I've never been what you would describe as a "die hard" Springsteen fan. Like many music fans, I was familiar with the hits: "Born to Run", "Hungry Heart", and so on.I'd seen Bruce live twice in my whole life - the first time, at the Nassau Mausoleum (not a spelling error) during his solo run in 1992 for "Lucky Town/Human Touch" - with no E Street Band backing him. It wouldn't be for another 10 years that I would see Bruce again - this time to support "The Rising" at the Meadowlands. The difference: he was joined by the full E Street Band - and to say it was night and day compared to that '92 show would be a gross understatement.
While the material from "The Rising" was both inspirational and sad (as Springsteen's response to the 9/11 attacks), the show itself was no less than spectacular, due solely to the musicianship and sheer entertainment of seeing Bruce Springsteen and the E Street band perform together - running through their entire catalog of hits and some non-hits - but all in all, making for a memorable concert experience.
Regretfully, it would be the last time I ever saw them play live together, and I wish I had paid better attention to be honest. How could I have known that it would be both the first and last time I'd see Clarence Clemons perform with Bruce? I always thought that Bruce and Clarence would be around forever, and I'll just catch them when they come around again the next time. Shame on me.
Many of you reading this may only know Clarence Clemons as that saxophone player on Lady Gaga's new song "Edge of Glory". While this is barely a fraction of a scintilla of Clarence's achievements, it's evidence that he was still considered one of the greatest sax players ever - to be able to remain musically relevant to a whole other generation of music fans is not an easy task. If that is how you best know him, I beg you to borrow your parents' copies of "Born to Run", "Darkness on the Edge of Town" and "The River" - and listen to how instrumental Clarence was to that eerily dark and haunting sound that accompanied Springsteen's poetic lyrics. Below are some examples of that genius, which sadly will never be repeated and will likely mean an end to the E Street Band. If you had a chance to ever witness them live, consider yourself extremely lucky. If you didn't, the music will always be there, but it just won't be the same.
"Jungleland" (Filmed at Capitol Theatre, Passaic, NJ. 19-9-1978)
"Thunder Road" (live from 1976)
"Tenth Avenue Freeze Out" (Filmed at Capitol Theatre, Passaic, NJ. 19-9-1978)
"Rosalita (Come Out Tonight)" (Old Grey Whistle Test 1979)
There are few times in life when you realize that an event truly means the end of something - an era, a special time - and it will never be the same. Imagining Bruce without Clarence, is one of them.
Monday, June 20, 2011
Friday, June 17, 2011
25 Years Later, The Queen is Still Dead, Yet Alive
Twenty-five years ago this week, The Smiths released their third —and, in many people's opinion (including my own), best — album, The Queen is Dead, described as "a note-perfect marriage of Johnny Marr’s peerless pop songcraft and Morrissey’s pointed political commentary, lovesick laments and wicked humor." The album spawned a pair of the band's biggest hits: "The Boy With the Thorn In His Side” and “Bigmouth Strikes Again,” as well as one of their most beloved songs: “There Is a Light That Never Goes Out.”
Look for a review of the show next Monday, and as always, feel free to share your thoughts, songs, highlights and feedback. Have a great weekend!
--Matt
To mark this important milestone anniversary of what many consider to be one of the most important albums of the 1980's, our good friends, The Sons and Heirs will be performing the album in its entirety this Saturday, June 18th, at the Hiro Ballroom in NYC (as well as an array of other Smiths/Morrissey classics)- featuring special guest DJ - former Smiths bassist Andy Rourke (further details and ticket info can be found here: Eventbrite).
To get you psyched for the show - or to further convince/educate you about The Smiths - please to enjoy:
Look for a review of the show next Monday, and as always, feel free to share your thoughts, songs, highlights and feedback. Have a great weekend!
--Matt
Tuesday, June 14, 2011
This Week, I've Discovered...The Postelles
As I mentioned in an earlier post, I was/am still kind of a fan of The Strokes. One of my biggest complaints about their most recent effort, Angles,was their growing lack of enthusiasm, not to mention how disjointed they've become as a band since their debut, "Is This It" in 2001. The first album showed promise and was a much-needed return to good ol' rock n roll, but with each new disc they released, the band began to veer into uncharted waters and eventually lost that old school, peppy rock feel that drew me to them in the first place.
Luckily, a new band has emerged, featuring a cheerier sound and who actually have a very similar history to The Strokes. In fact, their self-titled debut album was co-produced by Strokes guitarist, Albert Hammond, Jr., and features a refreshing return to old school, dance-able rock, reminiscent of the Strokes' hits "Last Nite" and "Someday", but showcasing a perkier, more fun sounding beat, with a less cynical lyrical approach.
I'm happy to introduce The Postelles - with influences that range from Buddy Holly to the early Rolling Stones to the aforementioned Strokes, as well as classic punk bands like the Ramones and the Clash. They formed in 2007 while attending high school in NYC and released a four-song EP in 2009. The success of that EP led to their first full-length CD, released just last week, which you can listen to below.
Without too much hyperbole, The Postelles make good music, pure and simple. It's guitars, drums, melodies and kitschy lyrics all mixed to create a sound that's new and fresh, but oddly familiar. They're currently touring the US, having just completed two nights at NY's Mercury Lounge. Be sure to keep an eye (and an ear) out for them this summer.
As usual, let me know your thoughts about the music, and if you know of any new bands you'd like to see featured here, be sure to drop me an email at mattdebes@gmail.com.
Luckily, a new band has emerged, featuring a cheerier sound and who actually have a very similar history to The Strokes. In fact, their self-titled debut album was co-produced by Strokes guitarist, Albert Hammond, Jr., and features a refreshing return to old school, dance-able rock, reminiscent of the Strokes' hits "Last Nite" and "Someday", but showcasing a perkier, more fun sounding beat, with a less cynical lyrical approach.
I'm happy to introduce The Postelles - with influences that range from Buddy Holly to the early Rolling Stones to the aforementioned Strokes, as well as classic punk bands like the Ramones and the Clash. They formed in 2007 while attending high school in NYC and released a four-song EP in 2009. The success of that EP led to their first full-length CD, released just last week, which you can listen to below.
Without too much hyperbole, The Postelles make good music, pure and simple. It's guitars, drums, melodies and kitschy lyrics all mixed to create a sound that's new and fresh, but oddly familiar. They're currently touring the US, having just completed two nights at NY's Mercury Lounge. Be sure to keep an eye (and an ear) out for them this summer.
As usual, let me know your thoughts about the music, and if you know of any new bands you'd like to see featured here, be sure to drop me an email at mattdebes@gmail.com.
Sunday, June 12, 2011
Sh*t on My iPod Right Now: Early Summer 2011 Edition
Yes, yet another idea I'm "borrowing" from my good friend and fellow blogger, DJ AJ - here's what I've been listening to on repeat lately. As you'll see, I've got a big dance music thing happening right now, which is typical for me around this time of year, as I dream of myself attending several BBQ's, beach parties and jams reminscent of Corona commercials and MTV Spring Breaks that require my music skillz (note the z)...none of which I am ACTUALLY attending and/or DJ'ing, but these songs make for great running music and walking from the train to my office.
In any event, enjoy and let me know if these are your favorites too or feel free to add some of your own!
In any event, enjoy and let me know if these are your favorites too or feel free to add some of your own!
Monday, May 16, 2011
Late to the Party (again): The Airborne Toxic Event
Sometimes I think I should just re-title this site "Late to the Party", but such is the life of a married, father of two in his early 40's...
One thing you should know about me (besides my awesome and eclectic taste in music) is there are two types of shows I don't watch:
1. Most reality shows (excluding "The Biggest Loser", "The Amazing Race" or anything starring washed-up musicians from the '80's/'90's)
and 2. Anything featuring Jay Leno.
