Hello, and welcome back to The Weekly Sound. Let me start off with an apology for the gap in posts. Work has kept me quite busy, but I’ll do my best from now on to give a warning if events like this occur.
Hello, and welcome back to The Weekly Sound! This is part 2 of our look at The White Album, so if you haven’t read part 1 yet, click here! Let us continue now that you’ve read part one ( and I know if you did. I get daily stat updates).
The White Album is probably one of the most diverse albums put out by The Beatles. It’s a mix of emotions and ideas that calling it a concept album doesn’t really fit.
Sgt. Pepper is a concept album, and a remarkable one at that, but The White Album doesn’t have that same consistent flow or narrative.
Hello and welcome back to The Weekly Sound as we start off a month of Beatle-May-nia! A month long celebration of my favorite band, and one of the most influential bands of all times, The Quarrymen. I mean, The Silver Beatles. Wait, no just The Beatles. Of course this isn’t the first or even second time we’ve talked about The Beatles, but today we turn our attention to the penultimate album as a full band, Abbey Road.
When I said that April was going to be all about classic rock, I knew that I had to end it with my favorite Who album of all time. From start to finish Who’s Next is one of the best albums in my collection and easily one of the best whole albums the band put out outside of Tommy.
Funny enough this album was released in 1971, the first album released by the band after Tommy, and it started off a concept album just like it. Lucky for us, they decided to scrap project “Lighthouse” and create this instead. And god does this album hit hard, starting with Baba O’Riley (or as the uninformed like to call it, Teenage Wasteland) where Roger Daltrey uses his voice like a megaphone, yell notes with so much angst that you fight the urge to sing along until you just can’t.
Side A then continues with Bargain and its great bass line by John Entwistle, Love Ain’t For Keeping (which is about as subtle of a sex song as Sexual Healing), and My Wife which features Pete Townshend incredible range as a guitarist and none of his pervy habits. Then we calm down with the relaxing Song Is Over. Perhaps this is the mark of a more relaxing Side b.
Wrong, Side B rocks even heavier with Keith Moon never slowing for a moment on drums, even in Behind Blues Eyes, where he goes from soft addition to overwhelming force and back. All the meanwhile the synth is slowly making it’s way from background sound to full beat and it is to prepare you for a finale. Of course, this all culminates to once song. One song that the internet has made into a god damn meme.
The fact that Won’t Get Fooled Again has been resorted to an internet joke saddens me because this song is the culmination of The Who. I watched this perform live with my friend and it was the most pumped I have ever been in my life. Moon and Townshend are forces of nature and Entwistle and Daltrey are gods. This is a band at its best and anyone who says otherwise hasn’t truly rocked out like they were alone.
When talking about music with friends, which happens more often then I would have thought, we always end up coming back to the same question: Who would be in your dream band? It’s a tough choice that’s in constant state of flux, as sometimes I want John Paul Jones as bassist, other times I want Geddy Lee. No matter how many times I change my mind though, the drummer is always and will forever be Neil Peart, and I’ve got Power Windows to thank for that.
Released in 1985 while Rush was experimenting with synthesizers, it features what I think is some of the best music Rush has put out outside of 2112 and Moving Pictures. Peart is on his game with the lyrics and of course his drums that go from carrying a beat to going all out on a non-stop two to three minute solo.
Lee is no slouch either, making some of the funkiest bass grooves for songs like The Big Money, Marathon, and Emotion Detector proving why I, and many others, consider him one of the best around at his craft.
You can feel the excellence coming from this album from the first track too. The Big Money grooves and moves in the best of ways and carries you all the way to the best song on the album, Marathon. Marathon is so good that when it comes on shuffle while I’m driving, I have no choice but to sing along because I love it.
Emotion Detector and Mystic Rhythms are wonderful songs and I will listen to this, but Marathon is the reason I still come back to this album, my first Rush album. Now I have Exit Stage Left and 2112, but I’ll never forget my first time hearing those sick drum solos that I’ll never be able to do in 100 years.
Man Man is one of the strangest bands I’ve ever heard. With names of current members like Honus Honus and Pow Pow, and past members like Kritter Krat, Chang Wang, and Turkey Moth, This is a band that prides itself on embracing the strange aspects of life, from living in a storage unit or jokingly starting an interview with a few good minutes of a suicide joke. That’s the kind of band they are, and you can hear every part of their strange life on their album On Oni Pond.
