The Stu Reid Experiment

Remix Fix

2009-11-25T07:26:00.006-05:00

Max Tundra is a spaz. Passion Pit has built a mini pop empire on spazzy synths and spastic falsettos. So it fits that the two groups would team up for a remix. Passion Pit has taken the knife to Tundra's brilliant "Which Song". The original is a choppy, skippy tune that is a little tough to follow, but beautifully so. Passion Pit deconstructs the tune and reconstructs it with a more traditional flow. Unfortunately, they add a pretty heinous section right around the 1:45 mark, because other than that it's a refreshing look at the underpinnings of Tundra's original. Still an enjoyable remix.

I'm also throwing down a quick little remix of Passion Pit's "Little Secrets" by Jack Beats. It takes the PS Chorus and mixes it up a little bit, spaces out the mix, and throws a jumpy little beat behind the works. It's weird, and takes a little while to find its flow, but I kind of dig it. It's like the weird kid on the playground that has all the good video games, so you hang out with him even though he's a little off sometimes. Word.

Stretch your stomachs today, tomorrow is a big day.

Max Tundra - Which Song (Passion Pit Remix) (YSI) (filesavr)

Passion Pit - Little Secrets (Jack Beats Remix) (YSI) (filesavr)

The Highest Profile Post of This Week

2009-11-24T07:02:00.000-05:00

Well three tracks have dropped in the past few weeks that fit the following criteria:
1. Come from highly popular buzz bands.
2. Come from hotly anticipated upcoming albums.
3. Live up to the hype that comes with #1 and #2.

Those tracks, if you haven't heard already, are lead singles from the upcoming Vampire Weekend, Yeasayer, and Beach House albums.

Vampire Weekend is everybody's favorite prep-rock afro-poptet, looking to score big (and write in big fonts) on their second full release. Yeasayer is looking to build on 2008's magnificent All Hour Cymbals. Beach House is fresh off of a tour with Grizzly Bear, whose lead singer Ed Droste can't stop raving about how good Beach House's Teen Dream is.

And yes, these tunes live up to the hype. I didn't jump on them immediately (partially because everybody else was), so I've had a little time to linger with the songs. "Horchata" is a Caribbean-infused jaunt that makes me hopeful that VW has broken out some new tricks on their new disc. "Ambling Alp" is a masterful tune that really embodies the worldly qualities that made Yeasayer's debut a sleeper pick for album of the year. And "Norway" is an exquisite tune from a band that never managed to really catch my attention before.

You have my attention - let's make some music.

Vampire Weekend - Horchata (YSI) (filesavr)

Yeasayer - Ambling Alp (YSI) (filesavr)

Beach House - Norway (YSI) (filesavr)

MAAARRRRIIIINNNNAAAAAAA!

2009-11-23T07:00:00.001-05:00

Hopefully many of you out there recognize my and TSRE's *slight* obsession with British hipster chanteuses. Obsessions by Marina & The Diamonds was brilliant and now there is the similarly epic Mowgli's Road. Wow, what a voice and that whistling... somehow I don't think Kipling would approve though.

Can we get a debut album already?

Marina & The Diamonds - Mowgli's Road (YSI) (filesavr)

Sunday Morning Music

2009-11-22T07:39:00.000-05:00

On Sunday mornings growing up, my parents would commandeer the radio and play classical music. The rest of the week, the music selection was largely up to me and my siblings, but on Sunday mornings, Bach replaced the Beatles, Strauss the Stones. While I no doubt grumbled a bit at the time, it’s a tradition I return to every so often. Indeed, it’s truly a pleasant way to start off a Sunday, that gloriously slow day which caps off the weekend and allows ample time to recharge for the week ahead.

My weekday music is often dominated by upbeat songs that keep me driving through days and nights of work and social activity. Leaving one morning a week for some slow, beautiful music creates a wonderful change of pace. This week, I share with you some of the classical selections that have been on the figurative turntable of late.

First, a recording of the slow movement of a Schubert Piano Sonata (no. 19 in C minor), played by Mitsuko Uchida. Uchida brings a lovely light touch and measured pacing to this sublime piece. While the music is primarily subdued, she certainly brings the intensity when it is called for in the movement’s more strident, minor-key sections.