Well, worlds collided about a month ago, when "Biggest Loser" star Jillian Michaels was a guest on "The Tonight Show with Jay Leno"....guh. Anyway, the Mrs. set the DVR and there it was on our queue. Jillian was entertaining enough despite Leno's lame attempts at humor. She hawked her book and we were done with it.
Or so I thought.
The musical guests that night was The Airborne Toxic Event. So being the married, father of two in his early 40's, I immediately assumed they were some odd death metal act...so of course, I HAD to watch.
Needless to say, I was WAAAAY off...and very pleasantly surprised. They had elements of early U2 and The Alarm, but looked more like an indie band (they were part Arcade Fire, but less serious than Interpol, I thought) that I'm positive everyone under the age of 35 knew about long ago - and I was right. Upon hearing/watching "Changing" on Leno that night (video here: "Changing" - The Airborne Toxic Event on Jay Leno), I liked it enough to check them out and learn some more about them.
Founded roughly 5 years ago, The Airborne Toxic Event (TATE) released their self-titled debut in 2008. The first single "Sometime Around Midnight" generated tons of buzz and was named "Best Alternative Song of 2008" on iTunes (check out the video here: "Sometime Around Midnight" - The Airborne Toxic Event). A few months after its release TATE saw themselves headlining and appearing on Leno, Letterman, and Jimmy Kimmel's shows as "Sometime Around Midnight" quickly moved up the Alternative charts. They seemed to come out of nowhere, pretty impressive. Exposure at huge festivals like Lollapalooza and Coachella surely helped them garner an even larger audience.
Soon signed to Island Records, the band had released some other songs as well that kept escalating the interest in their music:
"Does This Mean You're Moving On?"
"Happiness is Overrated"
"Gasoline" (acoustic)
So, basically, I'd only really missed their first album. Earlier this year, TATE released "All At Once", continuing to expand on their sonic, yet strongly acoustic roots and rustic, yet hip, songwriting skills. So far, "Changing" is the only official single they've released, but there are plenty of great songs on this disc as well - my faves right now are: "Strange Girl", "Numb" (video here), "All For a Woman" and "Welcome to Your Wedding Day".
But don't take my word for it; check out the entire album on the band's website: http://aao.theairbornetoxicevent.com/
Since the evening of that fateful Leno airing last month, I currently have both of TATE's CD's in heavy rotation on my iPod and thanks to a lengthier commute, I've really come to admire this band all the more. Of course, the same week I "discovered" them, they played the last of 3 area shows in NYC - so hopefully, I'll be able to catch them when they come 'round here again. I just hope they're still playing intimate shows like Bowery Ballroom or Terminal 5 and not opening for U2 at MSG or the New Meadowlands Arena. If you get the chance to see them, please share a review, and feel free to share your thoughts on their music.
Lastly, I'd like to add one more show to that earlier list: "Gossip Girl". However, TATE will be appearing on the season finale tonight (5/16)...I still won't watch. That's what the interwebs are for, right?
One thing you should know about me (besides my awesome and eclectic taste in music) is there are two types of shows I don't watch:
1. Most reality shows (excluding "The Biggest Loser", "The Amazing Race" or anything starring washed-up musicians from the '80's/'90's)
and 2. Anything featuring Jay Leno.
Well, worlds collided about a month ago, when "Biggest Loser" star Jillian Michaels was a guest on "The Tonight Show with Jay Leno"....guh. Anyway, the Mrs. set the DVR and there it was on our queue. Jillian was entertaining enough despite Leno's lame attempts at humor. She hawked her book and we were done with it.
Or so I thought.
The musical guests that night was The Airborne Toxic Event. So being the married, father of two in his early 40's, I immediately assumed they were some odd death metal act...so of course, I HAD to watch.
Needless to say, I was WAAAAY off...and very pleasantly surprised. They had elements of early U2 and The Alarm, but looked more like an indie band (they were part Arcade Fire, but less serious than Interpol, I thought) that I'm positive everyone under the age of 35 knew about long ago - and I was right. Upon hearing/watching "Changing" on Leno that night (video here: "Changing" - The Airborne Toxic Event on Jay Leno), I liked it enough to check them out and learn some more about them.
Founded roughly 5 years ago, The Airborne Toxic Event (TATE) released their self-titled debut in 2008. The first single "Sometime Around Midnight" generated tons of buzz and was named "Best Alternative Song of 2008" on iTunes (check out the video here: "Sometime Around Midnight" - The Airborne Toxic Event). A few months after its release TATE saw themselves headlining and appearing on Leno, Letterman, and Jimmy Kimmel's shows as "Sometime Around Midnight" quickly moved up the Alternative charts. They seemed to come out of nowhere, pretty impressive. Exposure at huge festivals like Lollapalooza and Coachella surely helped them garner an even larger audience.
Soon signed to Island Records, the band had released some other songs as well that kept escalating the interest in their music:
"Does This Mean You're Moving On?"
"Happiness is Overrated"
"Gasoline" (acoustic)
So, basically, I'd only really missed their first album. Earlier this year, TATE released "All At Once", continuing to expand on their sonic, yet strongly acoustic roots and rustic, yet hip, songwriting skills. So far, "Changing" is the only official single they've released, but there are plenty of great songs on this disc as well - my faves right now are: "Strange Girl", "Numb" (video here), "All For a Woman" and "Welcome to Your Wedding Day".
But don't take my word for it; check out the entire album on the band's website: http://aao.theairbornetoxicevent.com/
Since the evening of that fateful Leno airing last month, I currently have both of TATE's CD's in heavy rotation on my iPod and thanks to a lengthier commute, I've really come to admire this band all the more. Of course, the same week I "discovered" them, they played the last of 3 area shows in NYC - so hopefully, I'll be able to catch them when they come 'round here again. I just hope they're still playing intimate shows like Bowery Ballroom or Terminal 5 and not opening for U2 at MSG or the New Meadowlands Arena. If you get the chance to see them, please share a review, and feel free to share your thoughts on their music.
Lastly, I'd like to add one more show to that earlier list: "Gossip Girl". However, TATE will be appearing on the season finale tonight (5/16)...I still won't watch. That's what the interwebs are for, right?
Friday, April 29, 2011
Keeping Up With...The Smiths
Upon hearing song titles that included such gems as "Shoplifters of the World Unite", "Bigmouth Strikes Again", "Girlfriend in a Coma", "Barbarism Begins at Home", "Unhappy Birthday", and "Vicar in a Tutu", I was very unsure what to expect musically upon first being introduced to the Smiths by fellow Manhattan College classmate Deirdre Keyes in the spring of 1987.
Having graduated from high school less than a year earlier, I was at the time a fan of bands like Metallica, Iron Maiden and Guns N' Roses, and these new, "alternative" bands that I'd been hearing so much about around campus and on the radio (WRCM, Jasper Radio baby - big shout out to Bob Stei! - as well as 92.7 WLIR) - ranging from the Cure, the Cult, the Ramones and Depeche Mode, to name just a few - were quite a departure from the head-banging anthems I'd come to embrace. But, as typically happens in college, my horizons were being broadened whether it liked it or not, and things like my clothes, my hair and even my musical tastes were about to change.
Enter the Smiths - led by enigmatic front-man Morrissey and accompanied by guitar virtuoso Johnny Marr. Little did I know that these odd-sounding Englishmen singing songs with such bizarre titles and subject matter, would be the most important alternative rock band to emerge from the British independent music scene of the 1980's. That's a pretty bold statement, when you consider they only released four studio albums during the course of their all-too-short tenure and are still considered a major influence amongst several alternative bands today including Oasis, Belle & Sebastian, Blur, Radiohead and The Libertines.
