I don't think deriving musical taste from hearing songs on TV is anything new. I can still remember falling love with Hum from hearing Stars in a Cadillac commercial back in high school. Remember Art & Science?
Guess I need to listen to this - been holding off on it but heard nothing but good things. I never really listened to any of her solo work and my experience with Chairlift has been in the passenger seat of my friend's Alltrack when he has Sirius XMU on.
However, I am VERY familiar with her from her performance on an Ice Choir song many years ago. If you're into very shameless but beautifully produced 80s aping, I suggest you check him out and his song with Caroline is certainly a great start.
Caroline Polachek was a recent guest on How Long Gone, among my favorite podcasts; the podcast is NOT for everyone: “How Long Gone is a bi-coastal elite podcast from old friends and podcast professionals, Chris Black and Jason Stewart. CB and TJ deliver their takes on pop culture, fashion, music, and more.” It was recently more succinctly described as “dumb content for smart people.”
Speaking of female vocalists/bassists and albums to listen to in their entirety, I put forth for your consideration Silversun Pickups if you’re not already aware of their music.
I don’t have a clue how they stack up from a technical perspective, but I do know that I often enjoy their albums from start to finish (on Spotify!) when I’m tinkering in the garage. Great sound to my ears anyway…
I like Polachek's new record. I think maybe the hype is a little overblown but it's a good record. Danny L. Harle (who you can see on the cover in the background holding his child) produced it and I think he's one of the best pop producers working today. About a decade ago now (holy shit) the label PC Music started putting out releases and I really thought they were going to take over the world. They've been pretty successful but maybe not the seismic shift I was expecting. I still think this is probably the best pop song of the last 20 years:
Not bad. I feel like all the great music has been made and now we’re just looking for change under the cushions. Ditto what you wrote about Kate Bush. Astonishing talent.
There are two problems with contemporary classical music. The first, common to every genre that cannot be performed with two or three people and a fancy computer in a studio, is the production expense. The second is that, outside of film, composition has been captured by people whose native language is the scholarly journal. There's a place for that group of people but they will never, ever write anything for a mass audience.
Wow, right on time for me. This morning I finally freed myself of my on again off again companion of two years. Getting a little down, but some Faith No More is majorly hitting the spot. I discovered them from the X-games soundtrack compilation around 1995. Now I’m wishing I was a young 20s snowboard bum made of rubber.
Two days ago she described a hard time she’d had with her family in the past. Fishing for more engagement from me, in hopes that we still have a chance, she asked about a hard time in my life. I think she was surprised when I told her it was from 19-36.
This reads like Bateman’s review of Huey Lewis in American Psycho. I mean that in the nicest way possible. Also, I am a musical ignoramus without a shred of talent.
I am (quite) loosely acquainted with them on a personal level.
In thinking about classical music and it's longevity: much like the chanted liturgy it is not a singular effort (in the case of the liturgy I will clarify and say we join in the eternal liturgy and never-ceasing liturgy). The composer has passed on, but the music is made alive again with each new performance. Will the ARTIST centered music have the same staying power over the centuries?
The truly great songs end up with a million covers, some of which are incredibly different from the original but still work. Contrast Sara Bareilles's cover of "Sittin' on the Dock of the Bay," which I find jaw-dropping, with Otis Redding's original.
Meanwhile, much of the obtuse Bach music that scholars and Bach nerds (like me) love to puzzle over is as obtuse as it is because he was the only person, in his time, who could play it. It was very much "artist-centered" in the same way as much of today's stuff, but the world eventually figured out how to deal with it and make it into a living thing.
Political music has always been embarrassing, but yeah its worse lately. Likely because it is in service of the State's goals rather than counter to it.
I will give Polachek and Trousers some time and a few listens. One of the benefits of being over 50 is that you don't need to give any new iterations of favorite artists any care at all. If I want Kate Bush, I'll listen to Kate Bush. BUT, to counter my own argument, sometimes new variations on theme ring true.
Speaking of Kate Bush, she always struck me as the solo female version of Rush. Amazingly talented and creative, yet simultaneously somehow always out of step with culture. Ahead or behind, not sure, but oddly theatrical or weird (I feel bad using that word in a seemingly negative way). I have recently seen her 1979 BBC performance which encapsulates the odd scene perfectly. Also, she was right to re-record some of her early vocals.
I agree with you on the scope of her artistry. I still don't understand much of what she was saying or doing, but I couldn't stay away. Her music was just the thing to crank up with the guys on the way to the local ski hill to shred some runs. Oh wait, no, that's not it. THAT was Van Halen. I don't think Kate has ever fit in well. It's a miracle she broke thru to the mainstream ever, at all.
