Last night, I was at Barnes & Noble with some friends just dicking around until we got closer to 10:35 pm in which we'd see "The Wrestler" at the Manor Cinema (I recommend it, sad story, a sad glorious story). At this particular book chain I like to peruse the music sections and see if anything might be worth it's salt in my eyes. I flipped through, the somewhat interesting 'Pitchfork500', grabbed the latest issue of 'Wax Poetics' (#32), and I took a chance on XLR8R (#123) ( aka: waste of time). My girlfriend offered to buy the two magazines so I would have something to pour over for unheard sounds. Well, this morning I read the 'Wax Poetics'(#32) and enjoyed it like I usually do, until I got to the end. Some shitty ass local 'rapper' threw taped a myspace.com add on the last page. I'm not going to mention this guy's name. He doesn't deserve it, the only thing he deserves is the bashing I'm going to give him. But this is how the add read:
"-Support Yo! Local Music Minds!-"
[insert name of horrible rapper]
www.myspace.com/horrible_centralPA"rapper"
Well, this kid is obviously no English major. "Support Yo!" is separate, so it just sounds like some teenagers playing Call of Duty 4 on their XBox360, "Gimme some SUPPORT YO!". He probably could have stopped there and the ad would be a little less to make fun of, but he takes it to another level. "Local Music Minds!", the other half shouts. Where? Who? Not on this ad or in your site. You are local, but you're not music minded. If you listened to the schlock you just recorded about drinkin' Evian water, and staying gangsta, you would realize you and your featuring artist sound like you grabbed a few syringes of Novocain and shot both your mouth's up with the potent anesthetic. That and they both must have listened to all the low tempo cookie cutter rap you could get your hands on. You're not even originally horrible.
Now you can argue all you want, that 'any publicity is good publicity', but not in this kid's case. He should be embarrassed, and after listening to about 30 seconds of his horrible freestyle "rap" I felt embarrassed. You ruined my issue of 'Wax Poetics' (#32), and I swear that if I find that shit again in issue #33, you sir, are going to truly get it. No, seriously. He's going to get it.
Writer's Note: I calmed down a little after basically seeing the tip on my slice of pizza cut off. There's something satisfying about fully reading a new 'Wax Poetics', I felt ripped off to see that blemish of horrible music at the end. Oh, and I gave the fucker his Justice. I listened to the whole song, and now I want my four minutes, plus the additional 30 seconds the first time I tried to choke this shit down my earholes, back. But mark my words. One more rogue advertisement, and that kid's gonna get a ripping, on his site, to his face, and any chance I get. I want to ruin his dream, because if anybody that's failed at something must realize, "When you suck at something, you should at least know that you suck".
Saturday, January 24, 2009
Friday, January 23, 2009
Classic Mixtape Review: Summer III (8/11/07)
Created: August 11, 2007
Total Playing Time: 57.5 minutes over 17 tracks
The Setting:
An overworked Czar was plowing his way right through the Summer of 2007 in Lancaster County. I was on the verge of going to Millersville and finishing out an insane work schedule pushing 60 to 80 hours a week at both Tait Towers and Fed Ex. At Tait I was wheeling out road caddies, dolly boxes, and hampers out like it was no tomorrow with fellow co-workers Jason, Josh, and Drew. Later that night I was pushing a two hour a night stint at Fed Ex with what I could almost consider the one of the more unusual jobs I held. However, at this point at Fed Ex I was just a package handler in the bitch position, unloading trucks in some sweltering Lancaster humidity. I also held the stubborn position of refusing to wear the companies' uniform shorts. I'm not too proud to show off the lower portion of my hairy white thighs, bein' all tall and lanky, so I stuck with the thick Dickie work pants. All this hard work wore me down to almost a frazzle, not to mention some interestingly dramatic personal issues goin' on in the whole love life thing, and the discovery of a few good bars taken to a decadent level. This all ended in an unfortunate bang (er...crash) in October, but that is a whole 'nother story. Going through the constant grind of life led me to fill my audiophile time in a mellow pattern. At first (if anybody listens to this) you will be somewhat deceived by the poppy folk rock, but after the first five songs are over I'm slowly turning up the music and adding a thick Southern kinda style rock that boils into a full on stomp into harder rock with the heavy rockers "Helter Skelter" and "Icky Thump", then I kinda do my trademark unusual track at the end. When it all boils down I think this mixtape a good primer for the virgin audiophile. Want a good slab of classic rock music (pending the last song)? Take this mix for a spin in your brain.
