and lyrics.
Things got quieter as the years went on... although I frequently played his new material during my stint as a DJ, I didn't find it quite as melodic and engaging, even though the love of all things Britpop was getting stronger and stronger for me. I did find myself going back to the early Smiths albums, and realizing that these were even more special for their heartfelt music and lyrics.
In 2004, Morrissey returned to form with the album You Are the Quarry, and it had some splendid songs that seemed to come back around to a more simple, direct form of songwriting. After a long absence, a new tour was announced, with a special date at New York's legendary Apollo Theater... considering my love of soul music and Britpop, it was too tempting to resist. That was a lovely concert... with a lush theater providing quite the backdrop to Moz's melodramatic flourishes... plus, he was finally playing Smiths songs! Hearing "There Is a Light That Never Goes Out" live was sheer joy... I caught him again in Boston a few months later, but that was marred by a drunken girlfriend who was causing me trouble at the time... heaven knows I was "miserable" now.
So this year, Morrissey was finally coming to me... Albany's Palace Theater, and I looked forward to bringing my sweet wife Sarah and good friend Frank to share in the experience. As I mentioned, the fantastic independent station WEQX was giving tickets away the other week, and I thought I would give it a shot... and won! So our upgrade to the second row promised to make this show all the more memorable.
There were the expected Morrissey clones--hair quiffs and moody black... people you half-expected to have a book of poetry under their arm. The one thing I haven't mentioned yet is that people have often thought that I resembled the artist (especially during the early 90s), and I haven't heard the last of that once Sarah and Frank made the same observation. I wondered if Moz himself considered it... we were literally looking straight across from each other during the show!
Yes, we realized that our second row seats were actually in the first-- we couldn't have been closer to the stage in some respects. We only caught a little of opening act Kristeen Young, which sounded interesting to me... more like a Bjork clone to Sarah. This was followed by a stream of film clips which I mentioned yesterday... offering a taste of some of Morrissey's early influences, including writer Oscar Wilde, whose wit the Brit certainly shares.
Once Moz took the stage, you could feel the energy. Devoted fans who held on to their heart, and mouthed every lyric. I enjoyed doing the latter, especially to such songs as "You Have Killed Me" and "Everyday is Like Sunday." Morrissey looked older and didn't seem to move around as much as I remembered, but he and his band certainly did not lack energy or playing ability. At times I found myself impressed at how strong the singer's voice remains... he belted a cover of Frankie Valli's "To Give (The Reason I Live)" that made you think it was a song of his own creation.
A Morrissey show is not a typical rock show, I think. Because of the nature of his music, it has the air of melancholy... slight depression... yet the music usually succeeds in countering that, and turning it into something quite emotional and, at times, uplifting. This was the case again at this show, although at times I felt it veered too much into a downbeat direction. Case in point: during his rendition of The Smiths' controversial "Meat Is Murder," the outspoken vegetarian showed film clips of the abuses of cattle and poultry farms. I have seen such footage before and been moved by it (I haven't actually eaten red meat in over ten years), but I think showing it in this venue was a bit much. Perhaps something a bit more abstract would have made it easier to digest... my poor wife averted her eyes, and I think many in the audience did not know how to react following this depressing visual... the songs that followed didn't help lift the spirits much. I think it's always a very fine line with this type of music, to not make it too despairing.
Energy came back to the show in a big way with the common spectacle of fans trying to rush the stage and offer the singer a hug. It is always interesting... I think has been a part of every show I have seen. What happens is a dramatic tug of war between fans, security, and the artist... in some ways it is more "rock and roll" than the more typical shows I see! I was tempted at one point, but did not want to jeopardize my perfect seat. The same reason, I took very few photos... proper cameras were actually prohibited, but once I saw others disobeying and snapping shots with their phones, I decided to do the same. By the end of the concert and an encore of The Smiths classic "How Soon Is Now?" the true emotional energy of a Morrissey concert was revealed, and we were lucky to be able to witness it live, up-front and direct.
After the show, Sarah and Frank kidded me about the resemblance, and also picked up on the fact that many of my "moves" when I am performing seem borrowed from Morrissey. Looks like I have been found out! I hadn't really thought of it, but there is something I have picked up on with some of his stage antics, the same way that I have observed soul artists, The Beatles, Morten Harket, and David Bowie over the years. I especially liked one review of the concert that described Morrissey's use of the microphone cord as resembling a whip for a lion tamer... too true--I have used that trick, as well as the overdramatic sauntering around and falling to the stage. Why not?... I'm not really conscious of it, but I guess I have always been a bit of a sponge for pop music, much like Morrissey himself...
