Archive for the 'genres' CategoryPage 23 of 25

Don't Idolize

Millions of Americans tune in weekly to American Idol. Millions will tonight for its premier. I’m still trying to figure out why.

I know, I know. The TV line-up is thin right now. Unless you’re watching the stellar 5th season of The Wire, indulging your senses in the L Word or devouring the new and improved American Gladiators, life on TV during the writers’ strike is hard. And while Fox may want you to believe it, buy into it, and worship them for it, American Idol is not the solution to your problems. They thought we’d forget that we aren’t getting 24. For years now, Fox has taken the show from over the pond and fed it to you with a sense of smug satisfaction. I mean, think about it…millions of Americans audition, meaning that the job of casting is never difficult (unless you consider that three people actually have to sit there and listen to millions of Americans who think they can sing), it doesn’t take any writers, so that cost and hassle is eliminated, and millions of Americans not only tune in, but actually call and text in to vote. People…they’re laughing all the way to the bank! And now, with the writer’s strike, they’re anticipating running up the viewer count because there is nothing else on. I give you fair warning here, gentle readers…if you really like Idol, or you’re not interested in a prolonged rant against it, this isn’t the post for you. For all the rest of you…read on!

There are numerous reasons not to waste your time on this show. Of course, enjoying wasting your time isn’t one of these reasons. But the reasons, when it comes down to it, need to be split up and addressed differently to both music lovers and people who don’t really care about music. First we’ll tackle the people who don’t really care about music…

You don’t like music or really care about it. You view Idol as pure entertainment, something to throw on the tv while you eat your dinner. In the beginning stages of the show, you like watching horrendously bad people who think they can sing. There’s a certain sort of sick fascination here, like watching a train wreck or taking pictures of a car accident as you drive by. I can almost understand this part…it can be humorous, entertaining to watch people as incredibly bad as the beginning contestants. But as humorous as it can be, what does it say about your taste that this is a good way to spend your time and viewing hours? Is laughing at other people’s misfortune that fun?

Then, you get into the regular show and listen to Simon, Paula and Randy talk about these people as if they’re actual artists. However, the entertainment value here is again derived from watching the contestants get beat up on. What the judges actually say doesn’t have any bearing, because the viewing population is the one who votes on the winners, so why even have judges to begin with? I will point out here that you can basically watch this sort of thing in any local karaoke bar. I recommend here American Gladiators, any National Geographic program, and movie watching as great alternatives to the “entertainment” value of American Idol. You can also spend 45 minutes reading a book and use the 15 minutes of commercial time in a TV hour to go for a walk. Of course, in the end, if Idol is that entertaining to you, you’ll still watch it, but my point here is to get you to sit there for a minute, think about it carefully, and really determine if you’re gaining anything, even real entertainment that couldn’t better be found elsewhere, out of this pursuit.

Then you have the people that enjoy or claim to enjoy music. This is a much easier group to attack. The entertainment goers have some excuses, as in the end what counts as entertainment is a matter of taste, and if you like it, you’re entitled to it. But in my mind, any self-respecting fan of music should have serious problems with this show as American Idol, for all its posturing as a musical show, is virtually devoid of any sort of actual musical quality or content, aside from the few guest appearances throughout the year by actual musicians. The program is supposed to crown the next pop music star, giving label execs a bankable star to sell albums because they have already won over the viewers who vote, so who wouldn’t buy the album?

Well, when you look at the fact that American Idol basically tests to see if you’re able to give a strong karaoke performance on national television, why should you expect any sort of actual musical talent from these people, let alone a decent album? People come on the show that have never made it as musicians, never made it in a band, and haven’t had any luck making it as a singer. These people aren’t just the most absolutely talented singers who happen to have really bad luck getting signed. There’s a reason they haven’t made it! They make the show based on their ability to carry a tune solo, and then progress based on their performances of other artists’ songs. Sure, as a singer you make each song your own, but not in any way that isn’t identical to what happens in millions of karaoke bars the world over. They don’t write their own songs, they don’t make their own music, and they need only the capability to captivate an audience of millions of “average Americans” (and we all know how smart they are from their election choice in 2004) for five minutes at a time. Finally, when the Idol is crowned, someone else usually writes the songs for the album, and the album sales usually flop due to either a) the fact that the Idol watchers have short attention spans and have moved on to other Pop Top 40 hits between the finale and the record release or b) the album exposes them for what they truly are: a glorified winner of a nationally televised karaoke/popularity contest. There are of course exceptions to the rule here, but the last Idol winner, Taylor Hicks, failed to break 1,000,000 album sales and lost his contract. Where were the millions of fans that voted for him when it came time to buy his album on the record contract they helped him get? Even a former Idol contestant (and loser to Hicks), Chris Daughtry, thinks the process is silly. “It’s funny at first, but come on,” he said. “They spend three weeks on people that can’t sing, and that’s what they’re banking it on. (They should) find some people that you can really invest in.”