The Lineup:
1. "America" - Simon & Garfunkel - 1968 - 'The original one is wayyyy better" - Veronica. She was right. I first found the Yes version of this song (when I discovered Yes' "Fragile" [1972] album), and I was blown away by the over the top showmanship that the prog rockers displayed. However, when Veronica got me to listen to this version off of the 'Almost Famous' Original Soundtrack [2000] I was hooked. At first listen maybe I was struck by the song's simple rolling acoustic sound, with the lyrics striking my interest of taking a countrywide road trip (road trips are the best event to test the meddle of any mixtape). This led it to be the first song in the mix opening it up with a simple harmonic hum.
2. "The Wind" - Cat Stevens - 1971 - Another Veronica recommendation finds me leaving the hopeful optimism of the open road to the stoic philosophical lyrics of "The Wind". Yes, this also came off of the 'Almost Famous' Original Soundtrack [2000], but don't go thinking I troll soundtracks, this came from my 'discover-er' and I was just the 'discover-ee'. The song is short, but somehow Cat Stevens folds a whole lifetime of thought into it.
3. "Blackbird" - The Beatles - 1968 - This was the next logical extension in the mix. I would listen to this acoustic gem while working at Tait. This was a good morning song to pick up my tempo, either that or I find myself listening to it at night when I'm on the verge of sleep.
4. "Mexico" - James Taylor - 1975 - This one goes out to Matia. Every Sunday morning we would 'help' clean up our Fraternity House's basement (during pledging). We'd get there early, split up and take the simple shit. Ledge beers, cups, bottles, and any random loose garbage. Then start mopping the floors from top to the bottom, and we'd end up in the garbage hole that was the basement. Matia would always throw on music in the DJ chamber and about 95% of the time, it was his tried and true James Taylor mix of hits. I swear I can almost smell the Clorox with lemon fresh and the stale beer every time I listen to "Mexico". That smell might not be something I'd invite to my nostrils on a regular basis, but it reminds me of Spring 2004 cleaning' the Phi Psi basement hungover at 8 in the morning (if we could round up the whole class), coupled with the hard working Summer of 2007.
5. "Peace Train" - Cat Stevens - 1971 - I take another baby step towards rock with this upbeat Stevens classic {Writer's note: Cat Stevens converted to Islam and became Yusuf Islam}. Nothing special about this song, but it seemed perfect to help move the mixtape tempo up the sliding scale.
6. "Lookin' Out My Backdoor" - Creedence Clearwater Revival - 1970 - Around that time (2007) I still felt like I was an accomplished audiophile (I know now that I wasn't, and I am still nowhere near approaching that heady stratosphere of true audiophile). Listening to my 4gb (HA!) iPod while working on caddies at Tait was pure heaven, it helped me slog through the work day a bit smoother. However, when you wear an audio listening device around a whole bunch of music minded engineers, welders, electricians, etc, etc, for the better half of a day, people can't help but do one of three things; A.) Ask, "Hey! What ya listening to" or B.) "You should check out [insert random musician here]" or C.) All of the Above. So this song is a Drew Hilt suggestion. He had his classic rock rooted in the twice baked southern rock region. Despite the fact that this band came rolling out of Berkley, California (and Drew was a little disappointed in that fact when I told him) they rock the house down to their very core, and this is what I consider one of their quintessential songs. I don't care if Fogerty is singing about a coked up acid trip or what his son's imagination would see after he tucks him in for bed, it's just good music. Thanks Drew.
7. "Melissa" - Allman Brothers Band - 1972 - This was an extension of my CCR discovery aided by Allmusic.com and a schoolmate. I remember a friend in high school (2002), Emily Fritz, kept plugging the Allman Brothers and Bob Marley. I went with the Marley, and sat the Allmans on the shelf. Summer 2007 found me unearthing it for a full audiophillic display. It's one smooth song. Clapton was right to find this sound.
8. "Truckin" - The Grateful Dead - 1970 - This one's meant to keep the tempo rolling after drifting into a southern rock dreamland. The straight forward folky jam rock of true jam rock legends is one of many staples this band has to offer. However, nothing too special about this one, but I will credit my Grateful Dead discovery to three things (two of them are people), the first one spearheaded the movement, Fulena. Greg Herbster kept it going while Fulena was away, and the television show 'Freaks and Geeks' planted the seed of interest before Fulena and Greg busted it wide open.
