In honor of my TWENTIETH POST (yay!) we have a special, glossy, Collector's Edition blog.
My Top 20 Albums Right Now*
Please note that this is not a ranking, just a list.
20.) Modest Mouse "Good News for People Who Love Bad News." This is one of those albums that I don't remember buying or listening to for the first time. I do know that I had the CD my junior year of high school, but I don't know if I bought it that year, or even when it came out. And I know, one time in high school, I was driving with some kids from yearbook staff (yep, I was a yearbook kid. Can you tell?) and this girl was playing a mix CD-- of her own-- and a Muse song came on and someone asked who it was and she said it was Modest Mouse. I didn't say anything because she was a year older and a lot cooler than I was, and that's what high school was like for me. She was one of those girls who think they're arty-stylish so they wear their mom's nightgown with tights and boots and try to pass it off as an outfit (I'm speaking specifically). Anyway, this album. I happen to think this album is absolute genius. I'm incredibly fickle when it comes to music (sometime, ask me about the Great Led Zeppelin One-Eighty of 2008) but, as you might have been able to glean from my charming anecdote, this album has been in my rotation for years. Throw it on when you're driving on one of those white-skied February days; when your car smells like coffee and sour floor mats and you're wondering how you're making it through another winter. And you'll have you answer.
[song pick: "The World At Large." The shuffle-y, "aw, shucks" canter of this song offset its larger-than-life lyrical beauty and create a numb, but self-aware, vibe. A truly amazing opening track {opening track, that is, if you exclude the 10-second "Horn Intro."}]
19.) Ryan Adams "Heartbreaker." If there are such a things as a flawless albums, this is probably going to have to be filed under that category. This is another one with tremendous "staying power" (to be really cliche) in my music life. This is far more country than pretty much anything I listen to... but... ok, I'll just say it. Ryan Adams is my favorite songwriter. I think everything he does is perfect. I'm not sure why. I just really love that down-and-out, road-weary, brokenhearted vagrant/gypsy style of songwriting. And Ryan has it down. Ryan wrote the book on it. (Well, he read the book on it, anyway.) And, since we were speaking of Modest Mouse, in their words: "I like songs about drifters, books about the same/ They both seem to make me feel a little less insane." That pretty much sums up everything good about this album. He brilliantly covers every aspect of-- er-- heartbreak, from love and loss to homesickness to battles with drugs and alcohol and with himself; everything is vulnerable, relatable and, eventually, cathartic as Aristotlian drama (hey-oh!). This is the archetypal being-sad album, but at the same time, it's too beautiful to be much of a downer.
[song pick: "Call Me On Your Way Back Home." One time I was listening to this song and reading "On The Beach at Night" by Walt Whitman and that was the only time in my life that I have ever found something so beautiful that I literally cried. I invite you to download the song and try it.]
18.) Silversun Pickups "Carnavas." I admit, I only JUST discovered this album; I downloaded it in anticipation of seeing Silversun with Manchester Orchestra in September. While my first impression of this album was that everything on it sounded like "1979" by Smashing Pumpkins, I eventually got over myself and now totally dig this album. Silversun is one of probably fewer than five (and that's a very liberal and very off-the-cuff estimate) bands with female vocalists that I like. Although she is, most of the time, just a backup vocalist. But it counts.
[song pick: "Little Lover's So Polite." Unlike most music snobs, I'm not afraid to admit when the single is my favorite. Hello! It's the single because it's the best one.]
17.) Motion City Soundtrack "Commit This To Memory." Glorious. I'm not sure what else to say, because if I say much more, I'm going to go way overboard. Ok... I just want to say that Motion City is one of the most underrated bands ever and this is their BEST of MANY AWESOME ALBUMS. This is a fun, rowdy pop-punk album that you can actually take seriously; it is articulate, grounded and wise in a way that sets Motion City apart from most pop-punk bands and keeps it from being immature or bratty (shoutout to Green Day! [love you guys.])
[song pick: "Everything Is Alright." One of those songs that I can never listen to just once.]
16.) The Ting Tings "We Started Nothing." Speaking of immature and bratty. It's cute when it's girls, though, right? I usually don't like chick music, especially hipster/ scene chick music (ouch, sorry, I really do like this album.) "We Started Nothing" is probably one of the most fun albums since disco. It turns you into an 11-year-old... in a good way, naturally. The very best way.
[song pick: "That's Not My Name." My best friend and I choreographed a dance to this song. (What did I tell you about being an 11-year-old?) Let me know if you want me to teach it to you... Youtube fame, anyone?]
15.) Powerman 5000 "Somewhere On The Other Side of Nowhere." Easily the most fun thing I've heard since the Tings, or maybe Hellogoodbye. Except, Powerman mixes it up with SciFi-movie dialogue and sound effects, glamming up their super danceable electro-rock-with-metal-tendancies with a Hollywood panache. Needless to say, this album is a WHOLE lot of fun.
[song pick: "Do Your Thing." The kind of fist-pumping, foot-stomping song that makes you feel like you can do anything.]
14.) Fall Out Boy "Take This to Your Grave." It was a toss-up between this one and "From Under The Cork Tree." They're both excellent, but "Take This To Your Grave" is classic. I like FOB's albums in reverse-chronological order. They're already kind of a guilty pleasure and the albums just get worse, and worse, and worse. ALTHOUGH: "Take This To Your Grave" is amazing, "Cork Tree" is amazing, and "Infinity on High" has its moments. And almost-three out of five or six ain't bad.
[song pick: "The Patron Saint of Liars and Fakes." Sounds vaguely familiar. {chorus twins! how fun.}]
13.) The Mountain Goats "The Sunset Tree." If I ever really did make an all-time favorite albums list... this would be on it. (But I never have and never want to. Is that weird?) I am so deeply infatuated with this album that I would really recommend it to anyone; however, since we're being honest, this is not for those of you who don't like singers who can't sing. Still... John Darnielle is one of the most prolific songwriters I've ever experienced. He writes with such a clarity that you can almost literally see the world through his eyes (paradoxical, I know, but that's the magic of John Darnielle). If you've ever seen "Being John Malkovich," you kind of already know what listening to this album is like. This is another band I don't remember discovering, and another album I don't remember buying. I don't even remember what the cover looks like. It just seems like I've always had the plain, olive-green disc chillin inconspicuously in my CD case, quietly and patiently waiting to be rediscovered; it's one of those albums that comes and goes in waves: you listen to it nonstop for days and then shelve it for months, and then rediscover it and wonder why you haven't been listening to it nonstop. But, alas, every time I put it in, it's like it finds me just where it left me: "in a bargain-priced room on La Cieniga." As you've probably heard, they put a new album out this month** and I brought this one back out to get in the right mindset. And, here I am, listening to it nonstop. So much so that I'm not really even listening to the new one. What an interesting postmodern irony, so conducive to indie music. Life is so... poetic. Does anyone have a clove cigarette, a crocheted hat and a venti Americano handy? It's hipster time.
[song pick: "Pale Green Things." I absolutely can not stop listening to this song lately. While it was once described to me as a "Nick Drake ripoff," all I hear when I listen to this song is pure, poetic indie-folk alchemy. Honorable mention: "This Year." This is a good song to listen to driving with your crew, windows down, on your way to a show on an amazing fall day. Try it out. Bonus points for claps, snaps, and stomps {shoutout: Alikz Clothier}.]
12.) The Beatles "Abbey Road." This album is an appendage to me.
[song pick: "Golden Slumbers." The most fun I've ever had in under 2 minutes.]
11.) The Shins "Wincing The Night Away." I've ordered this list strategically here, because lately, whenever I am done listening to "Abbey Road," I always go right for "Wincing the Night Away." I'm not really sure why. I'm trying to find parallels, and I can't really. Somehow they just complement each other in a really interesting and really amazing way. I find pretty often when I talk to people who like the Shins, they tend to like their earlier stuff better, and while I would have to agree with that for the most part, I think they've done some their best work on this one (their latest). I am only just getting into this album as an "album" and not just a CD with four of my 10 favorite Shins songs on it. I started to approach it differently; I used to throw it in when I wanted to hear my "faves" on that album, which are all a little more upbeat; but, when I started to seek this album when I needed a more mellow, discreet but substantial album (similar to the mood you're in when you want to hear Death Cab, Sunny Day Real Estate, Broken Social Scene, the Weakerthans etc) with upbeat moments--rather than an upbeat album that loses momentum, becoming mellow and discreet but reluctantly so-- this album and I began to jive a lot better together, and thus a beautiful relationship began. Tonally speaking ("tone" in a literary sense, not a musical one), this album is a little more brooding than their former work, but they never lose an ounce of energy. Another perfect album for a perfect fall day.
[song pick: {extremely difficult.} "Australia." Located deep within this song are not only all the reasons why I love music, but all the secrets of the universe and everything you ever needed to know about life, death, and anything else. Also, please enjoy the music video for "Phantom Limb". On my list of Top 20 Favorite Things In Life Right Now.]
[stretch break! snack break! smoke break!]
[ready?]
10.) Dear and the Headlights "Small Steps, Heavy Hooves." If Counting Crows ever put out an indie album, this is what it would sound like, but it probably wouldn't be as good as this one.
[song pick: "I Just Do." If I could make the whole world a mix cd, this would be on it.]
9.) Death Cab For Cutie "Narrow Stairs." Ben Gibbard... tied for first place as my favorite songwriter. My "first" Death Cab album was "Transatlanticism"--no, not because I liked the O.C. (I did, though). (By the way... I'm writing a research paper for a class on Seth Cohen's effect on the music industry. Not even joking.) And Death Cab has had a firm place in my (prestigious) Top 3 Bands pretty much ever since then. When I was a senior in high school, I was an exchange student to Australia, and a month or so into my stay there, my iPod broke {damn you, 2nd generation iPods}, but I had my trusty TV-yellow Sony Walkman CD player, and about 15 or 20 CDs (among them, "Nimrod," which I later accidentally dropped in Sydney Harbor; John Mayer's "Heaver Things," and greatest hits collections of the Black Crowes (admittedly one of my most beloved bands) and Blind Melon). After my friends back home heard of my music crisis, I began to receive care packages full of mix cds, burned copies of everyones' favorite albums, and smooshed Junior Mints (much love, guys). Among them were Wilco's "Yankee Hotel Foxtrot," Damien Rice's "O", "Transatlantacism" and others which are on my faves list to this day. Anyway, that's my Death Cab story. Sorry it went a little off the rails. I guess I just told that story to remind you that everything happens for a reason. Death Cab is totally worth an iPod.
[song picks: "Your New Twin-Sized Bed;" "Cath".]
8.) Ender "Good News From The Stereo" I serendipitously got a hold of this emo (ah! I hate that word) slash indie-rock record from K-zoo locals Ender, and was surprised and delighted at its maturity and quality... Amazing songwriting, and truly captivating music. You probably won't be able to find this if you're interested in downloading it-- but-- you can go old-school, and actually go find it somewhere. There's always MySpace. It might even be at Corner Record Shop (if you live in K-zoo); I haven't looked for it there, but they have a decent local selection. But get it. Ask for it by name! It's worth it!
[song pick: "Unit 91 To Radio." Better than pretty much anything I've ever heard from a local band. And most national bands. Tie: "Don't Try To Be Stronger Than You Are;" contains the amazing line after which the album was named: "Good news from the stereo:/ I'm not the only one." The only thing I love more than music is when music is about music.]
7.) Kid Cudi "Man On The Moon: The End of Day." Kid Cudi was unfortunately ignored on hip-hop week, so I thought it was about time to make it up. This is the kind of laid-back, stoner hip-hop that feels like a hot summer day. I regret to say that I did not catch Kid Cudi's set at Rothbury this summer (sorry I'm showing you no love, Cudi!). Lately, this is my favorite first album of the day. Its sunniness and happy oblivion are the only thing that seem to be able to offset the frosty bite in the air in the morning; the first quiet, mocking moments of Michigan winter, a 6-month-long fuck-you from mother nature.
6.) Manchester Orchestra "Mean Everything To Nothing." This weird thing is happening to my music taste right now, and right now seems like a good time to talk about it. I mentioned earlier my Top 3; they are as follows (again, a list, not a ranking): The Shins, Death Cab, and Manchester Orchestra. Now, for significant periods of time, these bands had one thing in common: I favored all of their earlier albums (in Manchester's case, their first of what is now 2 full-length albums) and wasn't into their later work, for various reasons. And now, for some reason-- perhaps an ideological shift that seems to be taking place in my life, which has included quitting my job, and been manifest in other ways-- I have begun to prefer each of these three bands' most recent album (though not all of them are necessarily new), independently of one another, for various reasons. Which you may have noticed, of course, as you've found all three albums on this list. Hmm.
Sorry, I know that was a weird tangent.
