VMA Highlights

Last 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 808s And Heatbreaks.

2010 MTV Video Music Awards - More VMA Video

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).


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.

2010 MTV Video Music Awards - More VMA Video

Weezer, Oh Weezer

Weezer have been a critical punching bag since the arrival of their lackluster comback Weezer (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, Pinkerton (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 Pinkerton, the reflective lost weekend Seven More Minutes).

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 Raditude (2009) and now their latest release Hurley, 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 Make Believe (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.

Weezer
Tags: Weezer, New Music, More Music Videos

It's All About The Benjamins - Biggie's Verse

I 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.

"Most Of The Time" - Bob Dylan

After his landmark 1976 record, Desire, Bob Dylan's output fell into some sketchy territory. After his odd turn into Gospel rock on Slow Train Coming, Saved, and Shot Of Love, 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 Oh Mercy. 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.

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 High Fidelity, 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.

The Disintegration Loops

I am currently a bit in awe of William Basinski's four CD set, The Disintegration Loops. 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 link here to a youtube page that has several excerpts from the massive project.