9. "Travelin' Band" - Creedence Clearwater Revival - 1970 - This song was to bring me back after I drifted away in The Dead. Mission accomplished, but just when you think it's gonna flood into Southern rock I take one last detour.
10. "Just Another Whistle Stop" - The Band - 1970 - That indistinguishable sound of 'thin wild mercury'. This was usually playing while driving between jobs, but I'll listen to it any time. The Band was a Whit Armstrong recommendation, but they grew quickly grew into my own discovery after purchasing "Music from Big Pink"[1968]. This is the last of the folk territory for this 'tape, now we shred into a Tex Mex southern animal.
11. "La Grange" - ZZ Top - 1973 - Quite possibly Top's most solid effort from the 'Tres Hombres' [1973] album. For the longest time Billy Gibbons and John Lee Hooker dangled that rambling riff right in front of me, until I finally went out and found Mr. Gibbons version of Mr. Hooker's style. It was a satisfying discovery that led to the enjoyment of Texas blues rock.
12. "Funk #49" - The James Gang - 1970 - Here's a turn towards the loose hard rock sound that Joe Walsh helped front with the Gang. Recently, I heard this song at The Pub in New Holland being played by the Small Town Soldiers (a friend's local band), and once again those men proved their chops and paid an excellent tribute, as well as the Gang proving that they're here to stay in the annals of hard rock with this anthem.
13. "Tush" - ZZ Top - 1975 -Here I wrestle the spotlight away from the Gang and stage a short battle of the bands with another of ZZ Top's big hits. A sleazy blues rock tribute to the drunk barfly, "Just lookin' for some tush".
14. "Walk Away" -James Gang - 1971 - Not to be out done, the Gang gets their proper rebuttal. Hitting back with the other heavy hit of their career, "Walk Away" like "Funk #49" cements Mr. Walsh's pure skill and the Gang's staying power.
15. "Helter Skelter" -The Beatles - 1968 - Almost bringing it full circle with this pounding maniacal Beatles classic. Almost like a true stage stealer this song starts to wrap it up (the mixtape) almost leaving the listener on high after starting out on such a sonically low setting with the acoustic trappings of Stevens, McCartney, and Taylor slowly lurching towards that heavy rich rock and roll sound.
16. "Icky Thump" - The White Stripes - 2007 - The only "new" song in the group. I've kinda pigeonholed the Stripes in the past (I still do, but I promise they'll get their due) and I found it fitting to give them a chance after I spotted Rolling Stone (now much less interesting and poppier than before) stating something along the lines of, "Jack and Meg White channel their inner Zeppelin". This almost takes classic sounding rock to its rawest state and they just ooze that classic sludgy rock and roll sound here. This is the true 'last track' on the mixtape, and I should have stopped there, but there's something about me that just has to throw on a random "bonus" track.
17. "Boyz-N-The Hood" -Dynamite Hack - 2000 - Yup, that song. Maybe you heard it, maybe you didn't, maybe you heard N.W.A.'s version, and maybe you saw/bought Hack's music video of it on The Box: Music Television. It's almost like a wet fart after some serious shitting. It's a silly fluff track I threw on in the end, but I still love to belt this one when I'm drinking with my friends. Yup, awkward white me singing an acoustic N.W.A. cover. Ah, the beauty of Yuengling Lager.
Writer's Note: After reviewing this mix about a year and a half after creating it I see a whole block of mainstream groups. It always feels humbling to see the evolution of what I listen(ed) to. However, this mix is solid, and I'm going to come back to it. Some 'sleepers' need to be added to these superstars to round out this mixtape. Expect Summer III (2.0) to show up, but not any time soon. Summer 2009 is coming up and after the somewhat lame 'unfinished' Summer of 2008, it's time to amp up the hard work and get that farmer's tan back. Maybe I'll throw some lesser known Bob Dylan, Big Star, 'forgetten era' Beach Boys, Robin Trower, and Jeff Beck...hmmm...or The Yardbirds as well...
