The Audacity of Rock: Part 36

Reggae ghosts.

Emphasis on beats 2 and 4, creepy backing vocals, and classic horror instruments (be it organ or harpsichord).

"Ghost Town" by The Specials (1981)

There's actually some pretty interesting historical background of this song, including rising unemployment and civil unrest in the UK. Mostly, it's just an awesome song that blends unlikely genres. Seriously, Middle Eastern something with reggae, with 1950/60s horror with a mariachi(?) bridge. I'll allow it.

Not even trying to look they're performing live.

"Two Against One" by Dangermouse and Daniele Luppi starring Jack White (2011)

Apparently this whole album, Rome, was inspired by Spaghetti Westerns? Which, sure. I'm not sure of the inspiration for "Two Against One", but something by Ennio Morricone is probably a safe bet. I'm also not sure what this song is about, but probably someone with low self-esteem if his mirror is a trigger. Mostly, I just like acoustic guitar/harpsichord/surfer guitar/reggae thing going on.

Questions:

1. Do you remember the good old days before the ghost town?

2. Is Jack White in every recording studio at once? Why or why not?

The Audacity of Rock: Part 35 reprise

I know y'all couldn't get enough of the late 60s early 70s rock flute movement videos I posted earlier. Here's one more. This is "The Court of the Crimson King" from King Crimson's 1969 album In the Court of the Crimson King. Somehow, the prog rockiness of it doesn't bore me. It's more like the perfect blend of late Beatles and Pink Floyd. The flute begins at 4:15.

This man has no tonsils.

The Audacity of Rock: Part 35

A case study to bring back the rock flute.

Much like everything else that was good in fashion, film, and ethics, the 80s swept away the rock flute. The flute now remains a forgotten relic of folkier times in rock 'n' roll, laying waste in the hands of gossipy girls in the high school marching band. Let's reminisce about the good times, and prove that this is an instrument that deserves to come back.


"Forty-thousand Headman" by Traffic (live in Santa Monica 1972)

A flute can make a story sound old school campfire legendary.

I love everything about this band: the silk shirts, Steve Winwood's blank eyes, the blue sports jacket, the maracas, and most of all the flute.

"Song for Jeffrey" by Jethro Tull (1969 performance)

When used with gritty vocals and a slide guitar, a flute sounds incredibly earthy.

I'm pretty sure I see this guy on the street daily in Seattle, so where's the rock flute?

"The Musical Box" by Genesis (1972 on Belgian TV)

A flute can make a creepy fairy tale even more haunting. The (prog) rock flute starts at the 1:20 musical break. I recommend sticking this song out to the end. It is transcendent.

Did you stick around for grope-y Peter Gabriel?

"Everyone" by Van Morrison (off the 1970 album Moondance)

Last, a rock flute can make a song sound madrigally celebratory.

• Everyone by Van Morrison

More Van Morrison music on iLike

Dear people who are in charge of Van Morrison's music, why can't I find embeddable Van Morrison content? Love, a lover of Van Morrison's music.

Questions:

1. How awesome is the rock flute?
2. What instrument would you like to see make a comeback?

The Audacity of Rock: Part 34

FIRE!

While I do have a propensity for the pyrotechnic, fire doesn't always make for good lyrics. Or maybe they really are the best lyrics...

"Love is Alive" by Gary Wright (1975)

This may be my favorite thing I've found all year on the YouTubes. Multiple keytars, a satin-only band dress code, and so much love given to the greatest of all percussion instruments: the cowbell. I had no idea Gary Wright has much more to offer than "Dream Weaver." So what was I talking about? Oh, fire. His heart is on fire. That doesn't sound healthy. You might want to see a cardiologist. Or House. A burning chest could mean anything.

"Sex on Fire" by Kings of Leon (2008)

So it kind of sounds like they're singing about a scorching case of herpes, but is this not the most fun song to sing loudly in your car? I think the answer is no. Because it is fun. To sing "Sex on Fire." In the car. Loudly.