Franz Schubert – Adagio from Piano Sonata No. 19 (YSI) (filesavr)

And second, a recording of Biebl’s Ave Maria performed by Chanticleer. This piece was relatively little known until Chanticleer made it its calling card, and it has since become a staple of all-male choral groups. It is hard to imagine it sounding better than it does here, with the benefit of Chanticleer’s impeccable tuning and dynamic capabilities. It’s a long and repetitive piece, but it’s certainly worth listening through the whole seven and a half minutes—you get lulled by the repetition, and then all of a sudden the piece comes to its last, powerful verse, jolting you from your meditative state.

Chanticleer – Ave Maria (Biebl) (YSI) (filesavr)

Hope you give these pieces a chance. They might not grab your attention at first, but give them some time--it's worth it.

Dirty Projectors 11/14 @ The Paradise

2009-11-21T08:00:00.002-05:00

Following up the visceral jamming of Tune Yards the Dirty Projectors came out firing. Having seen them back in May when they last visited Boston, I nonetheless continue to be awed by the vocal power of Angel, Amber and Haley. The layering and interplay they achieve with their voices live blows my mind. While unfortunately not always reflected by all of the band, the energy at the Paradise was pretty spectacular. The drumming was raw and feverish, the vocals angelic and reminded me of a hipster church choir. What I like best about the Dirty Projectors is that they are all so skilled and smart that they are able to apply pop and hipster sensibilities to such a variety of styles and influences. Playing all of the biggies off of Bitte Orca and a few new songs featuring some questionable noise freak outs, Longstreth & Co. shredded and melted some faces with their impressive musicianship. As a side note: Stillness is the Move has always sounded like a straight up diva pop song to me showcasing Amber's crazy pipes and just recently I came across a cover of the track by Solange. A hipster anthem becoming a pop cover... interesting and fitting. Well yeah, great performance by the Projectors and literally a perfect pairing with the incredible Tune Yards. See all of these guys in concert if you can.

Dirty Projectors - Remade Horizons (YSI) (filesavr)
Solange - Stillness is the Move (Dirty Projectors Cover) (YSI) (filesavr)

Gift of Gab Tries To Go Solo, Again

2009-11-20T07:01:00.000-05:00

My introduction to hip hop wasn't Jay-Z or DMX. I suppose you could argue that it was the Beastie Boys (after all, what white suburban kid wasn't introduced to rap by Licensed to Ill?) but I'd go a couple years later to another influence. Because it wasn't until I heard Blackalicious that I really began to love hip hop.

Blackalicious is a duo made up of emcee Gift of Gab and DJ Chief Excel. On their second album, Blazing Arrow - their pinnacle in my opinion - Gab's flows and Excels beats, which borrow largely from Henry Nilsson and an animated movie called The Point by Ringo Starr, combine to create a complete masterpiece. There aren't many rappers who can hang with Gift of Gab's sheer tongue twisting abilities, and the pair of them match each other perfectly. Gab is flashy with his talent without being obnoxious (hi Twista!) and Excel can hang with the best pastiche DJ's.

Gift of Gab recently has been exploring the solo side of the world, releasing a handful of solo efforts. The most recent of those solo jawns is Escape 2 Mars, a quick 11-tracker that dropped earlier this month. As with Gab's previous records sans Chief Excel, I'm torn.

On the one hand, Escape 2 Mars has some completely baller tracks. First single "El Gifto Magnifico" is a rompo caribeño that is as good an intro to Gab's flow and lighthearted hip hop as any track you'll find. Other tracks on the album, like "Dreamin" and "Light Years" completely kill. Then there are tracks like "Electric Waterfalls" and "Rich Man Poor Man," in which Gab lets his weird side go a little too wild, erring on the side of Dr. Octagon without the mad genius of that man. These tracks aren't unlistenable, they're just largely unenjoyable.

So what's the verdict? Well, I for one, will continue to bump Blackalicious, and keep my fingers crossed for another album from that dynamic duo. Gab is good on his own, and a few tracks from Escape 2 Mars will sneak onto some of my playlists in the future, but with my love of hip hop, nothing will be quite like my first.