Total Playing Time: 57.5 minutes over 17 tracks
The Setting:
An overworked Czar was plowing his way right through the Summer of 2007 in Lancaster County. I was on the verge of going to Millersville and finishing out an insane work schedule pushing 60 to 80 hours a week at both Tait Towers and Fed Ex. At Tait I was wheeling out road caddies, dolly boxes, and hampers out like it was no tomorrow with fellow co-workers Jason, Josh, and Drew. Later that night I was pushing a two hour a night stint at Fed Ex with what I could almost consider the one of the more unusual jobs I held. However, at this point at Fed Ex I was just a package handler in the bitch position, unloading trucks in some sweltering Lancaster humidity. I also held the stubborn position of refusing to wear the companies' uniform shorts. I'm not too proud to show off the lower portion of my hairy white thighs, bein' all tall and lanky, so I stuck with the thick Dickie work pants. All this hard work wore me down to almost a frazzle, not to mention some interestingly dramatic personal issues goin' on in the whole love life thing, and the discovery of a few good bars taken to a decadent level. This all ended in an unfortunate bang (er...crash) in October, but that is a whole 'nother story. Going through the constant grind of life led me to fill my audiophile time in a mellow pattern. At first (if anybody listens to this) you will be somewhat deceived by the poppy folk rock, but after the first five songs are over I'm slowly turning up the music and adding a thick Southern kinda style rock that boils into a full on stomp into harder rock with the heavy rockers "Helter Skelter" and "Icky Thump", then I kinda do my trademark unusual track at the end. When it all boils down I think this mixtape a good primer for the virgin audiophile. Want a good slab of classic rock music (pending the last song)? Take this mix for a spin in your brain.
The Lineup:
1. "America" - Simon & Garfunkel - 1968 - 'The original one is wayyyy better" - Veronica. She was right. I first found the Yes version of this song (when I discovered Yes' "Fragile" [1972] album), and I was blown away by the over the top showmanship that the prog rockers displayed. However, when Veronica got me to listen to this version off of the 'Almost Famous' Original Soundtrack [2000] I was hooked. At first listen maybe I was struck by the song's simple rolling acoustic sound, with the lyrics striking my interest of taking a countrywide road trip (road trips are the best event to test the meddle of any mixtape). This led it to be the first song in the mix opening it up with a simple harmonic hum.
2. "The Wind" - Cat Stevens - 1971 - Another Veronica recommendation finds me leaving the hopeful optimism of the open road to the stoic philosophical lyrics of "The Wind". Yes, this also came off of the 'Almost Famous' Original Soundtrack [2000], but don't go thinking I troll soundtracks, this came from my 'discover-er' and I was just the 'discover-ee'. The song is short, but somehow Cat Stevens folds a whole lifetime of thought into it.
3. "Blackbird" - The Beatles - 1968 - This was the next logical extension in the mix. I would listen to this acoustic gem while working at Tait. This was a good morning song to pick up my tempo, either that or I find myself listening to it at night when I'm on the verge of sleep.
4. "Mexico" - James Taylor - 1975 - This one goes out to Matia. Every Sunday morning we would 'help' clean up our Fraternity House's basement (during pledging). We'd get there early, split up and take the simple shit. Ledge beers, cups, bottles, and any random loose garbage. Then start mopping the floors from top to the bottom, and we'd end up in the garbage hole that was the basement. Matia would always throw on music in the DJ chamber and about 95% of the time, it was his tried and true James Taylor mix of hits. I swear I can almost smell the Clorox with lemon fresh and the stale beer every time I listen to "Mexico". That smell might not be something I'd invite to my nostrils on a regular basis, but it reminds me of Spring 2004 cleaning' the Phi Psi basement hungover at 8 in the morning (if we could round up the whole class), coupled with the hard working Summer of 2007.
5. "Peace Train" - Cat Stevens - 1971 - I take another baby step towards rock with this upbeat Stevens classic {Writer's note: Cat Stevens converted to Islam and became Yusuf Islam}. Nothing special about this song, but it seemed perfect to help move the mixtape tempo up the sliding scale.
6. "Lookin' Out My Backdoor" - Creedence Clearwater Revival - 1970 - Around that time (2007) I still felt like I was an accomplished audiophile (I know now that I wasn't, and I am still nowhere near approaching that heady stratosphere of true audiophile). Listening to my 4gb (HA!) iPod while working on caddies at Tait was pure heaven, it helped me slog through the work day a bit smoother. However, when you wear an audio listening device around a whole bunch of music minded engineers, welders, electricians, etc, etc, for the better half of a day, people can't help but do one of three things; A.) Ask, "Hey! What ya listening to" or B.) "You should check out [insert random musician here]" or C.) All of the Above. So this song is a Drew Hilt suggestion. He had his classic rock rooted in the twice baked southern rock region. Despite the fact that this band came rolling out of Berkley, California (and Drew was a little disappointed in that fact when I told him) they rock the house down to their very core, and this is what I consider one of their quintessential songs. I don't care if Fogerty is singing about a coked up acid trip or what his son's imagination would see after he tucks him in for bed, it's just good music. Thanks Drew.
