Monday, September 23, 2002
Listened to the current CD by "I am the World Trade Center," a band making news more from their decision to keep their name than because of their music. They have potential, but I didn't care much for it. The sound lacks variety, the lead singer's voice isn't appealing. It's more retro-80s stuff (they do a Blondie cover). Needs more energy and variety.
In a record store the other day, I noticed that a new album called Miss Fortune by Allison Moorer had the following sticker (where one might expect the parental advisory):
"Absolutely no vocal tuning or pitch correction was used in the making of this record."
Never seen that one before.
Friday, September 20, 2002
An article in the 9/30/02 In These Times states what ought to be obvious enough: mainstream hip hop sucks. Or, in writer Evan Endicott's words: "Hip hop is dead." Following formula, the writer uses the "is dead" statement to list some positive alternatives (from the hip hop underground): Blackalicious, J-Live, Fat Jon, and El-P, with a mention of last year's critical faves The Coup, and of course a mention of DJ Shadow. The article sums up nicely the problems of hip hop today. Instead of being a force for resistance and cultural empowerment it once was, today's hip hop is all about "conspicuous consumption and sexual conquest," which makes it about as alternative and transgressive as any tv commercial.
I've been thinking about hip hop a lot lately, esp. vis-a-vis rock. Though the last stats I saw showed rock selling more than any other music category, it's clear enough to me now that hip hop is the DOMINANT artistic force in mainstream pop music today. (Is Rock in permanent decline or in a slump? Harder to say, but I'm beginning to lose hope in this recent Hives/Strokes/White Stripes/Yeah Yeahs revival--we'll have to wait and see.) But just accepting that hip hop is the main musical allegiance and nourishment of youth today--and that it's also mostly so bad (as so much rock is/was) is taking a while for me to digest.
For example, political ramifications: Can it be that hip hop is even less progressive than rock was? Yeah there's the occasional Missy Elliot hit that's pro-sex, pro-women, but... Could mainstream hip hop be any less queer-friendly? Or any more heterosexist, with its tiresome he-said/she-said routines and gender stereotyping? And why would heterosexuals want to make heterosexuality seem so fucking miserable!?!
Musical ramifications: percussion/"beats" and lyrics to the fore; ability to write melody and harmony is taking a back seat, obviously. Tradeoffs. Is the use of sampling in any way akin to the dominance of standards in pop music of the 40s/50s? Clearly there are some big differences. I have much more to think about and say on this, which I hope to explore in more depth.
Saturday, September 14, 2002
I was out of town for a week.
I really missed the Aimee Mann CD.
Some further notes on Lost in Space:
-the last song on the CD ("It's Not") could almost be the theme song for Laura Linney's character in one of my fave films, You Can Count on Me
-Aimee Mann's vocal pronouniciation is so precise, it reminds me a little of Karen Carpenter's style. (I think I've mentioned before, Mom raised me on Karen--and us kids grew up imitating and exaggerating her delivery, partly to mock but partly out of sheer awe.)
Hero - Chad Kroeger (feat. Josey Scott) from
Spider-Man: Music From And Inspired By [SOUNDTRACK] / Various Artists
I've heard this song absolutely everywhwere, and even though it's one of those Creed-like songs currently fashionable and which I usually dislike (Pearl Jam has so much to answer for!) I have to admit this song has been growing on me, if only for the sentiment:
"They say that a hero could save us / I'm not gonna stand here and wait"
Then, weirdly, after watching Spiderman on video today, suddenly, in my mind's ear, I heard Jewel singing the same song. I had been thinking how the melody is a little prettier than this style usually allows, and next thing I knew, Jewel was covering it for me! I don't think it's quite a classic. Can't quite imagine Old Blue Eyes or Nat King Cole singing it. But maybe the singer from Mazzy Star, someone kind of alterna-dour.
Which reminds me, I heard Beth Gibbons has a solo CD coming out. So excited to hear that!
Same with Beck. Yeah!
Wednesday, September 04, 2002
Last night I took a step back and inventoried my cd collection out of curiosity. I know what I say when people ask who my favorites are, but is it backed up by what's on my shelves? For the most part, yes.