I'll be honest: I didn't understand much of what they were singing about, but I did know it sounded very androgynous with a hint of proper-meets-cockney English (you may say it was cheeky, even tongue in cheek) - which I think was fed more by my fascination with Monty Python and Benny Hill, not to mention the Beatles and the Stones - basically anything British was interesting to me really - but more importantly, their music sounded very cool and different. Yes, it had a good beat and you could dance to it on $1 beer nights at local college watering holes like the Terminal or Characters.
And so began my love affair with the Smiths. How could I not love a band with lyrics like this:
Having graduated from high school less than a year earlier, I was at the time a fan of bands like Metallica, Iron Maiden and Guns N' Roses, and these new, "alternative" bands that I'd been hearing so much about around campus and on the radio (WRCM, Jasper Radio baby - big shout out to Bob Stei! - as well as 92.7 WLIR) - ranging from the Cure, the Cult, the Ramones and Depeche Mode, to name just a few - were quite a departure from the head-banging anthems I'd come to embrace. But, as typically happens in college, my horizons were being broadened whether it liked it or not, and things like my clothes, my hair and even my musical tastes were about to change.
Enter the Smiths - led by enigmatic front-man Morrissey and accompanied by guitar virtuoso Johnny Marr. Little did I know that these odd-sounding Englishmen singing songs with such bizarre titles and subject matter, would be the most important alternative rock band to emerge from the British independent music scene of the 1980's. That's a pretty bold statement, when you consider they only released four studio albums during the course of their all-too-short tenure and are still considered a major influence amongst several alternative bands today including Oasis, Belle & Sebastian, Blur, Radiohead and The Libertines.
I'll be honest: I didn't understand much of what they were singing about, but I did know it sounded very androgynous with a hint of proper-meets-cockney English (you may say it was cheeky, even tongue in cheek) - which I think was fed more by my fascination with Monty Python and Benny Hill, not to mention the Beatles and the Stones - basically anything British was interesting to me really - but more importantly, their music sounded very cool and different. Yes, it had a good beat and you could dance to it on $1 beer nights at local college watering holes like the Terminal or Characters.
And so began my love affair with the Smiths. How could I not love a band with lyrics like this:
And if a double-decker bus, crashes into us
To die by your side is such a heavenly way to die
And if a ten-ton truck kills the both of us
To die by your side
Well, the pleasure, the privilege is mine
To die by your side is such a heavenly way to die
And if a ten-ton truck kills the both of us
To die by your side
Well, the pleasure, the privilege is mine
From "There Is a Light That Never Goes Out" Hear it here: http://www.youtube.com/watch?v=n-cD4oLk_D0 (which was featured in the film "500 Days of Summer")
Or this lovely little ditty:
Burn down the disco
Hang the blessed DJ
Because the music that they constantly play
IT SAYS NOTHING TO ME ABOUT MY LIFE
Because the music that they constantly play
IT SAYS NOTHING TO ME ABOUT MY LIFE
From "Panic" Hear it here: http://www.youtube.com/watch?v=Jzs1CNy5SrU&feature=fvsr
And how many of us have ever felt this way before:
I was happy in the haze of a drunken hour but heaven knows I'm miserable now
I was looking for a job, and then I found a job and heaven knows I'm miserable now
In my life why do I give valuable time to people who don't care if I live or die
From "Heaven Knows I'm Miserable Now" http://www.youtube.com/watch?v=5PHQ5QdNj9U
As morbid and bizarre as these lyrics sound, when combined with the music, there was just something so right and unique versus everything else I was hearing on the radio - and this was NOT being played on the majority of stations in the greater NYC area in the mid-late 1980's. I'd like to think that part of my rebellious collegiate years was formed by the obscurity of the lyrics and the utter defiance by which the Smiths refused to play by the music industry's rules. They essentially released poppy sounding, dance-able hits, but when you dug deeper, you discovered the biting social commentary about the state of things in England and the rest of the world. Heady stuff for a young kid whose greatest musical impression to date was seeing Bon Jovi at Madison Square Garden the summer before I started college.
All this aside, at its heart, the Smiths made entertaining music that was never preachy, but said something, just done to a fun sound. This approach opened the door for me to bands like the aforementioned Depeche Mode and the Cure. Unfortunately, the Smiths' run ended all too early, in 1987 with their studio opus, "Strangeways, Here We come" - right around the end of my freshman year of college, so it was up to me to dig back to those early '80's gems "The Queen is Dead", "Meat is Murder" and discover what I had essentially missed. If you 're digging the songs above, or are just curious, please check out those earlier CDs and form your own opinion.
While former lead singer Morrissey still tours regularly as a solo artist and has only in recent years begun playing Smiths songs at his shows, the magic of those early albums has yet to be rediscovered. Personality clashes and in-fighting amongst the four members has prevented any new music from being released or even produced, but a deep down, a part of me keeps hoping to hear that Morrissey and Johnny Marr are going to work together again one day and rekindle some of that magic. Hey, a kid can dream can't he? It happened with the Eagles, right? We'll see...
In the meantime, some of the "essential" Smiths tunes (at least what one might consider the "hits" - although they never really had any in the U.S.):
And last thing, if you ever want to experience what it must have been like to see the Smiths live (I never got to), by all means check out The Sons and Heirs - the best Smiths/Morrissey cover band out there. Check out their site for live dates and song samples/videos at http://thesonsandheirs.com/wp/ - I've caught them a few times in the city and they're great. Ronnissey, Ravi Marr and the boys do a phenomenal job of re-creating that stage show and sound.
Hope to see you at a show soon - and let me know your thoughts on the music too!
Peace...
Friday, April 15, 2011
I'm Baaaaack...and so are the Foo Fighters!
Hey Everyone - my apologies for the radio silence: it was one of those rare occurrences where life gets in the way - to sum it up: new job, bigger commute, less blog time unfortunately. Hopefully, I can work back into a normal schedule of delivering musical insights from the over 40 demographic...on with our weekly post.
There are few (if any) benefits to a longer commute, but one is definitely the opportunity to enjoy the simpler things for longer periods of time - i.e., music and reading: two things I have sorely missed as a result of driving to work the past 2 years. Now that I put my commute in the (less than capable) hands of Metro North, I have been able to immerse myself back into listening to my iPod and checking out all the great new music that seems to have avalanched lately.
One of my most anticipated new discs this year has been the Foo Fighters' "Wasting Light". I started hearing snippets of the new songs late last year via their website (http://www.foofighters.com/) and from the opening chords of the first single, "Rope", I knew this was gonna be a return to the harder, faster, louder Foo Fighters of their first two studio albums ("Foo Fighters" and "The Colour and the Shape") - and I was not disappointed.
"Where do I begin?
I'm learning to walk again
I believe I've waited long enough
Where do I begin?"
- "Walk", Foo Fighters from the album "Wasting Light"
The band took 4 years off from their last studio album ("Echoes, Silence, Patience and Grace") for lead singer/guitarist/drummer/every-other-instrument-known-to-man-player Dave Grohl to explore some other opportunities - the death metal project Probot, and drumming for Queens of the Stone Age for starters - as well as write some new songs, and discover a truckload of tasty guitar licks and hooks for this latest effort.
Reuniting with guitarists Chris Shiflet and Pat Smear, as well as their long-standing rhythm section, bassist Nate Mendel and drummer Taylor Hawkins, the album jumps out of the gate with "Bridges Burning" ("these are my famous last wooooooooords!" - amazing opening), followed by "Rope", "Dear Rosemary" (featuring guest vocalist Bob Mould of Sugar/Husker Du) and it doesn't slow up. Unlike previous Foo albums, there's not let up - there are no misses - it's 12 sonic blasts - from the Motorhead-ish, face-melting smash up "White Limo" to (my new current favorite track) "These Days" to the '80's guitar rock of "Back and Forth", Grohl and Co. explore sounds, themes and rhythms they've never been able to put together on one album as a band (Grohl wrote all the songs and played all the instruments on their self-titled debut). "Arlandria" and "Walk" are equally kick-ass (a professional music term by the way). The latter may be their most heart-felt rocker to date (think "All My Life" + "The Pretender" x "Times Like These" and you'll understand what I mean).