I think I like this album because I have seen Manchester play twice in the past two months or so, and they for some reason only play new stuff. And you know how it is, when you see a band live and it brings another dimension to the music that you already know from the recorded album. Apply this to Manchester Orchestra-- an already electrified and scarily energetic indie-rock band-- and the result is what I imagine it feels like to take your first breath: the sobering, colt jolt of the world coming into focus around you.
[song pick: "The River." Holy. Shit.]
[take another break if you need one! 'cause...]
IT'S TIME FOR THE LAST 5!!!
5.) Vampire Weekend "Vampire Weekend." Delightful, fun, "Sunday morning"-feeling indie. Just add mocassins and brunch with your mom.
[song pick: "Cape Cod Kwassa Kwassa." The chorus: "Is your bed made?/ Is your sweater on?" Good, clean fun. Sooooo, so indie. Hope you're into that.]
4.) MGMT "Oracular Spectacular." Another strategically-ordered place in the list. I always go straight back and fourth between "Vampire Weekend" and MGMT's "Oracular Spectacular." Poll: do you pronounce it "M-G-M-T" or "Management"?"
[song pick: "Weekend Wars." One of those songs that I'll be listening to from across the room, and when I hear it come up on shuffle, I will literally go "YESSSS!" complete with the 90s arm gesture.]
3.) Fruit Bats "The Ruminant Band." You might remember the Fruit Bats from Barking Tuna Fest! If not, they play a Shins-ish, late-Beatley style of indie... Delightful. I'm telling you. This band is going to be around. AND... I recently found this album on vinyl! SCORE!
[song pick: "My Unusual Friend."]
2.) The Killers "Hot Fuss." For the longest time, I knew only two or three Killers songs, and any time I would listen to them, I would be like "why don't I listen to the Killers more? I really like them. This is good and I bet the rest is better." This went on for years. Then, one day, I downloaded this album, as well as pretty much everything else they ever did. And I was just left wondering why I never listen to my intuition. This album is incredible. The Killers are so much more original than anyone else in the pop-indie/ alt-rock spectrum (the line between those, of course, is largely grounded in popularity, which the Killers certainly have at this point-- they've been Guitar Heroed). This album is like a disco ball of dance-rock, inventing a glitzy and shimmering form of neo-glam rock, with a depth provided by unbelievable songwriting. This album is a classic in so many peoples' collections, and for excellent reason.
[song pick: "Smile Like You Mean It." The verses in this song feature perhaps the most perfect vocal melody ever. Another "YESSSSS!" song (not a Yes song) (please forgive my terrible corniness).]
1.) Kings of Leon "Only By The Night." Finally! You made it! This is a final and very significant list-song-order moment. "Hot Fuss" and "Only By The Night" are the most perfect yin/yang album combo ever. Not sure what else to say but that I effing love this album. Love itttt. You might have noticed that I wrote a review of this album back in the day when I started this blog (like three or four weeks ago).
[song pick: "Closer." Normally I would pick "Crawl," but I didn't want to because that was the song I picked for my album review. "Closer:" another classic opening track. For the rest of my life, whenever I hear "Closer," I will remember this fall; for better or worse, it's what this time in my life will always sound like to me.]
Thanks for putting up with this huge-ass list. I can't believe you even made it this far. Kudos!
SHOUTOUT TO BILL!!!!
--thejunkie
*not new or cool; nor Top 20 Of All Time. Just for now.
**review in progress [Angela Carlton]
[Editor's (i.e., my own) Note: You may have noticed that unlike my other posts, the genres and artists' names have not been "labeled" on this blog, as it only gives you 200 characters for labels and I could not fit them all. So, in keeping with tradition, I just tagged the people I shouted-out.
And, FYI, this list was originally 64 albums deep, and it's taken 3 separate sessions, equaling upwards of 8 hours to write this. Hope you liked it.]
[Another fun fact: I just converted this to a Word document and it is six pages, single-spaced. I will be incredibly surprised if anyone makes it all the way through it.]
Sunday, October 25, 2009
Saturday, October 24, 2009
Follow Me
Hello!
My blog needs some more "Followers!" If you enjoy reading me, click the "follow" tab toward the top left of the Blogspot window!
Thanks a lot!!!
xoxo.
-meg (aka the volume junkie.)
My blog needs some more "Followers!" If you enjoy reading me, click the "follow" tab toward the top left of the Blogspot window!
Thanks a lot!!!
xoxo.
-meg (aka the volume junkie.)
Friday, October 23, 2009
Update.
So, Hip-Hop Week has come to an end (it was a 'business' week) but I hope you had an amazing time; I know I did.
Controversial as it may have been at times (I know... you might have taken the Eminem-over-Beastie-Boys thing kinda hard [Will]) and though it's not necessarily (grammatically) "perfect" (Aaron), I truly had an awesome time bringing you the "noize..." if that's what we're calling it (and, let's; it's kind of fun).
But, while I have certain journalistic responsibilities to which I've delegated myself (I literally didn't go out tonight until I wrote Friday's blog-- all for you guys!), I still have a lot of other shit going on during the course of a day. So please be patient with me.
Thanks so much for reading, and thanks a lot for your comments-- here, Facebook, wherever. Your honesty, love, etc is truly appreciated.
Stay tuned-- you know there's lots more to come. As always.
So... what's next? You tell me. I'm thinking... Skate Punk Week?
The first person to tell me the correct BAND and SONG TITLE of the following song gets 1.) cool points 2.) THE FIFTH OF HIS/HER CHOICE:
"But wait a minute dad, did you actually say "freedom?" Well if you're dumb enough to vote, you're fucking dumb enough to believe 'em. Cause if this country is so goddamn free, then I can burn your fucking flag wherever I damn well please." (Nick Stafford [and anyone else from Oklahoma] excluded).
NO GOOGLING ALLOWED!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! I'LL KNOW!
--thejunkie
Controversial as it may have been at times (I know... you might have taken the Eminem-over-Beastie-Boys thing kinda hard [Will]) and though it's not necessarily (grammatically) "perfect" (Aaron), I truly had an awesome time bringing you the "noize..." if that's what we're calling it (and, let's; it's kind of fun).
But, while I have certain journalistic responsibilities to which I've delegated myself (I literally didn't go out tonight until I wrote Friday's blog-- all for you guys!), I still have a lot of other shit going on during the course of a day. So please be patient with me.
Thanks so much for reading, and thanks a lot for your comments-- here, Facebook, wherever. Your honesty, love, etc is truly appreciated.
Stay tuned-- you know there's lots more to come. As always.
So... what's next? You tell me. I'm thinking... Skate Punk Week?
The first person to tell me the correct BAND and SONG TITLE of the following song gets 1.) cool points 2.) THE FIFTH OF HIS/HER CHOICE:
"But wait a minute dad, did you actually say "freedom?" Well if you're dumb enough to vote, you're fucking dumb enough to believe 'em. Cause if this country is so goddamn free, then I can burn your fucking flag wherever I damn well please." (Nick Stafford [and anyone else from Oklahoma] excluded).
NO GOOGLING ALLOWED!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! I'LL KNOW!
--thejunkie
Hip-Hop Week- Friday: Out With a Bang
Top 5 Hip-Hop Songs About Being A Pimp
If there's any genre that knows a thing or two about pimpin', it's hip-hop. Please forgive the unbelievable brevity of this article, given the huge, huge selection of pimp-related songs. But it's Friday night, and hopefully you have better things to do.
5."P.I.M.P."- 50 Cent. Not a big Fitty fan, but this one reminds us to keep our pimp hands strong. It certainly contains some powerful 'hood rhetoric: "Girl we could pop some champagne and we could have a ball/ We could toast to the good life, girl we could have it all/ We could really splurge girl, and tear up the mall/ If ever you needed someone, I'm the one you should call." Sign me up!
4. "Pimpin' Ain't Easy"- Ice T. Any of you who are fans of "The Godfather" certainly recognize this song. It is, after all, THE THEME; semi-inexplicably, but-- after minimal consideration-- rightfully so. After all, culturally speaking, there is a frighteningly (I hate this word. Too many suffixes) large volume of things in that weird football-shaped middle of the Thug Culture/ Mafia Culture Venn diagram. (Yes, I made one; copies are available upon request for a very reasonable price). "It's pimp or die/ Pimp or die, baby." Mmm. Ain't that the truth.
3. "It's Hard Out Here For a Pimp"- Three 6 Mafia (perf. by actor Terrance Howard). I know it's kind of controversial to put a song written for a film (you might remember 2005's "Hustle & Flow") on this very-exclusive Top 5 List. However, this song and this movie are both THE SHIT. Three 6 Mafia very poignantly remind us of what we always knew, however deep down: pimps are people, too.
2. "Pimpin' All Over The World"- Ludacris. Not only is Luda a pimp, but he's also SMOOTH. Ladies, I dare you to resist the line "Hey gurl, how you doin'?/ You are the woman that I'm really pursuin'/ and I would like to get to know you, can you give me your name?/ if you jot down your number, you'll get mine in exchange." And, come on. Fancy cars? Caviar? Like "P.I.M.P.," this is another song that makes being a ho sound like a BLAST!
1. "Big Pimpin'"- Jay Z. The true pimp's anthem. It contains an aphorism by which I, personally, live my life, and you'd do well to do the same: "You know I thug 'em, fuck 'em, love 'em, leave 'em/ Cause I don't fuckin' need 'em."
And there we are.
I don't know about you guys, but I think Hip-Hop Week was a blast.
I leave you with some words of wisdom from Li'l Wayne: "Safe sex is great sex/ Better wear a latex." Have a good weekend, homies.
And, your final urbandictionary.com entry (this one goes out to Jay-Z! Big ups for makin' BEYONCE your ho fo' life!)
"big pimpin: 1.) phrase that describes a heterosexual man's ability to maintain relationships with multiple simultaneous girlfriends; such relationships are sexual in nature.
'Every true player got at least 3 women: his girlfriend, his mistress, and his bitch. He needs his girlfriend for sex on a regular basis, his mistress for oral sex without reciprocity,and his bitch for the shit that the girlfriend and mistress WON'T do! That's big pimipin!' "
--thejunkie
If there's any genre that knows a thing or two about pimpin', it's hip-hop. Please forgive the unbelievable brevity of this article, given the huge, huge selection of pimp-related songs. But it's Friday night, and hopefully you have better things to do.
5."P.I.M.P."- 50 Cent. Not a big Fitty fan, but this one reminds us to keep our pimp hands strong. It certainly contains some powerful 'hood rhetoric: "Girl we could pop some champagne and we could have a ball/ We could toast to the good life, girl we could have it all/ We could really splurge girl, and tear up the mall/ If ever you needed someone, I'm the one you should call." Sign me up!
4. "Pimpin' Ain't Easy"- Ice T. Any of you who are fans of "The Godfather" certainly recognize this song. It is, after all, THE THEME; semi-inexplicably, but-- after minimal consideration-- rightfully so. After all, culturally speaking, there is a frighteningly (I hate this word. Too many suffixes) large volume of things in that weird football-shaped middle of the Thug Culture/ Mafia Culture Venn diagram. (Yes, I made one; copies are available upon request for a very reasonable price). "It's pimp or die/ Pimp or die, baby." Mmm. Ain't that the truth.
3. "It's Hard Out Here For a Pimp"- Three 6 Mafia (perf. by actor Terrance Howard). I know it's kind of controversial to put a song written for a film (you might remember 2005's "Hustle & Flow") on this very-exclusive Top 5 List. However, this song and this movie are both THE SHIT. Three 6 Mafia very poignantly remind us of what we always knew, however deep down: pimps are people, too.
2. "Pimpin' All Over The World"- Ludacris. Not only is Luda a pimp, but he's also SMOOTH. Ladies, I dare you to resist the line "Hey gurl, how you doin'?/ You are the woman that I'm really pursuin'/ and I would like to get to know you, can you give me your name?/ if you jot down your number, you'll get mine in exchange." And, come on. Fancy cars? Caviar? Like "P.I.M.P.," this is another song that makes being a ho sound like a BLAST!
1. "Big Pimpin'"- Jay Z. The true pimp's anthem. It contains an aphorism by which I, personally, live my life, and you'd do well to do the same: "You know I thug 'em, fuck 'em, love 'em, leave 'em/ Cause I don't fuckin' need 'em."
And there we are.
I don't know about you guys, but I think Hip-Hop Week was a blast.
I leave you with some words of wisdom from Li'l Wayne: "Safe sex is great sex/ Better wear a latex." Have a good weekend, homies.
And, your final urbandictionary.com entry (this one goes out to Jay-Z! Big ups for makin' BEYONCE your ho fo' life!)
"big pimpin: 1.) phrase that describes a heterosexual man's ability to maintain relationships with multiple simultaneous girlfriends; such relationships are sexual in nature.
