tag:blogger.com,1999:blog-20087301770038108142024-03-12T23:59:54.780-07:00speaking as a child of the ninetiesDoug Bleggihttp://www.blogger.com/profile/00776988485360024152noreply@blogger.comBlogger160125tag:blogger.com,1999:blog-2008730177003810814.post-29671946150954917072010-11-23T14:06:00.000-08:002010-11-23T14:06:06.016-08:00Nico - "The End"<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJvXavz6wd0NvN6RCAiqSDI7EOGKirI0y_6z3yeoVbfBfUWJ0zUmB2P8xR-slIKnBiYgUi7V1SPc2djniuhbJFckus1_cho61fXww96tGWy5-jaNbByCEfYyud6Slvif958pnkiU2k5pY/s1600/June1-1974.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJvXavz6wd0NvN6RCAiqSDI7EOGKirI0y_6z3yeoVbfBfUWJ0zUmB2P8xR-slIKnBiYgUi7V1SPc2djniuhbJFckus1_cho61fXww96tGWy5-jaNbByCEfYyud6Slvif958pnkiU2k5pY/s1600/June1-1974.jpg" /></a></div>I'm notorious for my dislike of The Doors. It's not that I think they as a band are awful, it's just that Jim Morrison is. He is by far one of the most overrated singer/lyricists of all time, and his behavior both on stage and off was appalling. I usually don't condemn rockstarish behavior as it really doesn't have anything to do with the music, but it bothers me in the case of Morrison because I don't feel he was a strong enough artist to warrant his erratic behavior. However, I digress...<br />
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One of The Doors' most famous songs is the dirge "The End," which closes out their debut album. Long and surreal, i's a decent entry in the progression of experimental music on pop records. But while the original gets lost in its jammy excesses, the cover performed by Nico on the <i>June 1, 1971</i> album fares much better. Accompanied by Brian Eno on synthesizer, Nico plays a droning harmonium throughout the nine minutes of the performance. While The Doors version is drugged out and hazy, Nico's is focused and haunting, feeling like inevitable, impending danger. <br />
<object height="385" width="480"><param name="movie" value="http://www.youtube.com/v/xKK9vUh3h58?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/xKK9vUh3h58?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object>Doug Bleggihttp://www.blogger.com/profile/00776988485360024152noreply@blogger.com0tag:blogger.com,1999:blog-2008730177003810814.post-56143167530059168982010-11-21T20:19:00.000-08:002010-11-21T20:19:57.743-08:00"Heresy" and where it came fromIt should be no surprise that Trent Reznor is a Depeche Mode fan. His music has always evoked the gothic brooding that DM is most known for, not only in mood but in execution, using hard industrial synths and mechanical beats. While most industrial acts from the 80's like Nietzer Ebb and KMFDM appealed to a select audience, Depeche Mode had several industrial qualities while never getting burdened with the tag, (listen to "People Are People" to get what I mean).<br />
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While the closest Nine Inch Nails have ever come to being in the same fish tank as Depeche Mode is their debut, <i>Pretty Hate Machine</i> (1989), the song that bears most resemblance to the group is on the caustic "Heresy", found on Reznor's niche market solidification, <i>The Downward Spiral</i> (1994). On the CD issue of Depeche Mode's <i>Music For The Masses</i> (1987), there's a remix included as a bonus track - an "aggro" mix of the single, "Never Let Me Down Again". On it is a programmed synth pattern that more or less can be cited as the basis for the NIN song. Whether Reznor's borrowing was an intentional homage, or his collective unconscious at work, it makes for an interesting listen when examining the evolution of music trends.<br />
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<object height="385" width="480"><param name="movie" value="http://www.youtube.com/v/OvxufCwqINg?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/OvxufCwqINg?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object><br />
<object height="385" width="480"><param name="movie" value="http://www.youtube.com/v/VjFH7tREOHc?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/VjFH7tREOHc?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object>Doug Bleggihttp://www.blogger.com/profile/00776988485360024152noreply@blogger.com0tag:blogger.com,1999:blog-2008730177003810814.post-87118144860962064752010-11-17T16:57:00.000-08:002010-11-17T16:57:53.890-08:00The Move - "Feel Too Good"<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVDtJD574haQPcdmVkZxPWSe2eN9_5XhNhIu5-sFRCGyFHAmkqfX86QhivybPv5eD2IlYqjZ4uXCHVSWDA8695fJs_t0Bin-nd8rXPWW_slFHLKXYNfY6Tl_DqhFaNgfUk2Q03w1T7r9U/s1600/looking_lineup.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" px="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVDtJD574haQPcdmVkZxPWSe2eN9_5XhNhIu5-sFRCGyFHAmkqfX86QhivybPv5eD2IlYqjZ4uXCHVSWDA8695fJs_t0Bin-nd8rXPWW_slFHLKXYNfY6Tl_DqhFaNgfUk2Q03w1T7r9U/s320/looking_lineup.jpg" width="287" /></a></div>Truly one of the most underrated rock epics of all time, The Move's "Feel Too Good" is a sledgehammer, soul/funk free for all. Coming in smoothly with confident drumwork, the bass thumps down with no regard for anything in sight. The guitars enter viciously while Roy Wood delivers one of his most enthusiastic lead vocals. <br />
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From the band's third full length album <em>Looking On</em>, released in the fall of 1970, "Feel Too Good" shows The Move changing at an alarming rate. Starting off as a psyche pop group with their self titled and a handful of singles, the band grew more muscular with <em>Shazaam </em>(1970)<em>. </em>With the entrance of The Idle Race's Jeff Lynne, The Move began to take a backseat to Lynne and Wood's new project - Electric Light Orchestra. While contarctual obligations kept them linked to The Move for another two albums, they handled their disinterest incredibly well - cutting two solid records with <em>Looking On</em> and <em>Message From The Country</em>, as well as a few non album singles, like the amazing "Chinatown". <br />
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For "Feel Too Good", the band slams through a full nine minutes of hard hitting pyschedleic rock. Complete with bakup singers and swirling eastern tinged guiatr solos, the track is a non stop thrill ride with a curious, but always delightful barbershop quartet outro.<br />
<object height="385" width="480"><param name="movie" value="http://www.youtube.com/v/lo10AvAO5jg?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/lo10AvAO5jg?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object>Doug Bleggihttp://www.blogger.com/profile/00776988485360024152noreply@blogger.com0tag:blogger.com,1999:blog-2008730177003810814.post-77186446872264979432010-11-17T16:41:00.001-08:002010-11-17T16:41:46.720-08:00BackSorry to all that read this for the lack of posts. Been very busy latley. I'm hoping starting today, it will be updated with more regularity.Doug Bleggihttp://www.blogger.com/profile/00776988485360024152noreply@blogger.com0tag:blogger.com,1999:blog-2008730177003810814.post-71570914616832568052010-10-31T17:44:00.000-07:002010-10-31T17:44:16.767-07:00Halloween Mixtape<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeQc0I6IHW6bWK1dPpx1orFC6pOLMm0mDX10pUQOUkiCVTSfuN4oWgzCZZtvNzbC78uRLbHOwh_h1aWq7jkIEd37cktXGEo0PmFHE-W8ecX34ZEEEe2rDvE6751IGMejDe9RFEUhXmv64/s1600/jack-o-lantern.