Gift of Gab - Dreamin (f. Del The Funkee Homosapien and Brother Ali) (YSI) (filesavr)

Blackalicious - Chemical Calisthenics (YSI) (filesavr)

Tune-Yards @ The Paradise, 11/17/2009

2009-11-19T07:02:00.008-05:00

1 C Dirty Projectors

2 Tbsp TV On The Radio

2/3 C Ladysmith Black Mambazo

Zest of Regina Spektor

Combine ingredients in mixing bowl. Beat furiously, until frothy and rich. Voila: Tune-Yards!

Apologies for resorting to the music critics crutch, the “this-band-sounds-like-these-bands” technique. It’s a lame way of describing a sound, and it’s nearly impossible to encapsulate Tune-Yards anyway. But after Tuesday night’s show at The Paradise, recipes just spring to mind.

Watching Tune-Yards frontwoman Merrill Garbus on stage was like watching a master chef at work. Front and center, she managed two microphones, two drums, a ukulele, and a number of looping pedals, using them to create phenomenal songs piece by piece. Starting with a small vocal melody or two, she would add harmonies and drums until she had a rich backbone for every song. Once compiled, she would turn to her bassist, silence that backbone, and begin to shred – and I mean shred – her ukulele. Building to an initial climax with bass, ukulele, and her surprisingly soulful voice, Garbus would then hit the loop pedal and take the song to the next level with the explosive re-introduction of the opening drum/voice phrase. It was a fascinating process to watch.

More than just fascinating to watch, though, Tune-Yards made blisteringly hot music. As Ben noted after the first song, each song would have easily lent itself to a half hour long jam. The crowd hooted and hollered throughout the set, vocalizing the primal joy that the music evoked. Tune-Yards wove yelps and coos together, overlaid them with strange lyrics, and somehow made them danceable. Opening for a band with one of the most impressive albums of this year, Tune-Yards managed to completely steal the show.

On her final song, Garbus yelled out “DO YOU WANNA LIVE?” and the audience shouted back a full-voiced “YEAH” in unison. I don’t think there’s a better summary of how her set made me feel.

Tune-Yards – Hatari (YSI) (filesavr)

Tune-Yards - News (YSI) (filesavr)

Florence Welch Has Become A Lion-hearted Girl

2009-11-18T07:00:00.001-05:00

One of the premiere female voices to emerge in 2009 has to be, without a doubt, Florence Welch of Florence + the Machine. She has been making music before 2009, sure, but it wasn't until this year's brilliant Lungs that she really started getting the props she deserves. About two minutes ago I had one of those moments where I looked at her Wikipedia page, saw that she is younger than me, and wept openly about my lack of musical talent. Maybe that's an exaggeration, but maybe it's not.

Long story short, girl has a set of pipes like few others. Lungs is an aptly titled LP - without a doubt, it rests on the lungs of a dynamic and vibrant front woman. Luckily Welch has the chops to support and album.

Recently I came across a Switch remix of Florence + The Machine's "Rabbit Heart (Raise It Up)" via Et Musique Pour Tous. It's an awesome remix - a predictably delectable treat from one of the premiere producers of today (see other products: "Paper Planes," Major Lazer). Once I got past the early bump of Switch's stuttering beat, I was struck by how much this song still depends on Welch's voice. The most powerful phrase is still her operatic lilt on the lyric "I must become a lion-hearted girl," and Switch makes the good decision to stay out of the way when it's Florence's turn to sing - the key to a successful remix. The "Raise It Up" remix brought me back to the original, and these two tracks will no doubt be taking turns ping-ponging through my itunes this week.

Florence + The Machine - Raise It Up (Switch Remix) (YSI) (filesavr)

Florence + The Machine - Rabbit Heart (Raise It Up) (YSI) (filesavr)

Do Bears go to Heaven?

2009-11-17T07:00:00.000-05:00

Bear in Heaven recently received a sterling review on Pitchfork and it was pretty spot on. Layer upon layer of drone-y guitars, reminiscent of personal favorites A Place to Bury Strangers (minus the darkness), contribute to the expansiveness of Bear in Heaven. While tending to the abstract on some tracks, Wholehearted Mess is an absolute gem. Vocals float atop an ocean of sound that occasionally crests into massive choruses. Listening to Bear in Heaven is what I imagine Big Sky country out west sounding like if it was a hipster band. I'm going to say it one more time because of my mild obsession, but Wholehearted Mess and this album have been the background to most of my work these days.