Questions:

1. What's the weirdest thing you've melted/set on fire?

2. What's your favorite fire-themed song?

The Audacity of Rock: Part 33

Weird chord progressions and crazy lyrics.

Sometimes I don't know whether I hate or love a band because they're just so weird. Maybe I should just settle for unique affection?

"Don't Take Me Alive" by Steely Dan (1976)

Truthfully, I don't know too much of Steely Dan's music, but the jazz-rock underground classic band is instantly recognizable. They use funky chord progressions and eccentric lyrics to create...I don't even know. "Don't Take Me Alive" might be about the old West if it weren't for the megaphone reference (*mu chord*). Also, what's with the pronunciation of "Oregon?" Yes, that is what they're saying.




"Ready, Able" by Grizzly Bear (2009)

While Grizzly Bear is probably more psychedelic/Radiohead than jazzy, their music is still jarring. The song never goes where you expect in terms of chord progressions, vocals, harmonies, or use of instruments. I also have no idea what they're singing about in "Ready, Able," but it sure is pretty, and the music video will give you nightmares.




Questions:
1. What's with Seattle and Steely Dan? Every time I turn it on classic rock, there they are.
2. What's your favorite crazy/odd but good band?

Medley of the Day: Key Change edition

Nothing makes me giggle in delight more than a song that decides to take it up or down a notch with a key change at the last minute.

I know I already assaulted you with "I'd Love to Lay You Down" by Conway Twitty in the most ridiculous edition of The Audacity of Rock, but it bears repeating:

Speaking of country key changes, "I Walk the Line" by Johnny Cash. What is there, like 5? Good work, young Mr. Cash.

Although, a key change is the perfect way to end a prolonged musical experience as well. Take the show closing "Danse Mon Esmeralda" from Notre Dame de Paris. I kind of hate this song for making me think it's over, but instead just changing keys for another depressing reprise of the chorus, but it's too glorious to really hate.

Speaking of theatrical key changes, "Keep Yourself Alive" by Queen. I love everything about this song and this music video.

And no worries, the art of a great key change isn't lost. Here's MGMT's very recent "The Youth."

The Audacity of Rock: Part 32

Tone it down and build it up.

A surefire way to make any song way more exciting: drop out some instruments, either in volume or entirely, and then bring 'em back in with a vengeance. Also, I won't complain if you have some sweet vocal harmonies to add to the mix.

"Feelin' Satisfied" by Boston (1978)

Brad Delp works it out vocally to an epic guitar riff and claps-only percussion at the beginning of the chorus (see :54 and again at 2:30). Boston always knows how to up the ante.

"Girlfriend" by Phoenix (2009)

French sensations Phoenix display this timeless technique by blending it with modern rock's penchant for a continuous driving beat. The band tones down all the instruments, but keeps us interested before building to the glorious "girlfrieeeend" (see 1:21 and more obviously at 2:28 and 2:57).

Questions:

1. What's with bands being named after places (if Phoenix is referring to the city and not the mythical bird)?

2. Is there any Boston song that doesn't make you want to a) have a spontaneous dance party, b) go outside and loudly greet strangers, or c) take a joy ride in your car?

The Audacity of Rock: Part 31

Rock and the spoken word.

I'm a fan of random words inserted in songs. It's haunting and confusing all at once.

"Us and Them" by Pink Floyd (1973)

The spoken part is taken from an interview with a Pink Floyd roadie named Roger the Hat (according to the wikis). "I mean, they're not gonna kill ya, so if you give 'em a quick short, sharp, shock, they won't do it again. Dig it? I mean he got off lightly, 'cause I would've given him a thrashing, I only hit him once. It was only a difference of opinion, but really, I mean good manners don't cost nothing do they, eh?" (4:55)

Also according to 'pedia, "The phrase 'short, sharp shock' is a phrase meaning 'punishment that is quick and severe.'" Which also might describe how you feel after being forced to repeat the phrase that appears in Gilbert and Sullivan's classic The Mikado in the song "I Am so Proud."