7. "Melissa" - Allman Brothers Band - 1972 - This was an extension of my CCR discovery aided by Allmusic.com and a schoolmate. I remember a friend in high school (2002), Emily Fritz, kept plugging the Allman Brothers and Bob Marley. I went with the Marley, and sat the Allmans on the shelf. Summer 2007 found me unearthing it for a full audiophillic display. It's one smooth song. Clapton was right to find this sound.
8. "Truckin" - The Grateful Dead - 1970 - This one's meant to keep the tempo rolling after drifting into a southern rock dreamland. The straight forward folky jam rock of true jam rock legends is one of many staples this band has to offer. However, nothing too special about this one, but I will credit my Grateful Dead discovery to three things (two of them are people), the first one spearheaded the movement, Fulena. Greg Herbster kept it going while Fulena was away, and the television show 'Freaks and Geeks' planted the seed of interest before Fulena and Greg busted it wide open.
9. "Travelin' Band" - Creedence Clearwater Revival - 1970 - This song was to bring me back after I drifted away in The Dead. Mission accomplished, but just when you think it's gonna flood into Southern rock I take one last detour.
10. "Just Another Whistle Stop" - The Band - 1970 - That indistinguishable sound of 'thin wild mercury'. This was usually playing while driving between jobs, but I'll listen to it any time. The Band was a Whit Armstrong recommendation, but they grew quickly grew into my own discovery after purchasing "Music from Big Pink"[1968]. This is the last of the folk territory for this 'tape, now we shred into a Tex Mex southern animal.
11. "La Grange" - ZZ Top - 1973 - Quite possibly Top's most solid effort from the 'Tres Hombres' [1973] album. For the longest time Billy Gibbons and John Lee Hooker dangled that rambling riff right in front of me, until I finally went out and found Mr. Gibbons version of Mr. Hooker's style. It was a satisfying discovery that led to the enjoyment of Texas blues rock.
12. "Funk #49" - The James Gang - 1970 - Here's a turn towards the loose hard rock sound that Joe Walsh helped front with the Gang. Recently, I heard this song at The Pub in New Holland being played by the Small Town Soldiers (a friend's local band), and once again those men proved their chops and paid an excellent tribute, as well as the Gang proving that they're here to stay in the annals of hard rock with this anthem.
13. "Tush" - ZZ Top - 1975 -Here I wrestle the spotlight away from the Gang and stage a short battle of the bands with another of ZZ Top's big hits. A sleazy blues rock tribute to the drunk barfly, "Just lookin' for some tush".
14. "Walk Away" -James Gang - 1971 - Not to be out done, the Gang gets their proper rebuttal. Hitting back with the other heavy hit of their career, "Walk Away" like "Funk #49" cements Mr. Walsh's pure skill and the Gang's staying power.
15. "Helter Skelter" -The Beatles - 1968 - Almost bringing it full circle with this pounding maniacal Beatles classic. Almost like a true stage stealer this song starts to wrap it up (the mixtape) almost leaving the listener on high after starting out on such a sonically low setting with the acoustic trappings of Stevens, McCartney, and Taylor slowly lurching towards that heavy rich rock and roll sound.
16. "Icky Thump" - The White Stripes - 2007 - The only "new" song in the group. I've kinda pigeonholed the Stripes in the past (I still do, but I promise they'll get their due) and I found it fitting to give them a chance after I spotted Rolling Stone (now much less interesting and poppier than before) stating something along the lines of, "Jack and Meg White channel their inner Zeppelin". This almost takes classic sounding rock to its rawest state and they just ooze that classic sludgy rock and roll sound here. This is the true 'last track' on the mixtape, and I should have stopped there, but there's something about me that just has to throw on a random "bonus" track.
17. "Boyz-N-The Hood" -Dynamite Hack - 2000 - Yup, that song. Maybe you heard it, maybe you didn't, maybe you heard N.W.A.'s version, and maybe you saw/bought Hack's music video of it on The Box: Music Television. It's almost like a wet fart after some serious shitting. It's a silly fluff track I threw on in the end, but I still love to belt this one when I'm drinking with my friends. Yup, awkward white me singing an acoustic N.W.A. cover. Ah, the beauty of Yuengling Lager.