'Every true player got at least 3 women: his girlfriend, his mistress, and his bitch. He needs his girlfriend for sex on a regular basis, his mistress for oral sex without reciprocity,and his bitch for the shit that the girlfriend and mistress WON'T do! That's big pimipin!' "
--thejunkie
Thursday, October 22, 2009
H.H.W.- Thursday: Top 5 White Hip-Hop Artists
I hope you guys didn't think I was trying to leave my Caucasians hangin.'
5. Mickey Avalon. No, Mickey Avalon is not black. He's Jewish. (Quick! Someone make a joke about "My Dick.") His lazy, 10th-beer-and-fourth-joint pace makes it incredibly easy for those of us even completely lacking swagger to rap along. You know what would have been cool? A Mickey Av/ ODB collabo.
4. House of Pain. Ah, Everlast, you have proven once again that giving up on working solo and starting a band is sometimes the golden ticket. Their almost-too-danceable 90s gem "Jump Around" gets me every time. This song almost got me in trouble with the law one time when my old roommate and I were driving and literally could not RESIST getting out of the car and dancing at a red light... at the corner of Westnedge and Crosstown Parkway... that's right; right by the police station. Long story short, that night started with "Jump Around" and ended with stolen 40s of Mickey's (here's hoping no cops are reading this). What is it about being exposed to Irish culture that just makes you cause trouble? Speaking of Irish culture... in case you don't know this song and you're in suspense, the answer is yes, this song does include a Biblical reference ("Word to your moms, I came to drop bombs/ I got more rhymes than the Bible's got psalms/ And just like the Prodigal Son I've returned/ Anyone stepping to me you'll get burned").
3. Eminem. (Come on, it was Eminem or the Beastie Boys. Had to show some love for the 313.)
2. Aesop Rock. Can you say "swagger?" All together now. Damn.
1. Brother Ali. Brother Ali holds the #1 spot for this reason: because he song holds it down (check out "Walking Away," which features an easy-going, funk-organ-decorated beat set off by melancholy but catchy whistling) because not only is he white, but he's SUPER-white. That's right; born with a rare genetic condition, he's actually an albino. Thanks, Brother Ali, for keeping it extra real... Twice the white, twice the swagger.
And, you must know: I'm updating this live from Kenny and Zach's place... So I dedicate today's urbandictionary.com entry to them.
"steelo: 1.) Slang for style; a playa's aura. Some get this definition confused with swagger. It can be your fashion but that's just part of the bigger picture. Let's just say, the devil didn't make you do it, it was your steelo.
'You should know my steelo/
Went from ten G's for blow to thirty G's a show/
To orgies with ho's I never seen befo'/' - Notorious B.I.G"
-thejunkie
5. Mickey Avalon. No, Mickey Avalon is not black. He's Jewish. (Quick! Someone make a joke about "My Dick.") His lazy, 10th-beer-and-fourth-joint pace makes it incredibly easy for those of us even completely lacking swagger to rap along. You know what would have been cool? A Mickey Av/ ODB collabo.
4. House of Pain. Ah, Everlast, you have proven once again that giving up on working solo and starting a band is sometimes the golden ticket. Their almost-too-danceable 90s gem "Jump Around" gets me every time. This song almost got me in trouble with the law one time when my old roommate and I were driving and literally could not RESIST getting out of the car and dancing at a red light... at the corner of Westnedge and Crosstown Parkway... that's right; right by the police station. Long story short, that night started with "Jump Around" and ended with stolen 40s of Mickey's (here's hoping no cops are reading this). What is it about being exposed to Irish culture that just makes you cause trouble? Speaking of Irish culture... in case you don't know this song and you're in suspense, the answer is yes, this song does include a Biblical reference ("Word to your moms, I came to drop bombs/ I got more rhymes than the Bible's got psalms/ And just like the Prodigal Son I've returned/ Anyone stepping to me you'll get burned").
3. Eminem. (Come on, it was Eminem or the Beastie Boys. Had to show some love for the 313.)
2. Aesop Rock. Can you say "swagger?" All together now. Damn.
1. Brother Ali. Brother Ali holds the #1 spot for this reason: because he song holds it down (check out "Walking Away," which features an easy-going, funk-organ-decorated beat set off by melancholy but catchy whistling) because not only is he white, but he's SUPER-white. That's right; born with a rare genetic condition, he's actually an albino. Thanks, Brother Ali, for keeping it extra real... Twice the white, twice the swagger.
And, you must know: I'm updating this live from Kenny and Zach's place... So I dedicate today's urbandictionary.com entry to them.
"steelo: 1.) Slang for style; a playa's aura. Some get this definition confused with swagger. It can be your fashion but that's just part of the bigger picture. Let's just say, the devil didn't make you do it, it was your steelo.
'You should know my steelo/
Went from ten G's for blow to thirty G's a show/
To orgies with ho's I never seen befo'/' - Notorious B.I.G"
-thejunkie
Wednesday, October 21, 2009
H.H.W. Hump Day Salute: OutKast
I dedicate the entirety of Hip-Hop Week Wednesday to the Lennon/ McCartney of hip-hop: Andre 3000 and Big Boi.
Audacious? Maybe. But "Southernplayalisticadillacmuzik" is one of the best hip-hop albums EVER; certainly one of the best debut albums in any genre. True, this was just a skosh before my time (where was I in 1994?! ahhhg) but luckily I got wise to OutKast around the "Hey Ya" era; then I found out that buried beneath that ubiquitous, monolithic Single was a thrilling double-album ("Speakerboxxx/ The Love Below") and, later digging deeper into OutKast's discography, saw a nearly reverse-chronological ascent to some of the most prolific hip-hop that, in the words of an anonymous commentor on this very blog, "these ears have been fucked-by."
"Southernplayalistic" has this smug indifference and sense of artistic entitlement that is virtually nonexistent among first albums. However, their self-assured swagger isn't about money, loot or gang notoriety like most of the hip-hop of the early 90s; it's more akin to the quiet victory of an aloof high school art freak in the face of trendy-- but stupid-- bullies... an underlying confidence that says "even though you don't get me, I kick ass."
Thus the name: OutKast. No, that's not just me trying to be clever. (Surprise!) On the poignant spoken-word piece "True Dat" (brought to us by Big Rube), we get the run-down of the word that is really more an explanation of OutKast themselves:
"An OutKast is someone who is not considered to be part of the normal world
He's looked at differently
He's not accepted because of his clothes, his hair
His occupation, his beliefs or his skin color
Now look at yourself, are you an OutKast? I know I am.
As a matter of fact, fuck being anything else."
And so it began: a career of beautifully eccentric work executed with frightening ingenuity and talent-- alongside more "mainstream" hits you might remember skewered on various "Now..." compilations (the aforementioned "Hey Ya;" "Ms. Jackson," "Rosa Parks," "So Fresh, So Clean," "Roses" et al). They reached fearlessly into every imaginable corner of the music universe, from speakeasy jazz to Hendrix-esque psychedelia to the soundtrack of the vaudevillian "Idlewild," effectively re-establisting Hotlanta as a musical hub and a hip-hop mecca.
So, OutKast, happy Hip-Hop Week, and on this Hump Day, we salute you. Thanks for over a decade of ear-fucking hip-hop.
And without further ado... Your urbandictionary.com word for Wednesday, Oct. 21, 2009:
"buckin' [commemoratively selected from "Call of Da Wild" off of "Southernplayalistic..."]
1. A urban dance commonly seen in area in Memphis TN, similair to pop locking and breakdancing or the heel-toe and chickenhead all mixed into one
2. getting crunk and rebeling against the law
3. get gangsta, or show aggression. Displaying your preparedness to fight.
They were buckin so hard at the party. "
-thejunkie
Audacious? Maybe. But "Southernplayalisticadillacmuzik" is one of the best hip-hop albums EVER; certainly one of the best debut albums in any genre. True, this was just a skosh before my time (where was I in 1994?! ahhhg) but luckily I got wise to OutKast around the "Hey Ya" era; then I found out that buried beneath that ubiquitous, monolithic Single was a thrilling double-album ("Speakerboxxx/ The Love Below") and, later digging deeper into OutKast's discography, saw a nearly reverse-chronological ascent to some of the most prolific hip-hop that, in the words of an anonymous commentor on this very blog, "these ears have been fucked-by."
"Southernplayalistic" has this smug indifference and sense of artistic entitlement that is virtually nonexistent among first albums. However, their self-assured swagger isn't about money, loot or gang notoriety like most of the hip-hop of the early 90s; it's more akin to the quiet victory of an aloof high school art freak in the face of trendy-- but stupid-- bullies... an underlying confidence that says "even though you don't get me, I kick ass."
Thus the name: OutKast. No, that's not just me trying to be clever. (Surprise!) On the poignant spoken-word piece "True Dat" (brought to us by Big Rube), we get the run-down of the word that is really more an explanation of OutKast themselves:
"An OutKast is someone who is not considered to be part of the normal world
He's looked at differently
He's not accepted because of his clothes, his hair
His occupation, his beliefs or his skin color
Now look at yourself, are you an OutKast? I know I am.
As a matter of fact, fuck being anything else."
And so it began: a career of beautifully eccentric work executed with frightening ingenuity and talent-- alongside more "mainstream" hits you might remember skewered on various "Now..." compilations (the aforementioned "Hey Ya;" "Ms. Jackson," "Rosa Parks," "So Fresh, So Clean," "Roses" et al). They reached fearlessly into every imaginable corner of the music universe, from speakeasy jazz to Hendrix-esque psychedelia to the soundtrack of the vaudevillian "Idlewild," effectively re-establisting Hotlanta as a musical hub and a hip-hop mecca.
So, OutKast, happy Hip-Hop Week, and on this Hump Day, we salute you. Thanks for over a decade of ear-fucking hip-hop.
And without further ado... Your urbandictionary.com word for Wednesday, Oct. 21, 2009:
"buckin' [commemoratively selected from "Call of Da Wild" off of "Southernplayalistic..."]
1. A urban dance commonly seen in area in Memphis TN, similair to pop locking and breakdancing or the heel-toe and chickenhead all mixed into one
2. getting crunk and rebeling against the law
3. get gangsta, or show aggression. Displaying your preparedness to fight.
They were buckin so hard at the party. "
-thejunkie
Tuesday, October 20, 2009
Hip Hop Week- Tuesday: Top 10 Party-Starters
Top 10 Classic Party-Starting Hip Hop Songs Of All Time
10. "Tell Me When To Go"- E40. "Jesus Christ had dreads, so shake 'em/ I ain't got none, but I'm plannin' on growin' some/ Imagine all the Hebrews goin' dumb/ Dancin' on top of chariots and turnin' tight ones." Enough said. (Hyphy is so awesome!) (In case you don't know what "goin' dumb" is: http://www.youtube.com/watch?v=dozc0-Jbye8. Feel free to imagine Jesus.)
9. "Back That Azz Up"- Juvenile. It definitely creeps me out when girls sing along to this song, but they inevitably do. And you kind of have to. To be honest, I'm not crazy about Juvie's rapping on this one (ending every phrase in in "yeah" does not count as rhyming, home boy) but that hi-hat beat is siiiiick. And yeah, this is the perfect song to do The Worm to (my signature dance move [shoutout to 2007!]).
8. "California Love"-Tupac. (imagine my former boss, a very tall, very conservative, very German man, watching this in his office: http://www.youtube.com/watch?v=FWOsbGP5Ox4 and totally loving it. [if you like what you see, Guitar Center is hiring!])
6. "Got Your Money"- Ol' Dirty Bastard. No, ODB can not rap his way out of a paper bag. Yes, he has less rhythm than... um, anyone, ever. As far as both swagger and sensibility, he's the rap equivalent of a crazy, senile grandfather. But I ain't mad at ya, ODB. My favorite part is when he screams at his backup singers: "SING IT! SING IT RIGHT NOW!" Throw this on at your next party, or "bitch, I'll cripple yo' style." (Not to be all scene, but I think you should hear Say Anything's cover if you haven't: http://www.youtube.com/watch?v=iV4Wisu5bXM if only for comedic value.)
5. "We Run This"- Missy Elliott. Don't hate on Misdemeanor. Don't you remember how she brought the pain on "Lady Marmalade?" Missy is the First Lady of Swagger... and, most importantly, you have to love ANYTHING that samples "Apache." (Incidentally, best thing on Youtube right now: http://www.youtube.com/watch?v=GFGzGfym-7Y) No, Sir Mix-a-Lot did not invent that genius hook for "Jump On It."
4. "Rollin' With My Homies"- Coolio. "I think we should do a lap before we commit to a location." Shoutout. But seriously: (this is a true story): once I was driving on a snowy night, HIT A CAR, and still was having a good time because I WAS LISTENING TO THIS SONG. Recipe for the perfect vibe at a party: just add "Rollin' With My Homies." Purple clogs optional.