To sit in solemn silence in a dull, dark dock,
In a pestilential prison with a life-long lock
Awaiting the sensation of a short, sharp shock
From a cheap and chippy chopper on a big, black block.

You can hear it at minute 2:20 of the following clip:

You're welcome.

"Nantes" by Beirut (2007)

The speaking part in this song (2:12) is taken from the French film La Bete Humaine (1938). I thank awesome YouTube user peskasker for providing the clip, synopsis of the scene, and the translation. So here's the info:

"In this scene, the husband (Séverine Roubaud) is trying to caress his wife (Flore), but she has no intention of doing so."



Le French:

- "Oh non je t'en prie, nous ne sommes pas chez nous."
- "Oh je t'assures que ce n'est pas grave."
- "Non laisse moi!"
- "Mais qu'est-ce que tu as aujourd'hui?"
- "Je sais que les hommes me dégoutent. Vous ne pensez qu'à ça..."

English translation:

- "No, not here."
- "But I assure you, it doesn't matter."
- "No! Leave me!"
- "What's wrong with you?"
- "Men disgust me. You only think of that (sex). You're all the same..."

Consider yourself enlightened.

Questions:

1. Do these spoken words enhance your listening pleasure, or detract from it?

2. How awesome is the name Roger the Hat?

The Audacity of Rock: Part 30

Why leave on really awesome song alone when I can tack on a clearly inferior second half?

Do you ever listen to songs and love them, but then it goes into a second movement that you are completely underwhelmed by? WTF?

"I've Seen All Good People" by Yes (1971)

This song consists of two parts: the brilliant and inspiring "You're Move" and the mediocre and boring "All Good People." Seriously, the song climaxes exactly halfway through with a build up of organ, vocal harmonies, and folky guitar--and then pseudo-Southern rock meh happens. It's not bad so much as a let down. Anyway, I just wish the two parts weren't played together.




"I Belong To You (+ Mon Ceur S'ouvre A Ta Voix)" by Muse (2009)

A couple of weeks ago, I went on a Muse binge where I discovered the band is one part brilliant songwriting, one part overindulgent pretentiousness, and a mixed sprinkling of Queen, Radiohead, and My Chemical Romance. In other words, I still have no idea how I feel about the band, but sometimes they create things of beauty. In this case, a fun, piano-heavy rock piece. But then that takes a hideous turn toward the psuedo-operatic and untrained vocals worst. But then it wins you back with a clarinet solo. All I can say is, WTF, Muse?




Questions:
1. Do you have any songs you wish would have ended instead of kept going?
2. Is operatic kitsch dead?


Side note: On the topic of operatic allusions, here's Klaus Nomi performing the piece"Mon coeur s'ouvre a ta voix" from Samson et Dalila by Saint-Saëns . Opera camptastic!

The Audacity of Rock: Part 29

90s R&B never goes out of style.

It's nice to know that emo is carrying to torch of drum machines and synth. Wait, they're actually playing instruments? What follows is based around Push Play's "Midnight Romeo.

First, what the song reminds me of most:

"You Make Me Wanna" by Usher (1997)

Usher truly is the master of the tender strings and drum machine topped with too many syllables per line of music.

Usher |MTV Music

Also seen here.

To be more accurate in my comparison with a white boy band, let's use some whited out R&B.

"Quit Playing Games with My Heart" by the Backstreet Boys (1996)




So here's the song in question.

"Midnight Romeo" by Push Play (2009)

It's mostly the beginning of this song that sounds totally 90s R&B, but the lyrics throughout are basically the white boy version of the unabashed "I want to get in your pants" song.

Push Play |MTV Music

Also seen here.

Wait a minute, is that banjo I hear in the chorus? Maybe not, but Push Play is also trying to use the phrase "Midnight Romeo." If that's not trying to be country, I don't know what it is.

But please, Push Play, don't even try to compete with country music for sexy.

