Posted in Uncategorized on March 21st, 2011 by Kris.G
So yesterday was the first day of Spring I’m told… Friday was beautiful and 82 degrees. Then the temperature slowly dropped over the weekend, there was some freezing rain on my windshield this morning, and temperature read 38 degrees. So it’s not feeling too much like Spring right now. But that’s ok, I’m still going to celebrate it’s official arrival.
I remember back during my freshman year of college, I noticed my listening habits changed as the weather warmed up and it’d definitely done that a little this year too. Just like beer has a rhythm of the seasons, I think music does too. So here’s one of the great up lifting that I love when I can drive with my windows down in the warm weather.
I would like to reach out my hand
I may see you
I may tell you to run
You know what they say about the young
Damn, what a beautiful day! It’s warm, it’s sunny, and just overall a great day. It certainly gives the feeling that Summer is on the way. And so to celebrate the Summer being that much closer I decided to post LFO’s Summ- … O wait a second. Hold on here. This isn’t “Summer Girls” at all. I mean lyrically, they’re about on par with each other, but this is something very different. Yeah, that’s not about Summer at all…
For those of you who are just in the right age range to remember using Napster in it’s heyday, this may have been one of the “gems” you would have inevitably found in the cesspool of single track, mislabeled MP3s downloading over a 56k connection. Ah, the good ol’ days of music piracy.
I guess today’s post isn’t really too much of a throwback but it kinda fits in that category. I think Israel Kamakawiwoʻole, or IZ for short, recorded the most popular and best version of the 1939 “Somewhere Over The Rainbow” originally by Judy Garland (hence the throwback-ness of the post).
IZ passed away in 1997, only 4 years after he recorded this song, but his music still lives on. So much so, that a newly re-edited version was released just last month. The new version even has a brand new video to go with it. There’s nothing tremendously different about it but it’s just great to know how much of an impact he’s made with this one song among his 8 other albums (4 of which were posthumous).
Below is a download of the newly re-edited 2011 version as well as the new video for it.
When John Legend released “Save Room” as a single in 2006, he did so with one big thing in mind: he wanted people to recognize him as a singer, not only a great pianist. This was his first single released that had an absence of piano.
Then a few months later in January 2007, Legend appears on the TV show Las Vegas as himself (Season 4, Episode 11) and plays a version of “Save Room” that is only backed by piano. When comparing it to the single, the piano version is by far the one I enjoy so much more. Needless to say, ever since I heard that version, I have been searching for 4 years to find it, but to no avail. I even went to see Legend live with the hope in the back of my mind that maybe he would do the piano version of the song to change it up a little for a live performance.
But no, nothing! I have come up short. The best I could find were these videos (1234) on youtube which aren’t the best quality. So here it is, I’ve posted the version from Las Vegas with dialogue over top of it and all.
And now here comes my beckoning plea! If anyone reading this has a GOOD recording of an acoustic piano version of “Save Room,” please please please contact me. My searching over these past few years has come up relatively short.
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Between all his projects from Blink to +44 to Boxcar Racer to even more, Travis Barker still finds time to defy death, remix, and release a solo album. And he’s no stranger to mixing up his musical style. Barker’s the drummer for the Transplants and has been remixing hip hop artists since at least 2004. And speaking of busy, I even got to see him perform (AKA being on stage with Travis) with Authority Zero back in 2006.
Now he’s released his first solo album, Give The Drummer Some, after releasing a mixtape earlier this year. Barker really wants to make a statement as a producer/drummer in the hip hop world and has said that he will not be defined by a single genre. He’s paired up with some of the top hip hop producers today including Neptunes, RZA, DJ Khalil, and many more. And beyond that, there’s no shortage of the most well known names in hip hop vocals on these tracks from Weezy to Cudi, Raekwon to Twista, and what seems like everyone in between.
Considering his background as a drummer, he knows exactly what to do to drop that backbeat in these tracks. He hits hard and I think if there was once concert even I’d like to see, it would be a live version of this album with all vocalists performing. Below are two of the tracks from the album. You can get the entire album here. I wish I could say I’ve been able to listen to the entire thing so far but I only had my lunch break to listen and write. I can’t wait to get home from work and listen to the rest later. But damn I love what I’ve heard!