Bear in Heaven - Wholehearted Mess (YSI) (filesavr)
Bear in Heaven - Deafening Love (YSI) (filesavr)

Pirate Radio or the (Fake) Boat that Rocked

2009-11-16T08:00:00.002-05:00

Claire and I went to see the new movie Pirate Radio on Saturday night and despite lackluster reviews circulating online - it was a completely worthwhile trip to the movies. While not a great or deep movie necessarily, The Boat that Rocked as its called in Britain (a more fitting title actually) is hilarious, fun, rife with British characters and constantly blasting a perfect 1960s soundtrack. The whole story of Radio Rock is actually fictional (so disappointing, I KNOW!), but based on Radio Caroline, which did broadcast off the coast of England in the 1960s when commercial radio did not exist in England. The characters are lovable, the music is sick and there are plenty of largehearted situations. Music plays a central role, as not only the life obsession of everyone on the boat, but also by being played constantly throughout the film. Hearing all of the classic 60s tunes played loud and glorified on screen is a pretty compelling wakeup call to go exploring the 1960s and 1970s some more. I am going to do that. Here are a couple of prominent tracks from Pirate Radio.

The Kinks - You Really Got Me (YSI) (filesavr)
The Turtles - Eleanore (YSI) (filesavr)

Its Giving Me Fits

2009-11-15T08:00:00.001-05:00

The weekend is here again and it couldn't have come sooner. Grad school applications begone already. I've always been a secret fan of Austin Texas, since I have never actually set foot in it. Most of this fascination stems from my love of White Denim. First introduced to me via Gorilla vs. Bear, White Denim's sharp garage sound will force its way into your bones. Having seen them live, White Denim's power is real and electric. Unpolished, rough and extremely raucous, White Denim will fulfill your need for spastic rocking out. Their new album Fits is out now and you should get it if you like music.

White Denim - Everybody Somebody (YSI) (filesavr)
White Denim - Shake Shake Shake (YSI) (filesavr)

Hyperactive Wallpaper.

2009-11-14T08:40:00.003-05:00

Wallpaper. is, inconvenient period and all, responsible for some of the most ballinest remixes I've heard in recent memory. The pinnacle of Wallpaper.'s achievements is probably their remix of Das Racist's "Combination Pizza Hut and Taco Bell" (which, coincidentally, is the greatest track ever created) but these guys are by no means a one trick pony. They are a three or four trick pony, as far as I can tell.

Recently I stumbled across the first original effort I've heard from Wallpaper. (Sidenote: to avoid punctuation confusion, I will only use said band's name at the end of sentences from now on) This tune, "I Got Soul, I'm So Wasted" is in keeping with the light-hearted nature of "Combination Pizza Hut and Taco Bell". It's full of stupid lyrics, autotune, and addictive beats. It's pure frat pop, and damn if it ain't catchy.

I can't tell if the "I've got soul" line is a nod to James Brown's "Superbad," but I think it might be - it's a matter of intent, and I'm going to give the benefit of the doubt to Wallpaper. If only so that I can convince myself that there's a higher level of interpretation for a song that is otherwise superficial and catch-catch-catchy. Seriously, I feel guilty for liking this track.

Also dominating this week's playlist is the Them Jeans remix of Wallpaper. "I Got Soul, I'm So Wasted" gets a booming beat intro and hyperactive synths that takes a dancy track to an actual dancefloor. It's typical synthpopdanceremix fare, which is to say it's fantastic. These tracks (all three) are best served chilled with a Red Bull on the rocks.

Wallpaper. - I Got Soul, I'm So Wasted (YSI) (filesavr)

Wallpaper. - I Got Soul, I'm So Wasted (Them Jeans Remix) (YSI) (filesavr)

Das Racist - Combination Pizza Hut and Taco Bell (Wallpaper. Remix) (YSI) (filesavr)

A Cappella Musings

2009-11-13T07:23:00.001-05:00

This week, I’m going to touch on a topic that’s pretty close to home. It’s a little embarrassing, and part of me thinks that I’d maintain more of whatever credibility I might have by withholding this info, but what the heck.