One cool ending to the night: we ended up landing a V.I.P. pass, and hung out afterwards to try and meet the reclusive singer. After a bit of a wait, security came out and said that unfortunately he had "long gone"... we started to head out, when the singer's long-time guitarist Boz Boorer came out to greet some friends. We managed to speak to him as well, and I finally got my copy of Vauxhall and I signed... not by Morrissey, but I guess this was the next best thing (Boorer had also collaborated on this album that I so enjoyed).
As I wrote, the next day I was exhausted... but did pull myself together to perform with my improv group. I guess people enjoyed it, but I had mixed feelings. It's hard to just switch it on when you're not really feeling it... especially with comedy. I wondered how musicians like Morrissey manage to do it every night on tour? Performing is not easy, and it must be challenging for the acts who care enough to give their fans a great show every time... Moz seems to find a way--I have yet to attend a bad concert, where he didn't seem to be giving it his all... I'm sure it won't be the last.
All photos ©Jeremy Clowe. All rights reserved.
Related Links:
"Morrissey Pleases Crowd at the Palace," Albany Times Union, October 19, 2012
"Morrissey is the same old Morrissey (in seal-hunt free Albany, N.Y.)," National Post, October 19, 2012
Morrissey's Official Facebook page
Still intrigued? Check out this great documentary we discovered yesterday:
"The Importance of Being Morrissey"
The first time I saw the Mozzer was in 1992, Springfield, Massachusetts--it was my junior year of college, and around the time I really started getting into his work. He had just released Your Arsenal, and I was taken by the aggressive, guitar sound (at times rockabilly) that somehow worked alongside his personal, introspective lyrics. In retrospect, it was an approach he had already successfully utilized during his time with the Smiths, but I wasn't as aware of that music when it was originally released. This album, however, came out right during the grunge music years... and it seemed a bit more energetic and fresh in comparison. There was also the "look" of Morrissey (again, sort of a rockabilly meets beat poet) and the opinionated yet ambiguous way that he presented himself, which both confounded and intrigued the public. He just seemed awfully cool and different... somehow I always find myself going "against the grain."
Another album followed in the spring of 1994--the more reflective Vauxhall and I. It seemed a perfect "release" for me at the time (especially the track "Hold On To You Friends"), as I had experienced a rather rocky, emotional year, and was just figuring out how to find my footing. I appreciated the comfort of the artist's work so much that I traveled out to New York City to try and meet him during a signing he was giving at Tower Records. What I found were blocks of fans lined on the streets for the opportunity, making me realize the extent to which people had connected with his work. Unfortunately, I did not get in... I stood out for a few hours, and only caught a glimpse of the artist, holding up a sign that read "I'm sorry" for the many he did not have time to get to--I think that simple gesture said something about the respect he felt for his fans, in contrast to the acerbic nature of some of his opinions and lyrics.
Things got quieter as the years went on... although I frequently played his new material during my stint as a DJ, I didn't find it quite as melodic and engaging, even though the love of all things Britpop was getting stronger and stronger for me. I did find myself going back to the early Smiths albums, and realizing that these were even more special for their heartfelt music and lyrics.
In 2004, Morrissey returned to form with the album You Are the Quarry, and it had some splendid songs that seemed to come back around to a more simple, direct form of songwriting. After a long absence, a new tour was announced, with a special date at New York's legendary Apollo Theater... considering my love of soul music and Britpop, it was too tempting to resist. That was a lovely concert... with a lush theater providing quite the backdrop to Moz's melodramatic flourishes... plus, he was finally playing Smiths songs! Hearing "There Is a Light That Never Goes Out" live was sheer joy... I caught him again in Boston a few months later, but that was marred by a drunken girlfriend who was causing me trouble at the time... heaven knows I was "miserable" now.
So this year, Morrissey was finally coming to me... Albany's Palace Theater, and I looked forward to bringing my sweet wife Sarah and good friend Frank to share in the experience. As I mentioned, the fantastic independent station WEQX was giving tickets away the other week, and I thought I would give it a shot... and won! So our upgrade to the second row promised to make this show all the more memorable.