Posted in new release on March 14th, 2011 by Kris.G
In the past couple months to a year, there have been a couple artists that I’ve pretty much blindly supported, and rightfully so. I’ve enjoyed their music and posted whatever I could of theirs to help them out. These artists include Mochi Beats, Alex Boyd (who hasn’t released anything in forever), and of course Hoodie Allen.
Since I first heard Hoodie and posted some of his stuff, I’ve been following every release closely. I mean even his mixtape made it onto my favorite list for 2010. Earlier this year, he released Dream On which I really enjoyed and now today he’s released NY is Killing Me.
And I’m sorry Hoodie but this might be my first negative review. I’m just not digging it. But the worst part is I can’t put my finger on it exactly. The verses are amazing actually. His wordplay in this track might be some of the best I’ve heard by Hoodie. But the instrumental… it just rubs me the wrong way. And I’m not so fond of the hook either. I am definitely not one of those guys who says, “Rappers should rap and not sing,” because, honestly, Hoodie doesn’t sound bad in the hook. I just don’t like it.
All that negativity being said, I have absolutely no doubt that Hoodie will make it as a rapper. I’ve seen him live and his energy and charisma is enough to light up a venue that lacks the glitz and glam. I’d say if it’s really only one track out of so many releases in the past year that a small no-name blogger dislikes, he’s still well on his way. Dream On was great and I’m sure the next track will be too. I just might forget about this one for awhile.
Posted in Uncategorized on March 13th, 2011 by Kris.G
It’s already past 9PM EST on Sunday and I have not yet posted anything. It’s not that I’ve forgotten or been too busy. It’s just that I’m unmotivated and uninspired. I’ve been searching the internet and nothing is hitting me. When it comes to this, I have to take a step back and really think about why I started this blog. It’s a hobby and a way to express myself with song a day. Whatever I’m feeling. I’m not a “BRAND NEW CHECK OUT THIS TRACK ITS SO GOOD OMG” type blogger. It’s just for me and if someone else reads it, thanks.
So what have I been listening to this weekend? That’s a good place to start. Motion City Soundtrack. Don’t know why. Saw a playlist of theirs I made in iTunes and have listened to it 3-4 times weekend. So it just seems appropriate that I stick with my roots and post just what I feel. So here’s MCS’ not so well known “Capital H.” It’s off the 2003 Epitaph release of their first album, I Am The Movie.
A hero zero with a capital Z (that’s me)
Singing songs from the balcony as the city crumbles
Under the powers of an evil doctor rocket science monster
with capabilities to destroy the entire universe
Bridging The Verse is no stranger to the music of Mochi Beats. From posting quite a few of his mashups to co-hosting the contest for Mochi Beat’s last EP, I’ve heard my fair share of his work. Now, I get to hear something new. Although still staying true to his mashup roots, this definitely falls in the remix category. Mochi Beats takes Ellie Goulding’s “Under The Sheets” and verses from Three 6 Mafia’s “Keep My Name Out Yo Mouth.” But the thing that makes it different is that he’s done all his own music production and made it a dance-worthy.
I’m digging the production and Ellie, but I’m a bit biased against Three 6 at times. They are a very hit or miss group for me. That being said, the first time they’re in the song at the start is great. Then at 1:32, I have trouble with that verse. It has nothing to do with Mochi Beat’s placement. It fits great. It’s just that that verse falls into the “miss” category for me with Three 6.
Of course that was only after my first listen. Now that I’ve heard it 4-5 times, I actually really like the whole thing, even Three 6 Mafia. It’s a really strong remix and blends a unique flavor of artists.
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I spent a little while today trying to figure out what throwback I was going to post so I surfed a couple mixes on 8tracks and one of them played this Tome Jones gem. I instantly thought of The Fresh Prince and started watching clips from the show.
So what else can I tell you about this song that can just be explained by a bit of Carlton and Will? Enjoy.
**Editor’s Note: Another installment from BTV monthly writer, Jon.TheYellowDart. Enjoy
My dear sweet car Miles died today. He was 98,000.
