Hey everybody, I'm back for another Pick of the Week! This pick focuses on the Bonnie Raitt classic, "I Can't Make You Love Me". Now, I'll admit, this is some cheesy stuff...but sometimes cheese is a good thing: think about it as a nice brie as opposed to Velveeta. You might know Bonnie Raitt from her 1991 hit "Something to Talk About", a standard, upbeat, Shania Twain-esque 90's pop song. In contrast, "I Can't Make You Love Me" is very intimate and personal. While it has broad appeal, it comes across as a song that was written for personal healing, not for record sales.
This is the first episode of a three-part series we've been recording about the history of punk music. A musical style often derided for its simplicity and unpolished nature, punk is actually quite seminal and important, and for part one we look at one of the earliest punk albums, The Velvet Underground & Nico, and consider the music, what ideas informed it, what impact it had, and so on--the usual stuff. What we found was surprising to me personally (I've mostly regarded punk as something akin to day-old garbage: not quite stinky and gross, but not desirable at all, either), and has really changed my estimation of this music and social movement. It's a fun exploration of a musical style you may not have considered very seriously before, but should.
I'm becoming more and more fascinated by graphical, software-based music composition tools. A well-known, simple example is ToneMatrix, a pentatonic step sequencer (if you've never played with this before, you're welcome).
If you find that one interesting, give these a try (flash plug-in required, sorry):
Online Sequencer: straight-forward, most resembles traditional organization of musical ideas.
Drumbot: a bunch of cool tools: several drum sequencers, chord charts for discovery and composition, practice tools, and more.
Seaquence: my personal favorite, Seaquence adopts a biological metaphor, allowing you to create and combine musical 'lifeforms' that will then interact, resulting in unpredictably evolving compositions.
From Ted Gioia at the Daily Beast is a great article detailing what the continually faltering and failing music industry can learn from what TV, as an industry, is doing right. His framing makes a powerful point: not only is TV thriving by selling content via a profitable subscription model, as an industry it is taking a product that was long given away free and convincing people to pay for it.
Happy Monday everyone! I'm back again for my Pick of the Week!
This week I'm highlighting "AKA M80 the Wolf" by Portugal. The Man. This track is a throwback for a group that has gained most of its popularity fairly recently (recording since the early 2000's, the band released an album produced by Danger Mouse in 2012, which has understandably brought them much more attention). I first encountered their music before they were all big and famous (FIRST!), back in the days when they only had one album - Waiter: You Vultures!. They specialize in a what I like to call 'trippy-rock', music that sounds both familiar and foreign at the same time.
While their new music is definitely cool, it all just made me want to come back and listen to their early stuff, which brings me to "AKA M80 the Wolf". One of the main tracks from their first album, this is, simply put, a fantastic rock song. It evokes the sounds of bands like The Mars Volta, and features a steady groove with light, haunting, tenor male vocals, sweet keyboard parts, and a psychedelic guitar line. Their sound varies a lot from song to song, and they can get really crazy (see "Chicago"), but I enjoy how this song seems to age so well and how I find myself regularly drawn back to it. I also appreciate the odd yet beary entertaining music video. Enjoy!
The tumblr Composers Doing Normal Shit features photographs of exactly what you'd expect. I love things like this because, hey, amusement, but also because it's an important and interesting exercise to humanize those whose accomplishments we really admire, who seem much larger than life. It reminds us that they are just people, too, and that their lives were filled with mundanity, just like ours, and that those accomplishments were mostly because of diligent, focused and consistent work, not magical art-making powers.
My favorite at the moment is probably Dmitri Shostakovich playing cards with his kids:
The video below is a fun, fast-motion tour of the most popular songs in the United States each year, from 1900 to 2009. It's only eleven minutes, so obviously you only hear a snippet of each song, but it's really interesting to hear our national taste evolve (note that the list is most popular, not most important or influential--the methodology for arriving at each choice is quite detailed, though any choices prior to 1950 are at best educated guesses).
The list of top songs for each year is here if you'd like to follow along as you listen. It includes links for each entry, leading to further information about each artist's recording history and lists of the top 100 songs for each year. It's quite a trip:
We wanted to challenge ourselves to try and connect three random musical choices, so we raided Dave's recent listening list on his phone and came up with music from Sufjan Stevens, Johannes Brahms, and 80s synthpop, which are definitely a challenge to connect. But as we listened, we discovered some exciting things these random choices have in common, and a little bit about what makes interesting music, well, interesting--no matter the specific kinds of sounds it's made of.
Our very random playlist for this episode includes:
Cage and Feldman, that is (sorry if the title misdirected any of you). The recording below is over four hours of conversation--open, familiar, unguarded--between friends John Cage and Morton Feldman. For the rest of us, it is a very rare opportunity to listen in on extended conversations between two of the 20th century's most important and incisive musical minds. Recorded between July 1966 and January 1967, they talk about ideas, art, music, people, philosophy, and so much more. If you like real, thoughtful, informed conversation, then this will be a delight.
Sam Beam is one of our greatest living acoustic singer-songwriters. GWAR is a band of barbaric interplanetary warriors who ravage the galaxy with a boundless hatred of all things alive. It doesn't seem like a pairing that would work out. But against all odds it produced this beautiful little ditty.