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="286" nx="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeQc0I6IHW6bWK1dPpx1orFC6pOLMm0mDX10pUQOUkiCVTSfuN4oWgzCZZtvNzbC78uRLbHOwh_h1aWq7jkIEd37cktXGEo0PmFHE-W8ecX34ZEEEe2rDvE6751IGMejDe9RFEUhXmv64/s320/jack-o-lantern.jpg" width="320" /></a></div>This past week I compiled a Halloween mixtape with commentary for <a href="http://www.deathandtaxesmag.com/33591/weekend-mixtape-halloween-pump-up/">Death and Taxes</a>. It is quite a ghoulish romp and I know you will all love to death. Happy Halloween!Doug Bleggihttp://www.blogger.com/profile/00776988485360024152noreply@blogger.com0tag:blogger.com,1999:blog-2008730177003810814.post-72508430931972487012010-10-20T09:50:00.000-07:002010-10-20T09:51:37.778-07:00Sufjan Stevens - "(You Are The) Rake"<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP2xikRY7sImw-VHp1-0hKYEIWZHe-CmOue2kAMZyzzCjlJoK93b9T73MOWzHuwL6k08Ncz3d7kKKkOZCzdBmVbhIASn1s-yydhzuJjcou-_oEqRZvJ0EgLwJyQs7egowtAue7AP5zTF0/s1600/sun+came.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" ex="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP2xikRY7sImw-VHp1-0hKYEIWZHe-CmOue2kAMZyzzCjlJoK93b9T73MOWzHuwL6k08Ncz3d7kKKkOZCzdBmVbhIASn1s-yydhzuJjcou-_oEqRZvJ0EgLwJyQs7egowtAue7AP5zTF0/s1600/sun+came.jpg" /></a></div>Sufjan Stevens has an interesting career. His first solo album <em>A Sun Came </em>was released in 2000. A mixed bag of lo-fi indie rock, folk, and world music, it was not an easily digestible record. Whatever small grouping of fans he might have gained with his debut must have ran for the hills when he released his second record, <em>Enjoy Your Rabbit</em>, an instrumental, electronic song cycle based on the Chinese Zodiac. It was then that he announced his ambition to release 50 albums, each one dedicated to a US state (a concept that has gotten Stevens a lot of notoriety even if he has no plans to continue it further than his landmark <em>Illinoise</em> record).<br />
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Getting back to <em>A Sun Came </em>- a reissue of said record hit stores in 2004, containing two newly recorded bonus tracks. One of them was a redo of the proper album's "Rake", a version that Stevens recorded presumably during the <em>Seven Swans</em> sessions given it's plucky sound and Meghan Smith's backing vocal. Both versions are great but the remake is the real winner. The original is purposely tinny, sounding like a transistor radio with a special broadcast just for you. While it's inspiring, it's also self contained and melancholic. "You Are The Rake" is the complete inverse. All of the sounds are clear with immaculate acoustics (a common trait for all the songs on <em>Seven Swans</em>). Rather than the somewhat destitute nature of the original, the remake is uplifting and a great way to end the lengthy sprawl of the album.<br />
<object height="385" width="480"><param name="movie" value="http://www.youtube.com/v/PhP3pDRqFqU?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/PhP3pDRqFqU?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object><br />
<object height="81" width="100%"> <param name="movie" value="http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F6244540%3Fsecret_token%3Ds-PxL5M&secret_url=false"></param><param name="allowscriptaccess" value="always"></param><embed allowscriptaccess="always" height="81" src="http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F6244540%3Fsecret_token%3Ds-PxL5M&secret_url=false" type="application/x-shockwave-flash" width="100%"></embed> </object> <a href="http://soundcloud.com/spacechef/21-you-are-the-rake">sufjan stevens - You Are The Rake</a> by <a href="http://soundcloud.com/spacechef">spacechef</a>Doug Bleggihttp://www.blogger.com/profile/00776988485360024152noreply@blogger.com0tag:blogger.com,1999:blog-2008730177003810814.post-86650048626164541272010-10-17T17:33:00.000-07:002010-10-17T17:33:40.709-07:00John Lennon - Double Fantasy (Stripped Down)<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_0RBDi6944ZBR2NEFxJ7aQxXY3znqzVF58QbSBirFwCNNuCP4fNBNDSnBC7SE3vXZ2Ln0xRcJ4Yl_51fo4MAy-xzjGp0TUeyCiotTmB_rfvCq-DQeJjf-Heo8THCiyrohZF8QgrBh_-4/s1600/DoubleFantasyStrippedDown.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" ex="true" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_0RBDi6944ZBR2NEFxJ7aQxXY3znqzVF58QbSBirFwCNNuCP4fNBNDSnBC7SE3vXZ2Ln0xRcJ4Yl_51fo4MAy-xzjGp0TUeyCiotTmB_rfvCq-DQeJjf-Heo8THCiyrohZF8QgrBh_-4/s320/DoubleFantasyStrippedDown.jpg" width="320" /></a></div>On the occasion of what would have been John Lennon's 70th birthday, the majority of the late Beatle's solo back catalogue was reissued (yet again), both as individual albums, and in one large boxset encompassing nearly everything. Two 'best of' collections were also released: <em>Power To The People</em>, a more traditional greatest hits package, and <em>Gimme Some Truth</em>, a four disc box set for lazy "Lennon fans", who don't have time to listen to everything, but would like to hear a few hours of his music sorted into lyrical categories. For whatever reason, Lennon's swan song collaboration with wife Yoko Ono, <em>Double Fantasy</em>, was reissued with a second disc containing all of the album's tracks, sans overdubs. Aside from the peculiar singling out of that album, the idea of releasing embryonic Lennon material is kind of odd. In the years following his death, the release of demos and outtakes from the Lennon vaults has become so frequent, that the general public image of him seems to be of a man playing acoustic guitar alone in a room. Those familiar with Lennon's living discography, know that the man was a big fan of production. Phil Spector, known for his lush recording techniques, worked on several records with Lennon, including a controversial set of orchestral overdubs and tweaking to The Beatles' <em>Let It Be</em>, an album that's original concept was for a bare bones, "warts and all" live performance record.<br />
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The point here is that Lennon would most likely not approve of this somewhat frivolous bonus disc, not to mention all of the previously released anthology recordings released since the mid 90's (<em>The Beatles Anthology</em> can be excused for majority rule). For starters, one of Lennon's trademarks was his doubletracked voice, which is the first noticeable difference heard on <em>Double Fantasy Stripped Down</em>. Lennon notoriously hated his own voice and looked for various ways to distort and experiment with it in order to achieve a sound he was comfortable with. Taking his vocal overdubs off is like tearing off the top of the casket. Secondly is the lack of gated reverb, a style that would come into full swing popularity wise in the 1980's. Gated reverb is a technique that has been greatly criticized since the aftermath of its heyday. Lennon, however, had been using it for years at this point with great effect ("I Don't Want To Be A Soldier Mama" comes to mind when thinking of 80's production in the 70's). <em>Double Fantasy </em>continued the progression of Lennon's use of heavily reverbed production, handled by <em>Imagine</em> engineer, Jack Douglas. The final product was an album both Lennon and Ono were very proud of and excited about. Ultimately, the bonus disc here is like a director's cut for a director who supervised every aspect of the film.<br />