In addition, you have merely to surf Billboard’s Top 100 or scan the radio airwaves for 5-10 minutes to realize that what the “average American”/radio listener/American Idol watcher knows about music is pretty much nothing. Saccharine singers like John Mayer and Jack Johnson, talentless “rappers” like Soulja Boy (all the people that came to this post from the Soulja Boy tag are now ready to throw me under a bus) and musically bereft bands like Nickelback saturate the entire popular music scene. Sure, there are different musical tastes, and I don’t deny anyone the right to their opinion, but when did the aggregate musical taste of the masses get so bad that a song telling you to “superman dat ho” could spend 26 weeks on the Top 100? Is anyone out there listening anymore? Meanwhile, amazing groups and artists like k-os, Throw Me the Statue, Immortal Technique and Jean Grae make music for years without getting noticed by the masses.

If you’re a “music fan” that’s spending time watching Idol, I suggest to you a visit to a listening station to find an unknown artist, a trip out to see a live performance somewhere, or simply an exploration into the collections of Hall of Famers that you aren’t familiar with. There is so much great music out there that you haven’t heard, I promise.

My Mom loves Idol…she’s of the entertainment crowd that enjoys watching Simon plaster contestants. Whenever I get caught up on my anti-American Idol rant, her constant argument revolves around the millions of people that tune in and call or text in a vote. “30 million people tune in,” she tells me, “they all like it.” I leave you here with the words of a wise person…”what’s right isn’t always popular and what’s popular isn’t always right.” But in the world of pop music and a show like American Idol, it should really be, “what’s popular isn’t always good.”

Songs of the Streets

The Wire (McNulty)If you erased the entirety of television history; if you took everything ever broadcast and pretended that it had never existed, you would be at the beginning of understanding just how badly The Wire puts the term “television show” to shame. It’s beyond a television show. The Wire is a piece of visual fiction, a novel told in sixty minute chunks on celluloid. It creates a community of characters that you care about, because you know they exist somewhere. It creates a tapestry of an environment that is seems as tangible as the office you work in or the house you sleep in, because it doesn’t seem like fiction. And how do you get such a well-written, detail-oriented, rich in texture tapestry that captivates minds, spurs imagination and thoughts of what kind of prison we’ve created for ourselves in our society? You mix and match of course!

You take a former cop/school teacher and match him with a journalist/writer. You take cops, dealers, politicians, union workers, middle school students and dope fiends and mix them together. And of course, you mix vibrant visuals with amazing audio and music made to match. Part of what helps contribute to the atmosphere of the show is the music.

The responsible parties always pick songs that are authentic for the setting at the time, be it a slumland street or a blue collar bar, swanky political fundraiser or a police officer’s wake. The beauty of it is that they never play songs just to play them, and they never take over the scene, merely complete it. Cars passing by, a radio on a front stoop, a band playing in a bar, an alarm clock, a song on the radio during a conversation in a car. Songs are subtle background pieces that perpetuate the realistic feel of the entire show. Sometimes, as with some of the Baltimore rap songs, they float subtly from a car window of a passing Escalade to remind you of your surroundings. At other times, as with The Pogue‘s song “Body of an American” and “Efuge Efuge” by Stelios Kazantzidis, they become central to the action as they bring together characters in revelry.