Yes, we realized that our second row seats were actually in the first-- we couldn't have been closer to the stage in some respects. We only caught a little of opening act Kristeen Young, which sounded interesting to me... more like a Bjork clone to Sarah. This was followed by a stream of film clips which I mentioned yesterday... offering a taste of some of Morrissey's early influences, including writer Oscar Wilde, whose wit the Brit certainly shares.
Once Moz took the stage, you could feel the energy. Devoted fans who held on to their heart, and mouthed every lyric. I enjoyed doing the latter, especially to such songs as "You Have Killed Me" and "Everyday is Like Sunday." Morrissey looked older and didn't seem to move around as much as I remembered, but he and his band certainly did not lack energy or playing ability. At times I found myself impressed at how strong the singer's voice remains... he belted a cover of Frankie Valli's "To Give (The Reason I Live)" that made you think it was a song of his own creation.
A Morrissey show is not a typical rock show, I think. Because of the nature of his music, it has the air of melancholy... slight depression... yet the music usually succeeds in countering that, and turning it into something quite emotional and, at times, uplifting. This was the case again at this show, although at times I felt it veered too much into a downbeat direction. Case in point: during his rendition of The Smiths' controversial "Meat Is Murder," the outspoken vegetarian showed film clips of the abuses of cattle and poultry farms. I have seen such footage before and been moved by it (I haven't actually eaten red meat in over ten years), but I think showing it in this venue was a bit much. Perhaps something a bit more abstract would have made it easier to digest... my poor wife averted her eyes, and I think many in the audience did not know how to react following this depressing visual... the songs that followed didn't help lift the spirits much. I think it's always a very fine line with this type of music, to not make it too despairing.
As I wrote, the next day I was exhausted... but did pull myself together to perform with my improv group. I guess people enjoyed it, but I had mixed feelings. It's hard to just switch it on when you're not really feeling it... especially with comedy. I wondered how musicians like Morrissey manage to do it every night on tour? Performing is not easy, and it must be challenging for the acts who care enough to give their fans a great show every time... Moz seems to find a way--I have yet to attend a bad concert, where he didn't seem to be giving it his all... I'm sure it won't be the last.
All photos ©Jeremy Clowe. All rights reserved.
Related Links:
"Morrissey Pleases Crowd at the Palace," Albany Times Union, October 19, 2012
"Morrissey is the same old Morrissey (in seal-hunt free Albany, N.Y.)," National Post, October 19, 2012
Morrissey's Official Facebook page
Still intrigued? Check out this great documentary we discovered yesterday:
"The Importance of Being Morrissey"
Thursday, October 18, 2012
How Soon Is... Now!
Spent the day working from home, doing more transcribing and formatting an article about Alex Ross, and waiting for the cable guy to hook us up. Pretty solitary day...
I won the tickets by guessing the DJ's favorite Moz track--it was "Ask" by the Smiths. Here's the song I think is my favorite by the gloomster... "There Is A Light That Never Goes Out" (even considered having this played at our reception... heh, heh...):
Monday, October 8, 2012
40 Something
Continuing on the thread of paying respects to creative individuals my own age (see Alex Ross, Britt Daniel), I have to give props to James Mercer, the founder and lead singer/songwriter for the band, The Shins. I have been slow to come around to this band--in fact, I really didn't care for what I heard from their last record... it seemed a little too pretentious (see "Phantom Limb"), and I think all the praise I had heard about the band (see the film, Garden State) made me skeptical.
But I have to say... their newest material, lead by such tracks as "Simple Song" and "It's Only Life," has me playing their latest album, Port of Morrow, over and over again... these are sublime, pure pop songs, both melodic and slightly melancholic--just the way I like them. Here's a track that I adore, "40 Mark Strasse":
Reportedly the song is about a German prostitute, which makes it all that more intriguing (sorry, Mom). Perhaps this and the other songs off Port of Morrow reinforce my belief that intelligent pop music can still be made... by my fellow forty-somethings, no less! Learning that Mercer was also part of the recent side-project Broken Bells, which had some excellent songs of their own, makes me think it might be time to stop shunning the Shins... but I'll still hold some caution, like any good hipster would... thank you very much, Natalie Portman.
www.theshins.com/home
But I have to say... their newest material, lead by such tracks as "Simple Song" and "It's Only Life," has me playing their latest album, Port of Morrow, over and over again... these are sublime, pure pop songs, both melodic and slightly melancholic--just the way I like them. Here's a track that I adore, "40 Mark Strasse":
Reportedly the song is about a German prostitute, which makes it all that more intriguing (sorry, Mom). Perhaps this and the other songs off Port of Morrow reinforce my belief that intelligent pop music can still be made... by my fellow forty-somethings, no less! Learning that Mercer was also part of the recent side-project Broken Bells, which had some excellent songs of their own, makes me think it might be time to stop shunning the Shins... but I'll still hold some caution, like any good hipster would... thank you very much, Natalie Portman.
www.theshins.com/home
Saturday, October 6, 2012
Saturday, September 1, 2012
How You Like Me Now?