Confession: Like Andy Bernard, I am a former collegiate a cappella singer.

Say what you will about the “genre”; I probably agree with you. It’s a questionable form of musical expression at best, and at this point I can’t listen to most collegiate a cappella without cringing and fleeing the room as fast as I can. What’s the point of recreating songs with silly vocal syllables and those crazy mouth contortions that pass as a substitute for drums? It’s never going to be better than the original. Yet hordes of high school and college students flock to concerts, often willing to sit through two-plus hours of this stuff. If you’re confused by this, I understand; it's rather baffling.

That said, I can’t completely throw a cappella under the bus. I had a great time doing it, and occasionally the result is enjoyable—sometimes even beautiful. Take, for example, this live recording from Rajaton, a professional Finnish group. The song is called “Butterfly,” and it really shows the heights to which a cappella music can ascend.

Rajaton – Butterfly (Live) (YSI) (filesavr)

The arpeggiated vocal parts create a bubbling background that resonates beautifully, over which the soloist adds the melody. The song exciting climbs from hushed beginnings, to a stirring climax, and then back down to a barely audible yet impeccably tuned ending. Check it out; it might force you to modify your views on a cappella.

To close, I leave you with a track from the obscure a cappella quartet, 3 Bros and a Trick. It’s a balls-to-the-walls all-male rendition of Whitney Houston’s classic “I Will Love Again,” and it’s a terrific song to jam out to as you drive down the highway, as I know from experience. Enjoy.

3 Bros and a Trick – I Will Love Again (YSI) (filesavr)

Mix It Up With Ellie Goulding Under The Sheets

2009-11-12T07:02:00.017-05:00

We've never been shy about the fact that we have the hots for Ellie Goulding. She hasn't disappointed yet - everything that she's released thus far has been brilliant. "Under The Sheets," her latest, is no different.

The different thing about "Under The Sheets," though, is that it seems to be getting the attention throughout the blogosphere, not just in the small corners that we frequent. "Under The Sheets," in my opinion, is not Goulding's strongest tune - but it certainly is the one that has built the most buzz. Both in its original form and in the form of numerous remixes, "Under The Sheets" has been ubiquitous recently. In the past three days or so I've come across no less than five separate remixes of the track.

One of the more interesting of the remixes is the She Is Danger version, a dub-step take on the track that plays with Goulding's melodies in interesting ways. Adding a mysteriously dark layer to what was originally a fairly fluffy pop piece, She Is Danger manages to really switch genres nicely with the remix, a feat which I really appreesh. It's dope.

My personal favorite of the remixes comes from someone by the handle of "Baby Monster". Baby Monster's take on the track clears up some of Goulding's vocals, making the lyrics a little more central than they are in the original. The remix breaks things up nicely and leaves a lot of open space in the mix, which I really enjoy. Great take on a great tune.

Ellie Goulding - Under The Sheets (YSI) (filesavr)

Ellie Goulding - Under The Sheets (She Is Danger Remix) (YSI) (filesavr)

Ellie Goulding - Under The Sheets (Baby Monster Remix) (YSI) (filesavr)

Darwin Deez Is Nutssss

2009-11-11T10:09:00.001-05:00

One of my favorite things about being plugged into the blogosphere is being clued in to the relatively new phenomenon of an artist going from obscurity to hype in the blink of an eye. One mention in the right spot and suddenly a band is blowing up. One blog features a tune, which gets picked up by three other blogs. Those three turn into nine, which turns into twenty-seven, which is about the limit of my math. Long story short, catching the right ears can go a long way.

When I first heard the name Darwin Deez being pimped, I think it was by Drowned In Sound. Soon, though, I was hearing about him from The Culture Of Me, Pigeons and Planes, Tympanogram, and Audio Muffin. When a bunch of blogs that I read pick up on something at the same time, it's generally a good sign (See: Freelance Whales). So I tuned in.

Darwin Deez is an enigma of indie sound - difficult to compare to other artists, but undeniably similar to many bands around today. His music flows in spurts, full of space for his not-too-strong but also not weak voice. I want to compare him to Of Montreal, Dirty Projectors, and Connor Oberst, but he sounds nothing like any of them. It's uncanny how difficult it is to pin down his music. Suffice it to say that it's original, it's as poppy as it is quirky, and it has handclaps. "Radar Detector" has been stuck in my head for a few days now, and - the worst - it's impossible to sing along with. Damn the man.

