The B-Side to Blur's 1997 single "Beetlebum," this week's spotlighted track, "All Your Life," is Blur's response to the Britpop movement that defined 1990s British culture, of which Blur found themselves caught in the middle. For Americans whose sole contact with the Britpop movement was a few Oasis songs, the scene was a part of the larger Cool Britannia culture of the late 1990s. The hype surrounding Blur and Oasis was akin to a modern-day Beatlemania, only with a media-fueled rivalry. More on this in a later post.
At the point in their career in which this single was released, Blur had largely rejected the "Britpop sound" of their last three albums in favor of a style largely influenced by low-fi American alternative that dominated their fifth, eponymous album. This held their first and only huge success in America, the stadium rock anthem "Song 2." Ironically, the song was a biting satire of the superficiality of the American rock scene, in which fame and nonstop radio play could be found with a few boneheaded chords thrown together, regardless of lyrical content.
YouTube video of "All Your Life." Download link below.
Blur elaborates with their split from the British sound in "All Your Life." Following a span of years in which frontman Damon Albarn's work seemed entirely devoted to celebrating life in England, for better or worse, the lyrics seem to indicate a disenchantment with both England (Oh England, my love / you lost me, made me look a fool) and the fame that he had gained there (Fall through the crowd, and disappear / In the teenage magazines, and shopping malls / Walk through the wildlife for miles, and miles).
The intro and verses of the somewhat Bowie-influenced song are somewhat minimalistic, with Graham Coxon's buzzing, angular guitar hits piercing through a background of quiet acoustic guitar, simple drums, and piano accents. The sound kicks in big for the anthemic chorus, complete with chanting background vocals, as Albarn laments his need for something more.
One of countless amazing Blur B-sides, many of which are arguably in line, if not better, than the A-side, "All Your Life" is a perfect indication of Blur's progress and a snapshot of a moment in time where they rejected the height of Britpop in favor of their own creative heights.
Blur: "All Your Life"
Monday, June 20, 2011
Friday, June 17, 2011
My Favorites #1: "Swamp Thing," by the Chameleons
I've often thought that if I ever started a band, the first cover song that I'd want to tackle would be "Swamp Thing," by The Chameleons (or, The Chameleons UK in America, for legal reasons), and for this I thought it fitting to be the first song that I covered in my "Favorite" series of posts.
Not only is this one amazing epic of a song, but I can't find that any other band anywhere has actually done a decent recording of it. The only results that YouTube shows are a couple amateur recordings. It's a shame, because the only fault I can find with this song, from their 1986 album Strange Times, is that it sounds a bit dated, an obvious product of the 80s, and a faithful brushing up just may do the trick.
Over the course of the song, the music becomes increasingly grand, mounting an attack of building guitar, drums, and synthesizers, before ultimately settling into a sort of musical resignation. It does so in true 80s fashion, with a cavernous sound that comes from an onslaught of sound generously coated in reverb and delay.
One of the most interesting things about this song is the fact that even the most naive of listeners could instantly recognize the song as an 80s song, yet it sounds very different from the rest of the 80s pop scene. It's much more complex than the New Romantic and new wave pop structures and has a darker feel, all the while remaining pleasantly listenable. The lyrics aren't too bad either: clever without being too pretentious. I'm not one to usually listen to lyrics, as I much prefer experiencing the music to whatever message the song might be carrying, but several of the phrases in this song grabbed me.
When the light in life is gone
No change for the meter
And then the king of spivs will come
Selling blood by the liter. (A spiv is a kind of shady black-marketeer, for us not in the UK.)
There is a particularly good live version of this song on YouTube, performed by Chameleons frontman Mark Burgess and his post-Chameleons band The Sons of God. While this version sounds great and is full of energy, nothing beats putting on a pair of headphones and letting the dreamy, textured sound of the studio version swirl around your head. The download link is below.
The Chameleons: Swamp Thing
Not only is this one amazing epic of a song, but I can't find that any other band anywhere has actually done a decent recording of it. The only results that YouTube shows are a couple amateur recordings. It's a shame, because the only fault I can find with this song, from their 1986 album Strange Times, is that it sounds a bit dated, an obvious product of the 80s, and a faithful brushing up just may do the trick.
Over the course of the song, the music becomes increasingly grand, mounting an attack of building guitar, drums, and synthesizers, before ultimately settling into a sort of musical resignation. It does so in true 80s fashion, with a cavernous sound that comes from an onslaught of sound generously coated in reverb and delay.
One of the most interesting things about this song is the fact that even the most naive of listeners could instantly recognize the song as an 80s song, yet it sounds very different from the rest of the 80s pop scene. It's much more complex than the New Romantic and new wave pop structures and has a darker feel, all the while remaining pleasantly listenable. The lyrics aren't too bad either: clever without being too pretentious. I'm not one to usually listen to lyrics, as I much prefer experiencing the music to whatever message the song might be carrying, but several of the phrases in this song grabbed me.