And now, thanks to the good folks over at HBO, you can fill your ears with the songs and dialogue of The Wire. Released January 4th, …And All the Pieces Matter (or on iTunes) shows the diversity the show possesses. The rap songs are here, the rock songs, the four different versions of Tom Waits‘ “Way Down in the Hole” from the first four seasons, and the songs that are used in the season finale montages, all peppered with memorable clips of dialogue from characters both dead and alive. It’s extremely well balanced, featuring songs and clips from the first four seasons and a small tease clip from season 5. So go cop the package, son. The next time you’re in your car or walking with your pod, you’ll feel like you’re back in Bodymore, Murderland.

11 Songs to Be Thankful For

In a mainstream musical landscape of, for the most part, rapidly declining talent and increasing acceptance of incredibly low musical standards (I mean, you have just read an entire blog about people actually performing and videotaping jack ass Soulja Boy’s song, complete with the lyrics “superman dat ho,” and didn’t think it was entirely out of the ordinary, in fact, you were probably entertained), it’s important to keep somewhat grounded by recognizing the unrecognized…the real musicians and rappers that slip through the crack because they can’t sell or ink deals with the majors. Also in need of recognition are songs of the past that we sometimes discard as the next CD/download comes out.

On this Thanksgiving weekend, I give you a newly discovered or enjoyed song from each month of my musical year. Not all of them are new to this year, the month merely represents when I first heard them or came back to them. Some of them you might have heard, some you may not have, but the idea is these are songs that immediately sunk in and made an impression, and can probably offer you three minutes or more of something you’ll enjoy more than taking a hammer to your head (which is what 94.9 makes me feel like doing). For whatever reason, of the 600 or so new/refound songs I’ve heard this year, these stood out and deserve a listen if you’re looking for something new, or a revisit to a song you’ve heard that’s worth hanging on to. Copyrights prevent us from posting the actual songs, but I’m sure y’all are smart enough to do a little research…

January: “Tulips (Club Version)” (Single) by Bloc Party. Actually a 2005 song, but hidden in single format, this one sounds just as relevant as their more current work. With the driving rock mixed with a melancholy edge, the song is at once both energizing and haunting. Honorable Mention: “Classical Hit” (Straight From the Crates, Vol. 1) by Phil Da Agony

February: “Float” (Half Full Ashtrays, Half Empty Glasses) by the Lab Rats. Off their 2006 self-release, “Float” provides some of the most intricate and touching lyrics of any of their songs. This group, independents out of Ohio, usually vent on the struggle of a below middle class life and the difficulties of getting their music conceived, written, produced and distributed. This one though finds a more harmonious tilt and examines the feeling of letting the tide of life come to you rather than chasing it. “Where you are right now is a specific composition of every single decision that you’ve made in the past.” Honorable Mention: “In Love” (The Medicine) by Planet Asia feat. Jonell

March: “4 AM in 4 Parts” (Prox EP) by edIT. Off the 2006 various artist EP, this super glitch song displays edIT‘s diversity as he breaks the song into 4 parts to elicit different aspects and moods of the rave culture. A must listen for anyone trying to get a grasp of what edIT is all about. Honorable Mention: “Mirror in the Sky” (Atlantis – Hymns for Disco) by k-os

April: “Cooter Brown” (To Tha X-Treme) by Devin the Dude. Off his 2004 release, the laid back beat and old sample of this song had me cruising for weeks. His smooth delivery as he examines the issues in his life and his progress through them drift over this melody with a relaxed purpose that make it good for any mood. Honorable Mention: “Pusherman” (Supafly Soundtrack) by Curtis Mayfield

May: “Groundswell” (Moonbeams) by Throw Me the Statue. If you wonder why we keep plugging TMTS over here, it’s because the music is worth the listen and you may not hear it elsewhere. This song, utilizing the same excellent mixture of driving rock, positive sounds and yet still slightly melancholy feel that made “Tulips” stick to me, does it with horns and an acoustic riff that you can take with you. Honorable Mention: “Do It” (Loose) by Nelly Furtado (I’m still dancing to this one, a rare tasty pop treat)

June: “The Killing Moon” (Songs to Learn and Sing by Echo and the Bunnymen. Odds are, if you were born when I was, this song doesn’t remind you of a pop radio hit. But it was, back when we were running around in DARE programs and listening to Bush and Dukakis square off. It came back to me through the repeated watching of Donnie Darko. It’s eerie, fleeting and perfect for a fast drive down a dark street. Honorable Mention: “Got Me Lost/Driving In LA” (Telefon Tel Aviv – Remixes Compiled) by John Hughes

July: “Relax” (Port Authority) by Marco Polo feat. J*Davey. A mellow hip-hop/R&B cut with a Tribe Called Quest sample, this song is lounge perfect hip-hop and nightcap music. Honorable Mention: “Back in Your Head” (The Con) by Tegan and Sara.