Artists whose major releases I have all of (or virtually all of):
Belle & Sebastian (& The Gentle Waves), Daft Punk, DJ Shadow, East River Pipe, Garbage, Stephin Merritt (all of his projects), Liz Phair, Portishead, Radiohead, Stereolab, 10,000 Maniacs (N. Merchant years), Velvet Underground
Artists whose major releases I have a very significant portion of:
Aphex Twin, Laurie Anderson, Beatles/John Lennon, Breeders, Cat Power, Cardinal (& Eric Matthews and Richard Davies solo stuff), Vic Chesnutt, PJ Harvey, Indigo Girls, Kraftwerk, Low, Luna, Aimee Mann, Barbara Manning (S.F. Seals), Pansy Division, Pavement, REM, The Rentals, Solex, Sonic Youth
Doing this exercise made me realize a few things. I was surprised at some gaps in my collection, sometimes with bands/singers I thought I had a (mostly) complete collection of. And even though I tend to see myself as a loyal fan who has favorite bands and follows them devotedly, I realized that much of the time, I'm satisfied by one or two cds from an artist. And a lot of the acts in the first category have only put out two or three major releases -- Daft Punk, DJ Shadow, Garbage, Portishead.
Even though the last 10-15 years has really been about indierock for me, in the last few years I've gotten interested in standards--classic songs that have thrived for decades. I had a major interest in Bossa Nova, in Lounge, and there's always the occasional soundtrack. Lately I've been interested in the birth of rock 'n' roll. I've pushed myself into a few electronica and jazz purchases, but they usually haven't taken root, at least not deeply. (Jazz is such a deep area--I have so much to explore.) Even some of the above artists have been about exploring something new or more raw for me: for example, Aphex Twin, Pavement, Sonic Youth. Something about them entices me enough to keep coming back, even if I don't always find them an easy fit. At times, I love them deeply.
I wish I had more time to listen to music. Part of the purpose of this diary is to take time to focus on a passion I neglect too often. What do I want this collection to look like in another 10 years?
Of course I have to mention a couple artists I love but don't need to own because my bf owns their work: Blur, Komeda, Weezer. I love them so much I want my own copies! But I've restrained myself.
Sunday, September 01, 2002
I made a mix of Elvis's early stuff (part of my "birth of rock 'n' roll" kick) that completely rocks. Most of it I'd never heard before. The Sun Sessions--wow! Track listing follows:
1-That's All Right; 2-Blue Moon of Kentucky; 3-Good Rockin' Tonight; 4-I Don't Care if the Sun Don't Shine; 5-You're a Heartbreaker; 6-Baby Let's Play House; 7-Mystery Train; 8-I Forgot to Remember to Forget; 9-Blue Moon; 10-Trying to Get To You; 11-Heartbreak Hotel; 12-Lawdy, Miss Clawdy; 13-Hound Dog; 14-Any Way You Want Me (That's How I Will Be); 15-Don't Be Cruel; 16-Love Me; 17-All Shook Up; 18-(Let Me Be Your) Teddy Bear; 19-Jailhouse Rock; 20-(You're So Square) Baby I Don't Care; 21-Treat Me Nice; 22-Don't; 23-(Now and Then There's) A Fool Such as I; 24-Stuck on You; 25-The Girl of My Best Friend; 26-Surrender; 27-That's Someone You Never Forget; 28-Little Sister; 29-(Marie's the Name) His Latest Flame; 30-Anything That's Part of You; 31-Good Luck Charm; 32-Return to Sender; 33-(You're the) Devil in Disguise; 34-Memphis Tennessee
I did some reading--many critics say this is the only good period Elvis had, but that it was legendary. I can see why.
Also, just to make one observation after listening to a box set I borrowed that spans his career----I was fascinated at the way his attitude changed over the years. In the beginning, his songs often portray a yielding, soft vision of masculinity (Any Way You Want Me, Teddy Bear) before it gave way to the macho posturing and chest-thumping of the "King's" later career.