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The appreciation of Lennon's work will always be skewed by his death. <em>Double Fantasy</em> was initially panned upon its November 1980 release, but soon after Lennon's shooting on December 8th, the public grew to appreciate the record, and it has gone on to be hailed as one of the best records of the 1980's. Personally, I like the album, and I feel like the initial distaste for it was more of a resentment towards Lennon for cutting another record with his wife, whose songs are no where near as bad as everyone wants to believe. "Kiss Kiss Kiss" and "I'm Moving On" are particularly great early examples of avant-pop. The release of a 'stripped down' version though just seems pointless, and not in Lennon's legacy's best interest.Doug Bleggihttp://www.blogger.com/profile/00776988485360024152noreply@blogger.com0tag:blogger.com,1999:blog-2008730177003810814.post-31055341737036351812010-10-12T07:04:00.000-07:002010-10-12T07:04:47.005-07:00Surfin' BirdThe song is a classic from 60's surf rockers The Trashmen, but which late 70's cover is better - The Ramones or The Cramps?<br />
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<object height="385" width="480"><param name="movie" value="http://www.youtube.com/v/a98umoWh7VU?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/a98umoWh7VU?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object>Doug Bleggihttp://www.blogger.com/profile/00776988485360024152noreply@blogger.com0tag:blogger.com,1999:blog-2008730177003810814.post-45044899754116278412010-10-10T18:30:00.000-07:002010-10-10T18:30:38.901-07:00Nico - "The Fairest Of The Seasons"<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCbctqjCP9kpuymbaSm-Mg9vuzwvqqESIODjaFbU8ecO3-BHHhcAkjJO2-SD1Zf-s6Jx6aGoJkYYU8gnKCejvAqpQHzeVJ2R811X0mlNb_HNXl8dZsPd2Zl92l7Ew6QtEtRJpiriyxgsw/s1600/Chelsea-Girl.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" ex="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCbctqjCP9kpuymbaSm-Mg9vuzwvqqESIODjaFbU8ecO3-BHHhcAkjJO2-SD1Zf-s6Jx6aGoJkYYU8gnKCejvAqpQHzeVJ2R811X0mlNb_HNXl8dZsPd2Zl92l7Ew6QtEtRJpiriyxgsw/s1600/Chelsea-Girl.jpg" /></a></div>As far as I'm concerned, this is the saddest song ever. I've never sat down and read the lyrics but Nico's vocal is quite clear, and Jackson's Browne's words have a bittersweet reflection to them that is so clearly resigned, that you don't need to really find a narrative. The performance of this particular song that opens up Nico's debut solo album, <em>Chelsea Girl</em>, is what makes it so memorable in its mournfulness. The tone of the guitar, the drip of the strings, and of course, that voice. It's possible I'm being blind sighted by its use in Wes Anderson's <em>The Royal Tenenbaums</em>, where it's used as the backdrop for a montage that shows all the characters moving on with their lives. Even though they all had improved since the beginning of the film, it felt so morose to me because ultimately, the adventure was over. Everyone had to move on for better or for worse. What has been most bothersome though is that "The Fairest Of The Seasons" closes out the soundtrack which is a very arresting way to go close a set of songs - enough to make you not want to leave the house, or maybe even get out of bed. The movie itself at least had the upbeat "Everyone" by Van Morrison as its exit music. The best method for listening to this song though is in the context of the original record, as it's immediately followed by its mirror image, "These Days", which switches from minor to major with a briskness that seems hopefully in its maturity ("These Days" is also featured in <em>Tenenbaums</em> when Margo exits the bus with Richie waiting for her).<br />
<object height="385" width="480"><param name="movie" value="http://www.youtube.com/v/QiX0--ABX2w?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/QiX0--ABX2w?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object><br />
<object height="385" width="480"><param name="movie" value="http://www.youtube.com/v/J1N8GtDkYfQ?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/J1N8GtDkYfQ?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object>Doug Bleggihttp://www.blogger.com/profile/00776988485360024152noreply@blogger.com0tag:blogger.com,1999:blog-2008730177003810814.post-12793216114550196482010-10-04T14:11:00.000-07:002010-10-04T14:11:04.329-07:00Beck & Bat For Lashes - "Let's Get Lost"<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYrouTseMFBZPl3E4jrO1PXHo0cYw1sh86WzC9dbUcnKN8vm-C-xAZ9MpfNO955xDpf5ZWDKYXjchyphenhyphenhFWBsmggN1rBgs_q7Kb8XoKr-rMVLmg1i9OkbdbDKaS9qF9tCQmDHfWideCxooc/s1600/eclipse-soundtrack.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="291" px="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYrouTseMFBZPl3E4jrO1PXHo0cYw1sh86WzC9dbUcnKN8vm-C-xAZ9MpfNO955xDpf5ZWDKYXjchyphenhyphenhFWBsmggN1rBgs_q7Kb8XoKr-rMVLmg1i9OkbdbDKaS9qF9tCQmDHfWideCxooc/s320/eclipse-soundtrack.jpg" width="320" /></a></div>For someone who hasn't seen any of the <em>Twilight</em> movies, I sure am on a twisted kick of the films' soundtracks (must be the fall). Last week, I spoke of the <a href="http://sacotn.blogspot.com/2010/09/lykke-li-possibility.html">haunting Lykke Li track, "Possibility"</a> featured in <em>New Moon</em>. This week I find myself stricken from the Beck/Bat For Lashes collaboration from <em>Eclipse</em>. Natasha Khan enters the song with the line "Touch me I'm cold", her voice cascading across a humming synth and cool atmosphere. Khan's voice always sounds shivering as if from the depths of a cave - this performance might be her most affecting with that aesthetic. The second verse is taken by Beck, using plenty of reverb as has become his usual calling card for his 00's balladry. The instrumentation remains sparse throughout, yet powerful, focusing mainly on a mood that is unsure but hopeful. The song has a feel to it that would make it right at home in a climactic scene from an 80's teen drama, as the protagonist and the girl he loves finally work through their differences. The fact that it's connected to a saga about vampires is a little disappointing because the tone of the song feels a lot more real than that. Perhaps the movies are more human than I realize, and should maybe go see what I'm missing. Until then, this song shall suffice.<br />
<object height="385" width="480"><param name="movie" value="http://www.youtube.com/v/5ghovdQlIYs?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/5ghovdQlIYs?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object>Doug Bleggihttp://www.blogger.com/profile/00776988485360024152noreply@blogger.com0tag:blogger.com,1999:blog-2008730177003810814.post-69726921123285743492010-09-30T18:54:00.000-07:002010-10-03T00:56:52.206-07:00Fatboy Slim - "The Joker"<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7un6pYbsVGOXJGYbguEm_mT4AMz_Cy2FrwSIdguC9xzy3f6Sauq3T-FnCx8_I00fdB0WDXinkfkCIM2EoTy4K5drKX7bosXBU_dbY9YwkjoUrVTfGOI8Y5WAh4nH_k0MNcv_Icpl-A0g/s1600/Slim_Joker.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" px="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7un6pYbsVGOXJGYbguEm_mT4AMz_Cy2FrwSIdguC9xzy3f6Sauq3T-FnCx8_I00fdB0WDXinkfkCIM2EoTy4K5drKX7bosXBU_dbY9YwkjoUrVTfGOI8Y5WAh4nH_k0MNcv_Icpl-A0g/s1600/Slim_Joker.jpg" /></a></div>In connection to the last post, we listened to a lot of things at work yesterday, and they weren't all good. The first album of the day for us was Fatboy Slim's widely ignored fourth album, <em>Palookaville</em>. <br />
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In the 90's, Norman Cook rode the wave of Big Beat led by electronica powerhouses like The Chemical Brothers and Prodigy, finding mass success with the soul tinged, "Praise You", a great song in of itself, but one that's success was accelerated by the hilarious Spike Jonze video. Having had limited success with The Housemartins, Beats International, and Freak Power, Cook finally made a name for himself fifteen years into his career with <em>You've Come A Long Way Baby </em>(1998), a record filled with funky grooves and infectious beats. <br />