Writer's Note: After reviewing this mix about a year and a half after creating it I see a whole block of mainstream groups. It always feels humbling to see the evolution of what I listen(ed) to. However, this mix is solid, and I'm going to come back to it. Some 'sleepers' need to be added to these superstars to round out this mixtape. Expect Summer III (2.0) to show up, but not any time soon. Summer 2009 is coming up and after the somewhat lame 'unfinished' Summer of 2008, it's time to amp up the hard work and get that farmer's tan back. Maybe I'll throw some lesser known Bob Dylan, Big Star, 'forgetten era' Beach Boys, Robin Trower, and Jeff Beck...hmmm...or The Yardbirds as well...
Wednesday, January 7, 2009
Czar vs. Pitchfork Media's Best Tracks of 2007
Ok, not gonna lie about this one. I've got a beef with most music critics. I'll never agree with all of them, and that's what I love about listening to music. It's almost like falling in love with the concept of agreeing to disagree. One critics' favorite could be another critics' favorite to bash on a large verbal scale. Once again, another beautiful example of this field. Except there are a few critics that seem different...or difficult...I can't put my finger on it, where other times I can. For example; Robert Christgau seems to hate it when the Beastie Boys aren't spitting out rhymes. I found last year's "The Mix Up" (2007) from the Beasties quite refreshing. It didn't sound as mechanical as their last hip hop effort, "To The 5 Boroughs" (2004). Now certain arguments can be made at this point (i.e. 'It was a straight forward hip hop album') if you're a little more in depth, but I'll save that for a later time. All Music seems to enforce an excellent musical blueprint on the basic evolution of Rock and Roll and its sub-genres, but it seems to drop off when you go digging for obscure Funk and Soul artists. I can read about Michael Bolton's crappy ass AOR rock band, Blackjack, and how they praise his early origin, but I don't see any in depth information for such proto-rap Funk groups like The Jimmy Castor Bunch and how they link up to later rap groups like the Ultramagnetic MCs. Maybe I'm missing the fact that Rock & Roll has been around a while, but with this kind of information age, how can I only see scant bits of information on solid Funk groups like The Olympic Runners or Brass Construction and a whole load of crap on horrible Rock solo efforts and obscurely made overindulgent soundtracks by a certain Zeppelin guitarist.
Those kind of slips are understandable. I see where they're coming from, and I can easily answer in my head that their problem seems evolutionary or simply an obstacle. The information will come with time, or maybe I'll just understand their quirk, and work around it. Now for Pitchfork Media, their style is a little more aggravating. Back in the day I saw them as very straight forward in trying to cover the uncovered bases of music, or at least to say the lesser known genres. That's something I could easily appreciate. Now, they seem to have their own wall of sound, and when they play it, people listen. I understand the attention, but now they have a certain amount of power that they sometimes abuse. I recently filtered through Pitchfork's Top 100 Songs of 2007 I found eight songs from six artists that I enjoyed at that moment. The rest of it was a wasteland of jabby jangly indie rock, shiny glimmering plastic dance beats, grainy lo-fi experimental noise rock, long drawn out singer/songwriters trying to capture their image, and a few pop radio staples (i.e. cookie cutter gangsta rap) that are like head rotting sugar after the first listen. It felt like they tried to make a good account of 2007, but it just felt like a horse, beaten dead with praises of uninspiring independent music. Now, what did I walk away with?
I was lucky to walk away with three new discoveries: Antibalas "Beaten Metal" (Afro-Beat), Tinariwen "Matadjem Yinmixan" (World Fusion), and Simian Mobile Disco (Techno). The other groups I had been aware of, and I just enjoied the tracks and agreed about their inclusion with the list (Jay-Z "Ignorant Shit" & "Roc Boys" and Animal Collective "Fireworks" & "Peacebone").
Now, I'm not arguing that all 100 songs were total shit, but the Top 100 Pitchfork Tracks of 2007 felt like the Top 100 Stereotypical Songs from Pitchfork of 2007. Maybe those featured artists had better songs that weren't on display, but I'm working with what Pitchfork put out in 2007 and it's not the best listening experience of my life.
Those kind of slips are understandable. I see where they're coming from, and I can easily answer in my head that their problem seems evolutionary or simply an obstacle. The information will come with time, or maybe I'll just understand their quirk, and work around it. Now for Pitchfork Media, their style is a little more aggravating. Back in the day I saw them as very straight forward in trying to cover the uncovered bases of music, or at least to say the lesser known genres. That's something I could easily appreciate. Now, they seem to have their own wall of sound, and when they play it, people listen. I understand the attention, but now they have a certain amount of power that they sometimes abuse. I recently filtered through Pitchfork's Top 100 Songs of 2007 I found eight songs from six artists that I enjoyed at that moment. The rest of it was a wasteland of jabby jangly indie rock, shiny glimmering plastic dance beats, grainy lo-fi experimental noise rock, long drawn out singer/songwriters trying to capture their image, and a few pop radio staples (i.e. cookie cutter gangsta rap) that are like head rotting sugar after the first listen. It felt like they tried to make a good account of 2007, but it just felt like a horse, beaten dead with praises of uninspiring independent music. Now, what did I walk away with?