In spite of my tears and labored breathing, I press on to bring you my monthly key-vomit. This time around, it’s every Art major’s favorite: Radiohead.
I must begin with a disclaimer.
THIS IS THE DISCLAIMER
I didn’t like Radiohead for a long time. This is because, much like with Pulp Fiction, Seinfeld, and Justin Bieber, Radiohead was recommended to me so hard that it couldn’t have possibly lived up to the hype. One plaid-clad friend of mine lived in Jonny Greenwood’s mouth for years and was convinced we’d all be better off jointly sheltered in his comforting maw. I respectfully disagreed.
The moral is, I didn’t give them a fair shot for a while. Once I did, I found that I liked nearly all of their radio-friendly unit shifters and a handful of the rest of their catalog. Did I think they were the Second Coming? Of course not; I don’t believe in fairytales.
Overall, in spite of myself, I liked them. I recently bought ‘OK Computer’ and ‘Hail to the Thief’ on vinyl, like any good hipster. Although, it turns out I actually wanted ‘Kid A,’ but my unfamiliarity with Radionomenclature left me with the wrong records. Still, I’m a fan of those two. Not every track, but enough to say: “Hey, if Radiohead comes on the radio (head), I won’t stab anything with anything else.”
So, to end the impossibly verbose disclaimer, I make many assumptions about Radiohead. They have a stupidly large following of uncomfortably devoted fans and I am not one of those. Therefore, when I say I think they were more this than that or less here than there, I probably don’t know what I’m talking about. At least not in the grand scheme of all that is Radiohead. But, for the stuff I’ve heard, I’m the best. I’m the best Radiohead reviewer in history for the 12ish songs I really like. And I’m going to act like those songs are completely representative of everything they’ve ever done. Fuck you, England.
REVIEWZORZ
In their super-secret offering ‘The King of Limbs,’ Thom ‘I have an extra H, but could use another eye’ Yorke and company do what they always do, sort of. I guess. I just told you I didn’t really follow them. Get away from me.
Initially, I planned on listening to this album for every waking moment until I could either no longer tolerate or no longer live without it. This plan, however, was derailed when I realized my attendance was required at the ‘Northumberland Thinks Blokes from Oxfordshire are Fags (and not just sticks)’ meeting. Can you believe they still have those? So instead, I just listened to it whenever I remembered I should. Which, coincidentally, was when I started writing this. Great review strategy.
I decided I would listen to it at least a few times and check in with my brain each time around. This way, it would have a chance to grow on me, much like the band and my penis had. After each listen, my brain would shoot a bunch of electricity around, I’d get distracted, make a Hot Pocket, something about dry cleaning, Big League Chew… There! Radiohead.
FIRST LISTEN
I began by listening to the album here:
Did I pay for the download when it came out? Yes.
Did I listen to it? Of course not. I hate money.
The album was open in a tab in my browser behind my text editor as I typed this sentence (and many of the others above). Right now, in fact, it’s somewhere in Track 3. Is this method fair to Radiohead? I don’t care. They can’t see me.
Ah, wait. Now the flash stopped working since I’m using Firefox in Fedora 13 and any multitasking in said configuration causes failures all around.
Waiting.
Okay, we’re back, albeit certainly at a different spot. I think.
Right away, what strikes me most is that this album feels more atmospheric and abstract than previous Radiohead stuff I’ve listened to. Perhaps it’s my lack of direct focus, but I’m getting far less intelligible Yorke than usual. By this point, there’s typically an audible ‘Jaaaaaan-your-E brings Aaaaypril shaaaws’ or something notable. Here, not yet.
The first track is called Bloom, YouTube tells me. Not ‘In Bloom’ by Nirvana, I discovered. More piano. Otherwise, identical.
The next track is ‘Morning Mr. Magpie.’ Stupid name. Everyone knows Mr. Magpie is dead and has no more mornings. Basically the rudest song ever.
Number 3 is ‘Little by Little,’ which is how it seems this album will be accepted by me. I can’t understand what Th Hom is saying. There! Got one.
“I’m such a tease and you’re such a flirt.” He’s right on that. It’s our constant goo-goo eyes.
The fourth track, ‘Feral,’ is entirely about cats. You can’t tell right away because the vocals are distorted. But trust me: cats.