Being the former drummer of what many consider the seminal rock/alternative band of all time has its benefits and its pitfalls as well, but Grohl has successfully built himself into one of the best songwriters of this generation and this band is undoubtedly one of the tightest units of the post-grunge era. Unfortunately, much of his post-Nirvana work has been scrutinized for what many critics see as post-suicide letters to their former lead singer/guitarist Kurt Cobain. Grohl has vehemently denied that any of those songs are meant to be that, but allows them to remain open for interpretation regardless. I'm only going to add to that speculation by assuming "I Should Have Known" - possibly the darkest song on the album - lyrically anyway - is a haunting farewell to Cobain - and I can't help but feel the addition of former Nirvana bassist Krist Novoselic to the song - not to mention the lyrics - are Grohl's attempt to have his voice heard on the subject once and for all. You can almost see Cobain's tortured eyes when you listen to this track.
Put simply, I cannot stop playing this album (I'm listening to it as I write this). But don't take my word for it, check it out for free here: http://wastinglight.foofighters.com/. Let me know your thoughts.
UPDATE: the band just released this link (http://foofighters.tv/) if you want to watch them play the entire album LIVE. Enjoy -- Matt
The band has been everywhere the past couple of weeks promoting the album - SNL, The Daily Show, Letterman - and I've been watching/listening (much to my wife's shagrin). With each listen, it's becoming more and more evident to me that:
a.) Foo Fighters are BACK and better than ever (a tough thing to accomplish after 17 years as a band)
b.) this is my early leader and sure-fire winner for "Album of the Year"
c.) their live shows will be AMAZING when you combine this disc with their greatest hits
Do yourself a favor and go back to their earlier albums for the full Foo experience, as well. I have and it's really helped me appreciate their collective work - looking forward to seeing you at a show this year.
Until next time...
There are few (if any) benefits to a longer commute, but one is definitely the opportunity to enjoy the simpler things for longer periods of time - i.e., music and reading: two things I have sorely missed as a result of driving to work the past 2 years. Now that I put my commute in the (less than capable) hands of Metro North, I have been able to immerse myself back into listening to my iPod and checking out all the great new music that seems to have avalanched lately.
One of my most anticipated new discs this year has been the Foo Fighters' "Wasting Light". I started hearing snippets of the new songs late last year via their website (http://www.foofighters.com/) and from the opening chords of the first single, "Rope", I knew this was gonna be a return to the harder, faster, louder Foo Fighters of their first two studio albums ("Foo Fighters" and "The Colour and the Shape") - and I was not disappointed.
"Where do I begin?
I'm learning to walk again
I believe I've waited long enough
Where do I begin?"
- "Walk", Foo Fighters from the album "Wasting Light"
The band took 4 years off from their last studio album ("Echoes, Silence, Patience and Grace") for lead singer/guitarist/drummer/every-other-instrument-known-to-man-player Dave Grohl to explore some other opportunities - the death metal project Probot, and drumming for Queens of the Stone Age for starters - as well as write some new songs, and discover a truckload of tasty guitar licks and hooks for this latest effort.
Reuniting with guitarists Chris Shiflet and Pat Smear, as well as their long-standing rhythm section, bassist Nate Mendel and drummer Taylor Hawkins, the album jumps out of the gate with "Bridges Burning" ("these are my famous last wooooooooords!" - amazing opening), followed by "Rope", "Dear Rosemary" (featuring guest vocalist Bob Mould of Sugar/Husker Du) and it doesn't slow up. Unlike previous Foo albums, there's not let up - there are no misses - it's 12 sonic blasts - from the Motorhead-ish, face-melting smash up "White Limo" to (my new current favorite track) "These Days" to the '80's guitar rock of "Back and Forth", Grohl and Co. explore sounds, themes and rhythms they've never been able to put together on one album as a band (Grohl wrote all the songs and played all the instruments on their self-titled debut). "Arlandria" and "Walk" are equally kick-ass (a professional music term by the way). The latter may be their most heart-felt rocker to date (think "All My Life" + "The Pretender" x "Times Like These" and you'll understand what I mean).
Being the former drummer of what many consider the seminal rock/alternative band of all time has its benefits and its pitfalls as well, but Grohl has successfully built himself into one of the best songwriters of this generation and this band is undoubtedly one of the tightest units of the post-grunge era. Unfortunately, much of his post-Nirvana work has been scrutinized for what many critics see as post-suicide letters to their former lead singer/guitarist Kurt Cobain. Grohl has vehemently denied that any of those songs are meant to be that, but allows them to remain open for interpretation regardless. I'm only going to add to that speculation by assuming "I Should Have Known" - possibly the darkest song on the album - lyrically anyway - is a haunting farewell to Cobain - and I can't help but feel the addition of former Nirvana bassist Krist Novoselic to the song - not to mention the lyrics - are Grohl's attempt to have his voice heard on the subject once and for all. You can almost see Cobain's tortured eyes when you listen to this track.
Put simply, I cannot stop playing this album (I'm listening to it as I write this). But don't take my word for it, check it out for free here: http://wastinglight.foofighters.com/. Let me know your thoughts.
UPDATE: the band just released this link (http://foofighters.tv/) if you want to watch them play the entire album LIVE. Enjoy -- Matt
The band has been everywhere the past couple of weeks promoting the album - SNL, The Daily Show, Letterman - and I've been watching/listening (much to my wife's shagrin). With each listen, it's becoming more and more evident to me that:
a.) Foo Fighters are BACK and better than ever (a tough thing to accomplish after 17 years as a band)
b.) this is my early leader and sure-fire winner for "Album of the Year"
c.) their live shows will be AMAZING when you combine this disc with their greatest hits
Do yourself a favor and go back to their earlier albums for the full Foo experience, as well. I have and it's really helped me appreciate their collective work - looking forward to seeing you at a show this year.
Until next time...
Monday, March 21, 2011
Review: Diff'rent Strokes
One of the biggest challenges I see as a music fan is following a particular band throughout the course of their existence and making the decision to embrace the new stuff as much as the songs that made me like them in the first place. In some cases, all it takes is one bad CD, and it could be very difficult to win me back. It's not that I'm so fickle as much as there's so much music out there, I don't have the patience for bands that experiment with their sound. In other words: stick to what works; if it ain't broke, don't fix it. You get the idea. I'm having a tough time thinking of any bands that I can honestly say I've loved everything they've ever put out - even my beloved CAKE (see previous blog post) had a hiccup with "Prolonging the Magic", but luckily their work before and since (not to mention their awesome live shows) have helped keep them high on my list of "bands I can't stay mad at".
Which brings me to the Strokes. When I first heard about them in late 2000, I dismissed them as just another band that was part of the "THE" phenomenon that was sweeping the country at the time (the Vines, the Hives, the White Stripes, etc.). The buzz about the Strokes was they were "bringing back the rock" that had gone missing from alternative music, and the early word was their live shows were a must see in the Bowery and Lower West Side. I'm not going to admit to understanding or claim to be a part of the cool and hip music scene - in NYC, or anywhere else in the world - but after the meteoric hype, rise and subsequent fall surrounding the Artic Monkeys earlier that year, I have to admit I was a little skeptical to dub the Strokes "the next big thing". And when I learned they were all kids of wealthy/famous parents, I was even more doubtful that I could ever like these guys - and I had yet to hear a note from them. Not off to a good start.
Fortunately, I got the opportunity to form a valid opinion in early 2001, when an EP entitled "The Modern Age" found its way into my hands, and at first listen, I was honestly confused as to what all the fuss was about; but after a few more listens, I started to dig "Last Nite" and "Someday". In comparison, there's was not a lot going on in this genre at the time that sounded anything like this, so at the very least, I was intrigued and kept listening. All the while, the Strokes generated more press and were starting to really get popular in the UK. It was only a matter of time before the Strokes were unleashed on the States.