August: “Play Your Cards Right” (Finding Forever) by Common. Off his newest album, this track works on your way to or from your evening. The up-tempo throwback sound and Common’s expert delivery work again and again, and the feet keep moving to this one. Honorable Mention: “None Shall Pass” (None Shall Pass) by Aesop Rock

September: “Good Life” (Graduation) by Kanye West. I don’t think I need to break this one down…if you haven’t heard it, it’s very possible you’re living in a cave and not reading this. Sampling a little Michael Jackson, Kanye toasts to his newfound status and keeps it moving. Honorable Mention: “Crunk de Gaulle” (Certified Air Raid Material) by edIT feat. TTC, Busdriver and D-Styles)

October: “Bayani” (Bayani) by Blue Scholars. This one is short, sweet, uplifting and at the same time borne of pain. Honorable Mention: 15 Step (In Rainbows) by Radiohead

November: “Windmills of Your Mind” (Thomas Crown Affair Soundtrack (1968) by Noel Harrison. A fantastic oldie/goodie I hadn’t heard before checking out the original movie. Cut in the echo filled folk sound mold of some of Simon and Garfunkel’s work of that era. Honorable Mention: “Dancing In the Dark” (Born in the USA) by Bruce Springsteen

Throw Me the Statue @ Bimbo's 365

Bimbo’s Marquee

Friday night, Throw Me the Statue (aka Scott Reitherman) descended on Bimbo’s in the city to hype his new album Moonbeams and visit with the hometown folks on his way to the Troubadour in Los Angeles. Because of the nature of the concert, it was packed with the high school crowd.

I was excited to hear how the album songs translated to concert, knowing that Scott wasn’t bringing some of the session musicians brought on for the CD. With Aaron Goldman and two others, the four man set did a remarkable job of turning out the songs, often in ways that brought more energy to both the venue and the sound.

Despite the fact that it felt like a concert in high school, complete with Gavroche heckling Scott from the crowd, it was an impressive set in a great venue. For those that haven’t been to Bimbo’s, you should get out there if a band you’re even remotely interested in is playing. It’s spacious enough to provide comfort for everyone, and at the same time small and intimate enough that it feels almost like a coffee shop show of sorts.

While I don’t remember the set-list order, they came out and started “Written in Heart Signs, Faintly.” From there, they played “Lolita,” “Groundswells,” “Yucatan Gold” (which they made very cool by passing out shakers to the crowd and asking them to assist with percussion,) “Young Sensualists,” which was amped up with a strong amount of tempo and energy not found on the album version, and “About to Walk.” “Young Sensualists” surprised me the most…as the album opener, it’s a very nice song, albeit slightly lower on energy. In concert, the song found new life and was right up there with “Groundswells” and “Yucatan Gold” for me in terms of enjoyment.

What was most interesting to see was the transformation of one of our friends from a high school/gig musician to an actual rock band on stage. They fit perfectly into the crowd and the venue, looking well rehearsed, and easily poking fun at their own mistakes (“sometimes we like to test the patience of the audience by playing wrong notes. You guys are still here!”). What I didn’t expect was how easily, once off the stage, Scott went right back to being Scott. There were no handshakes or hellos in the lobby that felt forced. Scott was still Scott, and still genuinely glad that people came out and enjoyed his music. It didn’t feel like he was in the band and we were fans. It felt like he had just got done doing something and we were back at a party from high school or college. His parents came out as well. Mainly, everyone had a great time.Gavroche and Scott @ Bimbo’sActual and Scott @ Bimbo’s

Scott certainly appears to have the right mix of crowd sensibility and notions of grandeur, while keeping a grounding that should keep him close to his closest friends and supporters. It makes for an interesting mix in a rock group, and one that will be interesting to chart as he gains a larger following (which will happen…they heard “Lolita” on KCRW in a cab ride home in Los Angeles following the Troubadour show).