"Hello Darlin" by Conway Twitty (1970)




Questions:

1. Usher makes me wanna to avoid middle school ice skating parties. What does he make you wanna do?
2. How much do you love this song?
"I'd Love to Lay You Down" by Conway Twitty (1980)


I know it's 80s country and cheesy, but you're kind of smiling, aren't you?

The Audacity of Rock: Part 28

Let's hear it from the kids.

The addition of children into a song can either be creepy or endearing. Those are the only two results.


"Another Brick in the Wall Part 2" by Pink Floyd (1979)

Army of singing anarchist children: both awesome and terrifying.




"Count it Off" by the Saturday Knights (2009)

Kids singing the chorus of a horn-heavy rap song: adorable!




Questions:

1. What are other songs that feature small children?
1. Muppet-like puppets: always great?
2. How can you have any pudding if you don't eat your meat?

The Audacity of Rock: Part 27

Let me negate your great instrumentals with my voice.

Some people's voices inexplicably drive me crazy, as in make me want to drive a knitting needle through my tympanic membrane so I no longer have to listen to how much they're destroying a perfectly good song. While I realize a vocalist is a huge part of a band's identity, sometimes I can't help wondering if I would like a band better with a different lead singer.

"How Soon is Now" The Smiths (1984)

Morrissey sings so far back in his throat, he can only etch out some pansy, poorly enunciated drivel. In "How Soon is Now," the train-like sounds, distorted guitar lick, and heavy drums could be gritty and awesome, but instead get diluted by a limited vocalist.



Luckily, Love Spit Love took a crack at it in 1995 and brought some grit to the haunting melody.


This version was also the theme song for Charmed. This might explain the accompanying pictures.


"Cath..." Death Cab for Cutie (2008)

I cannot even express my disdain for Death Cab for Cutie. I actually don't mind their music...until Benjamin Gibbard's voice comes in. He's like the vocal equivalent to a wall lined with egg cartons: he just absorbs any resonance the music might have. His scoopy, barely singing style, with a muppet-like love of holding out the second half of a dipthong and/or the last consonant phoneme, cuts off any chance his voice will carry. It makes me so incredibly mad because it makes his bands' songs suck. AAARRRGGGH!



You know what makes me like this song? This dude named Shawn's 2008 cover on YouTube. A complete improvement because the vocals resonate. It's like he's actually singing or something:




Questions:

1. Am I alone in my opinion of these bands?
2. Which vocalists ruin bands for you?

The Audacity of Rock: Part 26

Stealing girls from guys.

It's a well documented fact that the presence of a guitar instantly makes a guy 7x more attractive than without. Apparently it's so attractive that women may leave their boyfriends for such talented guys. Level of talent needed to impress a girl: 3 chords, probably in the key of D.

"You're Gonna Lose that Girl" by The Beatles (1965)

Dude. It's the Help!-era Beatles. Of course your girl is going to leave you for one of them. Even Ringo. Just give up.




"Grand Theft Autumn/Where is Your Boy" by Fall Out Boy (2003)

If I had heard of them before summer 2005 when "Sugar, We're Going Down" was their breakout hit and my Cold Stone manager incessantly played "Grand Theft Autumn/Where is Your Boy" at closing time, I may have been a big fan. But alas, I was over the age of 15. But you have to admit that early Fall Out Boy was kind of adorable. No one was wearing eyeliner or casting their across their eyes. Plus, they're totally going to steal your girlfriend. Because they play guitar in a pop rock band.




Questions to ponder:

1. Is there really a good time besides a campfire to pull out your guitar in public?
2. What song makes you want to punch a guy in the face for playing?

The Audacity of Rock: Part 25

I'll show you how I hard rock with my double bass pedal and screaming vocals.

Thrash metal reached its heyday in the early 90s, and yet its legacy still lives on, despite its waning mainstream popularity. But I'm always surprised at how ubiquitous hard and fast rock still is. This is not my style of music, being one who desires melodies and nuance, but if you're going to be angst-ridden and misanthropic, you might as well do it thoroughly and loudly instead of wallowing in self pity and poorly played instruments.