The eternal mystery of Rush to me, and I say this as a fan who has spent real money on the band, is how you have one of the most accomplished rhythm sections in rock or pop history and yet they are unable to even APPROACH a groove or a pocket of any type.
The great tragedy of Feedback is the songs were almost note-for-note covers of ... covers. There wasn't any originality to it. Fun album, but they couldn't even cut lose on tracks like Summertime Blues.
One of the best pieces of snark I ever read was in a music review of one of the Bill Bruford/UK albums, something like, "In which they prove it is not merely difficult to rock out in 13/8, it is impossible." Can't vouch for the exact time signature, but the point remains.
I too am a Rush fan who has given the band an absurd amount of money since hearing Moving Pictures when it debuted. I think the problem lies in the fact they were too skilled, and Peart in particular was too precise, perhaps to the point of being uptight.
I remember reading Anthony Bourdain writing about the meal Thomas Keller prepared for him at the French Laundry. Bourdain went on at some length about how impeccably prepared it was before saying it also was prepared by someone who had probably never in his life enjoyed a right and proper fuck. The skill and precision was there, but there was no unabashed passion to it.
As much as admire and respect the musicianship and intellect Peart brought to the band, I don't think "passionate" is an adjective anyone would use to describe him. And I think that probably kept him from finding a groove.
Lifeson, on the other hand, once joined his wife and son in fighting with sheriff's deputies who arrested his son, which explains how he could peel off burning solos like the one he performed in Limelight...
He tried to be more loose by training with a jazz drummer but I think by then the band was out of songs. Their music definitely rocks, has sublime moments and there are many gems. They were as you say very technical or mathematical as I would say, didn’t let the rhythm “float”. Probably why women don’t tend to be fans. Bands like Zeppelin or Cream had great drummers who could let it float.
I think about Robert Fripp with King Crimson, very mathematical but from Lark’s Tongues on had a rhythm section that could be funky.
One more aside compare the 7/8 on Tom Sawyer to the 7/8 on I Know What I Like by Genesis both great songs but Phil plays with more soul. In my opinion…
Fighting words, if ever there were. But upon further, minimal reflection, I probably agree with you. It is sort of odd that these two poor guys get set against one another as they do.
Yeah, I mean they had no personal animosity -- Collins played on some of Gabriel's solo stuff. It's more that weird phenomenon where fans of a band are unwilling to let the band decide what they want to be, and the examples of that are as diverse as "Dylan goes electric" and "Joni goes Jaco" and "Sussudio".
Accurate. Peter Gabriel deserves a lot of respect, so half what he gets is about right. He is still one of my all-time favorite singers. (For context, I never recovered from my prog addiction but even I can see that "So" is just about perfect. I'm now forced to listen to classical, because it is the only genre where the songs are long enough.) Phil Collins was always an amazing and tasteful drummer. He could be loose, or not, exactly as the music required. Decent singer, great drummer.
I don't think deriving musical taste from hearing songs on TV is anything new. I can still remember falling love with Hum from hearing Stars in a Cadillac commercial back in high school. Remember Art & Science?
https://www.youtube.com/watch?v=qlIu1a1Vieg&ab_channel=h-u-m.net
And there's the depressing fact that very few people would remember Nick Drake without the VW "Pink Moon" ad.
Depressing, yes, but reviving really great tunes (and artists) like this is a gift to society. VW picked a lot of great songs in that whole campaign.
More music reviews please. I won't miss the car reviews at all I don't think.
Why not both?
Guess I need to listen to this - been holding off on it but heard nothing but good things. I never really listened to any of her solo work and my experience with Chairlift has been in the passenger seat of my friend's Alltrack when he has Sirius XMU on.
However, I am VERY familiar with her from her performance on an Ice Choir song many years ago. If you're into very shameless but beautifully produced 80s aping, I suggest you check him out and his song with Caroline is certainly a great start.
https://www.youtube.com/watch?v=-gny9UfOEww&ab_channel=IceChoir
Welcome to My Island could have been in the Miami Vice TV show.
This is not my kind of music. I will go an listen to it and see if John's review aligns with my views.
Why you gotta pick on them MIDI keyboards and sound patches?
"Why you gotta pick on them MIDI keyboards and sound patches?"
Something in me completely recoils at the general-purpose "keyboard controller". I can't explain it.
Opening notes took me right to stand or fall, great voice, but she is no Deborah Harry
Caroline Polachek was a recent guest on How Long Gone, among my favorite podcasts; the podcast is NOT for everyone: “How Long Gone is a bi-coastal elite podcast from old friends and podcast professionals, Chris Black and Jason Stewart. CB and TJ deliver their takes on pop culture, fashion, music, and more.” It was recently more succinctly described as “dumb content for smart people.”
https://howlonggone.com/459-caroline-polachek
"PODCAST PROFESSIONALS"
fuck outta here with that
You are a podcast UNprofessional, of course!