Throw Me That Homecoming

TMTS[Please note…while you might be able to find a bunch of blogs out there about this next band, this is probably one of the few written by someone who knew the artist as far back as middle school. Of course, that serves the dual purpose of making me appear a bit biased, but truthfully, I don’t like music for the people that put it out, so I wouldn’t let that association get in the way of an honest review.]

In high school, a group of guys (not much unlike the group of guys responsible for MMM), went around creating bands. The band members would rotate, change names, change styles, but the basic nucleus remained the same. Red Rum, Blue Fin, Gobo, and then Elephant Blend were all part of the revolving door of bands this group of guys created. From all of these came interesting music, with the Elephant Blend CD Liberty Market Summer providing a clear example of just what kind of quality music these gentlemen were capable of producing. Scott Reitherman of El Granada teamed with Alan Khalfin and Aaron Goldman, created lyrics and sounds derived from their experiences with travel, women, and to some extent the effort involved in growing up and the experience of living in San Francisco.

Scott Reitherman grew up in El Granada, CA attending Nueva before moving on to Crystal Springs Uplands. Following graduation from college, Scott moved to the Seattle area and has now helped co-found Baskerville Hill Records. Baskerville Hill is a record label based on the principles of a family type community and musical collaboration. To date, they’ve released Black Bear‘s debut album The Cinnamon Phase, and Scott has reincarnated himself musically as Throw Me the Statue to release Moonbeams. Now, when I first heard the name Throw Me the Statue, I thought it was a reference to James Ferrer’s high school game of picking up expensive things in his parents’ house and throwing them at unsuspecting guests, not really caring if they broke or not. It’s not, but the image remains.

To know Scott is to better understand the breadth and depth of his music. He’s not content to put out a disc, or even more than a few tracks of similar sounding material. At times he keeps things very simple with easily to grab pop melodies and honest lyrics to sing along out loud with. At other times, the musical compositions are complex and layered, making you not sure where one musical influence ends and the next begins; the lyrics personal enough to make the listener feel almost excluded in an odd sort of way. Through all of them, Reitherman’s unique voice continues the current musical trend in indie music vocals of on key but just off. And musically, he doesn’t hesitate to get his hands dirty, being credited in the liner notes on vocals, guitar, keys, bass, melodica, accordian, glockenspiel, drums and percussion.

Moonbeams brings all of these sounds together for the first time. Previously, Throw Me the Statue could be heard on the Dr. Rhinocerous compilation CD from Baskerville Hill, but the first solo release, complete with well designed insert art and well-paid professional session musicians in places, finally showcases the diversity of the music and the inspiration behind it. You can hear traces of Radiohead, Nine Inch Nails, Bosstones, Postal Service and Death Cab, Say Hi to Your Mom and Black Bear. Not to say that all of these artists had a hand in Reitherman’s musical make-up, or were in his mind during the creation of the music (you always need to be careful when attributing influences to a writer or musician), but traces of those sounds are there. You can also simultaneously imagine watching him kneel down on the good side of an ice luge at a backyard high school party, lamenting a break-up, driving cross-country or making music on the floor of his Seattle apartment with the rain hammering the windows.

In an effort to get y’all to go out and support the band, see a show or get the CD, I’m not going to give you a track by track breakdown of sound description like I’ll usually do with albums. The tracks I particularly enjoy are “Young Sensualists,” “Yucatan Gold,” “Groundswell,” and “Take It or Leave It.”

What’s amazing about it all is that growing up in the Bay Area, we saw plenty of shows over the years at Bimbo’s 365 club. Now, we welcome Scott as TMTS back to San Francisco to play there. You can see Throw Me the Statue performing with Jens Lekman November 9th at Bimbo’s 365 in San Francisco, or November 10th at the Troubadour in Los Angeles. You’ll have to get there early though, the word is they’re sold out and you’ll have to scalp. Come February of 2008, you can pick up the tweaked and re-released version of Moonbeams from the indie label Secretly Canadian. Congratulations Reitherman!