I was lucky to walk away with three new discoveries: Antibalas "Beaten Metal" (Afro-Beat), Tinariwen "Matadjem Yinmixan" (World Fusion), and Simian Mobile Disco (Techno). The other groups I had been aware of, and I just enjoied the tracks and agreed about their inclusion with the list (Jay-Z "Ignorant Shit" & "Roc Boys" and Animal Collective "Fireworks" & "Peacebone").
Now, I'm not arguing that all 100 songs were total shit, but the Top 100 Pitchfork Tracks of 2007 felt like the Top 100 Stereotypical Songs from Pitchfork of 2007. Maybe those featured artists had better songs that weren't on display, but I'm working with what Pitchfork put out in 2007 and it's not the best listening experience of my life.
Monday, January 5, 2009
First Entry (aka: Generic Title #1)
It's been some time since I've put any serious effort into a project that wasn't school related. However, for a good portion of my life I've ambled around albums, artists, and various other musical genres. Ever since I discovered music in 2nd grade, my mind subconsciously began to string memories around certain songs like that of a highly caffeinated spider building a web. Like I had alluded to, this web is something rather interesting. It forgoes the traditional two dimensional webs that sustain a certain beauty in the sunlight. It has a three dimensional appearance, and might as well look a mess, but the real strength lies in the connections it has made. Now it's almost predatory, reinforcing my musical tastes with new connections, and catching new songs and stringing them to another memory.
This blog will serve to bounce around in this web and examine these connections. I'm interested to see what will come of this. I'll introduce a song/album/artist and try to write some connection to my appreciation (or lack there of) to this trio of possible subjects.
Here we go:
"One Of These Days" by Pink Floyd, appears on 'Meddle' (1971)
The first time I heard this song doesn't really matter. I remember hearing it on the classic rock radio station Starview 92.7 WSJW (around 1996), but the song never caught my ear. It just sounded like your regular classic rock instrumental. I took this song for granted. That was when I was 12 years old. Later on around 2003, after I graduated from high school without a single care in the world. I had just started working on the Blue Ball National Bank maintenence squad, and it was Summer 2003 (this time I'm 18 years old). At the end of that Summer sat my future. Rather clueless and wandering around with its eyes fixed upon the direction of Indiana, PA. I ignored it to embrace the Summer, like I normally do. I worked 40 hours a week at the good old BBNB and almost every single night that Summer you could find me at Mike Sauder's "Rumpus Room". What we did there on a regular basis was nobody's business, but what I did on an irregular basis at Mike's was unintentionally discover music in the attic of Mike's Dad's garage.
One day my friends, Mike (of the Rumpus Room) and Whit, were doing regular Rumpus Room activities and watching a DVD (that I would later discover to be 'Pink Floyd: Live in Pompeii'). As I was walking up the staircase to the Rumpus Room I heard a pulse-like bassline that seemed almost ridden by the producer on a kill switch bender. I was familiar with the sound, but I never bothered to connect it, till now. I asked Mike what was playing, and he ignored me for a few seconds till Nick Mason's voice came on over the speakers, Mike snapped his head in my direction and lip-synced, "ONE OF THESE DAYS I'M GOING TO CUT YOU INTO LITTLE PIECES!" to me. I dumped myself onto one of the old worn couches placed around the tv as he passed me something, with my eyes fixed on the television screen. I sat in on the climax of the song with the strong organ coupled with Nick Mason's quinecential drumming style. The latter of which would lead Whit to say something along the lines of, "Nick Mason is the rock and roll drummer" with Mike smugly agreeing. At that time my mind was blown with the heavy blasting Floyd.
Then (after some loud jamming) the song had ended like someone had pulled a plug on the band. All the instruments winding down like some piece of heavy machinery. It left my mind reeling as I looked over to Mike who (with Whit) was glued to the television screen.
"Play it again," I said.
"What?" Mike asked.