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While <em>Paloolaville </em>(2004) is a better outing than the disastrous <em>Halfway Between The Gutter And The Stars</em> (2000), featuring some notable guest spots from Damon Albarn and Lateef The Truthspeaker, the record is a predictable retread of what Cook has been doing for years. The reason I feel the reason to share this little blurb about the record is the tremendous awfulness of the album's closing track, a cover of the already despicable Steve Miller Band song "The Joker". Featuring a lead vocal from Parliament-Funkadelic's notorious Bootsy Collins, the cover is one of the most embarrassing pieces of music ever to be released by a revered artist. Treading in Kid Rock territory, the song reeks of bad R&B and stale pop sensibilities. Collins previously had contributed vocals to <em>Halfway</em>'s lead single, "Weapon Of Choice", a song that is <em>only</em> remembered for its Christopher Walken tap dancing video (also directed by Jonze). Like on their previous collaboration, he completely chews out the scenery with his buttery vocals, slathering up the song with misfired sexiness. While "The Joker" is a lame enough suburban stoner anthem in of itself, this over popped up version's nadir occurs in the new counter melody added to the song's post choruses towards the end of the song. As the album's closer, it's presence manages to completely erase any positivity one could have towards any of the other songs on the album. Check it out if you dare - as usual, there's a funny video to go with it, Cook's usual backup plan for lackluster, or in this case, horrible material.<br />
<object height="385" width="480"><param name="movie" value="http://www.youtube.com/v/QOVrCS9_1O4?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/QOVrCS9_1O4?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object>Doug Bleggihttp://www.blogger.com/profile/00776988485360024152noreply@blogger.com0tag:blogger.com,1999:blog-2008730177003810814.post-42937115401574895642010-09-29T18:25:00.000-07:002010-09-29T18:25:07.212-07:00Lykke Li - "Possibility"<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQqb1KnXuiDcuKCfXgQ1YLtXPVWsrfN7ZtY_OG8b8EW86VoIc-QaldhIaJbjxl4R5vy_uQ4PBYhQO44rvJ7dPT3i18mBDR6Qn117PSa32Y7Lz1Ub3Bflj1z2yJNHG-ah88wClIiYXGW68/s1600/Lykke+Li.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="212" px="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQqb1KnXuiDcuKCfXgQ1YLtXPVWsrfN7ZtY_OG8b8EW86VoIc-QaldhIaJbjxl4R5vy_uQ4PBYhQO44rvJ7dPT3i18mBDR6Qn117PSa32Y7Lz1Ub3Bflj1z2yJNHG-ah88wClIiYXGW68/s320/Lykke+Li.jpg" width="320" /></a></div>Today at work, we listened to the soundtrack to <em>New Moon</em>, the second installment of the <em>Twilight </em>series. While the soundtrack to the first film focused more on emo and post grunge, both <em>New Moon</em> and <em>Eclipse </em>turned their focus to more indie oriented artists. While Muse unleashes their usual brand of terrible post prog sludge to all three, the majority of the second and third soundtracks showcase some very good tunes. Most particularly is the haunting Lykke Li ballad, "Possibility". While its presence on the album feels a bit too early, creaking along at track four, the song is a beautiful walk through gothic imagery and smokey vibes. Most fitting is its accompanying video, shot in black and white with dramatic lighting, it is the perfect compliment to the soul searching song. Here is a <a href="http://www.youtube.com/watch?v=RvMeOllo_Vo">link</a> to the video.Doug Bleggihttp://www.blogger.com/profile/00776988485360024152noreply@blogger.com0tag:blogger.com,1999:blog-2008730177003810814.post-21894173423268503652010-09-23T18:21:00.000-07:002010-09-23T18:21:35.312-07:00Antony & The Johnsons - "Knocking On Heaven's Door"<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW5JKA2DMSxzUvOLSbMsGOBYmDxOHj5WNofsqgtZziqiAdpszCr_l-xVdMr4nckpeaijNoVCd9tpZulrYrrrbJlHtTIQGJwdQzQkIpqsC0ArMgI8HXDZ42hIWq9aAMUJzmKElf44z454A/s1600/antony-presale1.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" px="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW5JKA2DMSxzUvOLSbMsGOBYmDxOHj5WNofsqgtZziqiAdpszCr_l-xVdMr4nckpeaijNoVCd9tpZulrYrrrbJlHtTIQGJwdQzQkIpqsC0ArMgI8HXDZ42hIWq9aAMUJzmKElf44z454A/s320/antony-presale1.jpg" width="320" /></a></div>It's been a long argued over debate whether Bob Dylan, one of the most widely covered artists of all time, did his songs better than the legions that cover him. While of course this can only be truly determined artist by artist, I think it's widely accepted that the man is outdone quite often (Dylan purists would argue, but can they really maintain that The Jimi Hendrix Experience version of "All Along The Watchtower" isn't definitive?)<br />
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In 2007, The Weinstein Company released the film <em>I'm Not There</em>, the highly experimental bio film that featured six personas of the Bob Dylan psyche, portrayed by six actors of varying age, race, and sex. The film's soundtrack was a Dylan cover free for all - two discs filled to capacity with brand new recordings by a wide range of artists. Between the two, there is an album's worth of great music, and another of filler. The whole album in one shot can be a bit of a grueling listen about three quarters in, but one of the record's sweetest plums is saved for the very end. <br />
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The penultimate track on the <em>I'm Not There</em> soundtrack is a haunting version "Knocking On Heaven's Door", performed by Antony & The Johnsons. A sparse recording, featuring only piano, acoustic guitar, and Antony's quivering croon, it is by far the best rendition of the often covered track. While Guns N' Roses' version reigned supreme (and probably always will in the general public's eye) for the last two decades, this take features a breadth and grace that stays true to the original's sentiment but reveals more pain and anguish than Billy The Kid could have ever hoped to express.<br />
<object height="385" width="480"><param name="movie" value="http://www.youtube.com/v/S-I-p5F-D2E?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/S-I-p5F-D2E?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object>Doug Bleggihttp://www.blogger.com/profile/00776988485360024152noreply@blogger.com0tag:blogger.com,1999:blog-2008730177003810814.post-46957726388131309162010-09-21T21:40:00.000-07:002010-09-21T21:40:02.354-07:00Beck - "Totally Confused"<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinepdtZGeHFKU9rMDie0x7l4fE68Ll3hTk4hVIxP7dmHo3cq7NzJ8wtgsJGvW2zOjB_ZB75-HeX59GXKsSF-Dvp3ETuiDro1jIqwODl2zrgrTlXDvFa_Jp-9wBuE8DDHU_Q7fTdtHvz0Q/s1600/Beck-Loser-50605.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" qx="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinepdtZGeHFKU9rMDie0x7l4fE68Ll3hTk4hVIxP7dmHo3cq7NzJ8wtgsJGvW2zOjB_ZB75-HeX59GXKsSF-Dvp3ETuiDro1jIqwODl2zrgrTlXDvFa_Jp-9wBuE8DDHU_Q7fTdtHvz0Q/s320/Beck-Loser-50605.jpg" /></a></div>I was listening to Beck's single for his breakthrough hit "Loser" in the record store today. Among the b-sides were two songs made with indie producer Tom Grimely. Most particularly of note is the song "Totally Confused" which features nearly all members of forgotten alt. rock quartet That Dog, a band that has remained almost entirely unlistened to by the general public (most remember them as that band they never heard of on the <em>DGC Rarities</em> compilation). It makes sense for Beck, being labelmates with the group, but also because That Dog's frontwoman Anna Waronker is sister to Beck's longtime drummer Joey (the latter Waronker has been a frequently sought after session drummer since the early nineties, having played with The Smashing Pumpkins, Elliott Smith, and R.E.M.). The band's violin player, Petra Haden would go on to join The Rentals, The Decemberists, and put out her own a capella version of <em>The Who Sell Out</em>). <br />