3. "Return Of The Mack"- Mark Morrison. I find that this song is not only a fantastic party-starter, but also a perfect first song for driving with people you don't know very well. In terms of bonding and friendship-forming mechanisms, it's like the auditory equivalent of a Jager Bomb. I think it serves as an instrument for a happy regression back to our childhoods: the Jock Jams days.
2. "Ride Wit Me"- Nelly. I know when I'm rollin' with my crew and everyone does the requisite shout-along with "heyyyyy, must be the mon-ay!" it feels fucking AWESOME. It wouldn't feel any better than if you were actually IN the back of the Ben-z, smokin' L's with Nelly and his crew.
1. "Yeah"- Usher. Is there any other song that could get you, your mom, your grandma, your little brother, your drunk aunt, your Christian aunt, and your cousin Cory and his "roommate" all equally bumpin' on the dance floor at weddings?! No. This is the PERFECT party song... after all, it's really easy to say "yeah!" over and over again when you're wasted.
Your urbandictioary.com word for Tuesday, Oct 20:
"1. triflin' (adj): Consistantly lying. Always up to no good. Sneaky. Suspect. Whorish. Always scheming. Conniving. (Should never be trusted)
Maarij Jathiyah is too triflin - he's steady off the tryin to be slick tip."
-thejunkie
10. "Tell Me When To Go"- E40. "Jesus Christ had dreads, so shake 'em/ I ain't got none, but I'm plannin' on growin' some/ Imagine all the Hebrews goin' dumb/ Dancin' on top of chariots and turnin' tight ones." Enough said. (Hyphy is so awesome!) (In case you don't know what "goin' dumb" is: http://www.youtube.com/watch?v=dozc0-Jbye8. Feel free to imagine Jesus.)
9. "Back That Azz Up"- Juvenile. It definitely creeps me out when girls sing along to this song, but they inevitably do. And you kind of have to. To be honest, I'm not crazy about Juvie's rapping on this one (ending every phrase in in "yeah" does not count as rhyming, home boy) but that hi-hat beat is siiiiick. And yeah, this is the perfect song to do The Worm to (my signature dance move [shoutout to 2007!]).
8. "California Love"-Tupac. (imagine my former boss, a very tall, very conservative, very German man, watching this in his office: http://www.youtube.com/watch?v=FWOsbGP5Ox4 and totally loving it. [if you like what you see, Guitar Center is hiring!])
6. "Got Your Money"- Ol' Dirty Bastard. No, ODB can not rap his way out of a paper bag. Yes, he has less rhythm than... um, anyone, ever. As far as both swagger and sensibility, he's the rap equivalent of a crazy, senile grandfather. But I ain't mad at ya, ODB. My favorite part is when he screams at his backup singers: "SING IT! SING IT RIGHT NOW!" Throw this on at your next party, or "bitch, I'll cripple yo' style." (Not to be all scene, but I think you should hear Say Anything's cover if you haven't: http://www.youtube.com/watch?v=iV4Wisu5bXM if only for comedic value.)
5. "We Run This"- Missy Elliott. Don't hate on Misdemeanor. Don't you remember how she brought the pain on "Lady Marmalade?" Missy is the First Lady of Swagger... and, most importantly, you have to love ANYTHING that samples "Apache." (Incidentally, best thing on Youtube right now: http://www.youtube.com/watch?v=GFGzGfym-7Y) No, Sir Mix-a-Lot did not invent that genius hook for "Jump On It."
4. "Rollin' With My Homies"- Coolio. "I think we should do a lap before we commit to a location." Shoutout. But seriously: (this is a true story): once I was driving on a snowy night, HIT A CAR, and still was having a good time because I WAS LISTENING TO THIS SONG. Recipe for the perfect vibe at a party: just add "Rollin' With My Homies." Purple clogs optional.
3. "Return Of The Mack"- Mark Morrison. I find that this song is not only a fantastic party-starter, but also a perfect first song for driving with people you don't know very well. In terms of bonding and friendship-forming mechanisms, it's like the auditory equivalent of a Jager Bomb. I think it serves as an instrument for a happy regression back to our childhoods: the Jock Jams days.
2. "Ride Wit Me"- Nelly. I know when I'm rollin' with my crew and everyone does the requisite shout-along with "heyyyyy, must be the mon-ay!" it feels fucking AWESOME. It wouldn't feel any better than if you were actually IN the back of the Ben-z, smokin' L's with Nelly and his crew.
1. "Yeah"- Usher. Is there any other song that could get you, your mom, your grandma, your little brother, your drunk aunt, your Christian aunt, and your cousin Cory and his "roommate" all equally bumpin' on the dance floor at weddings?! No. This is the PERFECT party song... after all, it's really easy to say "yeah!" over and over again when you're wasted.
Your urbandictioary.com word for Tuesday, Oct 20:
"1. triflin' (adj): Consistantly lying. Always up to no good. Sneaky. Suspect. Whorish. Always scheming. Conniving. (Should never be trusted)
Maarij Jathiyah is too triflin - he's steady off the tryin to be slick tip."
-thejunkie
Monday, October 19, 2009
Hop Hop Week- Monday: Food and Liquor
Hip Hop Week I promised, and Hip Hop Week you shall have.
[First annual Hop Hop Week sponsored in part by urbandictionary.com*]
Artist: Lupe Fiasco
Album: Food and Liquor
If you don't know Lupe, you might at least remember him featured on Kanye West's "Touch The Sky" (from 'Late Registration'). We all know Kanye's got the reputation of being a little bit of a spotlight hog anyway (especially these days... you know what I'm talking about) and this consequently wasn't a real memorable collabo, as far as top-40 hip hop is concerned... But make no mistake, when Lupe does his own thing, he holds his own. In fact, while we're on the subject of Kanye, "Food and Liquor" was FAR better than "Late Registration," though it got nowhere near the hype. Not to mention... I haven't seen Lupe starting any shutter-shade trends lately either (thanks, bro).
But, regardless.
The thing that gets me most about Lupe's rapping and that of his collaborators is that it has that remarkable intelligence that all hip-hop should have (check out Jay-Z's 19th century English literary reference on "Pressure"[http://en.wikipedia.org/wiki/Edward_Bulwer-Lytton,_1st_Baron_Lytton; I admit, I Googled]), weaving street balladry, the tried-and-true "I'll do whatever it takes to make it and get out of this hood 'cause I'm better than this" sentiment, and a jaded, critical view of one's surroundings and associates: basically everything good about urban-poetic style since the Harlem Renaissance. The album is very poetry-oriented, but still edgy: Lupe finds an impossibly perfect balance on that deadly see-saw of art and style that draws the line between popularity and obscurity. For example, the slam-poetry intro to the album's first track (performed by an uncredited female poet) creates an unusual vibe on which to begin an album-- hardened, sober and socially conscious-- before giving way to an intense, intriguing backbeat, to an effect that basically says, "Yeah. I just blew your mind. But stick around... You bet your ass there's more." Pretty unique when juxtaposed against the shallow, party- and sex-obsessed hip hop dominating the charts today. Don't get me wrong, I try not to be the "this is good, and therefore should be popular" guy, or even the "I like this, therefore it's good" guy-- I'm just saying, there are risks taken with this album that I not only enjoy, but truly admire.
Subject-matter-wise, this album has something of a theme or uniformity; arguments could be made that the album is concept-esque, if not actually a concept album, in that it tells tales of life on the streets of Chicago from varied perspectives... Think of it kind of as a "Canterbury Tales" from the ghetto: from the kitschy illegal-skater anthem "Kick, Push" (and its darker sequel, "Kick, Push II"), about the life of a sk8r and his lady, to the climactic "Hurts Me Soul," on which Lupe raps from the perspective of a man who hip-hop made a misogynist ("Forgive my favorite word for hers and hers alike/But I learnt it from a song I heard and sorta liked") as well as a prostitute ("My mom can't feed me, my boyfriend beats me/I have sex for money, the hood don't love me/ The cops wanna kill me, this nonsense built me/ And I got no place to go") and a down-and-out father ("They took my daughter, we ain't got no water/ I can't get hired, they cross on fire"). However, it certainly isn't completely character-oriented; Lupe vacillates between the "rapper" facade ("All they want is some shoes or some rims for they bubble/ Now that I got my own, I can hit them with a couple") and something that resembles genuine humility ("Struggle, yeah yeah, another sign that God love you/ 'Cause on the low, bein po', make you humble")... Although he does keep it pretty real on the over-12-minute "Outro," giving shoutouts to everyone from BET and Myspace to his brother Ian to some lucky gal named Cookie.
But anyway. I don't care who you are, how old you are, what music you're into, find a way to get this album. Just trust me. Fluent, deep, pure hip-hop with shimmering little specks of indie (the non-instrumental "The Instrumental"), Latin ("American Terrorist") and old-school soul ("He Say She Say") intertwine and tesselate into this amazing mosaic of voices and music; and people are still listening to Kanye?
This has so many lyrics in it I think I might need some MLA citations or something. You guys down with in-text parenthetical citations?
-thejunkie
*We're starting a new tradition: Each Hip Hop Week post will feature an entry from urbandictionary.com. Today, Monday, Oct 19, 2009:
"1. swagger surfin (v): when you go around looking for someone elses, syle, flow, lyrics, ideas and then try to pass them off as your own.
I saw a guy at the club swagger surfin. once he found a guy he swagger jacked him [see 'swagger jack']"
[First annual Hop Hop Week sponsored in part by urbandictionary.com*]
Artist: Lupe Fiasco
Album: Food and Liquor
If you don't know Lupe, you might at least remember him featured on Kanye West's "Touch The Sky" (from 'Late Registration'). We all know Kanye's got the reputation of being a little bit of a spotlight hog anyway (especially these days... you know what I'm talking about) and this consequently wasn't a real memorable collabo, as far as top-40 hip hop is concerned... But make no mistake, when Lupe does his own thing, he holds his own. In fact, while we're on the subject of Kanye, "Food and Liquor" was FAR better than "Late Registration," though it got nowhere near the hype. Not to mention... I haven't seen Lupe starting any shutter-shade trends lately either (thanks, bro).
But, regardless.
The thing that gets me most about Lupe's rapping and that of his collaborators is that it has that remarkable intelligence that all hip-hop should have (check out Jay-Z's 19th century English literary reference on "Pressure"[http://en.wikipedia.org/wiki/Edward_Bulwer-Lytton,_1st_Baron_Lytton; I admit, I Googled]), weaving street balladry, the tried-and-true "I'll do whatever it takes to make it and get out of this hood 'cause I'm better than this" sentiment, and a jaded, critical view of one's surroundings and associates: basically everything good about urban-poetic style since the Harlem Renaissance. The album is very poetry-oriented, but still edgy: Lupe finds an impossibly perfect balance on that deadly see-saw of art and style that draws the line between popularity and obscurity. For example, the slam-poetry intro to the album's first track (performed by an uncredited female poet) creates an unusual vibe on which to begin an album-- hardened, sober and socially conscious-- before giving way to an intense, intriguing backbeat, to an effect that basically says, "Yeah. I just blew your mind. But stick around... You bet your ass there's more." Pretty unique when juxtaposed against the shallow, party- and sex-obsessed hip hop dominating the charts today. Don't get me wrong, I try not to be the "this is good, and therefore should be popular" guy, or even the "I like this, therefore it's good" guy-- I'm just saying, there are risks taken with this album that I not only enjoy, but truly admire.
Subject-matter-wise, this album has something of a theme or uniformity; arguments could be made that the album is concept-esque, if not actually a concept album, in that it tells tales of life on the streets of Chicago from varied perspectives... Think of it kind of as a "Canterbury Tales" from the ghetto: from the kitschy illegal-skater anthem "Kick, Push" (and its darker sequel, "Kick, Push II"), about the life of a sk8r and his lady, to the climactic "Hurts Me Soul," on which Lupe raps from the perspective of a man who hip-hop made a misogynist ("Forgive my favorite word for hers and hers alike/But I learnt it from a song I heard and sorta liked") as well as a prostitute ("My mom can't feed me, my boyfriend beats me/I have sex for money, the hood don't love me/ The cops wanna kill me, this nonsense built me/ And I got no place to go") and a down-and-out father ("They took my daughter, we ain't got no water/ I can't get hired, they cross on fire"). However, it certainly isn't completely character-oriented; Lupe vacillates between the "rapper" facade ("All they want is some shoes or some rims for they bubble/ Now that I got my own, I can hit them with a couple") and something that resembles genuine humility ("Struggle, yeah yeah, another sign that God love you/ 'Cause on the low, bein po', make you humble")... Although he does keep it pretty real on the over-12-minute "Outro," giving shoutouts to everyone from BET and Myspace to his brother Ian to some lucky gal named Cookie.
But anyway. I don't care who you are, how old you are, what music you're into, find a way to get this album. Just trust me. Fluent, deep, pure hip-hop with shimmering little specks of indie (the non-instrumental "The Instrumental"), Latin ("American Terrorist") and old-school soul ("He Say She Say") intertwine and tesselate into this amazing mosaic of voices and music; and people are still listening to Kanye?