Another one of my favorite things about being plugged into the blogosphere is that sometimes I'll get a few songs and not listen to them for months. Then, in a fit of Genius (tm) I'll discover these hidden treasures. One such moment happened to me yesterday, as I re-discovered the Xaphoon Jones (beatmaker for Chiddy Bang) remixes of Darwin Deez's "Bad Day" and "Radar Detector." If miraculously finding a remix of the song that is currently stuck in your head isn't brilliant serendipity, I don't know what is.

Darwin Deez - Radar Detector (YSI) (filesavr) (Usershare)

Darwin Deez - Radar Detector (Xaphoon Jones Remix) (YSI) (filesavr) (Usershare)

Darwin Deez - Bad Day (Xaphoon Jones Remix) (YSI) (filesavr) (Usershare)

More MadVillainy on the Horizon

2009-11-10T07:00:00.001-05:00

I loved Madvillainy. It served as one of my first introductions to really good rap outside of the mainstream and was really a jumping off point for my greater exploration of hip hop in general. Plus, its an awesome album to boot. Needless to say I was very excited after hearing the radio leaks from the upcoming proper followup to Madvillainy due early next year. So excited. While it has been a long time since Madvillainy was released, Stones Throw actually released a sort of sequel this past year entitled Madvillainy 2: The Madlib Remix, which featured Doom's raps from the first album, but with all new reworking by Madlib. While not completely new, it is still an excellent and refreshing listen, with a lot of soul. What a testament to an album, that you can completely rearrange it and it still sounds fresh and interesting. Here are a few tracks from the Madlib remix to help tide us all over until we get the real deal.

Madvillain - Boulder Holder (YSI) (filesavr)
Madvillain - Running Around with Another (YSI) (filesavr)

New Rap Monday or How David Sitek is Everywhere

2009-11-09T07:00:00.003-05:00

At first I was planning on talking about Wale's debut LP Attention Deficit, which features a track produced by TSRE favorite David Sitek and is aptly titled TV in the Radio. The track also features TSRE fave K'Naan and some pretty catchy horns.

Wale - TV in the Radio (YSI) (filesavr)

Unfortunately I have been completely distracted by the brand spanking new mixtape from Chiddy Bang, which completely caught me by surprise last week. While I still see Chiddy Bang primarily as a flash in the pan product of hipsters in the blogosphere, The Swelly Express is actually exciting. Using some great samples, like Sufjan Mary Poppins in the massive jam Never, and omnipresent handclaps, they certainly know the way to a hipster's heart. The rhymes are playful and I've found myself listening to it a lot in the past few days. Definitely worth a listen and you might be pleasantly surprised by Chiddy Bang's growth. Download the mixtape for free here (thanks for the headsup from Neon Gold)

Chiddy Bang - Never (YSI) (filesavr)

Tune in for more rap tomorrow!

Clipse Bring The Bass

2009-11-08T09:00:00.000-05:00

What is it about bass? Bass that pumps in your ears, makes your headphones vibrate and your car windows shake. Instant hype.

When I test out headphones, I put on Clipse. Specifically, I put on the Megasoid remix of Clipse’s “Monopoly,” but that’s beside the point. The point is that Clipse knows how to work the low register, and they do it on the regular.

I’ve been split on the new stuff that I’ve heard from Till The Casket Drops. As usual, there is label ambiguity with Pusha T and Malice – the first word was that the LP would come out in February of 2009. Then it was mid-2009. Now it’s December. Honestly, if I’m going to get led on for that long, I hope the end product lives up to the hype (paying attention, Dr. Dre?). The first singles to surface from Till The Casket Drops - “All Eyes On Me” and “I’m Good” - have been entertaining, but fall well short of greatness. The tunes have been fun to spin a few times, but they certainly don’t have the eminently replayable quality I came to expect after Hell Hath No Fury.

But.