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Here's live version with That Dog performed circa 1994.<br />
<object height="385" width="480"><param name="movie" value="http://www.youtube.com/v/_zvMKLDTiho?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/_zvMKLDTiho?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object>Doug Bleggihttp://www.blogger.com/profile/00776988485360024152noreply@blogger.com0tag:blogger.com,1999:blog-2008730177003810814.post-4937391905198781672010-09-16T07:43:00.000-07:002010-09-16T21:39:53.464-07:00Kristina Stapelfeld Finalist In Pavement Contest<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj31g7RD0s2XLSfiSrH4GkoxjK7xz1EktWQlQVoO3xh-NViLNhBbT-QOEOCCKU-d9xPmzMChRf8Oys0Tt_Is8-ib-VJF5mq94ghLSvDQJQoTkBSJQvNSImszuBzGBQXtslaq8ixyrZP1I0/s1600/pavement.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" qx="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj31g7RD0s2XLSfiSrH4GkoxjK7xz1EktWQlQVoO3xh-NViLNhBbT-QOEOCCKU-d9xPmzMChRf8Oys0Tt_Is8-ib-VJF5mq94ghLSvDQJQoTkBSJQvNSImszuBzGBQXtslaq8ixyrZP1I0/s320/pavement.jpg" /></a></div>Late Night With Jimmy Fallon has been hosting a competition for young scrapping guitar players to send in videos of themselves in an effort to be picked to play alongside everyone's favorite indie rockers, Pavement, for one evening. Out of what I can assume were thousands of submissions, my friend Kristina was chosen as a finalist (along with four others).<br />
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Kristina <a href="http://www.myspace.com/livinginpolaroids">writes her own songs</a>, and her cover here of "Shady Lane" carries the same delicate sweetness of her own work. The competition is kind of a mixed bag, and it makes me wish I had sent in a video of myself playing "Perfume-V" with a cat in my lap or while jogging. There's a guy also playing "Shady Lane" who used a four panel screen to show himself playing all the parts of the song. It's not bad but he actually plays the song incorrectly which I guess would probably matter given the context. There's a rather out of tune bedroom performance of "You Are A Light" by one guy, someone playing a sloppy guitar solo over "Fin", and a father playing "Grave Architecture" in a bath tub while his son dances around in a monkey costume. Needless to say, I voted for Kristina but would have even if I didn't know her. Tune in September 23rd to see if she pops up. <br />
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Here's the <a href="http://www.latenightwithjimmyfallon.com/submit-a-video/index2.shtml">link to vote</a>.Doug Bleggihttp://www.blogger.com/profile/00776988485360024152noreply@blogger.com1tag:blogger.com,1999:blog-2008730177003810814.post-47449856038933468592010-09-13T11:36:00.000-07:002010-09-13T11:36:08.248-07:00VMA HighlightsLast night I watched the MTV Video Music Awards, as I had fallen out of the habit over the last few years. While host Chelsea Handler bombed in one of the worst hostings of an award show I've ever seen, the night was not without its merits, if only a few. First and foremost was the night's closing performance. The publicly shamed Kanye West, who fell from grace last year after interrupting Taylor Swift's acceptance speech - something that I really can't believe we're all still talking about, closed the show out with an outstanding performance of a new song called "Runaway". Decked out in bright red and gold chains, West opened the song manually mixing samples and clips before taking the mic. Later joined by Clipse's Pusha T, the song was a welcomed resurgence after the dismal autotuned mess of <em>808s And Heatbreaks</em>. <br />
<embed allowfullscreen="true" allowscriptaccess="always" base="." flashvars="configParams=id%3D1647213%26vid%3D571850%26uri%3Dmgid%3Auma%3Avideo%3Amtv.com%3A571850" height="319" src="http://media.mtvnservices.com/mgid:uma:video:mtv.com:571850" type="application/x-shockwave-flash" width="512"></embed><br />
<div style="font-family: Verdana, sans-serif; font-size: 12px; margin: 0px; padding-bottom: 4px; padding-left: 4px; padding-right: 4px; padding-top: 4px; text-align: center; width: 500px;"><a href="http://www.mtv.com/ontv/vma/2010/" style="color: #439cd8;" target="_blank">2010 MTV Video Music Awards</a> - <a href="http://www.mtv.com/ontv/vma/2010/video.jhtml" style="color: #439cd8;" target="_blank">More VMA Video</a></div><br />
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Lady Gaga won a bunch of awards, all of which she seemed to get a bit too emotional over (I guess the VMAs mean more now than they did when I was a kid), each acceptance wearing a different dress. It was most fitting that Cher would present the award for Video Of The Year to Gaga, as it seems like a gimme that she will one day be performing "Pokerface" in front of a middle aged Las Vegas nightclub audience (this of course is not a knock to Ms. Germanotta, as I am a fan of both her records, but her gaudy stage show seems to be aimed at being Madonna, but coming off more like late period Cher).<br />
<object height="385" width="640"><param name="movie" value="http://www.youtube.com/v/euzG3KnaWB4?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/euzG3KnaWB4?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="640" height="385"></embed></object><br />
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The performance I was most excited for, I was completely robbed of by MTV. Swedish pop star Robyn was set to perform her amazing dance/torch song, "Dancing On My Own", but was only allotted time to perform one chorus. For the few seconds she was on, we did get to hear the backing track in remixed form, it's four on the floor pulse beat replaced with a sticky electronic dub stomp. For the time it was on, it was pretty cool, but my excitement about seeing Robyn exposed to a larger audience was squashed. Perhaps it's for the best.<br />
<embed allowfullscreen="true" allowscriptaccess="always" base="." flashvars="configParams=id%3D1647213%26vid%3D559945%26uri%3Dmgid%3Auma%3Avideo%3Amtv.com%3A559945" height="319" src="http://media.mtvnservices.com/mgid:uma:video:mtv.com:559945" type="application/x-shockwave-flash" width="512"></embed><br />