Whit barely acknowledged me, but registered my request. The song played through again. This time with my heightened attention. The wind in the opening whipped through my mind as I listened to the song. It left an echoed imprint so deep that I find myself humming the second half of the song haphazardly, bouncing around on the organ's notes, "Da-dah dah, dum-dum, da-dah dah, dum-dum...".
The second time was riveting. I forgot that the DVD had continued on and my was still reeling with that heavy space rock sound.
Later we went to Jennie's Diner to recoup, and that was a night in itself. The next day I scoured my (much smaller) music library to luckily find "One Of These Days" on the 'Echoes' greatest hits compilation. Instantly it became a mixtape centerpiece. It was long enough to enjoy, but short enough to throw on to any CD.
Writer's Notes: Unfortunately Starview 92.7 WSJW is now formatted under Smooth Jazz. I'm quite open to music styles and something about Smooth Jazz feels like a rip off. I'd rather listen to Miles Davis or Mahavishnu Orchestra. Or even better I'll research older Jazz musicians like Coltrane or Theolnious Monk.
This blog will serve to bounce around in this web and examine these connections. I'm interested to see what will come of this. I'll introduce a song/album/artist and try to write some connection to my appreciation (or lack there of) to this trio of possible subjects.
Here we go:
"One Of These Days" by Pink Floyd, appears on 'Meddle' (1971)
The first time I heard this song doesn't really matter. I remember hearing it on the classic rock radio station Starview 92.7 WSJW (around 1996), but the song never caught my ear. It just sounded like your regular classic rock instrumental. I took this song for granted. That was when I was 12 years old. Later on around 2003, after I graduated from high school without a single care in the world. I had just started working on the Blue Ball National Bank maintenence squad, and it was Summer 2003 (this time I'm 18 years old). At the end of that Summer sat my future. Rather clueless and wandering around with its eyes fixed upon the direction of Indiana, PA. I ignored it to embrace the Summer, like I normally do. I worked 40 hours a week at the good old BBNB and almost every single night that Summer you could find me at Mike Sauder's "Rumpus Room". What we did there on a regular basis was nobody's business, but what I did on an irregular basis at Mike's was unintentionally discover music in the attic of Mike's Dad's garage.
One day my friends, Mike (of the Rumpus Room) and Whit, were doing regular Rumpus Room activities and watching a DVD (that I would later discover to be 'Pink Floyd: Live in Pompeii'). As I was walking up the staircase to the Rumpus Room I heard a pulse-like bassline that seemed almost ridden by the producer on a kill switch bender. I was familiar with the sound, but I never bothered to connect it, till now. I asked Mike what was playing, and he ignored me for a few seconds till Nick Mason's voice came on over the speakers, Mike snapped his head in my direction and lip-synced, "ONE OF THESE DAYS I'M GOING TO CUT YOU INTO LITTLE PIECES!" to me. I dumped myself onto one of the old worn couches placed around the tv as he passed me something, with my eyes fixed on the television screen. I sat in on the climax of the song with the strong organ coupled with Nick Mason's quinecential drumming style. The latter of which would lead Whit to say something along the lines of, "Nick Mason is the rock and roll drummer" with Mike smugly agreeing. At that time my mind was blown with the heavy blasting Floyd.
Then (after some loud jamming) the song had ended like someone had pulled a plug on the band. All the instruments winding down like some piece of heavy machinery. It left my mind reeling as I looked over to Mike who (with Whit) was glued to the television screen.
"Play it again," I said.
"What?" Mike asked.
Whit barely acknowledged me, but registered my request. The song played through again. This time with my heightened attention. The wind in the opening whipped through my mind as I listened to the song. It left an echoed imprint so deep that I find myself humming the second half of the song haphazardly, bouncing around on the organ's notes, "Da-dah dah, dum-dum, da-dah dah, dum-dum...".
The second time was riveting. I forgot that the DVD had continued on and my was still reeling with that heavy space rock sound.
Later we went to Jennie's Diner to recoup, and that was a night in itself. The next day I scoured my (much smaller) music library to luckily find "One Of These Days" on the 'Echoes' greatest hits compilation. Instantly it became a mixtape centerpiece. It was long enough to enjoy, but short enough to throw on to any CD.
Writer's Notes: Unfortunately Starview 92.7 WSJW is now formatted under Smooth Jazz. I'm quite open to music styles and something about Smooth Jazz feels like a rip off. I'd rather listen to Miles Davis or Mahavishnu Orchestra. Or even better I'll research older Jazz musicians like Coltrane or Theolnious Monk.
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