HLG is massively tongue in cheek / ironic / sarcastic.
Haim and the people who listen to them suck.
The bass player is a favorite of mine but the music is pretty weak.
Speaking of female vocalists/bassists and albums to listen to in their entirety, I put forth for your consideration Silversun Pickups if you’re not already aware of their music.
I don’t have a clue how they stack up from a technical perspective, but I do know that I often enjoy their albums from start to finish (on Spotify!) when I’m tinkering in the garage. Great sound to my ears anyway…
I am very much aware!
I like Polachek's new record. I think maybe the hype is a little overblown but it's a good record. Danny L. Harle (who you can see on the cover in the background holding his child) produced it and I think he's one of the best pop producers working today. About a decade ago now (holy shit) the label PC Music started putting out releases and I really thought they were going to take over the world. They've been pretty successful but maybe not the seismic shift I was expecting. I still think this is probably the best pop song of the last 20 years:
Hannah Diamond - Pink & Blue
https://www.youtube.com/watch?v=BGjOG6i-U4I
Not bad. I feel like all the great music has been made and now we’re just looking for change under the cushions. Ditto what you wrote about Kate Bush. Astonishing talent.
Every genre runs out of steam eventually; God knows it happened to classical a long time ago, and it happened to rap in under a decade.
There are two problems with contemporary classical music. The first, common to every genre that cannot be performed with two or three people and a fancy computer in a studio, is the production expense. The second is that, outside of film, composition has been captured by people whose native language is the scholarly journal. There's a place for that group of people but they will never, ever write anything for a mass audience.
Wow, right on time for me. This morning I finally freed myself of my on again off again companion of two years. Getting a little down, but some Faith No More is majorly hitting the spot. I discovered them from the X-games soundtrack compilation around 1995. Now I’m wishing I was a young 20s snowboard bum made of rubber.
Two days ago she described a hard time she’d had with her family in the past. Fishing for more engagement from me, in hopes that we still have a chance, she asked about a hard time in my life. I think she was surprised when I told her it was from 19-36.
The Real Thing is brilliant. I tried to get into Angel Dust but it never clicked for me. I probably ought to give it another try.
This reads like Bateman’s review of Huey Lewis in American Psycho. I mean that in the nicest way possible. Also, I am a musical ignoramus without a shred of talent.
I'd like to put in another request for Bark to bring back the Listening Room.
Fiiiine. That shit takes time tho
Speaking of the Battle of Evermore and LADY BANDS:
https://www.youtube.com/watch?v=ogw15jdM_Yc
I am (quite) loosely acquainted with them on a personal level.
In thinking about classical music and it's longevity: much like the chanted liturgy it is not a singular effort (in the case of the liturgy I will clarify and say we join in the eternal liturgy and never-ceasing liturgy). The composer has passed on, but the music is made alive again with each new performance. Will the ARTIST centered music have the same staying power over the centuries?
Robert Plant also sang this when he was with Alison Krauss. It's great, of course.
Ann and Nancy Wilson also perform an amazing cover of the Battle of Evermore, as well as Stairway to Heaven. Worth a listen….
It's not as different as you think.
The truly great songs end up with a million covers, some of which are incredibly different from the original but still work. Contrast Sara Bareilles's cover of "Sittin' on the Dock of the Bay," which I find jaw-dropping, with Otis Redding's original.
Meanwhile, much of the obtuse Bach music that scholars and Bach nerds (like me) love to puzzle over is as obtuse as it is because he was the only person, in his time, who could play it. It was very much "artist-centered" in the same way as much of today's stuff, but the world eventually figured out how to deal with it and make it into a living thing.
Why does music have to be transgressive or subversive? Why can't musicians just MAKE MUSIC?
I see what you're getting at, and I don't disagree, but if you go too far down that road you end up with the Nashville country music machine.
I thought they too were veering into political advocacy as well of late.
Political music has always been embarrassing, but yeah its worse lately. Likely because it is in service of the State's goals rather than counter to it.
Instead of their usual treason of railing against the nation that let's them loudly and publicly hate their own country.
Rule-abiding rebels. How convincing.
Like Rage Against The Machine, who went directly from
FUCK YOU I WON'T DO WHAT YOU TELL ME
to
TAKE THE FUCKIN VAXX YOU BIGOT
What machine are they raging against?
Oh yeah - functional society.
Musicians have never just made music. Not any good music, anyway.
Here's where I show what a FILTHY CASUAL I am:
What do you mean "Good?"