All of the big US rock magazines were in lather with anticipation that summer of 2001, as talks of the Strokes' first full-length album began to swirl. The release date had been set: Tuesday, September 11, 2001.
One would think releasing a CD on such an awful day would hurt potential sales, but in the case of the Strokes, it apparently only fed their growing legend. This wasn't a reason to like them more or less in my opinion, but if definitely was hard to ingnore them after, as they would always be associated with the day - and actually still are. History aside, "Is This It" was a pretty solid rock record, and in comparison to the other CDs in their existing discography, it's still their best. If you like straight out, poorly produced garage rock, this was your band. (That's a compliment, I swear.) With the exception of the title track, the album contains some good tunes: the aforementioned "Last Nite" and "Someday", but also "Take It or Leave It" and "Hard to Explain".
The Strokes quickly followed up with "Room on Fire" in 2002 which, although a tad hurried to the public, still had some solid songs, including "Reptilia", "Meet Me In The Bathroom", "The Way It Is", "Between Love & Hate" and "12:51". The CD was a slight departure from "Is This It" in that it was better produced and slicker sounding, but overall still had that garage rock sound, and I was starting to warm up to this band more and more.
Then, they go and release "First Impressions of Earth" in 2005 and things started to change between the Strokes and I. "Juicebox" was a good start, but "You Only Live Once" and "Heart in a Cage" - while ambitious - was not what I signed up for.
Flash forward 6 years to today: after a much needed break, the Strokes have returned with their new disc "Angles" (you can stream it for free at their website: http://www.thestrokes.com/ - official release date is 3/22/11), and the first single to get airplay is "Under Cover of Darkness" - which resembles the jangly, guitar rock of "Someday" and "Last Nite" but sounds better produced and the band actually sounds as if they've matured somewhat in the 10 years (!!!) since "Is This It" was released.
But could the entire album live up to the first single? I gave the free streaming a try and after a few listens, the word I'd use to best describe this album is: "almost". As in, the Strokes were almost able to re-capture the swagger and fun of their first disc, but unfortunately I find the album to be a little disjointed in places and there's definitely not enough rockers reminiscent of a band that hasn't really let it all hang out in over a decade.
There are some nuggets: "Two Kinds of Happiness", "Gratisfaction" and "Taken for a Fool" all have a poppy, almost new wave feel to them, but sound like castoffs from Gorillaz or The Cars, and try as they might, the Strokes do not manage to make anything that closely resembles "Strokes music" - which I applaud them for trying to branch out, but it's too far of a departure. "Games" and "Macchu Picchu" likewise veer off into realms that seem to be too far off the band's radar for acceptability. Where's the swearing, staggering, unapologetic muster these guys used to serve up? "Call Me Back" sounds as like a bad cover of "The Girl From Ipanema" that wanders aimlessly into a bad U2 homage. I think "Metabolism" is just "Reptilia" played at a higher speed with different lyrics, while "Life is Simple in the Moonlight" struggles as a mumbling recitation on Coldplay, until lead singer Julian Casablancas is rudely awakened to yell out the chorus.
It turns out that - unlike all the previous Strokes albums - Casablancas was not the key songwriter, but instead the entire band contributed the music and lyrics to "Angles" - and it shows. While it wasn't the most diplomatic set up, having one key songwriter and collaborator amongst the band and producer is what made the Strokes work in the first place, and it's also what negatively affected them by their last album in 2005. After such a long break, I just expected better.
Early word however, is that the band is already working on the follow-up to "Angles". Here's hoping they find the middle ground between the two extremes and return with a rock record, and not an homage to Gary Numan or The Velvet Underground. I think the Strokes still have some of that swagger in them, I just hope they can find it FAST an stop resting on the success of that first album.
Which brings me to the Strokes. When I first heard about them in late 2000, I dismissed them as just another band that was part of the "THE" phenomenon that was sweeping the country at the time (the Vines, the Hives, the White Stripes, etc.). The buzz about the Strokes was they were "bringing back the rock" that had gone missing from alternative music, and the early word was their live shows were a must see in the Bowery and Lower West Side. I'm not going to admit to understanding or claim to be a part of the cool and hip music scene - in NYC, or anywhere else in the world - but after the meteoric hype, rise and subsequent fall surrounding the Artic Monkeys earlier that year, I have to admit I was a little skeptical to dub the Strokes "the next big thing". And when I learned they were all kids of wealthy/famous parents, I was even more doubtful that I could ever like these guys - and I had yet to hear a note from them. Not off to a good start.
Fortunately, I got the opportunity to form a valid opinion in early 2001, when an EP entitled "The Modern Age" found its way into my hands, and at first listen, I was honestly confused as to what all the fuss was about; but after a few more listens, I started to dig "Last Nite" and "Someday". In comparison, there's was not a lot going on in this genre at the time that sounded anything like this, so at the very least, I was intrigued and kept listening. All the while, the Strokes generated more press and were starting to really get popular in the UK. It was only a matter of time before the Strokes were unleashed on the States.
All of the big US rock magazines were in lather with anticipation that summer of 2001, as talks of the Strokes' first full-length album began to swirl. The release date had been set: Tuesday, September 11, 2001.
One would think releasing a CD on such an awful day would hurt potential sales, but in the case of the Strokes, it apparently only fed their growing legend. This wasn't a reason to like them more or less in my opinion, but if definitely was hard to ingnore them after, as they would always be associated with the day - and actually still are. History aside, "Is This It" was a pretty solid rock record, and in comparison to the other CDs in their existing discography, it's still their best. If you like straight out, poorly produced garage rock, this was your band. (That's a compliment, I swear.) With the exception of the title track, the album contains some good tunes: the aforementioned "Last Nite" and "Someday", but also "Take It or Leave It" and "Hard to Explain".
The Strokes quickly followed up with "Room on Fire" in 2002 which, although a tad hurried to the public, still had some solid songs, including "Reptilia", "Meet Me In The Bathroom", "The Way It Is", "Between Love & Hate" and "12:51". The CD was a slight departure from "Is This It" in that it was better produced and slicker sounding, but overall still had that garage rock sound, and I was starting to warm up to this band more and more.
Then, they go and release "First Impressions of Earth" in 2005 and things started to change between the Strokes and I. "Juicebox" was a good start, but "You Only Live Once" and "Heart in a Cage" - while ambitious - was not what I signed up for.
Flash forward 6 years to today: after a much needed break, the Strokes have returned with their new disc "Angles" (you can stream it for free at their website: http://www.thestrokes.com/ - official release date is 3/22/11), and the first single to get airplay is "Under Cover of Darkness" - which resembles the jangly, guitar rock of "Someday" and "Last Nite" but sounds better produced and the band actually sounds as if they've matured somewhat in the 10 years (!!!) since "Is This It" was released.
But could the entire album live up to the first single? I gave the free streaming a try and after a few listens, the word I'd use to best describe this album is: "almost". As in, the Strokes were almost able to re-capture the swagger and fun of their first disc, but unfortunately I find the album to be a little disjointed in places and there's definitely not enough rockers reminiscent of a band that hasn't really let it all hang out in over a decade.
There are some nuggets: "Two Kinds of Happiness", "Gratisfaction" and "Taken for a Fool" all have a poppy, almost new wave feel to them, but sound like castoffs from Gorillaz or The Cars, and try as they might, the Strokes do not manage to make anything that closely resembles "Strokes music" - which I applaud them for trying to branch out, but it's too far of a departure. "Games" and "Macchu Picchu" likewise veer off into realms that seem to be too far off the band's radar for acceptability. Where's the swearing, staggering, unapologetic muster these guys used to serve up? "Call Me Back" sounds as like a bad cover of "The Girl From Ipanema" that wanders aimlessly into a bad U2 homage. I think "Metabolism" is just "Reptilia" played at a higher speed with different lyrics, while "Life is Simple in the Moonlight" struggles as a mumbling recitation on Coldplay, until lead singer Julian Casablancas is rudely awakened to yell out the chorus.