When the light in life is gone
No change for the meter
And then the king of spivs will come
Selling blood by the liter. (A spiv is a kind of shady black-marketeer, for us not in the UK.)
There is a particularly good live version of this song on YouTube, performed by Chameleons frontman Mark Burgess and his post-Chameleons band The Sons of God. While this version sounds great and is full of energy, nothing beats putting on a pair of headphones and letting the dreamy, textured sound of the studio version swirl around your head. The download link is below.
The Chameleons: Swamp Thing
36 Covers are Better Than One
Think back to every lame cover of every song you've ever heard. Hopefully this makes up for it.
Not all of the singers spotlighted here are the best, but covers from all musical walks of life are present, from flutes to high school bands to Johnny Greenwood wannabes in their garage.
This is a seriously good cover. Or, covers.
36 Covers of "Paranoid Android" by Radiohead in one:
Not all of the singers spotlighted here are the best, but covers from all musical walks of life are present, from flutes to high school bands to Johnny Greenwood wannabes in their garage.
This is a seriously good cover. Or, covers.
36 Covers of "Paranoid Android" by Radiohead in one:
Mood Song #1: "Stop the World," by The Clash
Artist: The Clash
Song: Stop the World
Album: Super Black Market Clash
Perfect for: Walking by yourself late at night in a shady part of town/alley/campus.
Download link at the end of the post.
This song is too thoughtful to be just another song by a punk band, let along a punk B-side. Were it not for Joe Strummer's iconic voice providing the narration, you might not believe it's a Clash song; however, paired with its A-side counterpart, it makes a bit more sense.The flip side of the 1980 single "The Call Up," which itself musically sounds like it might have fit somewhere among the track listing of The Wall, provides a fantastically creepy soundtrack for a late night walk.
Strummer's narrative lyrics actually tell the story of an eerie walk through a city immediately after its nuclear destruction. The smoke and dusty debris still hang thick in the air as he assesses the damage and moves on to sing another song. This song is perhaps one of the most successful attempts ever to convey the feeling of one's surroundings. While I doubt you will walk through a scene of nuclear destruction anytime soon, the atmosphere of this song can easily translate to any other kind of walk.
The first time my iPod played this song while I was walking alone, I felt like I was in a movie, and not just because the song starts off with the familiar beeps of a countdown leader preceding an old movie clip. The whole song is shrouded in an atmospheric, hazy sound that suggests being in a shady place. Mick Jones's sparse guitar cuts through the air with intermittent bursts of reverb-heavy notes that only add to the creepiness.
The rhythm section (Paul Simonon's thumping, reggae-tinged bass playing and Topper Headon's shuffling drum beat) provides the song with a chugging, traveling feel, as if you're walking down the streets with a feeling somewhere between being somebody important and being followed by someone important.
My college career has been filled with many cross-campus, late-night walks from the library to my dorm, and this song never fails to lend a bit more imagination to those walks.
Download: Stop the World
Song: Stop the World
Album: Super Black Market Clash
Perfect for: Walking by yourself late at night in a shady part of town/alley/campus.
Download link at the end of the post.
This song is too thoughtful to be just another song by a punk band, let along a punk B-side. Were it not for Joe Strummer's iconic voice providing the narration, you might not believe it's a Clash song; however, paired with its A-side counterpart, it makes a bit more sense.The flip side of the 1980 single "The Call Up," which itself musically sounds like it might have fit somewhere among the track listing of The Wall, provides a fantastically creepy soundtrack for a late night walk.
Strummer's narrative lyrics actually tell the story of an eerie walk through a city immediately after its nuclear destruction. The smoke and dusty debris still hang thick in the air as he assesses the damage and moves on to sing another song. This song is perhaps one of the most successful attempts ever to convey the feeling of one's surroundings. While I doubt you will walk through a scene of nuclear destruction anytime soon, the atmosphere of this song can easily translate to any other kind of walk.
The first time my iPod played this song while I was walking alone, I felt like I was in a movie, and not just because the song starts off with the familiar beeps of a countdown leader preceding an old movie clip. The whole song is shrouded in an atmospheric, hazy sound that suggests being in a shady place. Mick Jones's sparse guitar cuts through the air with intermittent bursts of reverb-heavy notes that only add to the creepiness.
The rhythm section (Paul Simonon's thumping, reggae-tinged bass playing and Topper Headon's shuffling drum beat) provides the song with a chugging, traveling feel, as if you're walking down the streets with a feeling somewhere between being somebody important and being followed by someone important.