My oh my, this shouldn’t be a surprise. When it comes to bands under the radar their is no album more contested than Neutral Milk Hotel’s In the Aeroplane Over the Sea. Some people call it the threshold that needs to be passed for every new album (and consistently rated in the top five albums of the 90s) , others (as one of my friends called it) ” a mess of hot garbage. It’s literally just young people complaining about life .” Personally I think it’s just… okay. Not perfect or garbage, just okay. Let me explain before everyone grabs some pitchforks and torches. Continue reading “Album 11: In the Aeroplane Over the Sea by Neutral Milk Hotel”
This indie garage surf rock band in the local town of Los Angeles, Ca. is the epitome of LA just by it’s name, Best Coast.
This group is true image in exposing the focused LA struggles. Relationships, my cat, the beach, my weed, but not necessarily in that order. Well that might differentiate amongst others but it is very accurate with Los Angeles hipsters. The vibe Best Coast ripple out in their songs are relaxed, fun, and original. I’d point out other blogs describe this group with a combination of other artists who have similar sounds, but I’m not musically inclined or educated enough in indie garage bands to give out great examples.
This album in particular not including its following albums(The Only Place and California Nights) has a taste for exposing crushes, fear of commitment to relationships and friends with benefits to a crisp T. Lead singer Bethany Cosentino sings of love’s roller coasters and wanting to be near “him” all the time and often romanticizes the beach and summer sunset.
This album is a taste of falling in love ( with someone who loves you back) for the first time. It’s different and fresh, with this comfort you weren’t aware of that can electrify you in strange moments. Like shaking a can of soda and opening the lid slowly letting all that carbon fructose fizz spill out.
A lot of the songs involve Bethany crooning over unrequited love, but this in fact is a mislead in the lyrics. I believe this is the album, of crushes and falling in love. In Boyfriend Cosentino belts “I wish he was my boyfriend, I’d love him til the very end, but instead he is just a friend.” In The End she admits “last night I went out with this guy, this guy, he was nice and cute, but he, he wasn’t you.” Whoever this he is, she has fallen for him hard.
Don’t listen to this in dim lighting with a candle burning or headphones. Save that stuff for Iron and Wine. Save it for when you’re driving around at 2 am to a local party or during a quick run at a 7/11 for some kick ass slurpees. It’s meant to be felt with headlights on the road ahead and wind in your hair.
This album exemplifies love in its yearning and longing for someone in its lyrics, but ricochets a summer vibe great enough to play at a party, bonfire, or if lucky enough a mix for someone special, and yes people still do that.
Halfway through my Sophomore year, a friend tried introducing me to a very strange mix of Imitosis by someone called Andrew Bird. It didn’t turn me on to the sound but it planted the seed and beat for me to discover years later, when I heard this. I then spent hours listening to the entirety of The Mysterious Production of Eggs.
Lyrically, there are few musicians I like more than Andrew Bird. It’s hard to describe his songs as each one is kind of its own little story. Every little song is a unique look at some of the creative parts of Bird’s mind back in 2005.
The entire A side plays off like so deceptively innocent, as the first few times you listen to it you won’t notice the lines that talk about “accidental suicide, the kind where no one dies” in Sovay, or “you really should have died, stretched out on the tarmac” in A Nervous Tic Motion of the Head to the Left (which is one of my top ten favorite songs of all time).
Of course Fake Palindromes takes the cake of for A sides deceptively nice song, with it’s fun beats and electric violin, which is a real instrument that I never knew I needed in my life. Why is it so frightening? Perhaps it’s the lyrics that describe a “dewy-eyed Disney bride” who has formaldehyde in her blood, has committed fratricide ( or the murder of one’s brother or sister), has blood in her eyes and wants to “drill a tiny hole in your head.” Nightmares guaranteed!
Luckily we get a break from the Lovecraftian nightmares on side B about skin so pale and cold that it is transparent again the buildings downtown in Skin Is, My or how MX Missiles tells us that the subject of the song was “in the ground in late November” because that they weren’t as impervious as they thought. Did I say
Even more bleak is Tables and Chairs, which is just about the end of the world. Bird croons that “after the fall there’ll be no more countries…we’re gonna live on our wits, throw away survival kits.” Of course all is not doomed in the cheerfully bleak future as the song ends claiming that even after all this, there will be snacks.
Then there’s the ultimate gut punch in the form of Happy Birthday Song, the closer for this album. There’s no veil here, Bird just wants someone to sing it to him. He knows that it’s a bit cliche and maybe you don’t mean it but sing it anyway. Sing it “like it’s gonna be your last day here on earth.”
So go ahead, no matter how bleak tomorrow is, face it with a smile and beat that makes you happy.