"Angel of Death" by Slayer (1986)

By this point, heavy metal like this is beyond cliche. I have a hard time imagining how edgy is must have been at the time, playing as fast and loud as possible because now it just seems ridiculous. Unfortunately, like repetitive soul music, more fun to move around to than to listen to. Seriously. This music is torture unless you're moshing yourself into oblivion.




"Blood on My Hands" by The Used (2009)

Screamo seems to be the contemporary incarnation of heavy metal. It's the kind of music a pair of roommates I had one year would listen to when they were particularly angsty/menstrual that day. It's got a sprinkling of emo, in that it's less about the Reaper than heavy metal of yore, but I can stomach it better since at least these people are angry which is way more fun than being whiny. Here's the Used's fairly radio friendly newest.




Questions to ponder:
1. What was/is your angry music?
2. What was the angry music of back in the day? Or did people not have time for it? Like Bach-era music? That's just too clinical to really get down to, amiright?

The Audacity of Rock: Part 24

Vanilla flavored rock.

You know the bands. They get a lot of air play, have a lot of fans, but you have no idea why. They don't rock hard, they have bland melodies, and absolutely none of the band members are good looking, but somehow they become huge. This is one part of our past we haven't learned from yet.

"Even the Nights are Better" Air Supply (1982)

Suffering from a disco hangover, this duo managed to reach the top of the US charts in 1982 with this song. The bridge is pretty good, but I'm a bridge junkie, so I don't know what that means. Anyway, this is soft rock at its finest and milquetoastiest, complete with the cheesiest lyrics possible.

Air Supply |MTV Music

"Never Say Never" The Fray (2009)

Once again proving that they're the least creative lyricist in popular music today, each phrase is uttered at least twice in a row. Alhtough I can understand about half of what Isaac Slade sings in this #44 peaking song, unlike most of their singles. But honestly, there is nothing interesting about this song, except that it would do well accompanying the ending montage of a broadcast channel drama.

The Fray |MTV Music

Questions to ponder:

1. How do bands like this make it huge?
2. How do you deal with their ubiquity?
3. Most importantly, how did Air Supply get those cute girls in their video?

The Audacity of Rock: Part 23

Saturday night!

Rock music has long held that Saturday night is the night that things happen and is really fun. In reality, it's a night that you probably should find something to do because nothing's on TV anyway.


"Saturday Night" by the Bay City Rollers (1976)

When I worked at Burgerville I usually punched in the code on the Jukebox for "Let's Get it On" or "Heaven is a Place on Earth," but every once in a while, I chose this song for its energy boost and pure singalongability. Also, because listening to it might get it out of my head.

Bonus points if you can explain to me the short pants and the weird phallic background.




"Saturday Waits" by Loney, Dear (2007)

I'm not really sure what this song means, but it's pleasant and the music video has dressed up dogs...so awesome. Anyway, Saturday night seems to be held as significant.




Questions to ponder:

1. What do you do on Saturday night?
2. I found a song about/named after every day of the week except Wednesday. What's up with that?

The Audacity of Rock: Part 22

The not-live live video.

It's time for another video analysis comparison. While most music videos show a band playing "live," some strive for a more authentic feel. This can either turn out kind of cool or kind of douchey.

"Wanted Dead of Alive" by Bon Jovi (1987)

I'm going to go ahead and admit I find this video kind of cool despite myself. The sweat, the shots of lone band members, the black and white all just work for me. Although there is an edge of self-indulgent in featuring the fan signage and claiming that they've "seen a million faces and rocked them all." I guess you might as well go big in stating your awesomeness if you're going to try at all.

Bon Jovi |MTV Music

"Weightless" by All Time Low (2009)

I find this music video disturbing, not just because people are fawning over 12-year-olds I've never heard of, but because it has the audacity to presume to know what every one is thinking in a meta-attempt at humor. Unfortunately, it's not funny, it's douchey. And this isn't even real concert footage. Also, this song is boring. Nothing personal--haha.