It turns out that - unlike all the previous Strokes albums - Casablancas was not the key songwriter, but instead the entire band contributed the music and lyrics to "Angles" - and it shows. While it wasn't the most diplomatic set up, having one key songwriter and collaborator amongst the band and producer is what made the Strokes work in the first place, and it's also what negatively affected them by their last album in 2005. After such a long break, I just expected better.
Early word however, is that the band is already working on the follow-up to "Angles". Here's hoping they find the middle ground between the two extremes and return with a rock record, and not an homage to Gary Numan or The Velvet Underground. I think the Strokes still have some of that swagger in them, I just hope they can find it FAST an stop resting on the success of that first album.
Monday, March 14, 2011
You Love CAKE (you just don't know it yet)!!!
It was the early 1990’s. Popular music had just said goodbye to hair metal, college kids were embracing neo-punk bands like Green Day, and the industry had discovered Seattle, signaling a spike in the sales of plaid shirts.
Around the same time, very quietly, in Sacramento, CA a band named CAKE had independently released their debut single "Rock & Roll Lifestyle" to virtually zero critical acclaim and almost as much radio airplay. It was however, enough to get to make a little noise on the modern rock charts, and a full length album “Motorcade of Generosity” soon followed. It wouldn’t be until 1996 that I would first hear about this quirky little band, via MTV’s “120 Minutes” – a 2-hour show that aired modern rock/alternative videos on Sundays at midnight (sadly the only place you could hear anything that wasn’t getting overplayed on radio) – and the video was for a cover version of Gloria Gaynor’s seminal ‘70’s disco hit (and drunk girl/bachelorette party anthem) "I Will Survive".
The song was familiar, but also very different: was that a trumpet? Who the hell played a trumpet anymore? Can you imagine a trumpet of “Nevermind” or “Dookie”? This was revolutionary…I guess.
For the record, CAKE’s sound has been classified as alternative rock or indie rock, but it combines multiple musical genres, like ska, funk, rockabilly, pop, jazz, rap, and country – but their signature “sound” most recognizably features droll lyrics, catchy distorted guitar riffs, prominent use of keyboards, and a solo trumpet (played by – in my opinion, “the hardest working man in showbiz” -Vince DiFiore).
I had to find out more about these guys. At the time, I had some disposable income that wasn’t yet covering a mortgage or diapers – so I made haste to the closest Tower Records (note: iTunes was still 5 years away) to pick up “Fashion Nugget” – and after one listen, I was hooked. Fifteen years later, I still consider this album a classic – here’s a taste:
And of course "The Distance" (which to this day still makes its way on to my iPod’s running play list). This album even features a cover of a Willie Nelson song ("Sad Songs and Waltzes") – these guys had me at hello.
“The Distance” became a ubiquitous alternative radio hit for the better part of 1996-97, but commercial radio still wasn’t biting. The interwebs were still in their infancy, so the only way I could get my fill of CAKE was to wait for the next CD. In 1998, my prayers were answered with the release of “Prolonging the Magic” containing the next “big” CAKE song: "Never There" , as well as "Sheep Go to Heaven" and "Satan is My Motor" – at the very least, their song titles were buzz worthy.
This album was the perfect follow up to “Fashion Nugget”, from lead singer John McCrea’s dry, deadpan half-singing/half-speaking vocals (and his emblematic U-shaped rattler), to the blaring trumpet, piano, killer guitar riffs and a kick-ass rhythm section. I would discover this first-hand, as that summer, I attended the first of what would be many future CAKE shows. Not only could this band lay it down on record, but they are undoubtedly one of the best live acts I’ve ever witnessed.
Five years later came “Comfort Eagle” – and here's one thing I love about CAKE: when they find what works, they stick with it, but they also know how to change it up just enough to keep it from getting boring. This CD included "Short Skirt, Long Jacket" , and signified CAKE’s acceptance into mainstream rock as several of their songs started popping up in commercials (“SS/LJ” most recently for an iTunes ad of all things, and the movie “All About Steve”, the title track in the Jack Black flick “Shallow Hal”, "Love You Madly" in “Forgetting Sarah Marshall”, “Shadow Stabbing” in “Orange County (another Jack Black movie – coincidence?), even Jay-Z got in on the act, sampling “Arco Arena” in "Guns and Roses" .
CAKE had arrived…and I wasn’t happy about it. Like with any band we discover, we often feel betrayed when they “go mainstream”, and I’ll admit, I was concerned: CAKE’s music started appearing everywhere. “Pressure Chief” debuted in 2004, and was in my opinion, the weakest of their albums to date. "No Phone" and a cover of Bread’s “The Guitar Man” had me worried the end was near, like so many of my favorite bands before them.
In ’07, they released a compilation called “B-sides and Rarities”, which it turns out was their swan song to Columbia Records, whom they worked to free themselves from, because THEY were concerned they were getting too big as well, and were looking to return to their earlier independent ways of publishing and recording music. This was the prototypical CAKE, anti-B-sides album that included odd cover choices like Black Sabbath’s “War Pigs”, Barry White’s “Never, Never Gonna Give You Up”, Frank Sinatra’s “Strangers in the Night” and “Mahna Mahna” (yes, the song from “Sesame Street”).
I quickly returned to the bandwagon, but I would have to wait four more years for any new CAKE music. Luckily, they continued to tour, all the while building their own solar-powered recording studio and writing new songs for what would become “Showroom of Compassion”, released on 1-11-11. “Sick of You” was the lead single (released in September 2010, video below) and from the first guitar pluck and trumpet…um, toot (?), I knew CAKE was back. My faves so far include: “Sick of You”, "Mustache Man" and “Long Time".
On top of all this, CAKE is environmentally and economically conscious. They are vocal activists for humanitarian causes, notably global warming and world poverty. They often use their website (http://cakemusic.com/) and concerts as platforms to increase awareness about these and other causes, without being too heavy-handed and keeping the mood of their shows fun. CAKE is currently touring and they've been all over the talk show circuit as well (Conan, "Lopez Tonight", and "The Tonight Show" with Jay Leno ) - be sure to do yourself a favor and get yourself a slice.
Friday, March 11, 2011
3/11/11: "Happy 311 Day!" or "The 411 on 311"
March is usually associated with such grand traditions as St. Patrick's Day and the NCAA Basketball Championship (a.k.a., the least productive time period in most American workplaces), but there's one annual event that often goes overlooked - 3/11 Day. Unfortunately, no one has formally designated this an official holiday as yet, but at least it falls on Friday this year.
For the record, 311 Day is an annual celebration by Omaha, NE natives and rock/ska band 311 and their fans, that takes place on March 11th of every year. Since 2000, 311 has played a concert in different location each year to celebrate the date, with a set that's much longer than the typical 311 show, showcasing a variety of rare songs to please even their most hardcore fans.
So, in honor of 311 Day, let's take a look at the band's body of work - keep in mind: this is a band that has been around since the late '80's, really hit its stride in the mid-'90's and has remained musically relevant ever since. Case in point: how many of you saw the 2004 romantic comedy "50 First Dates" with Adam Sandler and Drew Barrymore? You may remember this little ditty from the soundtrack:
While it's a cover of a song originally performed by The Cure (a band I'll save for a future post), it shot to #1 on the Modern Rock charts and had some serious airplay (at the very least, in my car/on my iPod).