Here's another new band I've been getting into: The Heavy. Good grooves, spirited songs, occasional use of horns... yes, looks like they also are from the UK:
I actually just won some free tickets to their show in Albany on September 27. Sweet! Some good shows happening this fall... perhaps opportunities for me to conduct more music interviews...
www.theheavy.co.uk
I actually just won some free tickets to their show in Albany on September 27. Sweet! Some good shows happening this fall... perhaps opportunities for me to conduct more music interviews...
www.theheavy.co.uk
Tuesday, May 15, 2012
The Clowe Show!
Thanks to all who tuned into My Exit show last night on WEXT. We were in Schenectady, so we had a chance to listen in to the program on the good old-fashioned stereo. It felt good. Made me hungry for more...
For those who missed it (or loved it so much they want to tune in again), the show will be airing again this Sunday, May 20, at 10 a.m. eastern time. You can listen in at 97.7 WEXT-FM in New York's Capital Region (and outlying areas) or online at exit977.org
In the meantime, here is my playlist and a line from each of the songs, which I love:
1. "Dark Is The Night," A-ha: "It's time to break free, we need to celebrate the mystery..." (indeed).
2. "Here Comes The Sun," The Beatles: "Little darling, I feel that ice is slowly melting... little darling, it seems like years since it's been clear..."
3. "(I Know) I'm Losing You," The Temptations: "Ooh, I can tell when we kiss... from the tenderness I miss... Ooh, little girl I'm losing you..."
4. "A Girl Like You," Edwyn Collins: "You've made me acknowledge the devil in me, I hope to God I'm talking metaphorically, hope that I'm talking allegorically, know that I'm talking 'bout the way I feel..."
5. "Superstitious," Stevie Wonder: "Keep me in a daydream, keep me going strong... you don't want to save me, sad is my song..."
6. "Don't Gotta Work It Out," Fitz & The Tantrums: "I don't know but I've been told... the world outside is oh so cold, late at night when you're along... do you think about me now that I"m gone? When I'm on the road I often dream and think of you, girl... I hope that you do too..."
7. "Heart In Your Hand," Colwell (Hector on Stilts): "You've got my heart in your hand, Sarah... have you ever felt this before..."
8. "My Eyes," Travis: "Ya ya yay, ya ya yay... you got my eyes... we can't see what you'll be, you can't disguise... and either way I will pray you will be wise... pretty soon you will see tears in my eyes..." (I think this is the sweetest song ever written from a father to his child!)
9. "People C'mon," Delta Spirit: "If you're feeling what I'm feeling c'mon, all you soul-searching people c'mon..."
10. "Girl of the North Country," Bob Dylan: "If you're going when the snowflakes storm, when the rivers freeze and summer ends... please see for me she has a coat so warm, to keep her from the howlin' wind...."
11. "Rebel Rebel," David Bowie: "You like me and I like it all, we like dancing and we look divine... you love bands when they're playing hard, you want more and you want it fast..."
12. "Live Forever," Oasis: "Maybe I will never be all the things that I wanna be... but now is not the time to cry, now's the time to find out why... I think you're the same as me,
we see things they'll never see, you and I are gonna live forever..."
13. "Home," Edward Sharpe & The Magnetic Zeros: "We laugh until we think we'll die, barefoot on a summer night, never could be sweeter than with you..."
14. "Hey Ya!" Outkast: "Shake it like a Polaroid picture..."
15. "Analogue," A-ha: "All I want you to know: I love you... all I need is the time to show you..."
Related:
All Over Albany profile
Up Next:
RBIT has an improv show this Friday, May 18, at the Spectrum Playhouse in Lee, MA...and it's exactly two months until the BIG day! Whoa...