Listener's Diary notes:
-New Aimee Mann album--Lost in Space--first impressions: another fantastic set of tunes, demonstrating superb songwriting skills, the melodies perfectly suiting her voice and style (an advantage to writing your own material!); somewhat less humor than on earlier efforts, which I miss--without the humor, she seems lost in her troubles with less perspective, but some might say by stripping away cleverness she reveals honesty; I can hear similarities to other southern CA singer/songwriters as various as Tom Petty (chorus to Moth, esp.) and Gillian Welch; favorite cut so far is #10 "Moth" ("the moth don't care if the flame is real / 'cause flame and moth got a sweetheart deal"), but there are at least 7 outstanding songs here; the second half is best, despite the title track and lead single being on the first half.
-DJ Shadow's new album, The Private Press, is really growing on me.
-Studying the lyrics of Sleater-Kinney because I got tix to see them live. I usually don't focus on lyrics per se but let them seep in if they seem important. But S-K seems to demand closer scrutiny. Started with All Hands on the Bad One. Their lyrics are challengingly poetic and deal with TOUGH subjects like abuse, sexism. Really impressive so far.
Movie and Music #3
Saw 24-Hour Party People recently. (Great title--the kind editors will reference in headlines for months to come.) It's a good movie, but a little frustrating if you're interested in the Manchester music scene, which the film is "about." There's a journalist narrator who says at one point that it's not his story, but Manchester's. I think he means it sincerely. And I appreciate his self-depracation and self-criticism--he admits being a superficial, egomaniacal, and a bum father to boot. But I felt like shouting, "Liar! If it's not your story, then stand aside and let's hear about the music!" After all, what we do get of the music--esp. the thumbnail sketch of Ian Curtis' life--is riveting.
(The best review I've seen so far is in the 9/16/02 In These Times--weird, since their film reviews usually suck. The writer, A.S.Hamrah, sums up the narrator thusly: "Yes, it's a clever idea. British cinema is very clever. It's so clever it's about the cutest national cinema going." I'm not sure I agree, but it's cruelly funny. I really love Hamrah's observation on the cameos by real-life Tony Wilson, Mark E. Smith, etc.: "Their presence is ghostly and sad, like Buster Keaton's in Sunset Blvd. Because they're stuck into the margins of the film, they show up as has-beens, no matter their achievements.")
My frustrations aside, there's a particular scene that stayed with me.
Three friends are hanging out, getting high on dope and, more importantly, on the excitement that something musically historic is happening around them. One of them goes to the two posters up on the wall. He tears down the Pink Floyd poster. He goes to the next one. "No, not Bowie!" pleads the young woman. "Yes, Bowie, too," he says decisively and tears it down.
The scene is excellent, compact and charged. I think many of us can relate to the pain of having someone tell us our old heroes must come down to make way for the new. I've heard lots of stories of people becoming suddenly disenchanted with their old heroes in light of new attitudes and ideas. There was an article in the Village Voice a couple months ago that stirred up a lot of letters (rightly so) where a writer, reacting to Sonic Youth's new album, decided they hadn't done anything worthy in years (since Washing Machine, specifically) and basically begged them to retire.
We all hate to witness what we perceive as the spectacle of talent expiring. And I think we all like to purge ourselves occasionally. Off with the old, on with the new. It gives us a sense of progress.
But beware! There's a great force working against that instinct--nostalgia. In my lean(er) college years, moving from place to place, I shed a lot of music and books. Not a month goes by that I don't go searching for a cassette or book. "I got rid of that, too?," the constant heartache. And to have been betrayed by myself! Perhaps the greatest loss aside from some valuable textbooks is the collection of homemade tapes collected from hundreds of hours of 80s radio and library cds and cassettes. Songs that will never be repackaged into nostalgia comps. Songs I loved out of proportion with their peak chart positions. Comps that documented by personal journey in music.
As for new replacing old, I may be terribly noncommittal in my philosophical beliefs, or perhaps I'm just spoiled by a postmodern world that offers up old country-bluegrass music next to the latest hip-hop-fused-with-poprock concoction. But I don't think posters should be torn up. They should be rolled up and preserved.
Or at least offered up for a modest profit on Ebay.