I will give Polachek and Trousers some time and a few listens. One of the benefits of being over 50 is that you don't need to give any new iterations of favorite artists any care at all. If I want Kate Bush, I'll listen to Kate Bush. BUT, to counter my own argument, sometimes new variations on theme ring true.
Speaking of Kate Bush, she always struck me as the solo female version of Rush. Amazingly talented and creative, yet simultaneously somehow always out of step with culture. Ahead or behind, not sure, but oddly theatrical or weird (I feel bad using that word in a seemingly negative way). I have recently seen her 1979 BBC performance which encapsulates the odd scene perfectly. Also, she was right to re-record some of her early vocals.
I agree with you on the scope of her artistry. I still don't understand much of what she was saying or doing, but I couldn't stay away. Her music was just the thing to crank up with the guys on the way to the local ski hill to shred some runs. Oh wait, no, that's not it. THAT was Van Halen. I don't think Kate has ever fit in well. It's a miracle she broke thru to the mainstream ever, at all.
The eternal mystery of Rush to me, and I say this as a fan who has spent real money on the band, is how you have one of the most accomplished rhythm sections in rock or pop history and yet they are unable to even APPROACH a groove or a pocket of any type.
Vital Signs comes close
Agreed. One of the band's best tracks and an underrated gem.
That may be a feature. I've never listened to it but I wonder if they tried to do that on any of the tracks they covered on 'Feedback'.
The great tragedy of Feedback is the songs were almost note-for-note covers of ... covers. There wasn't any originality to it. Fun album, but they couldn't even cut lose on tracks like Summertime Blues.
One of the best pieces of snark I ever read was in a music review of one of the Bill Bruford/UK albums, something like, "In which they prove it is not merely difficult to rock out in 13/8, it is impossible." Can't vouch for the exact time signature, but the point remains.
I too am a Rush fan who has given the band an absurd amount of money since hearing Moving Pictures when it debuted. I think the problem lies in the fact they were too skilled, and Peart in particular was too precise, perhaps to the point of being uptight.
I remember reading Anthony Bourdain writing about the meal Thomas Keller prepared for him at the French Laundry. Bourdain went on at some length about how impeccably prepared it was before saying it also was prepared by someone who had probably never in his life enjoyed a right and proper fuck. The skill and precision was there, but there was no unabashed passion to it.
As much as admire and respect the musicianship and intellect Peart brought to the band, I don't think "passionate" is an adjective anyone would use to describe him. And I think that probably kept him from finding a groove.
Lifeson, on the other hand, once joined his wife and son in fighting with sheriff's deputies who arrested his son, which explains how he could peel off burning solos like the one he performed in Limelight...
He tried to be more loose by training with a jazz drummer but I think by then the band was out of songs. Their music definitely rocks, has sublime moments and there are many gems. They were as you say very technical or mathematical as I would say, didn’t let the rhythm “float”. Probably why women don’t tend to be fans. Bands like Zeppelin or Cream had great drummers who could let it float.
I think about Robert Fripp with King Crimson, very mathematical but from Lark’s Tongues on had a rhythm section that could be funky.
One more aside compare the 7/8 on Tom Sawyer to the 7/8 on I Know What I Like by Genesis both great songs but Phil plays with more soul. In my opinion…
Phil Collins deserves ten times the respect he gets. Peter Gabriel deserves about half of what HE gets.
Fighting words, if ever there were. But upon further, minimal reflection, I probably agree with you. It is sort of odd that these two poor guys get set against one another as they do.
Yeah, I mean they had no personal animosity -- Collins played on some of Gabriel's solo stuff. It's more that weird phenomenon where fans of a band are unwilling to let the band decide what they want to be, and the examples of that are as diverse as "Dylan goes electric" and "Joni goes Jaco" and "Sussudio".
Accurate. Peter Gabriel deserves a lot of respect, so half what he gets is about right. He is still one of my all-time favorite singers. (For context, I never recovered from my prog addiction but even I can see that "So" is just about perfect. I'm now forced to listen to classical, because it is the only genre where the songs are long enough.) Phil Collins was always an amazing and tasteful drummer. He could be loose, or not, exactly as the music required. Decent singer, great drummer.
I like your Bourdain comparison.
I always figured Lifeson was as lifeless as the other two, but I guess not.
Isn't prog rock nearly always empty of emotion?
Don't get me wrong, I am a Rush fan. Maybe it's just the Canada effect, eh.
I’d say she was ahead on The Dreaming. Bought it when it came out and was stunned. Still love it all these years later.
The two tracks from that album that made it to 'The Whole Story' were...odd. A didgeridoo, wtf!?!
That album cover, though. What I would do to get that key...