All Time Low |MTV Music

Questions to ponder:

1. How much cooler would these videos be if they were actually performed live?
2. Could these songs be more cliche-ridden?

The Audacity of Rock: Part 21

Amount of hair proportionate to the rocking.

Rock 'n' roll has had a long history of long/huge hair that somehow got lost in the 90s, but if you look hard enough, you can still find some fantastic locks. For this part, I'm ignoring the butt rock/hair band era because the hair was bigger than the rocking. Here are some legit examples.


"Black Dog" by Led Zeppelin (1973 performance)

The whole band is rocking some great hair in this kind of relaxed version of the song. While Robert's head of hair is always magnificent, I think the important thing to note is John Paul's grown out page boy. I should also note that costuming doesn't hinder the rocking, so rest easy when you check out Jimmy's get up.




"Bad Boys Running Wild" by Scorpions (1985 performance)

Dude. Scorpions were good at what they did, and they did it with some good locks on their head. This time, their locks are blowing in the wind (the winds of change?). Not even those striped pants can get in their way.




"Molly's Chamber" by Kings of Leon (2006 performance)

While Kings of Leon are now rocking significantly less hair, at one point they realized the potential that long hair could bring to their music. I don't think I have anything else to say except that I wish they'd kept the bangs.




Questions to ponder:

1. Will long hair ever come back unironically?
2. What rocker dons the most glorious head of hair?

The Audacity of Rock: Part 20

Boys and girls together.

It's too bad there aren't more bands that have guys and girls together because I love the combination of male and female voices (one million points for country music). Unfortunately, they don't have the best track record.

"The Chain" by Fleetwood Mac (1977)

This band had it's share of issues, letting a girlfriend into the band. But you can't tell me the beginning of this song isn't magic thanks to some mixed-sex harmonies.

Feel free to sing along in Japanese.



"I Know What I Am" by Band of Skulls (2009)

I like that Russell Marsden and Emma Richardson take turns singing the verses. They have similar delivery, but there's still a difference in timbre that makes the song much more interesting than just one singer. Also, got to love a low range in a lady.

Band of Skulls |MTV Music

Questions to ponder:

1. Are guy/girl bands always a bad idea?

2. Is it okay to love Fleetwood Mac?

The Audacity of Rock: Part 19

I'm totally going to get a girl with this song.

Since the dawn of music (probably), men having been writing songs for the ladies. The most surefire way to get your message of love to the girl of choice is to put the chick's name in the song, preferably making the name the title*. There are so many to choose from, so I picked one from the last five decades.

"Michelle" by The Beatles (1965)

Even the Beatles weren't above using a bird's name in a song--or rudimentary French.



"Alison" by Elvis Costello (1977)

This is one of my default-stuck-in-my-head songs. I'm bound to sing it to any Alison I know.



"Amanda" by Boston (1986)

If you're all, "This sounds exactly like every other Boston song, but with just hint of Power Ballad," I'm like, "That's why it's awesome."



"Valerie Loves Me" by Material Issue (1991)

Apparently bands hated girls' names in the 90s. They're getting raped ("Polly"), rejected ("Molly"), called a whore ("Ava Adore"), or fake ("Josie (Everything's Gonna Be Fine)"), but not loved. Anyway, after way too much "research" here's a 90s song that's kind of an ode to a woman. I guess.

Material Issue |MTV Music

"Kelsey" by Metro Station (2007)

It took long enough to get a song with my name in it. Too bad it's kind of a lame song, in the sense that I doubt they'd actually swim the ocean for me. They didn't even spell my name right, so whatever. They suck.



Questions to Ponder:

1. Why did the 90s hate women?

2. What happened to Jayne?

L.A. Guns |MTV Music

*I realize most (read: all) my posts for The Audacity of Rock are about dude rockers. Sorry.