For those who missed it (or loved it so much they want to tune in again), the show will be airing again this Sunday, May 20, at 10 a.m. eastern time. You can listen in at 97.7 WEXT-FM in New York's Capital Region (and outlying areas) or online at exit977.org
In the meantime, here is my playlist and a line from each of the songs, which I love:
 |
| Waxing poetic... vinyl is hip again! Photo ©Jeremy Clowe. All rights reserved. |
1. "Dark Is The Night," A-ha: "It's time to break free, we need to celebrate the mystery..." (indeed).
2. "Here Comes The Sun," The Beatles: "Little darling, I feel that ice is slowly melting... little darling, it seems like years since it's been clear..."
3. "(I Know) I'm Losing You," The Temptations: "Ooh, I can tell when we kiss... from the tenderness I miss... Ooh, little girl I'm losing you..."
4. "A Girl Like You," Edwyn Collins: "You've made me acknowledge the devil in me, I hope to God I'm talking metaphorically, hope that I'm talking allegorically, know that I'm talking 'bout the way I feel..."
5. "Superstitious," Stevie Wonder: "Keep me in a daydream, keep me going strong... you don't want to save me, sad is my song..."
6. "Don't Gotta Work It Out," Fitz & The Tantrums: "I don't know but I've been told... the world outside is oh so cold, late at night when you're along... do you think about me now that I"m gone? When I'm on the road I often dream and think of you, girl... I hope that you do too..."
 |
| Photo ©Jeremy Clowe. All rights reserved. |
8. "My Eyes," Travis: "Ya ya yay, ya ya yay... you got my eyes... we can't see what you'll be, you can't disguise... and either way I will pray you will be wise... pretty soon you will see tears in my eyes..." (I think this is the sweetest song ever written from a father to his child!)
9. "People C'mon," Delta Spirit: "If you're feeling what I'm feeling c'mon, all you soul-searching people c'mon..."
10. "Girl of the North Country," Bob Dylan: "If you're going when the snowflakes storm, when the rivers freeze and summer ends... please see for me she has a coat so warm, to keep her from the howlin' wind...."
11. "Rebel Rebel," David Bowie: "You like me and I like it all, we like dancing and we look divine... you love bands when they're playing hard, you want more and you want it fast..."
12. "Live Forever," Oasis: "Maybe I will never be all the things that I wanna be... but now is not the time to cry, now's the time to find out why... I think you're the same as me,
we see things they'll never see, you and I are gonna live forever..."
 |
| Funny how a-ha records keeping popping up when I enter a store... Photo ©Jeremy Clowe. All rights reserved. |
13. "Home," Edward Sharpe & The Magnetic Zeros: "We laugh until we think we'll die, barefoot on a summer night, never could be sweeter than with you..."
14. "Hey Ya!" Outkast: "Shake it like a Polaroid picture..."
15. "Analogue," A-ha: "All I want you to know: I love you... all I need is the time to show you..."
Related:
All Over Albany profile
Up Next:
RBIT has an improv show this Friday, May 18, at the Spectrum Playhouse in Lee, MA...and it's exactly two months until the BIG day! Whoa...
Saturday, May 5, 2012
Pass The Mic
Back to a musical theme today...
I have learned that my DJ stint on WEXT's "My Exit" will be aired on Monday, May 14, 2012, starting at 8 p.m. I have listened to the pre-recorded show, and it sounds good! I am particularly happy with the way the music works together. It was good fun to get back into the DJ chair, and direct an hour of my favorite songs. Here are a couple promos that the station will be airing in the coming week:
If I had recorded the show in the last day or so, I might have made a point to include a song by The Beastie Boys. It was sad to learn yesterday that rapper Adam Yauch (MCA) has died of cancer... so young at age 46. I regret that I never got to see them in concert, although I think I remember having the chance back in the mid-80s when they exploded on to the scene with their hit album, Licensed to Ill.
Really, who didn't have a copy of that album back in high school? I remember those songs ("You Gotta Fight For Your Right To Party," "No Sleep till Brooklyn," "Brass Monkey") getting played over and over by my classmates. In retrospect, it sounded fresh... had a rough-edged sound to it during a time when a lot of rock music had become rather safe. Also, it's hard to believe, but rap hadn't really broken through in a big way yet... I think this was the album that did it. I loved Licensed to Ill and found the "obnoxious frat-boy rap" routine they delivered on that album to be good fun, but I can't say that I expected them to last.