My college career has been filled with many cross-campus, late-night walks from the library to my dorm, and this song never fails to lend a bit more imagination to those walks.
Download: Stop the World
Thursday, June 16, 2011
Mashup of the Week #1: Muse vs. Radiohead
Muse's "Undisclosed Desires" vs. Radiohead's "Idioteque"
YouTube video below. Mashup by Alberto Cipolla.
I have to admit, I didn't warm up to Muse's latest effort, The Resistance, right away. On the whole, it seemed too consciously bombastic for my tastes. Moreover, I was horrified by what I perceived as their pandering to modern pop, "Undisclosed Desires." I absolutely hated it at first listening. A year later, I rediscovered the song only to realize I had been totally wrong. It wasn't Muse gone hip-hop; it was a total nod to Depeche Mode, an "Enjoy the Silence" with a more modern rhythm section. I can dig it. (To be fair, I've also come around to most of the remaining songs on the album as well.)
On the flip side, Idioteque was one of the first Radiohead songs I heard, and remains one of my favorites. The glitchy-yet-totally danceable rhythm section perfectly accentuates what I think is one of the most beautiful samples I have ever heard. These iconic four chords come from Mild und Leise, a computer composition by Paul Lansky that dates back to 1973. These chords appear a grand total of one time in the lengthy composition, and to my own ears, seem to come out of nowhere after the first few minutes. Though it could be said that Radiohead's own writing has very little to do with the instrumentation of the song, I think it takes a pretty keen ear to take that small section and turn it into an entire song. Well done, Yorke and Greenwood.
These two songs come together to create one of the best mashups I've heard in quite some time. The harmonic sample that drives "Idioteque" meshes perfectly with "Undisclosed's" pizzicato, my favorite part of the Muse song, and it only gets better when the thumping bass comes in for the chorus. It sounds great under the vocal parts of both songs, as this mashup relies nearly equally on vocals from both songs. Most interestingly, the mix combines the percussion of the two songs in a way that serves the song and remains simple most of the time. It does get a little busy in the "ice age coming" breaks, but this is a small point.
The vastly different subject matter of the two songs is really the only thing that clashes, as it pairs a cliche love song with an apocalyptic lament of war and climate change. Words aside, the two songs work ingeniously together. This one's definitely worth ripping from YouTube.
YouTube video below. Mashup by Alberto Cipolla.
I have to admit, I didn't warm up to Muse's latest effort, The Resistance, right away. On the whole, it seemed too consciously bombastic for my tastes. Moreover, I was horrified by what I perceived as their pandering to modern pop, "Undisclosed Desires." I absolutely hated it at first listening. A year later, I rediscovered the song only to realize I had been totally wrong. It wasn't Muse gone hip-hop; it was a total nod to Depeche Mode, an "Enjoy the Silence" with a more modern rhythm section. I can dig it. (To be fair, I've also come around to most of the remaining songs on the album as well.)
On the flip side, Idioteque was one of the first Radiohead songs I heard, and remains one of my favorites. The glitchy-yet-totally danceable rhythm section perfectly accentuates what I think is one of the most beautiful samples I have ever heard. These iconic four chords come from Mild und Leise, a computer composition by Paul Lansky that dates back to 1973. These chords appear a grand total of one time in the lengthy composition, and to my own ears, seem to come out of nowhere after the first few minutes. Though it could be said that Radiohead's own writing has very little to do with the instrumentation of the song, I think it takes a pretty keen ear to take that small section and turn it into an entire song. Well done, Yorke and Greenwood.
These two songs come together to create one of the best mashups I've heard in quite some time. The harmonic sample that drives "Idioteque" meshes perfectly with "Undisclosed's" pizzicato, my favorite part of the Muse song, and it only gets better when the thumping bass comes in for the chorus. It sounds great under the vocal parts of both songs, as this mashup relies nearly equally on vocals from both songs. Most interestingly, the mix combines the percussion of the two songs in a way that serves the song and remains simple most of the time. It does get a little busy in the "ice age coming" breaks, but this is a small point.
The vastly different subject matter of the two songs is really the only thing that clashes, as it pairs a cliche love song with an apocalyptic lament of war and climate change. Words aside, the two songs work ingeniously together. This one's definitely worth ripping from YouTube.
Tuesday, June 14, 2011
Obscure Band of the Week #1: Are Eugenius?
Summer is here once again, bringing its usual assortment of goodies: heat, beach trips, heat, snowcones, heat, and summer blockbuster movies. It seems like there are dozens of superhero movies coming out or set to arrive this summer, so with this on my mind, it only seemed appropriate to make my inaugural post about Captain America.