My first memory of 311 takes place in the summer of 1995 and their self-titled album (also called "The Blue Album" that featured "Down", "All Mixed Up", and "Don't Stay Home". Remember, this was during the height of the Seattle grunge scene, dominated by bands like Nirvana, Pearl Jam, and Soundgarden - so for a band from Nebraska that played a hybrid of Reggae, Ska, Hip Hop and Hardcore Rock, the fact they were able to bust through and remain relatively popular for 17 years is a pretty remarkable feat.
Three years later, 311 was back with "Transistor", with much of the same rock/ska/hip hop/hard core dance hits that launched them into the mainstream, such as "Beautiful Disaster", "Transistor", and "Prisoner".
1999 saw 311 release their 5th studio album "Soundsystem" that was highlighted by "Come Original" and one of my personal faves "Flowing". The band came roaring into the 21st century with album #6 "From Chaos" that yielded two more hit singles" "You Wouldn't Believe", "I'll Be Here Awhile", and probably my favorite 311 song ever "Amber".
The albums "Evolver" and "Don't Tread on Me" followed in '04 and '05, that book ended a Greatest Hits package, and their last "big" hit - the aforementioned "Lovesong". But that hasn't stopped them from putting out even more great music, even for the youngest fans: they appeared with reggae legends Toots and the Maytalls on the soundtrack for the animated film "Surf's Up" singing "Reggae Got Soul". 2009's "Uplifted" failed to register any chart hits, but since then, 311 continues to tour regularly, becoming a staple on the summer concert circuit, and is still being discovered by new fans as well. They even have an annual Caribbean cruise that features 311 performances, and lots of fun in the sun - exactly the type of atmosphere their music creates, without the sunburn.
311 is due back on the road this summer, and I highly encourage you to check them out. If you go, or if you've seen 311 live, please send us your review.
Happy 311 Day - and keep an eye out for 4/20!
UPDATE: You can check out all of the songs listed above on 311's Facebook page: 311 on Facebook
For the record, 311 Day is an annual celebration by Omaha, NE natives and rock/ska band 311 and their fans, that takes place on March 11th of every year. Since 2000, 311 has played a concert in different location each year to celebrate the date, with a set that's much longer than the typical 311 show, showcasing a variety of rare songs to please even their most hardcore fans.
So, in honor of 311 Day, let's take a look at the band's body of work - keep in mind: this is a band that has been around since the late '80's, really hit its stride in the mid-'90's and has remained musically relevant ever since. Case in point: how many of you saw the 2004 romantic comedy "50 First Dates" with Adam Sandler and Drew Barrymore? You may remember this little ditty from the soundtrack:
While it's a cover of a song originally performed by The Cure (a band I'll save for a future post), it shot to #1 on the Modern Rock charts and had some serious airplay (at the very least, in my car/on my iPod).
My first memory of 311 takes place in the summer of 1995 and their self-titled album (also called "The Blue Album" that featured "Down", "All Mixed Up", and "Don't Stay Home". Remember, this was during the height of the Seattle grunge scene, dominated by bands like Nirvana, Pearl Jam, and Soundgarden - so for a band from Nebraska that played a hybrid of Reggae, Ska, Hip Hop and Hardcore Rock, the fact they were able to bust through and remain relatively popular for 17 years is a pretty remarkable feat.
Three years later, 311 was back with "Transistor", with much of the same rock/ska/hip hop/hard core dance hits that launched them into the mainstream, such as "Beautiful Disaster", "Transistor", and "Prisoner".
1999 saw 311 release their 5th studio album "Soundsystem" that was highlighted by "Come Original" and one of my personal faves "Flowing". The band came roaring into the 21st century with album #6 "From Chaos" that yielded two more hit singles" "You Wouldn't Believe", "I'll Be Here Awhile", and probably my favorite 311 song ever "Amber".
The albums "Evolver" and "Don't Tread on Me" followed in '04 and '05, that book ended a Greatest Hits package, and their last "big" hit - the aforementioned "Lovesong". But that hasn't stopped them from putting out even more great music, even for the youngest fans: they appeared with reggae legends Toots and the Maytalls on the soundtrack for the animated film "Surf's Up" singing "Reggae Got Soul". 2009's "Uplifted" failed to register any chart hits, but since then, 311 continues to tour regularly, becoming a staple on the summer concert circuit, and is still being discovered by new fans as well. They even have an annual Caribbean cruise that features 311 performances, and lots of fun in the sun - exactly the type of atmosphere their music creates, without the sunburn.
311 is due back on the road this summer, and I highly encourage you to check them out. If you go, or if you've seen 311 live, please send us your review.
Happy 311 Day - and keep an eye out for 4/20!
UPDATE: You can check out all of the songs listed above on 311's Facebook page: 311 on Facebook
Monday, March 7, 2011
Don't You Forget About...John Hughes Movie Soundtracks
I told you I'd be back soon...
As someone growing up in the '80's (the 1980's, smart ass), it was impossible to avoid a John Hughes movie. More importantly, it was impossible to ignore the elements that made a John Hughes movie a JOHN HUGHES movie:
1. Moody, often troubled teenagers (usually played by adults), being held down by the man (usually played by much older adults - i.e. their parents, authority figures)
2. A Chicago suburban setting (usually a school)
and 3. A kick-@$$ soundtrack, made up of bands that you hadn't even heard - and you liked it that way (or at least I did).
Based on that criteria, therefore, the following titles apply:
Sixteen Candles (1984)
The Breakfast Club (1985)
Weird Science (1985)
Pretty in Pink (1986)
Ferris Bueller's Day Off (1986)
Some Kind of Wonderful (1987)
Hughes directed, wrote, and/or produced dozens of other movies in his career until his death in 2009, but it was these movies listed above that stick with me the most to this day. This isn't a movie blog (Eureka! ANOTHER great idea to steal!), so I'll get to the point: all of these movies' soundtracks were amazing.
I'm certainly not the first person to post about this, and I'm sure I won't be the last, because these soundtracks (and even the movies themselves) still ring true today. For the '90's kids, watch any episode of "Beverly Hills 90210" (but not the first season, that really sucked) and for Gen Y, I hate to be the one to tell you this, but MTV's "Skins" is a John Hughes film festival on acid.
But here's the difference: the music in these movies (and maybe the acting and plotline) actually made you CARE about the characters, and if you learned about the Psychadelic Furs (Pretty in Pink), Oingo Boingo (Weird Science) or even that new, hip foursome the Beatles (Ferris Beuller), then - double rainbow, man! (see what I did there?)
Take a look (or better yet, a listen) to these songs:
Sixteen Candles:
"If You Were Here" by the Thompson Twins
"Rebel Yell" by Billy Idol
"Happy Birthday" by Altered Images
"Young Americans" by David Bowie
"Turning Japanese" by the Vapors
"True" by Spandau Ballet
The Breakfast Club:
"Don't You (Forget About Me)" by Simple Minds
Weird Science:
"Eighties" by Killing Joke
"Weird Science" by Oingo Boingo
"Tenderness" by General Public
Pretty in Pink:
"If You Leave" by OMD
"Pretty In Pink" by The Psychedelic Furs
(The song that inspired the movie. Molly Ringwald first told Hughes about the song and it stuck with him.)
Some Kind of Wonderful:
"I Go Crazy" by Flesh for Lulu
"Turn to the Sky" by March Violets
"Can't Help Falling in Love With You" by Lick the Tins
Ferris Beuller's Day Off: (note: The soundtrack was never released. John Hughes felt that it didn't work together as a compilation)
"Please Please Please Let Me Get What I Want" by The Smiths
"Danke Schoen" by Wayne Newton
"Bad" by Big Audio Dynamite"Love Missile F1-11" by Sigue Sigue Sputnik
(Additional note: in the early '90's, I found a person who compiled the entire soundtrack themselves - a pretty amazing feat considering the internet was like, 4 sites and a lot of porn. I still own that CD to this day and often listen to it within mere hours of seeing Ferris on TBS or E! - it seems to be on like once a month). I know, I'm SO cool!