This has so many lyrics in it I think I might need some MLA citations or something. You guys down with in-text parenthetical citations?
-thejunkie
*We're starting a new tradition: Each Hip Hop Week post will feature an entry from urbandictionary.com. Today, Monday, Oct 19, 2009:
"1. swagger surfin (v): when you go around looking for someone elses, syle, flow, lyrics, ideas and then try to pass them off as your own.
I saw a guy at the club swagger surfin. once he found a guy he swagger jacked him [see 'swagger jack']"
Friday, October 16, 2009
Update.
To those of you who sit at my blog and hit "refresh" on their browser for hours and hours until I update-- I see ya'll-- I'm really sorry about how hard I've slacked lately. I had third-terms this week, so I have really just been studying and writing papers (trust me, I really would have rather been listening to music). So... I'm going to make it up to you! Coming up soon... Volume Junkie HIP HOP WEEK. It came to me in a dream. Keep posted! It's coming! College is a bitch.
Shoutout to my #1 fan, Zach Emblad. ("CROSS-STREET!")
Just for you guys, here are some tasty links to enjoy while you wait out the arrival of any upcoming amazing, albeit self-aggrandizing musings.
http://www.youtube.com/watch?v=js2MBqlp9Jc
http://www.youtube.com/watch?v=ekwxnNwUdHE
http://www.youtube.com/watch?v=E2bHjSh4eDM
http://www.youtube.com/watch?v=4-94JhLEiN0
http://www.youtube.com/watch?v=rGJ0fJN10YY
http://www.lettersofnote.com/
Love you guys. Thanks so much for your support.
-thejunkie
Shoutout to my #1 fan, Zach Emblad. ("CROSS-STREET!")
Just for you guys, here are some tasty links to enjoy while you wait out the arrival of any upcoming amazing, albeit self-aggrandizing musings.
http://www.youtube.com/watch?v=js2MBqlp9Jc
http://www.youtube.com/watch?v=ekwxnNwUdHE
http://www.youtube.com/watch?v=E2bHjSh4eDM
http://www.youtube.com/watch?v=4-94JhLEiN0
http://www.youtube.com/watch?v=rGJ0fJN10YY
http://www.lettersofnote.com/
Love you guys. Thanks so much for your support.
-thejunkie
Saturday, October 10, 2009
Tuna.
So, finally, the big Tuna Blog. I had a really hard time deciding how I'm going to go about this, because I know you don't want to hear about aaaaaaaaall the bands, and I kind of think that would be redundant and silly anyway. So I thought it would be fun to do it high school yearbook mock-election style.
Best Misfits: Boy In Static (Night One)
After an ungodly 40-minute soundcheck (we were told the band's gear had been misplaced by the airline and arrived one hour before their set was to begin), San Francisco synth/viola 2-piece Boy In Static sheepishly took the sheepish-looking stage at the Strutt to a patient and enthusiastic crowd: house regulars (the K College- affiliated intellectual-and-hip-in-that-order crew) stood alongside disconnected hippie burnouts and aging upper-middle-class sophisticates alike, sipping pumpkin lattes and microbrews (goodness. I love the Strutt). At first, the crowd received them mostly with curiosity; a tiny Asian guy jamming on a viola and singing and a tiny white guy pounding on a drum machine don't exactly fit into the paradigm of the Kalamazoo scene, and this newfangled San Francisco shenanigan of a band felt a little like being in an electro-indie Oz. Needless to say, everyone loved it. Their music was fun and enthusiastic without an overwhelming or annoying amount of energy. The guys themselves brought a lot of personality to their set, which I really liked; although, at times their set felt a little bit like I was watching VH1 Storytellers or something, because they literally told us the name of-- and often, the story behind writing-- every. single. song. I had kind of mixed feelings about this. But, these guys had a great sense of humor and interacted with the audience in a way that made it feel like we were all friends, like they were playing a house show in the student ghetto.
Probably the most entertaining element of this set was just watching the synth player. I haven't seen a whole lot of electronic acts live, but until now, I have never seen anyone bring the all energy (and more) of a "real" drummer with a drum machine. At the end, everyone was having so much fun that an encore was all but demanded; the hipsters were a-jumpin' and the wood floors of the Strutt were creaking like it was some kind of indie hoedown. It was magical.
Most Misjudged: The Legendary Shack Shakers (Night Two)
Man-oh-man, do I have some explaining to do.
You might remember that when I was scoping out the Tuna bands, I said some not-very-nice things about the Shack Shakers. Lucky for you guys, I am pretty ok at admitting when I am wrong (don't ask my mom or any of my ex-boyfriends, but I am) if I do say so myself. And now is one of those times, because these guys BROUGHT DOWN THE HOUSE. Not only did they draw the biggest crowd I saw at any of the three shows, but they made Papa Pete's into the biggest madhouse I have seen it since I saw Mustard Plug there about this time last year. These guys played something that, if I had to, I would label "bayou metal." I think normal people call it "rockabilly." [I had heard this term used before, but apparently there is a whole rockabilly culture/ scene I had no idea about, which basically consists of guys with beards in flannel shirts and girls who dress like Lucille Ball but wear lots of makeup and have full tattoo sleeves. Huh.] Regardless, while their sound is uniquely country-slash-cajun-influenced, it's essentially just an extremely danceable bar rock. The Nashville four-piece (guitar, stand-up bass, harmonica, and drums) is lead by a singer who reminded me of a combination of Scott Weiland and my friend Kyle when he's on acid (read: batshit crazy, but captivating in a pied-piper kind of way) and they created a manic, tent revival-like atmosphere which even some of the biggest bands strive for, but don't always attain. And, oh yeah, it was a complete shit show. I haven't seen that many people THAT drunk since... well... Mustard Plug, about this time last year. And even though I myself did not partake (oh, the sacrifices made in the name of responsible journalism) it was completely impossible not to have a killer time. And I did.
Biggest WTF?!: Small Brown Bike (Night Three)
I hate to say I told you so, but...
This was my biggest Tuna letdown. By far. I had considerably low expectations for this band in the first place, and I have to say, they did not redeem themselves whatsoever as a live act. State Theatre is a historic venue with an amazing vibe and I've seen some of the best shows of my life there (well, only one comes to mind [Ryan Adams] but still) and Small Brown Bike managed to create an atmosphere with all the awkward, stagnant discomfort of a high school prom (just speculating, 'cause like I know what that's like). I don't want to write about this anymore, but I still want you to know what it's like, so I will give you some uncensored, unchanged, (semi-) unedited excerpts from my notes that night:
-at best, a poor man's Foo [Fighters]
-sorry, Chad Houts, I DON'T LIKE THIS BAND.*
-I feel like I'm being smoked out of a standoff situation. PANAMA!**
-LOL @ coordinated hair-flip***
-there are more important things in life than charismatic rhythm guitarists.
-[upon a bashful guitar re-tune between songs] "You guys might be getting the sloppy E right now" --oh really? is that what this is?
-un-miked shouting [shitty but common screamo move] alarming and spazzy.
-sound like a Rise Against cover band. Not ok
-Rise Against playing between bands. Of fucking course
*my friend, Chad Houts, had been telling me how awesome this band is.
** http://en.wikipedia.org/wiki/Panama_(song)
*** at one point, both guitar players and the bass player all flipped their hair in unison. Annoying.
So hopefully that gives you a pretty good idea of what it was like. It's so shitty to think that this band drew the second biggest crowd I saw for the whole festival; I estimated that there were over 300 people there. Not too many, but it was the perfect fit for State; when State is sold out, it is unbelievably claustrophobic and awkward. If you've never experienced a sold-out show at State Theatre, it kind of feels like being at your grandma's house for Christmas and all of your cousins are there instead of just you and your siblings like you're used to. You're excited, but then you get there and it's just a stuffy, crowded mess and you inevitably run out of gravy (in this analogy, Red Stripe).
Speaking of grandmas, at some point during Night Three, I noticed that there was an entire family behind me-- complete with a grandma (glean what you will from my description of Small Brown Bike and then imagine a grandma there). Imagine how weirded out I was in that moment. I am eavesdropping as I always do in public until I find out that they are people who say "whenever" in place of "when;" and at one point, I literally hear a naggy matriarch shout "You know, you could die from smoking!" And then, my favorite part of the show at this point: the dad (who had been slouching in a chair separate from the rest of the family, with his feet up on a chair in front of him) looks at his phone, stands up, shouting, does a victory dance and screams "TOUCHDOWN! I LOVE TECHNOLOGY!"
But, I digress.
Most Tragically-Underrated Band: Fruit Bats (Night Three)
When I see The Grandma up front, taking pictures on her cell, I realize why the family is there: for Fruit Bats! Of course! I always knew grandmas had great taste in music (although I find out that they are there with a band member [obvs] by the way they keep shouting "CHRIS!" and various song requests).
Actually, I am sad to report that this family makes up about 1/4 of the audience which witnesses the true glory of Fruit Bats' set. Everyone inexplicably left after Small Brown Bike's set and I have never taken such a blatant disregard of amazing music so personally. This band put on literally one of the BEST SHOWS I HAVE SEEN lately. I'm not even joking. Fruit Bats are an indie 5-piece led by a singer (he also plays guitar and keys) who resembles Ben Gibbard both physically and musically... The Death Cab influence is undeniable, but they sound essentially like a mix between the Shins and the Allman Brothers Band. Sounds crazy, I know, but this blend of indie-pop with a little (even though I hate this phrase) Southern rock resulted in a beautiful, completely original sound.
The best parts of Fruit Bats' set, though, were songs performed solo by their lead singer/ guitar player Eric Johnson. A natural vocalist and poetic songwriter, Johnson has a stunning ability to play to a room of 25, make it seem as though he feels like he's playing to a room of 2,500 and make you feel like he's playing to just you. His songwriting has a poetic, narrative style that I thought would be good, but was heartstopping to hear in person. Even though at times, like during the encore-- requested by essentially one guy-- the music was obscured by awkward (but well-meaning) clapping, they never lost their beautiful, intimate connectedness. This band was amazing and I would be surprised if I never heard about them again. Keep an eye out for Fruit Bats. If you like indie at all (and I'm assuming you do since you're reading this and it's pretty much all I talk about) check them out. You won't be sorry. That's all I'm sayin'.
And, so (I bet you saw this coming)...
BEST TUNA BAND: FRUIT BATS!
Honorable Mention: The Daredevil Christopher Wright (Night One)
Daredevil kind of sounded like the Decemberists meets Ben Folds Five. Delightful! They had me right at the first song, when their drummer (/percussionist) walked out from behind the drum kit and kept drumming on random shit that was onstage. It was amazing. I know that sounds weird, but everyone else thought it was cool too. I used to date a drummer and I know how annoying it is how they drum on everything in sight. But, take this and apply it to actual MUSIC, and it's actually really cool and creative. Their music has a sentimental vulnerability to it at times that was really endearing (like "East Coast," about a family member who gets married and moves across the country). As a band, they come off as the geeky choir boys from high school, who got picked on but then one day everyone realized how talented they were and then they got laid more than the lacrosse players. And rightfully so; one of their songs was led off by an a cappella doo-wop intro that was an entertaining, refreshing, amazing novelty. This is another band from whom I promise we can expect great things in the future.
The bottom line:
Three nights of amazing music... and I am simply exhausted. I had an awesome, awesome time and can't wait until next year. I'm going to take a little break from live music, but expect some new album reviews this week.
Special thanks to Clarke Babcock for being my companion throughout the festival!
-thejunkie
Best Misfits: Boy In Static (Night One)
After an ungodly 40-minute soundcheck (we were told the band's gear had been misplaced by the airline and arrived one hour before their set was to begin), San Francisco synth/viola 2-piece Boy In Static sheepishly took the sheepish-looking stage at the Strutt to a patient and enthusiastic crowd: house regulars (the K College- affiliated intellectual-and-hip-in-that-order crew) stood alongside disconnected hippie burnouts and aging upper-middle-class sophisticates alike, sipping pumpkin lattes and microbrews (goodness. I love the Strutt). At first, the crowd received them mostly with curiosity; a tiny Asian guy jamming on a viola and singing and a tiny white guy pounding on a drum machine don't exactly fit into the paradigm of the Kalamazoo scene, and this newfangled San Francisco shenanigan of a band felt a little like being in an electro-indie Oz. Needless to say, everyone loved it. Their music was fun and enthusiastic without an overwhelming or annoying amount of energy. The guys themselves brought a lot of personality to their set, which I really liked; although, at times their set felt a little bit like I was watching VH1 Storytellers or something, because they literally told us the name of-- and often, the story behind writing-- every. single. song. I had kind of mixed feelings about this. But, these guys had a great sense of humor and interacted with the audience in a way that made it feel like we were all friends, like they were playing a house show in the student ghetto.