The reality was that the Beasties came from a hardcore punk background, and were a little bit more intelligent than we might have given them credit for on that breakthrough album (which in some ways was a parody). Their next album, Paul's Boutique (1989) veered into a more experimental direction with help from the Dust Brothers; It was less commercially successful than its predecessor, but the band's creative use of sampling hinted at new possibilities.
I sort of lost track of the Beastie Boys until I began DJing during the early 90s−by that point, they could hardly be ignored. It was surprising for me to see how their early punk style had become intertwined with the rap, and albums like Check Your Head (1992) and Ill Communication (1994) really stood out during the alternative music boom of the period. Yauch also started branching out, becoming involved with film, and advocating for Tibetan freedom as a newly converted Buddhist.
By this decade, the Beastie Boys were a band you thought might be around for many more years... they were still delivering the goods as recent as last year, and had just been inducted into the Rock and Roll Hall of Fame. Like The Red Hot Chili Peppers (who were also just inducted into the Hall), the band just got better and better, showing true artistry and infectious grooves. I think many people of my generation feel like they grew up with the Beasties, and were pleasantly surprised to see how their career evolved. Unfortunately, I missed my chance to see the "three bad brothers," but do feel like we got to know them mighty mighty well...
MCA come and rock the sure shot:
"I want to say a little something that's long overdue
the disrespect to women has got to be through
to all the mothers and sisters and the wives and friends
I want to offer my love and respect to the end..."
R.I.P.
Related Links:
http://beastieboys.com
"Adam Yauch dies: remembering MCA of the Beastie Boys," Washington Post, May 4, 2012
"Adam Yauch, 1964-2012: Rapper Conquered Music World in '80s With Beastie Boys," New York Times, May 4, 2012
I have learned that my DJ stint on WEXT's "My Exit" will be aired on Monday, May 14, 2012, starting at 8 p.m. I have listened to the pre-recorded show, and it sounds good! I am particularly happy with the way the music works together. It was good fun to get back into the DJ chair, and direct an hour of my favorite songs. Here are a couple promos that the station will be airing in the coming week:
If I had recorded the show in the last day or so, I might have made a point to include a song by The Beastie Boys. It was sad to learn yesterday that rapper Adam Yauch (MCA) has died of cancer... so young at age 46. I regret that I never got to see them in concert, although I think I remember having the chance back in the mid-80s when they exploded on to the scene with their hit album, Licensed to Ill.
Really, who didn't have a copy of that album back in high school? I remember those songs ("You Gotta Fight For Your Right To Party," "No Sleep till Brooklyn," "Brass Monkey") getting played over and over by my classmates. In retrospect, it sounded fresh... had a rough-edged sound to it during a time when a lot of rock music had become rather safe. Also, it's hard to believe, but rap hadn't really broken through in a big way yet... I think this was the album that did it. I loved Licensed to Ill and found the "obnoxious frat-boy rap" routine they delivered on that album to be good fun, but I can't say that I expected them to last.
The reality was that the Beasties came from a hardcore punk background, and were a little bit more intelligent than we might have given them credit for on that breakthrough album (which in some ways was a parody). Their next album, Paul's Boutique (1989) veered into a more experimental direction with help from the Dust Brothers; It was less commercially successful than its predecessor, but the band's creative use of sampling hinted at new possibilities.
I sort of lost track of the Beastie Boys until I began DJing during the early 90s−by that point, they could hardly be ignored. It was surprising for me to see how their early punk style had become intertwined with the rap, and albums like Check Your Head (1992) and Ill Communication (1994) really stood out during the alternative music boom of the period. Yauch also started branching out, becoming involved with film, and advocating for Tibetan freedom as a newly converted Buddhist.
By this decade, the Beastie Boys were a band you thought might be around for many more years... they were still delivering the goods as recent as last year, and had just been inducted into the Rock and Roll Hall of Fame. Like The Red Hot Chili Peppers (who were also just inducted into the Hall), the band just got better and better, showing true artistry and infectious grooves. I think many people of my generation feel like they grew up with the Beasties, and were pleasantly surprised to see how their career evolved. Unfortunately, I missed my chance to see the "three bad brothers," but do feel like we got to know them mighty mighty well...
MCA come and rock the sure shot:
"I want to say a little something that's long overdue
the disrespect to women has got to be through
to all the mothers and sisters and the wives and friends
I want to offer my love and respect to the end..."
R.I.P.
Related Links:
http://beastieboys.com
"Adam Yauch dies: remembering MCA of the Beastie Boys," Washington Post, May 4, 2012
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