If you haven't seen these movies, by all means, go to your Netflix queue right now and add them in - I think you'll be pleasantly surprised how they still hold up, and the music is still as kick ass as anything Lady Gaga is doing - and was usually done with little to no radio airplay or MTV. Pay particular attention to the soundtracks, and specifically how Hughes used it to help tell his story.
So go ahead, release your inner Duckie, don't be a neo-maxi-zoom dweebie and commandeer your own Von Steuben Day Parade float (these things will all make sense after you see the movies, I promise).
I quote, "You see us as you want to see us. In the simplest terms, and the most convenient definitons. But what we found is that each one of us is a brain, and an athlete, and a basket case, a princess, and a criminal."
Translation: it doesn't matter when you were born, music that makes you FEEL something is just good music, period.
Thanks for the great soundtrack to my youth, John Hughes.
Sources/For More Information, check out:
PureBoredom (http://derekjohnson.blogspot.com/)
Wikipedia (http://en.wikipedia.org/wiki/John_Hughes_(filmmaker)
As someone growing up in the '80's (the 1980's, smart ass), it was impossible to avoid a John Hughes movie. More importantly, it was impossible to ignore the elements that made a John Hughes movie a JOHN HUGHES movie:
1. Moody, often troubled teenagers (usually played by adults), being held down by the man (usually played by much older adults - i.e. their parents, authority figures)
2. A Chicago suburban setting (usually a school)
and 3. A kick-@$$ soundtrack, made up of bands that you hadn't even heard - and you liked it that way (or at least I did).
Based on that criteria, therefore, the following titles apply:
Hughes directed, wrote, and/or produced dozens of other movies in his career until his death in 2009, but it was these movies listed above that stick with me the most to this day. This isn't a movie blog (Eureka! ANOTHER great idea to steal!), so I'll get to the point: all of these movies' soundtracks were amazing.
I'm certainly not the first person to post about this, and I'm sure I won't be the last, because these soundtracks (and even the movies themselves) still ring true today. For the '90's kids, watch any episode of "Beverly Hills 90210" (but not the first season, that really sucked) and for Gen Y, I hate to be the one to tell you this, but MTV's "Skins" is a John Hughes film festival on acid.
But here's the difference: the music in these movies (and maybe the acting and plotline) actually made you CARE about the characters, and if you learned about the Psychadelic Furs (Pretty in Pink), Oingo Boingo (Weird Science) or even that new, hip foursome the Beatles (Ferris Beuller), then - double rainbow, man! (see what I did there?)
Take a look (or better yet, a listen) to these songs:
Sixteen Candles:
"If You Were Here" by the Thompson Twins
"Rebel Yell" by Billy Idol
"Happy Birthday" by Altered Images
"Young Americans" by David Bowie
"Turning Japanese" by the Vapors
"True" by Spandau Ballet
The Breakfast Club:
"Don't You (Forget About Me)" by Simple Minds
Weird Science:
"Eighties" by Killing Joke
"Weird Science" by Oingo Boingo
"Tenderness" by General Public
Pretty in Pink:
"If You Leave" by OMD
"Pretty In Pink" by The Psychedelic Furs
(The song that inspired the movie. Molly Ringwald first told Hughes about the song and it stuck with him.)
Some Kind of Wonderful:
"I Go Crazy" by Flesh for Lulu
"Turn to the Sky" by March Violets
"Can't Help Falling in Love With You" by Lick the Tins
Ferris Beuller's Day Off: (note: The soundtrack was never released. John Hughes felt that it didn't work together as a compilation)
"Please Please Please Let Me Get What I Want" by The Smiths
"Danke Schoen" by Wayne Newton
"Bad" by Big Audio Dynamite"Love Missile F1-11" by Sigue Sigue Sputnik
(Additional note: in the early '90's, I found a person who compiled the entire soundtrack themselves - a pretty amazing feat considering the internet was like, 4 sites and a lot of porn. I still own that CD to this day and often listen to it within mere hours of seeing Ferris on TBS or E! - it seems to be on like once a month). I know, I'm SO cool!
If you haven't seen these movies, by all means, go to your Netflix queue right now and add them in - I think you'll be pleasantly surprised how they still hold up, and the music is still as kick ass as anything Lady Gaga is doing - and was usually done with little to no radio airplay or MTV. Pay particular attention to the soundtracks, and specifically how Hughes used it to help tell his story.
So go ahead, release your inner Duckie, don't be a neo-maxi-zoom dweebie and commandeer your own Von Steuben Day Parade float (these things will all make sense after you see the movies, I promise).
I quote, "You see us as you want to see us. In the simplest terms, and the most convenient definitons. But what we found is that each one of us is a brain, and an athlete, and a basket case, a princess, and a criminal."
Translation: it doesn't matter when you were born, music that makes you FEEL something is just good music, period.
Thanks for the great soundtrack to my youth, John Hughes.
Sources/For More Information, check out:
PureBoredom (http://derekjohnson.blogspot.com/)
Wikipedia (http://en.wikipedia.org/wiki/John_Hughes_(filmmaker)
Welcome to 40!
Thanks for stopping by - if you're reading this blog, you fall into one of the following categories:
1. Friend/co-worker/relative of mine (thanks for the support!)
2. Someone who googled "Over 40", and is very disappointed to find this isn't a Cougars dating site (sorry!)
3. A lover of music, regardless of age, and/or is curious to know what the old folks are listening to these days (hey, it could happen!)
or 4. You've reached the end of the interwebs
In any case, welcome to "What 40 Sounds Like" - a blog dedicated to sharing the various music styles I find myself listening to these days, of which there are apparently many. Each week, I'll dive into a particular artist, song or genre and hopefully spark some conversation, resulting in one or both of us discovering something new. Either way, it keeps me from biting my nails, so it's win/win for everyone. Ultimately, I hope to prove that being over 40 doesn't necessarily mean you're out of touch with music (good, bad or otherwise).
Before we get to the first music post, I want to give a quick shout out (as the kids these days like to call it) to DJ AJ (http://www.djajmusicmix.com/) for the idea and inspiration to finally share all this (up to now) useless musical trivia and knowledge (i.e., I stole the idea from her, but added the old guy angle). DJ AJ, I'm flashing you the deuces in your honor. Please swing by her blog and check out what SHE'S listening to as well - between the two of us, you're bound to find SOMETHING interesting to listen to.
Thanks again for checking in - stay tuned for the first music post later this week.
Keep on rockin' in the free world - or wherever there's free Wi-Fi!
- Matt
1. Friend/co-worker/relative of mine (thanks for the support!)
2. Someone who googled "Over 40", and is very disappointed to find this isn't a Cougars dating site (sorry!)
3. A lover of music, regardless of age, and/or is curious to know what the old folks are listening to these days (hey, it could happen!)
or 4. You've reached the end of the interwebs
In any case, welcome to "What 40 Sounds Like" - a blog dedicated to sharing the various music styles I find myself listening to these days, of which there are apparently many. Each week, I'll dive into a particular artist, song or genre and hopefully spark some conversation, resulting in one or both of us discovering something new. Either way, it keeps me from biting my nails, so it's win/win for everyone. Ultimately, I hope to prove that being over 40 doesn't necessarily mean you're out of touch with music (good, bad or otherwise).
Before we get to the first music post, I want to give a quick shout out (as the kids these days like to call it) to DJ AJ (http://www.djajmusicmix.com/) for the idea and inspiration to finally share all this (up to now) useless musical trivia and knowledge (i.e., I stole the idea from her, but added the old guy angle). DJ AJ, I'm flashing you the deuces in your honor. Please swing by her blog and check out what SHE'S listening to as well - between the two of us, you're bound to find SOMETHING interesting to listen to.
Thanks again for checking in - stay tuned for the first music post later this week.
Keep on rockin' in the free world - or wherever there's free Wi-Fi!
- Matt
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