<div style="font-family: Verdana, sans-serif; font-size: 12px; margin: 0px; padding-bottom: 4px; padding-left: 4px; padding-right: 4px; padding-top: 4px; text-align: center; width: 500px;"><a href="http://www.mtv.com/ontv/vma/2010/" style="color: #439cd8;" target="_blank">2010 MTV Video Music Awards</a> - <a href="http://www.mtv.com/ontv/vma/2010/video.jhtml" style="color: #439cd8;" target="_blank">More VMA Video</a></div>Doug Bleggihttp://www.blogger.com/profile/00776988485360024152noreply@blogger.com0tag:blogger.com,1999:blog-2008730177003810814.post-57635799578140581372010-09-10T09:44:00.000-07:002010-09-10T09:44:22.266-07:00Weezer, Oh Weezer<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu46cl7QdWlsb-cI6Gs27MEdeIeEDRDQ0zPQQcnKSokGPRFQ4UYVGRgBoajvuiCJwTsGZhsmBXxPwkxihHbkmABKBUheunW3nhBkTrt4tckFUaAkZ3cTkq3JA1W4xWgo97Q_SvdyJ4Pbc/s1600/weezerweezer.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu46cl7QdWlsb-cI6Gs27MEdeIeEDRDQ0zPQQcnKSokGPRFQ4UYVGRgBoajvuiCJwTsGZhsmBXxPwkxihHbkmABKBUheunW3nhBkTrt4tckFUaAkZ3cTkq3JA1W4xWgo97Q_SvdyJ4Pbc/s320/weezerweezer.jpg" /></a></div>Weezer have been a critical punching bag since the arrival of their lackluster comback <em>Weezer </em>(better known as 'The Green Album') in 2000. The album was lazy, lacked inspiration, and just wasn't as fun as the summertime zeitgeist of 'The Blue Album' (1994), or the soul searching rockfest, <em>Pinkerton</em> (1996). A big part of the record's failure is in part to departure of original bassist Matt Sharp, who seemed to take the fun with him over to his own band The Rentals (even on his own personal <em>Pinkerton</em>, the reflective lost weekend <em>Seven More Minutes</em>). <br />
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Not to say 'The Green Album' was all bad - the album's first two singles, "Hash Pipe" and "Island In The Sun", were enjoyable enough. The problem was Weezer seemed to lose their direction as they got older. While most bands evolve and grow into a new version of themselves, Weezer progressively just started to sound like other unexciting party bands (their latest single's chorus sounds like an Andrew W.K. reject). Every once in a while they could pull off a decent single like "Perfect Situation" or "Pork & Beans", but the majority of their album tracks were weak sauce. As they moved forward through <em>Raditude </em>(2009) and now their latest release <em>Hurley</em>, the band seem only concerned with making funny videos and having hokey songs with gang vocals on the chorus, a practice that hit full swing on much panned<em> Make Believe</em> (2005) single "Beverly Hills", a song I never thought was that bad, but was a depressingly far cry from the similarly loose love anthem, "El Schorcho". The band seem to be having the time of their lives though. With their ridiculous album covers and spectacle of a live show, they're clearly still that gang of jokers we first came across in 94, even if those jokes have been stale for a decade.<br />
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<div style="background-color: black; width: 520px;"><div style="padding-bottom: 4px; padding-left: 4px; padding-right: 4px; padding-top: 4px;"><embed allowfullscreen="true" allowscriptaccess="always" base="." flashvars="" height="288" src="http://media.mtvnservices.com/mgid:uma:video:mtv.com:559819" type="application/x-shockwave-flash" width="512"></embed><div style="background-color: white; font-family: Arial, Helvetica, sans-serif; font-size: 12px; margin-bottom: 0px; margin-top: 4px; padding-bottom: 4px; padding-left: 4px; padding-right: 4px; padding-top: 4px;"><b><a href="http://www.mtv.com/music/artist/weezer/artist.jhtml">Weezer</a></b><br />
Tags: <a href="http://www.mtv.com/music/artist/weezer/artist.jhtml" style="color: #439cd8;" target="_blank">Weezer</a>, <a href="http://www.mtv.com/music/" style="color: #439cd8;" target="_blank">New Music</a>, <a href="http://www.mtv.com/music/video/" style="color: #439cd8;" target="_blank">More Music Videos</a></div></div></div>Doug Bleggihttp://www.blogger.com/profile/00776988485360024152noreply@blogger.com0tag:blogger.com,1999:blog-2008730177003810814.post-3491600483901719572010-09-08T10:29:00.000-07:002010-09-08T10:32:00.205-07:00It's All About The Benjamins - Biggie's VerseI just noticed the other day when listening to "It's All About The Benjamins" the other day that it samples "It's Great To Be Here" by the Jackson 5 on Biggie's verse. It's a great example of how the act of sampling can create a whole new sound when used in its new context. On the original song, the guitar hook used in its intro heralds a joyous outburst by the group. The song as whole celebrates the wholesome party down theme that the Jacksons made a career out of delivering. In the context of "Benjamins" though, the loop is transformed (tuned down slightly) into a paranoid gangsta rap creep. Notorious B.I.G.'s words pound through while the riff skitters over the beat with confidence, yet also with a dreadful cloud hanging over. It's fitting the sample would only be used for the late rapper's verse. The song would be released as the last single off Puff Daddy's debut album No Way Out, just a little over a year after Biggie's death.<br />
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<br />
<object height="385" width="480"><param name="movie" value="http://www.youtube.com/v/TcckWzjJMIg?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/TcckWzjJMIg?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object><br />
<object height="385" width="480"><param name="movie" value="http://www.youtube.com/v/SMhdvlunR2E?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/SMhdvlunR2E?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object>Doug Bleggihttp://www.blogger.com/profile/00776988485360024152noreply@blogger.com2tag:blogger.com,1999:blog-2008730177003810814.post-69352813635128183032010-09-05T21:38:00.000-07:002010-09-05T21:56:45.892-07:00"Most Of The Time" - Bob Dylan<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTmi2Wbs8X8OA44h4yZFS2k0u8nRzK9BRI5a80j-F_-uN_xp63ERhBpXkVTdKafW4spg9hr1DaA90U6NtkZx9ZOD0vZw4rv2gIgiLcFUJkCyC6HXl1wCxOoRdeR29U7oFqMIerNvbyH28/s1600/OhMercy.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTmi2Wbs8X8OA44h4yZFS2k0u8nRzK9BRI5a80j-F_-uN_xp63ERhBpXkVTdKafW4spg9hr1DaA90U6NtkZx9ZOD0vZw4rv2gIgiLcFUJkCyC6HXl1wCxOoRdeR29U7oFqMIerNvbyH28/s320/OhMercy.jpg" /></a></div>After his landmark 1976 record, <em>Desire</em>, Bob Dylan's output fell into some sketchy territory. After his odd turn into Gospel rock on <em>Slow Train Coming</em>, <em>Saved</em>, and <em>Shot Of Love</em>, Dylan carried on into the 80's, surrendering to the trappings most financially privileged musicians fell into that decade. After a hand injury and a stint with the supergroup, The Travelling Wilburys, Dylan finally hit pay dirt in his solo career with 1989's <em>Oh Mercy</em>. Produced by Daniel Lanois, best known for his collaborative efforts with Brian Eno, both on his ambient work and producing successful U2 records, the record contains a productive kick where his previous efforts dragged their feet.<br />
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The album's most layered and best track is the tender ballad "Most Of The Time". Remembered by many for its appearance ten years later in the film <em>High Fidelity</em>, it's sometimes easy to forget that its by Dylan, given it's warm layers of production, and pop/rock balladry (Dylan's gravel pit voice notwithstanding). Lanois's tones both soothe and burn, creating a melancholic atmosphere that aches with regret, while Dylan's lyrics recall a former love that's not quite fully gone from his thoughts. While the singer assures the listener, "I don't compromise and I don't pretend/I don't even care if I see her again, most of the time", it's clear that this time is not one of them.<br />