Wait, isn't this a music blog? Sure it is. I'm talking about the band Captain America. Rather than an all-American, commie-fighting superhero, this is a 90s Scottish indie band. A sort of "jangle supergroup", this band featured superheroes (former members) from the Vaselines, Teenage Fanclub, and BMX Bandits, all three of which were at one time famously championed by Nirvana frontman Kurt Cobain. You may be more familiar with several Vaselines covers that Nirvana performed over their abbreviated career.
Naturally, as you may imagine, Marvel Comics was less than thrilled over the group's name choice. After the release of the EP Flame On (getting their superheroes crossed up?) under the Captain America name, they decided on the new name Eugenius, presumably after the frontman, former Vaselines singer Eugene Kelly. They would release several EPs and two albums, the second of which was released on legendary British indie label Creation Records, before disbanding in 1995.
All in all, this is a fun band to listen to, combining the jangly, shimmering pop melodies of Teenage Fanclub with a slightly grungier, indie rock edge. If you're not hearing it, think what would happen if it ever stopped raining in the Pacific Northwest: Seattle under a sunshiny sky, with smiling teenagers wearing brightly colored flannel, trading their dirtiest distortion pedals for Byrds-esque harmonies. Unfortunately, they were not grunge enough for fans of the rest of the scene, and they failed to catch on. Lucky for us, I discovered this obscure little site the other day called Youtube. Unlike Eugenius, I really think this could catch on.
This is a wonderful live version of "Flame On," the title track from their first EP. If I remember correctly, I think this was from a tour date that they did with Nirvana, but don't quote me on that. Though the visuals are obviously dated, the music still sounds great. Cut your hair and cheer up.
Download the EP version of "Flame On" here.
Wait, isn't this a music blog? Sure it is. I'm talking about the band Captain America. Rather than an all-American, commie-fighting superhero, this is a 90s Scottish indie band. A sort of "jangle supergroup", this band featured superheroes (former members) from the Vaselines, Teenage Fanclub, and BMX Bandits, all three of which were at one time famously championed by Nirvana frontman Kurt Cobain. You may be more familiar with several Vaselines covers that Nirvana performed over their abbreviated career.
Naturally, as you may imagine, Marvel Comics was less than thrilled over the group's name choice. After the release of the EP Flame On (getting their superheroes crossed up?) under the Captain America name, they decided on the new name Eugenius, presumably after the frontman, former Vaselines singer Eugene Kelly. They would release several EPs and two albums, the second of which was released on legendary British indie label Creation Records, before disbanding in 1995.
All in all, this is a fun band to listen to, combining the jangly, shimmering pop melodies of Teenage Fanclub with a slightly grungier, indie rock edge. If you're not hearing it, think what would happen if it ever stopped raining in the Pacific Northwest: Seattle under a sunshiny sky, with smiling teenagers wearing brightly colored flannel, trading their dirtiest distortion pedals for Byrds-esque harmonies. Unfortunately, they were not grunge enough for fans of the rest of the scene, and they failed to catch on. Lucky for us, I discovered this obscure little site the other day called Youtube. Unlike Eugenius, I really think this could catch on.
This is a wonderful live version of "Flame On," the title track from their first EP. If I remember correctly, I think this was from a tour date that they did with Nirvana, but don't quote me on that. Though the visuals are obviously dated, the music still sounds great. Cut your hair and cheer up.
Download the EP version of "Flame On" here.
Welcome
I have two other blogs, one in which I ramble about libertarian philosophy/rant about party and media ignorance, the other in which I doodle incoherently and make lame observations about unicorns and dinosaurs. My intention was always to start a music blog; I have no idea why this is the third blog I created and not the first.
I have a passion for music, and I hope you do too. I love many kinds of music, from two-tone ska to shoegaze to grunge to neo-rockabilly. On this blog, I will be posting album reviews and my own personal takes on the music and the artists behind them. Some of them will be silly, and some of them will be driven by my pure enjoyment of the music. Ideally, they'll be both.
When applicable, I will post Youtube videos and downloads of the music I reference. Please note, the music downloads are for your sampling enjoyment. I'm a firm believer in try-before-you-buy. If you like what you're hearing, go out and buy it. Better yet, you can order it off the Internet without getting up. Isn't technology great?
Enjoy the music.
I have a passion for music, and I hope you do too. I love many kinds of music, from two-tone ska to shoegaze to grunge to neo-rockabilly. On this blog, I will be posting album reviews and my own personal takes on the music and the artists behind them. Some of them will be silly, and some of them will be driven by my pure enjoyment of the music. Ideally, they'll be both.
When applicable, I will post Youtube videos and downloads of the music I reference. Please note, the music downloads are for your sampling enjoyment. I'm a firm believer in try-before-you-buy. If you like what you're hearing, go out and buy it. Better yet, you can order it off the Internet without getting up. Isn't technology great?
Enjoy the music.
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