Probably the most entertaining element of this set was just watching the synth player. I haven't seen a whole lot of electronic acts live, but until now, I have never seen anyone bring the all energy (and more) of a "real" drummer with a drum machine. At the end, everyone was having so much fun that an encore was all but demanded; the hipsters were a-jumpin' and the wood floors of the Strutt were creaking like it was some kind of indie hoedown. It was magical.
Most Misjudged: The Legendary Shack Shakers (Night Two)
Man-oh-man, do I have some explaining to do.
You might remember that when I was scoping out the Tuna bands, I said some not-very-nice things about the Shack Shakers. Lucky for you guys, I am pretty ok at admitting when I am wrong (don't ask my mom or any of my ex-boyfriends, but I am) if I do say so myself. And now is one of those times, because these guys BROUGHT DOWN THE HOUSE. Not only did they draw the biggest crowd I saw at any of the three shows, but they made Papa Pete's into the biggest madhouse I have seen it since I saw Mustard Plug there about this time last year. These guys played something that, if I had to, I would label "bayou metal." I think normal people call it "rockabilly." [I had heard this term used before, but apparently there is a whole rockabilly culture/ scene I had no idea about, which basically consists of guys with beards in flannel shirts and girls who dress like Lucille Ball but wear lots of makeup and have full tattoo sleeves. Huh.] Regardless, while their sound is uniquely country-slash-cajun-influenced, it's essentially just an extremely danceable bar rock. The Nashville four-piece (guitar, stand-up bass, harmonica, and drums) is lead by a singer who reminded me of a combination of Scott Weiland and my friend Kyle when he's on acid (read: batshit crazy, but captivating in a pied-piper kind of way) and they created a manic, tent revival-like atmosphere which even some of the biggest bands strive for, but don't always attain. And, oh yeah, it was a complete shit show. I haven't seen that many people THAT drunk since... well... Mustard Plug, about this time last year. And even though I myself did not partake (oh, the sacrifices made in the name of responsible journalism) it was completely impossible not to have a killer time. And I did.
Biggest WTF?!: Small Brown Bike (Night Three)
I hate to say I told you so, but...
This was my biggest Tuna letdown. By far. I had considerably low expectations for this band in the first place, and I have to say, they did not redeem themselves whatsoever as a live act. State Theatre is a historic venue with an amazing vibe and I've seen some of the best shows of my life there (well, only one comes to mind [Ryan Adams] but still) and Small Brown Bike managed to create an atmosphere with all the awkward, stagnant discomfort of a high school prom (just speculating, 'cause like I know what that's like). I don't want to write about this anymore, but I still want you to know what it's like, so I will give you some uncensored, unchanged, (semi-) unedited excerpts from my notes that night:
-at best, a poor man's Foo [Fighters]
-sorry, Chad Houts, I DON'T LIKE THIS BAND.*
-I feel like I'm being smoked out of a standoff situation. PANAMA!**
-LOL @ coordinated hair-flip***
-there are more important things in life than charismatic rhythm guitarists.
-[upon a bashful guitar re-tune between songs] "You guys might be getting the sloppy E right now" --oh really? is that what this is?
-un-miked shouting [shitty but common screamo move] alarming and spazzy.
-sound like a Rise Against cover band. Not ok
-Rise Against playing between bands. Of fucking course
*my friend, Chad Houts, had been telling me how awesome this band is.
** http://en.wikipedia.org/wiki/Panama_(song)
*** at one point, both guitar players and the bass player all flipped their hair in unison. Annoying.
So hopefully that gives you a pretty good idea of what it was like. It's so shitty to think that this band drew the second biggest crowd I saw for the whole festival; I estimated that there were over 300 people there. Not too many, but it was the perfect fit for State; when State is sold out, it is unbelievably claustrophobic and awkward. If you've never experienced a sold-out show at State Theatre, it kind of feels like being at your grandma's house for Christmas and all of your cousins are there instead of just you and your siblings like you're used to. You're excited, but then you get there and it's just a stuffy, crowded mess and you inevitably run out of gravy (in this analogy, Red Stripe).
Speaking of grandmas, at some point during Night Three, I noticed that there was an entire family behind me-- complete with a grandma (glean what you will from my description of Small Brown Bike and then imagine a grandma there). Imagine how weirded out I was in that moment. I am eavesdropping as I always do in public until I find out that they are people who say "whenever" in place of "when;" and at one point, I literally hear a naggy matriarch shout "You know, you could die from smoking!" And then, my favorite part of the show at this point: the dad (who had been slouching in a chair separate from the rest of the family, with his feet up on a chair in front of him) looks at his phone, stands up, shouting, does a victory dance and screams "TOUCHDOWN! I LOVE TECHNOLOGY!"
But, I digress.
Most Tragically-Underrated Band: Fruit Bats (Night Three)
When I see The Grandma up front, taking pictures on her cell, I realize why the family is there: for Fruit Bats! Of course! I always knew grandmas had great taste in music (although I find out that they are there with a band member [obvs] by the way they keep shouting "CHRIS!" and various song requests).
Actually, I am sad to report that this family makes up about 1/4 of the audience which witnesses the true glory of Fruit Bats' set. Everyone inexplicably left after Small Brown Bike's set and I have never taken such a blatant disregard of amazing music so personally. This band put on literally one of the BEST SHOWS I HAVE SEEN lately. I'm not even joking. Fruit Bats are an indie 5-piece led by a singer (he also plays guitar and keys) who resembles Ben Gibbard both physically and musically... The Death Cab influence is undeniable, but they sound essentially like a mix between the Shins and the Allman Brothers Band. Sounds crazy, I know, but this blend of indie-pop with a little (even though I hate this phrase) Southern rock resulted in a beautiful, completely original sound.
The best parts of Fruit Bats' set, though, were songs performed solo by their lead singer/ guitar player Eric Johnson. A natural vocalist and poetic songwriter, Johnson has a stunning ability to play to a room of 25, make it seem as though he feels like he's playing to a room of 2,500 and make you feel like he's playing to just you. His songwriting has a poetic, narrative style that I thought would be good, but was heartstopping to hear in person. Even though at times, like during the encore-- requested by essentially one guy-- the music was obscured by awkward (but well-meaning) clapping, they never lost their beautiful, intimate connectedness. This band was amazing and I would be surprised if I never heard about them again. Keep an eye out for Fruit Bats. If you like indie at all (and I'm assuming you do since you're reading this and it's pretty much all I talk about) check them out. You won't be sorry. That's all I'm sayin'.
And, so (I bet you saw this coming)...
BEST TUNA BAND: FRUIT BATS!
Honorable Mention: The Daredevil Christopher Wright (Night One)
Daredevil kind of sounded like the Decemberists meets Ben Folds Five. Delightful! They had me right at the first song, when their drummer (/percussionist) walked out from behind the drum kit and kept drumming on random shit that was onstage. It was amazing. I know that sounds weird, but everyone else thought it was cool too. I used to date a drummer and I know how annoying it is how they drum on everything in sight. But, take this and apply it to actual MUSIC, and it's actually really cool and creative. Their music has a sentimental vulnerability to it at times that was really endearing (like "East Coast," about a family member who gets married and moves across the country). As a band, they come off as the geeky choir boys from high school, who got picked on but then one day everyone realized how talented they were and then they got laid more than the lacrosse players. And rightfully so; one of their songs was led off by an a cappella doo-wop intro that was an entertaining, refreshing, amazing novelty. This is another band from whom I promise we can expect great things in the future.
The bottom line:
Three nights of amazing music... and I am simply exhausted. I had an awesome, awesome time and can't wait until next year. I'm going to take a little break from live music, but expect some new album reviews this week.
Special thanks to Clarke Babcock for being my companion throughout the festival!
-thejunkie
Friday, October 09, 2009
Barking Tuna 2009 NIGHT THREE PREVIEW!
That's right, kids. The full monty, the prestigious Night Three of the Tuna! Here's a little bit of what's going down.
Night Three: Sat 10/10/09 at State Theater
Fruit Bats (Chicago) {pop/folk-rock} [http://www.myspace.com/thefruitbats]
I have to say, on behalf of all Kalamazoo music geeks, it is really exciting that Fruit Bats are playing Barking Tuna this year. Led by singer-songwriter Eric Johnson (no, not that Eric Johnson, guitar nerds), Fruit Bats have been around with various lineups for the past several years, and signed to Sub Pop since '02. They have even played alongside indie heroes the Shins. Also, after they play this show, they are embarking on a European tour... But enough credentials and nerdery.
As for the music. Not to get all Carrie Bradshaw but...
"When listening to this band, I couldn't help but wonder: is there such a thing as too indie?"
My answer: no. And if there is, Fruit Bats aren't (Bright Eyes? maybe?). I just impulsively bought this band's music from their Myspace, and you know you like music when you pay for it. Tell you what... before you go to the show on Saturday, do yourself a favor, and listen to the music, because you're going to want to sing along. I promise. Check out "When U Love Somebody."
Small Brown Bike (Marshall, MI) {screamo} [http://www.myspace.com/smallbrownbike04]
Don't get mad at me, K-zoo scene kids, but... Yikes.
Just yikes.
Not to be a snob, but how did an screamo band from Marshall land this spot anyway? Screamo is over. It should have never happened and it's done now. Acclimate!
Can I please go back to Fruit Bats?!
Notes To Self (Toronto) {hip-hop} [http://www.myspace.com/notestoself]
This is another opportunity we don't get in Kalamazoo a whole lot: A GOOD HIP-HOP SHOW!!!
I want to reiterate what I said about bluegrass last weekend: just because you think it's not your scene doesn't mean you won't have a completely awesome time. Not only is hip-hop fairly rare to come by as far as live music goes, Kalamazoo doesn't really have the facilities, a following or a much of a scene at all for hip-hop. [P.S. This is something I've wanted to talk about for a long time, and I feel now is the time to discuss it. "Hip-hop" and "rap" are not the same thing. "Rapping" is the VOCAL PART of "hip-hop" music. That would be like calling rock music "singing" or "shouting," neither of which you would ever do, right?] [Thanks for humoring me there. Just a little pet peeve I had to shout.]
So, moving on, as a closet hip-hop enthusiast, I am PSYCHED for Notes To Self. Notes to Self is from Toronto, but they have a distinct West Coast influence: hypnotically smooth, swaying beats riding under articulate rapping that ranges from defiant to introspective and even psychological ("I'm about me/ I never got enough me as a child").
I'm digging the studio work posted on their Myspace, but, like all hip-hop acts, I'm sure their live show will produce a completely different sound. So I'm interested for now, and stoked for tomorrow night. Because, as you can see, it's official: THIS ENTIRE SHOW IS GOING TO BE AMAZING.
The Verdict:
Fruit Bats-- You are magical and beautiful.
Small Brown Bike-- I still have faith in you. I'm just a little perplexed. Not judgin'!
Notes To Self-- Please stay here in Kalamazoo! And bring your friends! Live, good hip-hop every weekend? That would be great. Canada sucks anyway.
See you guys at the show!
Night Three: Sat 10/10/09 at State Theater
Fruit Bats (Chicago) {pop/folk-rock} [http://www.myspace.com/thefruitbats]
I have to say, on behalf of all Kalamazoo music geeks, it is really exciting that Fruit Bats are playing Barking Tuna this year. Led by singer-songwriter Eric Johnson (no, not that Eric Johnson, guitar nerds), Fruit Bats have been around with various lineups for the past several years, and signed to Sub Pop since '02. They have even played alongside indie heroes the Shins. Also, after they play this show, they are embarking on a European tour... But enough credentials and nerdery.
As for the music. Not to get all Carrie Bradshaw but...
"When listening to this band, I couldn't help but wonder: is there such a thing as too indie?"
My answer: no. And if there is, Fruit Bats aren't (Bright Eyes? maybe?). I just impulsively bought this band's music from their Myspace, and you know you like music when you pay for it. Tell you what... before you go to the show on Saturday, do yourself a favor, and listen to the music, because you're going to want to sing along. I promise. Check out "When U Love Somebody."
Small Brown Bike (Marshall, MI) {screamo} [http://www.myspace.com/smallbrownbike04]
Don't get mad at me, K-zoo scene kids, but... Yikes.
Just yikes.
Not to be a snob, but how did an screamo band from Marshall land this spot anyway? Screamo is over. It should have never happened and it's done now. Acclimate!
Can I please go back to Fruit Bats?!
Notes To Self (Toronto) {hip-hop} [http://www.myspace.com/notestoself]
This is another opportunity we don't get in Kalamazoo a whole lot: A GOOD HIP-HOP SHOW!!!