<embed allowfullscreen="true" height="350" src="http://rd3.videos.sapo.pt/play?file=http://rd3.videos.sapo.pt/sGHkEzgER3y8yK6aEwlp/mov/1" type="application/x-shockwave-flash" width="400"></embed>Doug Bleggihttp://www.blogger.com/profile/00776988485360024152noreply@blogger.com0tag:blogger.com,1999:blog-2008730177003810814.post-18931875871999360932010-09-02T22:13:00.000-07:002010-09-02T22:13:17.073-07:00The Disintegration Loops<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhujqboHwDH0FRDROEpKGNFA3yVO1CGNkOFHJhqjAINIz9nIVTQN_kaCBimbB6g-_HjuvuSIwZdlWjKnqNdm1zpUbg8WDTtu3E1GcaPsEmI8RrKCsdMpiXXIImFdAYm6RX7jgDU2n2UEJY/s1600/disintegration+loops.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhujqboHwDH0FRDROEpKGNFA3yVO1CGNkOFHJhqjAINIz9nIVTQN_kaCBimbB6g-_HjuvuSIwZdlWjKnqNdm1zpUbg8WDTtu3E1GcaPsEmI8RrKCsdMpiXXIImFdAYm6RX7jgDU2n2UEJY/s320/disintegration+loops.jpg" /></a></div>I am currently a bit in awe of William Basinski's four CD set, <em>The Disintegration Loops</em>. Created during a process of salvaging old bits of music the ambient musician had created in 1982, the result is the sound of the recordings deteriorating into nothing. I'm not 100% sure of how the sounds I'm hearing are being created, but the smokey glow of the tracks are more breathtaking than the majority of the ambient music I have ever heard. All four volumes have a picture of the New York skyline in the wake of 9/11 as their cover art, as this was apparently Basinski's rooftop view upon the completion of the mix of the album. The eerie and peaceful vibe of the music conjures up so many feelings and questions as one can imagine in the events of that horrible day. It's hard to choose a favorite piece out of the bunch so I will include a <a href="http://www.youtube.com/results?search_query=disintegration+loops&aq=f">link</a> here to a youtube page that has several excerpts from the massive project.Doug Bleggihttp://www.blogger.com/profile/00776988485360024152noreply@blogger.com0tag:blogger.com,1999:blog-2008730177003810814.post-78101037674011636662010-08-31T15:49:00.000-07:002010-08-31T15:49:37.659-07:00"We Used To Wait" Video<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL7r0-pW-QNkDql2WzAHPTjuxjIo7oOfikwoA21xayM9lQRsfJAA8JWKkindRT6k5Zf72vzej_jku5AOfzjPobYsKh1e0hSVLeVmikG9kC4rqh1oeZWZNPfX8OYToL5-NG7XFhItuMKY8/s1600/suburbs.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL7r0-pW-QNkDql2WzAHPTjuxjIo7oOfikwoA21xayM9lQRsfJAA8JWKkindRT6k5Zf72vzej_jku5AOfzjPobYsKh1e0hSVLeVmikG9kC4rqh1oeZWZNPfX8OYToL5-NG7XFhItuMKY8/s320/suburbs.jpg" /></a>On Arcade Fire's latest album <em>The Suburbs</em>, the group seem to hit the nail completely on the head in terms of capturing the sounds of the working class neighborhood. This should be no surprise when observing their previous work where suburban and working class lifestyles make up the bulk of their lyrical content. Even the cover of the record perfectly surmises the look and feel of the atmosphere. When it seemed like the band's grasp of childhood nostalgia couldn't get more vivid, they do this....</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><a href="http://thewildernessdowntown.com/">This</a> is an interactive video for their song "We Used To Wait". Combining footage and effects created by Chris Milk alongsideGoogle Earth footage activated by typing in your own childhood address, the result is a powerfully moving trip into your past, complete with a virtual postcard to your past self. Assuming you use Google Chrome, and that your neighborhood is well documented on Google Maps, the end result will be phenomenal. Here is the <a href="http://thewildernessdowntown.com/">link</a> again.</div>Doug Bleggihttp://www.blogger.com/profile/00776988485360024152noreply@blogger.com0tag:blogger.com,1999:blog-2008730177003810814.post-41027663605881247662010-08-29T17:23:00.000-07:002010-08-29T17:23:37.625-07:00Chromeo InterviewSorry for the impromptu vacation I took from the blog...busy week.<br />
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<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkfrtAoEmZBm7nX_PJb-jYyJ8BbscHxCWLR62NWT7KvQ0Vw8q7-DW4SmaZ_s6HadqBhyphenhyphenVOm3Yhz8R3Qc5zju71rqtzQW5usolhzdMWKE3O47J1GyfCGFpxok2LY7eSPbTG5vm6DeVpbZI/s1600/chromeo011.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkfrtAoEmZBm7nX_PJb-jYyJ8BbscHxCWLR62NWT7KvQ0Vw8q7-DW4SmaZ_s6HadqBhyphenhyphenVOm3Yhz8R3Qc5zju71rqtzQW5usolhzdMWKE3O47J1GyfCGFpxok2LY7eSPbTG5vm6DeVpbZI/s320/chromeo011.jpg" /></a></div>Last Monday I interviewed the synth pop duo Chromeo for Big Shot Magazine. The three of us met on a very rain day, at the Atlas Cafe in Williamsburg, Brooklyn. While keyboardist Patrick Gemayel (aka P-Thug) seemed a bit annoyed at my tardiness (I was ten minutes late due to the awful, traffic inducing weather), as soon as singer/guitarist David Macklovitch (aka Dave 1) showed up, all was calm and relaxed, resulting in a very comfortable and animated interview. Dave did most of the talking, but P provided some very interesting insight on the instrument setup, as well as the songwriting process. We talked about their shows, the cons and pros of being a duo, their dislike of Ital Disco, and most importantly, their new album <em>Business Casual</em>, due out September 14. The feature I am currently writing on the interview is expected to be the cover story of Big Shot's next issue, due out sometime in October. Until then, here are a few highlights to whet your appetite. <br />
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<strong>ME: </strong>Can you tell me about the "Don't Turn The Lights On" video? First off, who directed it?<br />
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<strong>DAVE:</strong> Keith Scofield. We picked the director first which is kind of unusual because most people usually do the treatment first. But I knew I wanted to work with him from the jump. We went back and forth with ideas for a while, and he had the idea of making the video something of a literal interpretation of the song, which is the lights go on and off etc, and then we kinda added - when the lights come back on, things can shift around, and he added the idea of the eyes being cut out. We knew it would be a lot weirder.<br />
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<strong>ME: </strong>Dave, you once taught at Columbia. This might be an aobvious question you get a lot, but did you teach any of the Vampire Weekend guys?<br />
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<strong>DAVE: </strong>No, but I knew Ezra [Koenig] from the first year I actually enrolled at Columbia. It's an interesting story with him, He was at the first ever Chromeo show we did here in NY back in 2002 or 03. It was our 2nd show EVER. We barely had 5 songs. We opened for The Streets at Bowery Ballroom...He was at the show to go see The Streets, and he discovered us and came up to me at school the next week, that’s how far back it goes.<br />
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<strong>ME:</strong> If there was a movie that you feel your music would fit well into, what would it be?<br />
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<strong>DAVE: </strong><em>Ghostbusters</em>.Doug Bleggihttp://www.blogger.com/profile/00776988485360024152noreply@blogger.com0tag:blogger.com,1999:blog-2008730177003810814.post-80381816205500273852010-08-20T09:49:00.000-07:002010-08-20T09:54:16.583-07:00New Sufjan Stevens EP!<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6gTyOY_-sm754OXY8F8pRd9EY5QCklgCKQFIoOYuv_v3BXYXr_2vFSPjGf-PYBEbUqRq39belpmXZiX-RcfWIZGY9vn-0CfGD6_kZJ_JSU5uSum1QgWpC7B7H7nTN5iRyiccjmbWTpEw/s1600/All-Delighted-People-Album-Art.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6gTyOY_-sm754OXY8F8pRd9EY5QCklgCKQFIoOYuv_v3BXYXr_2vFSPjGf-PYBEbUqRq39belpmXZiX-RcfWIZGY9vn-0CfGD6_kZJ_JSU5uSum1QgWpC7B7H7nTN5iRyiccjmbWTpEw/s320/All-Delighted-People-Album-Art.jpg" /></a></div>Holy Shit! After years of making multimedia symphonic projects, tours, Christmas songs, guesting on other people's albums, and a lot of disheartening statements, Sufjan Stevens finally has a new...well, it's an EP, not an album, but it's something! (I've just read on Pitchfork that it's 60 minutes long. I don't care if it is under 10 tracks, that's an album).<em> </em><br />