Fivesies is called ‘Lotus Flower.’ This is the first “single” off of the album and has an accompanying video. In the video, Thomas gyrates like he’s trying to offend his skin. And that’s it. That’s the whole thing. Truly, the song is superior without the video making your groin all confused. Without the video, I can kind of pay attention to the lyrics. He says “lotus flowers,” and that’s like the name of the song.
Track 6 is called ‘Codex’ and is a musical interpretation of Dan Brown’s ‘The Da Vinci Code.’ Hah, no. That would be awful.
Here, I stopped listening and left work. Yes, I was doing this at work. I don’t have a good reason for not getting through the whole thing, but I’m not paid for reasoning.
Back to ‘Codex.’ Now many hours later. In fact:
FIRST-AND-A-HALF-LISTEN
There. Now, then.
Now out of the office and back at home. Makes no tangible difference to the experience of listening thus far, considering in each instance, I’m really just sitting in front of a computer screen while the link from above plays in the background. I resolve to give it a sincere listen soon, but I lie a lot.
Just did. Just lied. Not listening again. Just gonna start again tomorrow.
SECOND LISTEN
This time, I went with the noise-cancelling headphones, but still Internet distraction.
I noticed the lyrics more prominently this time around, without the office noise distractions and with the benefit of the the headphones. I didn’t really notice them enough to remember them, but they were totally there this time. Last time, I’m pretty sure it was just seizing.
Dammit.
I stopped listening again. For, like, a day. Okay. This time, for real.
SECOND-AND-A-HALF-LISTEN
‘Codex.’ For serious. Okay.
More piano and some electronic drums.
I must say, it ended before I realized. I think that’s a good thing. If nothing else, this album’s tracks blend incredibly well together.
The penultimate track is ‘Give Up the Ghost.’ It has a creepy Western feel of sorts. I like it right away. No easing in to this Prom Queen.
The last go ’round is known as ‘Seperator.’ I got to this one on my laptop with it’s shitty microphones while watching Daniel Tosh’s stand-up 2 days after I started this. I didn’t feel like making new sections every time I stopped listening. Just know, I didn’t even try. I’m a bad Radiohead listener.
Regardless, this song has some more vocals laden with effects. Stop it, Thom. I was fine with your nasally crooning without it echoing a dozen times at each syllable. I like the song as a whole though.
OVERALL IMPRESSION OR SOMETHING. I DON’T KNOW.
Since I technically finally listened the whole way through, I’ll weigh in some. Some reviews I read said people felt it was too “out there,” “used drum loops,” and “didn’t redefine the genre.” Yes, it’s out there. I like that. Yes, it uses drum loops. Every awful rap “song” does that too and we still keep 50 Cent fed. And I think the necessity to redefine an entire genre with each release is a pretty high bar to set for any one entity.
I can’t actually review a Radiohead album because if I like it, I don’t appreciate it deeply enough or for the right reasons. If I don’t like it, I don’t understand it and can’t grasp the enormity and depth of the offering. But this one’s okay. IT’S PRETTY GOOD I GUESS.
THIRD LISTEN
This time, I went with minimal distraction, lyrics in front of me, headphones on.
As expected, it grows with the more you know about it and the more attention you pay to it.
It still has what I feel is the quintessentially Radiohead vibe to it. Even without Thom Thumb’s voice, I think you would know who it was, and that always counts for something with me.
I plan to give a few more spins before reaching a final verdict.
LISTEN LISTEN LISTEN LISTEN
Day 91.
Such a tease. I’ll dress like your niece. There’s a gateway in between; a pig in a cage. He talks in maths. M-m-m-maat-t-t-t-t-t-ths.
They are coming. The many fingered, the slithering, aching, yearning snakes of wrath, writhing from the earth. There is no use hiding. They can see through you; through us. We are nothing but food. Worms in their apples. We wait, bound to our tombs, lashing against restraints that pull flesh from bone. Nothing but pain awaits. The drums beat in the deep. Closer and closer. Echoes, pulsing to the very soul. The icy air sucks the breath from our lungs. Your lungs. You are alone. Alone. They are coming. They ar-