I want to reiterate what I said about bluegrass last weekend: just because you think it's not your scene doesn't mean you won't have a completely awesome time. Not only is hip-hop fairly rare to come by as far as live music goes, Kalamazoo doesn't really have the facilities, a following or a much of a scene at all for hip-hop. [P.S. This is something I've wanted to talk about for a long time, and I feel now is the time to discuss it. "Hip-hop" and "rap" are not the same thing. "Rapping" is the VOCAL PART of "hip-hop" music. That would be like calling rock music "singing" or "shouting," neither of which you would ever do, right?] [Thanks for humoring me there. Just a little pet peeve I had to shout.]
So, moving on, as a closet hip-hop enthusiast, I am PSYCHED for Notes To Self. Notes to Self is from Toronto, but they have a distinct West Coast influence: hypnotically smooth, swaying beats riding under articulate rapping that ranges from defiant to introspective and even psychological ("I'm about me/ I never got enough me as a child").
I'm digging the studio work posted on their Myspace, but, like all hip-hop acts, I'm sure their live show will produce a completely different sound. So I'm interested for now, and stoked for tomorrow night. Because, as you can see, it's official: THIS ENTIRE SHOW IS GOING TO BE AMAZING.
The Verdict:
Fruit Bats-- You are magical and beautiful.
Small Brown Bike-- I still have faith in you. I'm just a little perplexed. Not judgin'!
Notes To Self-- Please stay here in Kalamazoo! And bring your friends! Live, good hip-hop every weekend? That would be great. Canada sucks anyway.
See you guys at the show!
Thursday, October 08, 2009
Barking Tuna 2009 NIGHT TWO PREVIEW!
Night Two: Fri 10/09/09 at Papa Pete's
The Legendary Shack Shakers (Nashville) {folk punk} [http://www.myspace.com/legendaryshackshakers]
You might have noticed that I categorized this band as "folk punk." If that sounds strange, it's because it is. While I love a good experimental band, they kind of sound like this: a hillbilly and a Russian met in a traveling circus, had a child, homeschooled it, and only allowed it to listen to Dropkick Murphys and watch Tim Burton movies. Infer what you will.
Sidenote on Nashville: while it calls itself "The Music City," I did fairly extensive research on Nashville's music scene for this blurb alone, to try to get a context for this band, and honestly didn't find a whole lot that didn't fall under the country/ blues/ etc category. There are some indie bands but, otherwise, not a whole lot going on. So while I give this band props for stepping out of their crowd, and while I have a certain amount of faith in WIDR's music selections for Tuna (especially after Night One) I'm not real optimistic about this show. But I'm going, and I have an open mind, and we'll see.
Who Hit John? (Kalamazoo) {roots/ americana} [http://www.myspace.com/whohitjohn5]
So, you have to know that moments after I first listened to this band on Myspace, my internet browser completely melted off the screen and left me with that excruciating helpless panic that only a computer malfunction can bring. Regardless, their first listed track, "Till The Last Dog Dies" KEPT PLAYING without so much as a skip between jingly banjo-and-fiddle stylings. Because of this, I'm led to believe that this band has supernatural powers, and am expecting a supernatural show. I hope they live up to it. (Just kidding. But seriously. And does anyone know anything about computers? Because I think mine is broken.)
Anyway. With names like Hamdog and Django, I'm sure these folks know how to party, and you guys already know how I love a good bluegrass show. With character-centric, party-oriented jams about gettin' drunk and causin' trouble, Who Hit John? plays it safe: not unappealing, but nothing we haven't heard before. With the right energy tonight, I'm expecting this show to go over fairly well. Personally, I'm kind of looking forward to seeing Papa Pete's-- a predominately rock/ metal venue-- full of skeletal vegans with dreadlocks and Peoples' Food Co-Op tshirts. I think it will be a more anthropological experience than anything. And hopefullly the music will be ok, too.
Michael Beauchamp and the Barn Roughs (Kalamazoo) {folk} [http://www.myspace.com/michaelbeauchampmusic]
After spending some time with Michael Beauchamp's music, I'm starting to think that what I took at first for a stripped-down, decidedly low-fi sound is actually just a bunk live recording. On one hand, I'm a little annoyed, but when I put my music snobbery aside and just pay attention to the music (when I'm not distracted by people coughing in the background [PS-- we're onto you!]) it's actually really good, pure, old-fashioned folk music. Like... old old-fashioned folk music. While he has the requisite Bob Dylan-influence-mention on his Myspace, there really isn't a whole lot-- if any-- 60's-folk influence that I can determine. I almost want to [please, let's not have the conversation about 'the impossibility of Bob Dylan NOT influencing an artist']. But Beauchamp has such an unbelievable backwoods purity to his songwriting-- and his voice itself-- that simply wasn't present in the 60s, when folk was so much more tense and aware; he seems to transcend this with a unique, reductionist take on music: letting it speak for itself. His warbly voice and wavelike strumming seem to lean against a beautiful croon of traditional fiddle, and the overall effect is simple, not overwhelming, but hauntingly pristine. Beauchamp, etc is probably my pick for tonight.
The Legendary Shack Shakers (Nashville) {folk punk} [http://www.myspace.com/legendaryshackshakers]
You might have noticed that I categorized this band as "folk punk." If that sounds strange, it's because it is. While I love a good experimental band, they kind of sound like this: a hillbilly and a Russian met in a traveling circus, had a child, homeschooled it, and only allowed it to listen to Dropkick Murphys and watch Tim Burton movies. Infer what you will.
Sidenote on Nashville: while it calls itself "The Music City," I did fairly extensive research on Nashville's music scene for this blurb alone, to try to get a context for this band, and honestly didn't find a whole lot that didn't fall under the country/ blues/ etc category. There are some indie bands but, otherwise, not a whole lot going on. So while I give this band props for stepping out of their crowd, and while I have a certain amount of faith in WIDR's music selections for Tuna (especially after Night One) I'm not real optimistic about this show. But I'm going, and I have an open mind, and we'll see.
Who Hit John? (Kalamazoo) {roots/ americana} [http://www.myspace.com/whohitjohn5]
So, you have to know that moments after I first listened to this band on Myspace, my internet browser completely melted off the screen and left me with that excruciating helpless panic that only a computer malfunction can bring. Regardless, their first listed track, "Till The Last Dog Dies" KEPT PLAYING without so much as a skip between jingly banjo-and-fiddle stylings. Because of this, I'm led to believe that this band has supernatural powers, and am expecting a supernatural show. I hope they live up to it. (Just kidding. But seriously. And does anyone know anything about computers? Because I think mine is broken.)
Anyway. With names like Hamdog and Django, I'm sure these folks know how to party, and you guys already know how I love a good bluegrass show. With character-centric, party-oriented jams about gettin' drunk and causin' trouble, Who Hit John? plays it safe: not unappealing, but nothing we haven't heard before. With the right energy tonight, I'm expecting this show to go over fairly well. Personally, I'm kind of looking forward to seeing Papa Pete's-- a predominately rock/ metal venue-- full of skeletal vegans with dreadlocks and Peoples' Food Co-Op tshirts. I think it will be a more anthropological experience than anything. And hopefullly the music will be ok, too.
Michael Beauchamp and the Barn Roughs (Kalamazoo) {folk} [http://www.myspace.com/michaelbeauchampmusic]
After spending some time with Michael Beauchamp's music, I'm starting to think that what I took at first for a stripped-down, decidedly low-fi sound is actually just a bunk live recording. On one hand, I'm a little annoyed, but when I put my music snobbery aside and just pay attention to the music (when I'm not distracted by people coughing in the background [PS-- we're onto you!]) it's actually really good, pure, old-fashioned folk music. Like... old old-fashioned folk music. While he has the requisite Bob Dylan-influence-mention on his Myspace, there really isn't a whole lot-- if any-- 60's-folk influence that I can determine. I almost want to [please, let's not have the conversation about 'the impossibility of Bob Dylan NOT influencing an artist']. But Beauchamp has such an unbelievable backwoods purity to his songwriting-- and his voice itself-- that simply wasn't present in the 60s, when folk was so much more tense and aware; he seems to transcend this with a unique, reductionist take on music: letting it speak for itself. His warbly voice and wavelike strumming seem to lean against a beautiful croon of traditional fiddle, and the overall effect is simple, not overwhelming, but hauntingly pristine. Beauchamp, etc is probably my pick for tonight.
Wednesday, October 07, 2009
Barking Tuna 2009 NIGHT ONE PREVIEW!
I'm hoping everyone is ready for Kalamazoo's music event of the year: WIDR's Barking Tuna Festival. While a 3-night pass for $25 is pretty reasonable (available at WIDR and Corner Record Shop [which is awesome by the way]), you're probably just going to want to scope out what you're into and check out a few bands, because 9 in three nights is a lot... lucky you've got me.
So any way, what I'm going to do is post a preview of each night detailing who is playing and (vaguely) what to expect. Here's night one!
Night One: Thurs 10/08/09 at the Strutt
Airborne or Aquatic (Northern MI) {jam} [http://www.myspace.com/airborneoraquatic]
After one listen to Airborne or Aquatic, a semi- experimental jam band, you might write them off as yet another faux-Southern-trad (roots/folk/bluegrass) band like the legion of others that keep cropping up in the Midwest. And that response is half-right; songs like "Moose Man" had the effect of (as Butthead brilliantly said in response to a Nine Inch Nails video) "great, but, frankly... it's been done." But, on other tracks, you'll find AOA with a more organic sound and an appealingly melancholy vibe, (check out the spoken-word interlude on "Smoke in the Rain") and you might find that they bring a little something different to the table. Their accessibility and political/ social consciousness go together like thrift-shop tshirts and Urban Outfitters jeans... different, uncanny, mismatched and completely harmonious. I can't help but feel like they will probably go over extremely well tonight... this is Kalamazoo, after all.
The Daredevil Christopher Wright (Eau Claire, Wisconsin) {indie} [http://www.myspace.com/thedaredevilchristopherwright]
I hate to say this so soon, but I am already impressed with this act. The Wisconsin 3-piece has upcoming shows all over the country-- in the midwest, Colorado, Washington, California-- one of which is with Bon Iver (!). This band possesses such an unbelievable musical awareness and aptitude, weaving pop-indie with classical instruments (notably on the breathtaking "Hospital/ The East Coast). While, at times, they adhere to the monolithic indie status quo, they are still incredibly fresh and innovative (check out the ironically blithe "Bury You Alive"). I can. not. wait. to see this band tonight.
Boy In Static (San Francisco, California) {indie} [http://www.myspace.com/boyinstatic]
Somewhere between The Postal Service and My Bloody Valentine lies the sound of Boy In Static: wispy, melodic shoegazer driven by a quiet passion. There is a gentle intensity to their music-- a surreal synth-viola duo with intimate, close-sounding vocals-- with an effect that resounds inside you like the beating of your own heart. While I'm wondering how this 2-piece is going to pull off live what can be done fairly easily in the studio, I am nonetheless looking forward to this.
So, needless to say, tonight's gonna be a good night. Hope to see you guys at the Strutt.
So any way, what I'm going to do is post a preview of each night detailing who is playing and (vaguely) what to expect. Here's night one!
Night One: Thurs 10/08/09 at the Strutt
Airborne or Aquatic (Northern MI) {jam} [http://www.myspace.com/airborneoraquatic]
After one listen to Airborne or Aquatic, a semi- experimental jam band, you might write them off as yet another faux-Southern-trad (roots/folk/bluegrass) band like the legion of others that keep cropping up in the Midwest. And that response is half-right; songs like "Moose Man" had the effect of (as Butthead brilliantly said in response to a Nine Inch Nails video) "great, but, frankly... it's been done." But, on other tracks, you'll find AOA with a more organic sound and an appealingly melancholy vibe, (check out the spoken-word interlude on "Smoke in the Rain") and you might find that they bring a little something different to the table. Their accessibility and political/ social consciousness go together like thrift-shop tshirts and Urban Outfitters jeans... different, uncanny, mismatched and completely harmonious. I can't help but feel like they will probably go over extremely well tonight... this is Kalamazoo, after all.
The Daredevil Christopher Wright (Eau Claire, Wisconsin) {indie} [http://www.myspace.com/thedaredevilchristopherwright]
I hate to say this so soon, but I am already impressed with this act. The Wisconsin 3-piece has upcoming shows all over the country-- in the midwest, Colorado, Washington, California-- one of which is with Bon Iver (!). This band possesses such an unbelievable musical awareness and aptitude, weaving pop-indie with classical instruments (notably on the breathtaking "Hospital/ The East Coast). While, at times, they adhere to the monolithic indie status quo, they are still incredibly fresh and innovative (check out the ironically blithe "Bury You Alive"). I can. not. wait. to see this band tonight.
Boy In Static (San Francisco, California) {indie} [http://www.myspace.com/boyinstatic]
Somewhere between The Postal Service and My Bloody Valentine lies the sound of Boy In Static: wispy, melodic shoegazer driven by a quiet passion. There is a gentle intensity to their music-- a surreal synth-viola duo with intimate, close-sounding vocals-- with an effect that resounds inside you like the beating of your own heart. While I'm wondering how this 2-piece is going to pull off live what can be done fairly easily in the studio, I am nonetheless looking forward to this.