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<em>All Delighted People </em>has been released today, featuring eight new songs by everyone's favorite Christian. Stream and download it <a href="http://stereogum.com/480171/sufjan-stevens-all-delighted-people-ep-out-this-instant/mp3s/">here</a> via Stereogum.Doug Bleggihttp://www.blogger.com/profile/00776988485360024152noreply@blogger.com0tag:blogger.com,1999:blog-2008730177003810814.post-33687276815692424002010-08-18T23:47:00.000-07:002010-08-18T23:55:52.215-07:00Hidden TracksCall them what you will - secret songs, bonus tracks, needless annoyances - hidden tracks have become a fabric of the CD age. Their origin is debatable based on what you constitute as a hidden track, however, no matter which way you look at it, we can blame The Beatles back in the vinyl era, setting the framework from over long final tracks on CDs that make them impossible to include on MP3 based playlists.<br />
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In both Beatles cases, the amount of silence featured was at least reasonable. Many consider the song "Her Majesty", to be the first hidden track. Buried at the end of <em>Abbey Road</em>, it plays 14 seconds after "The End" finishes. In addition to the long (for 1969 at least) break, the song is not listed on the back cover. Its presence was a mixing error that was ultimately left unfixed for the sake of experimentation. Thus, the secret song was born.<br />
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The only other earlier case was featured at the end of the fab four's psychedelic song cycle, <em>Sgt. Pepper's Lonely Hearts Club Band</em> where the listener can hear a high pitched whistle followed by a loop a inane chatter from the four Beatles at the very end of "A Day In The Life". On the initial pressing of the album, the loop was placed on the run out groove, locking it in an endless repeat (Sonic Youth used a similar technique with the noise at the end of <em>EVOL</em>'s closer, "Expressway To Yr Skull"). This track is not considered a "secret song" by some because there is no song structure, but as several artists have proven since, a secret song doesn't have to be anything remotely resembling a tune (ex: the typing at the end of Pearl Jam's <em>Binaural</em>; the siren and foreign chatter at the end of Sonic Youth's <em>Experimental Jet Set. Trash & No Star</em>; the conclusion of most Beck albums from the 90's).<br />
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While hidden tracks are more times than not, a complete let down, there are a few that are worth the wait. Here are some of them:<br />
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<strong>Train In Vain" - </strong>The Clash<br />
Follows immmediatley after "Revolution Rock" on <em>London Calling </em>(1979) but is unlisted on sleeve.<br />
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Secret song purely by accident, "Train In Vain" was a last minute addition to The Clash's third album - recorded after the record jackets had already been printed.<br />
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<strong>"Endless Nameless" - Nirvana</strong><br />
Starts at approximatley 13:50 on the last track on <em>Nevermind</em> (1991).<br />
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Noteworthy secret song among collectors, the song was intended for the initital pressing of the album but was accidentaly left off the master. This was corrected on the followup pressing. For reasons unkown, the song was left off all editions of the album after 1994.<br />
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<strong>"The Second Album" - Stone Temple Pilots</strong><br />
Featured at 4:55 of the last track on <em>Purple </em>(1994).<br />
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A joke track, the song is a hokey Johnny Mathis spoof thanking the listner for buying the record.<br />
(could not be found on youtube).<br />
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<strong>"Diamond Bollocks" - Beck</strong><br />
Starts at 5:18 on the last track on <em>Mutations</em> (1998).<br />
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While all of Beck's previous hidden tracks seemed dead set on irking the listener with loud, incessant, and most of all, jarring noise, <em>Mutations</em> actually sends you off with a song - a fucking great one. <br />
<object height="385" width="480"><param name="movie" value="http://www.youtube.com/v/hCe12hHkuXg?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/hCe12hHkuXg?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object><br />
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<strong>"Running The World" - Jarvis Cocker</strong><br />
found a whopping 30 minutes after "Quantum Theory" ends on <em>Jarvis</em> (2006)<br />
<br />
Most likely due to the MP3 era, not to mention the novelty running thin, secret songs have been on the downslope in the 00's. Jarvis Cocker is keeping it alive though, ridiculously plopping his solo debut's best song at the uncoveted secret spot (not to mention with a gap that may be the longest I've ever been witness to, aside from possibly the one on <em>Heathen Chemistry</em> by Oasis).<br />
<object height="385" width="480"><param name="movie" value="http://www.youtube.com/v/monyiOsoKxg?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/monyiOsoKxg?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object>Doug Bleggihttp://www.blogger.com/profile/00776988485360024152noreply@blogger.com0tag:blogger.com,1999:blog-2008730177003810814.post-69309606608777938342010-08-17T12:25:00.000-07:002010-08-17T12:28:05.400-07:00AtaxiaBack in 2004, John Frusciante was quite the busy bee. He released seven titles in the span of twelve months, all featuring variations of his craft. While the Warner Bros. released <em>Shadows Collide With People </em>was more pop oriented, the other six were released through indie label Record Collection, all of which showcased a lo-fi production style.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv4A9yD1n7oxfPC78PNNjF_9ZZLPza_dgUNM6tDePydndiEpo6XR1X0XxRPcODhGDCCCDQVqqPRU64s7Y2fPQLARG-ciVxAYi6_7BuuTQbcBtAXSC4nd_rGTvuC47xqRM0Zn8GrBtgwiA/s1600/automatic-writing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv4A9yD1n7oxfPC78PNNjF_9ZZLPza_dgUNM6tDePydndiEpo6XR1X0XxRPcODhGDCCCDQVqqPRU64s7Y2fPQLARG-ciVxAYi6_7BuuTQbcBtAXSC4nd_rGTvuC47xqRM0Zn8GrBtgwiA/s320/automatic-writing.jpg" /></a></div><br />
Ataxia was a one off group consisting of Frusciante, frequent collaborator Josh Klinghoffer, and Fugazi's Joe Lally. The trio quickly formed, recording ten songs, played two gigs, and just as quickly disbanded. Their debut album, <em>Automatic Writing</em>, was the second installment in Frusciante's Record Collection series (the remaining songs were released in 2007 as <em>AW II</em>). The songs are all free form post-rock style jams, slowly burning into climaxes that then work their way back into a calm. Check out the trippy "The Sides" from the first record to get the idea.<br />
<object height="385" width="480"><param name="movie" value="http://www.youtube.com/v/l38s5LF5skU?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/l38s5LF5skU?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object>Doug Bleggihttp://www.blogger.com/profile/00776988485360024152noreply@blogger.com0