So, needless to say, tonight's gonna be a good night. Hope to see you guys at the Strutt.
Monday, October 05, 2009
Shows This Weekend
There's only one right way to kick off Rocktober: first weekend, 3 shows in 3 nights. Fall is always the best time to go to shows, and there certainly has been a lot going on lately. And I dig it.
Fri 10/2: Brand New w/ Manchester Orchestra, the Fillmore (Detroit)
I'm somewhat stoked to say, yet somewhat hesitant to admit that I might have known about this show before any of you guys: because I am on Manchester Orchestra's mailing list. Please take in everything else I am about to say about this show with that very telling fact in mind. Yes, MO is my favorite of many favorite bands. But I am trying, at least in this context, to maintain any attainable level of neutrality. Just so you know.
So... 3 hours of driving, a clandestine detour in Ann Arbor, and a $20 ramp parking fee (damn you, Fillmore, for being across the street from Comerica Park on game night) later, Manchester took the stage. Their frontman, singer/ songwriter/ guitar player/ indie caricature Andy Hull possesses this kind of Thoreauvian wildness that makes this band so ungodly addicting to see live; I could not imagine anyone else who would look as at-home as an Alaskan crabfisherman, or living in a schoolbus a la Gary Busey in Black Sheep, as he does onstage. But I guess that's neither here nor there. What matters is they fucking rocked, and always do, but-- in the immortal words of a nameless American icon-- that's all I have to say about that.
Excuse me while I pause to sweep up any remaining shreds of credibility so that I may continue. Thanks.
What I really want to talk about is Brand New's performance. I'm not quite sure how to say this, but what happened from 10:05 until about 11:20 pm EST at the Fillmore, was something that was so gut-wrenchingly, soul-crushingly, traumatically beautiful that part of me feels like it should never happen again. But that would be so wrong.
I'm trying to think of a way to tell you what it feels like to see Brand New. Actually, I've been trying for days. So imagine a rioting crowd, all flannel-covered elbows and stomping Chuck Taylors, juxtaposed against a low-lit stage, the enigmatic Jesse Lacey in the middle, gripping his Telecaster like a machine gun; projected behind it all is a surreal black-and-white slideshow-esque film. Almost too many dimensions of amazing.
I immediately felt guilty for-- yikes-- not liking their new album. But I was pleasantly surprised when they opened with "You Won't Know" and wove a cleverly anachronistic set list which I wanted to share with you now, but it didn't feel right to write it down. Needless to say, that night was just one of those nights where you fall in love with music all over again.
Music, I wish I knew how to quit you.
A.D.D. Sidenote: in between sets, I ran into Jeremiah, the drummer from Manchester!!! Ever the annoying fan, I hugged him and basically thanked him for being so awesome... my best friend and I Wayne-and-Garthified and the resulting conversation basically went something like, "Jeremiah, we're not worthy!!!" But he was unbelievably humble and nice. Amazing.
The requisite post-show 12,000-calorie Greektown visit and coma that commenced make that night's memories a little foggy, but needless to say... that show... Wow. Ridiculous.
Hopefully by the time I'm a real writer I'll think of better ways to say things than that.
Sat 10/3: Rootstand at Bell's (Kalamazoo)
The story of Saturday night is more of a... story... than just a show. I'll explain.
One of my housemates is a banjo player (legit!) and has been in a few bluegrass bands around Kalamazoo, so, luckily, when the occasion arises, I often have an excuse to go to bluegrass shows. I have to admit the bluegrass culture in Kalamazoo was something I was not very familiar until this summer, especially with the college crowd, but I am pleased to have found reassurance that there will be hippies-- and resulting mountain-bluegrass jam seshes-- in every generation. And, after all, it's about the music and not the scene, right? So it's ok to sometimes succumb to one's various hippie persuasions.
Before you laugh, if you have never experienced a legit bluegrass SHOW-- let alone a festival-- there is nothing quite like being out there two-stepping with the hippies. It's amazing. Bluegrass is a lot like ska in that if you're there, you're a (bluegrass/ ska)-PERSON: you're a fan, you know the music, you (two-step/ skank), you're starting a band next week, that's your thing. So don't judge yourself if you want to grab a frosty microbrew and load up the Forester to go to the festie and rage some kind nugs. It's ok. You've always wanted to, right? And that's what bluegrass is about. It just feels good.
So, Saturday night. I'm sitting at my apartment reading and another housemate knocks on my door, hammered, and asks if I'm going to Bells tonight. I was vaguely confused, but game (such is my life). What commenced was an interesting night with a lot of interesting details that might not be appropriate to publish here.
Oh shit, I promised you a story. Well, Drunk Neighbor got kicked out of Bell's, and since I never leave a homie hangin', I took him back home. But I went back. Cause Rootstand had another set.
The tunes were AMAZING... With that traditional Southern bluegrass stomp and Rootstand's adorable weirdness (like "Disc Golf Life": you can download here [http://www.rootstand.com/index.php?ppge=music]), you'll be out there throwing your 'bows up and steppin' in no time. At the very least, you are almost guaranteed to make friends-- among mine that night were an old Deadhead named Angel (yes, a guy) and a Chicagoan (?) college-hippie who was on a Great Lakes brewery tour with his buddies. Awesome.
Suffice it to say, I would highly, highly recommend getting out to see Rootstand--or any bluegrass show-- if you get a chance. Even if you think it's not your thing. You never know, brah!
Sun 10/4: Lake Louise at the Factory (Rochester)
While I, admittedly, completely abandoned any neutrality/ cred and geeked out over my favorite band in a medium that I would like to be somewhat professional, I simply cannot discuss this show from any critical standpoint, as Lake Louise is a stagename for a very good friend of mine. However, I must give credit where credit is due: many, many props to Lake Louise for holding her own as a (1.) female (2.) solo (3.) FOLK act. Indulge me for a brief moment while I comment on the refreshing ingenuity of those virtues in and of themselves. The resulting music possesses everything good about 60s protest-folk with a Fiona Apple-esque femininity, and a little reluctant country-ness. You may check her out at [http://www.myspace.com/angelacarlton].
Needless to say, anoher good night. And you're probably not in the mood for another story, but moments ago, I nutshelled it to a friend as, "I met an old guy from New Zealand, an old guy from England, and a roadie for Miley Cyrus at an Irish pub in Detroit." And that's how that night went.
So those were the shows this weekend. PS: pretty sure I'm going deaf.
Please stay updated for WIDR's BARKING TUNA FESTIVAL coverage this weekend! I will be at all three shows, so until then, check out what's going on on WIDR and their site [http://www.widr.org/].
-thejunkie
Fri 10/2: Brand New w/ Manchester Orchestra, the Fillmore (Detroit)
I'm somewhat stoked to say, yet somewhat hesitant to admit that I might have known about this show before any of you guys: because I am on Manchester Orchestra's mailing list. Please take in everything else I am about to say about this show with that very telling fact in mind. Yes, MO is my favorite of many favorite bands. But I am trying, at least in this context, to maintain any attainable level of neutrality. Just so you know.
So... 3 hours of driving, a clandestine detour in Ann Arbor, and a $20 ramp parking fee (damn you, Fillmore, for being across the street from Comerica Park on game night) later, Manchester took the stage. Their frontman, singer/ songwriter/ guitar player/ indie caricature Andy Hull possesses this kind of Thoreauvian wildness that makes this band so ungodly addicting to see live; I could not imagine anyone else who would look as at-home as an Alaskan crabfisherman, or living in a schoolbus a la Gary Busey in Black Sheep, as he does onstage. But I guess that's neither here nor there. What matters is they fucking rocked, and always do, but-- in the immortal words of a nameless American icon-- that's all I have to say about that.
Excuse me while I pause to sweep up any remaining shreds of credibility so that I may continue. Thanks.
What I really want to talk about is Brand New's performance. I'm not quite sure how to say this, but what happened from 10:05 until about 11:20 pm EST at the Fillmore, was something that was so gut-wrenchingly, soul-crushingly, traumatically beautiful that part of me feels like it should never happen again. But that would be so wrong.
I'm trying to think of a way to tell you what it feels like to see Brand New. Actually, I've been trying for days. So imagine a rioting crowd, all flannel-covered elbows and stomping Chuck Taylors, juxtaposed against a low-lit stage, the enigmatic Jesse Lacey in the middle, gripping his Telecaster like a machine gun; projected behind it all is a surreal black-and-white slideshow-esque film. Almost too many dimensions of amazing.
I immediately felt guilty for-- yikes-- not liking their new album. But I was pleasantly surprised when they opened with "You Won't Know" and wove a cleverly anachronistic set list which I wanted to share with you now, but it didn't feel right to write it down. Needless to say, that night was just one of those nights where you fall in love with music all over again.
Music, I wish I knew how to quit you.
A.D.D. Sidenote: in between sets, I ran into Jeremiah, the drummer from Manchester!!! Ever the annoying fan, I hugged him and basically thanked him for being so awesome... my best friend and I Wayne-and-Garthified and the resulting conversation basically went something like, "Jeremiah, we're not worthy!!!" But he was unbelievably humble and nice. Amazing.
The requisite post-show 12,000-calorie Greektown visit and coma that commenced make that night's memories a little foggy, but needless to say... that show... Wow. Ridiculous.
Hopefully by the time I'm a real writer I'll think of better ways to say things than that.
Sat 10/3: Rootstand at Bell's (Kalamazoo)
The story of Saturday night is more of a... story... than just a show. I'll explain.
One of my housemates is a banjo player (legit!) and has been in a few bluegrass bands around Kalamazoo, so, luckily, when the occasion arises, I often have an excuse to go to bluegrass shows. I have to admit the bluegrass culture in Kalamazoo was something I was not very familiar until this summer, especially with the college crowd, but I am pleased to have found reassurance that there will be hippies-- and resulting mountain-bluegrass jam seshes-- in every generation. And, after all, it's about the music and not the scene, right? So it's ok to sometimes succumb to one's various hippie persuasions.
Before you laugh, if you have never experienced a legit bluegrass SHOW-- let alone a festival-- there is nothing quite like being out there two-stepping with the hippies. It's amazing. Bluegrass is a lot like ska in that if you're there, you're a (bluegrass/ ska)-PERSON: you're a fan, you know the music, you (two-step/ skank), you're starting a band next week, that's your thing. So don't judge yourself if you want to grab a frosty microbrew and load up the Forester to go to the festie and rage some kind nugs. It's ok. You've always wanted to, right? And that's what bluegrass is about. It just feels good.
So, Saturday night. I'm sitting at my apartment reading and another housemate knocks on my door, hammered, and asks if I'm going to Bells tonight. I was vaguely confused, but game (such is my life). What commenced was an interesting night with a lot of interesting details that might not be appropriate to publish here.
Oh shit, I promised you a story. Well, Drunk Neighbor got kicked out of Bell's, and since I never leave a homie hangin', I took him back home. But I went back. Cause Rootstand had another set.
The tunes were AMAZING... With that traditional Southern bluegrass stomp and Rootstand's adorable weirdness (like "Disc Golf Life": you can download here [http://www.rootstand.com/index.php?ppge=music]), you'll be out there throwing your 'bows up and steppin' in no time. At the very least, you are almost guaranteed to make friends-- among mine that night were an old Deadhead named Angel (yes, a guy) and a Chicagoan (?) college-hippie who was on a Great Lakes brewery tour with his buddies. Awesome.
Suffice it to say, I would highly, highly recommend getting out to see Rootstand--or any bluegrass show-- if you get a chance. Even if you think it's not your thing. You never know, brah!
Sun 10/4: Lake Louise at the Factory (Rochester)
While I, admittedly, completely abandoned any neutrality/ cred and geeked out over my favorite band in a medium that I would like to be somewhat professional, I simply cannot discuss this show from any critical standpoint, as Lake Louise is a stagename for a very good friend of mine. However, I must give credit where credit is due: many, many props to Lake Louise for holding her own as a (1.) female (2.) solo (3.) FOLK act. Indulge me for a brief moment while I comment on the refreshing ingenuity of those virtues in and of themselves. The resulting music possesses everything good about 60s protest-folk with a Fiona Apple-esque femininity, and a little reluctant country-ness. You may check her out at [http://www.myspace.com/angelacarlton].
Needless to say, anoher good night. And you're probably not in the mood for another story, but moments ago, I nutshelled it to a friend as, "I met an old guy from New Zealand, an old guy from England, and a roadie for Miley Cyrus at an Irish pub in Detroit." And that's how that night went.
So those were the shows this weekend. PS: pretty sure I'm going deaf.
Please stay updated for WIDR's BARKING TUNA FESTIVAL coverage this weekend! I will be at all three shows, so until then, check out what's going on on WIDR and their site [http://www.widr.org/].
-thejunkie
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