But back to that bass thing. Because the latest tune from the brothers from the 2-up, 2-down kicks off with some crunchy bass that grabs my ears. It has that cocky swagger that was missing from “I’m Good,” a track that boasted because it was supposed to, not because they believed it. Here, though, Clipse sound harder, more dedicated to the message. It lines up more with Hell Hath No Fury and the We Got It For Cheap mixtapes than it does with the nearly-radio-friendly early singles from this album. And as the floorboards shake and the neighbors complain about the sub-woofer, I have some faith restored in this upcoming record.

Clipse (f. Cam’Ron & Pharrell) – Popular Demand (Popeye’s) (YSI) (filesavr)

Clipse – Monopoly (Megasoid Remix) (YSI) (filesavr)

Clipse - Re-Up Gang Anthem (Nick Catchdubs Remix) (YSI) (filesavr)

You're So Vain, You Probably Think This Song Is About You(r Band)

2009-11-07T08:49:00.011-05:00

I know, I know - this song came out a month or two ago. I missed the boat. I blew it off, figured it was bloghouse garbage, and moved on with my life.

Then, for some reason that I have now forgotten, I revisited it. Over and over and over. And over. There’s something about this tune that I can’t get past – it’s addictive, seductive. “I Don’t Like Your Band” is an exercise in tension and release. It’s painstakingly crafted to be catchy, to get stuck in your head, to make you bump in your seat. Damn the man, it works.

Annie’s another one of those artists I think I’m supposed to be embarrassed to like. But, factbomb: I only know this one song by her, and I love it. Not ashamed. Let yourself go.

Annie – I Don’t Like Your Band (YSI) (filesavr)

Did You Know That?

2009-11-06T07:30:00.001-05:00

You probably know the classic soul track “Try a Little Tenderness,” by Otis Redding. It’s a terrific song that builds from an understated beginning (“She may be weary…”) to an over-the-top enthusiastic barking climax (“You’ve got to try a little tenderness!”).

But, did you know that “Try a Little Tenderness” is not an original Otis Redding song? It wasn’t even written for him. In fact, it was first recorded more than thirty years before Otis released his version in 1966. By whom, you ask? None other than Bing Crosby, the voice of Christmas himself.

Listening to Bing’s version is a bit of a shock. It’s a typical, schmaltzy 30s ballad—still a beautiful song, but remarkably different from Otis’s version. Listening to both really makes you appreciate Otis’s interpretive skills; he makes the song his own, to say the least.

If you’re curious as to how Otis came across the song, here’s your answer. He was not the first soul artist to cover the song. In fact, Aretha Franklin covered it in 1962, and Sam Cooke included it in his live sets starting in 1964, often as part of a medley with “(I Love You) For Sentimental Reasons.” Cooke’s version was the only version that Otis knew, and he added his own distinctive twist, thus bringing the song a long distance from its original, Bing Crosby form.

Well, now you know!

Fortunately, we listeners can enjoy the song in all of its forms. Here is the Bing Crosby original, Sam Cooke’s live medley that features it, and, finally, Otis Redding’s classic take. Enjoy.

Bing Crosby – Try a Little Tenderness (YSI) (filesavr)
Sam Cooke – Medley – Try a Little Tenderness (I Love You) For Sentimental Reasons (YSI) (filesavr)
Otis Redding – Try a Little Tenderness (YSI) (filesavr)

To Make An Apple Pie From Scratch

2009-11-05T07:07:00.011-05:00

Just heard yesterday that Jack White’s new label is going to be releasing a 7" vinyl featuring a Carl Sagan-/Stephen Hawking-sampling tune. The record is inspired by the overwhelming success of a song uploaded (by a guy called Cosmos) to YouTube. To date, the video has more than 1.4 million views.

If you ever need evidence that we live in a totally bonkers era, re-read everything in that first paragraph. What an absurdly fantastic idea.

I first heard this track, “Glorious Dawn,” through the aforementioned YouTube video. It is everything that you would want it to be - catchy, educational, and hilarious. Three words: auto-tuned Stephen Hawking. Eat your heart out, Family Guy.

Seriously, words can’t really capture how pumped I am that this song is spawning an entire album of material. Stay tuned, I believe it’s dropping sometime in November.

Carl Sagan and Stephen Hawking – Glorious Dawn (Cosmos Remixed) (YSI) (filesavr)

Check out the awesome mashup video below:

RJD2 Likes Silly Hats

2009-11-04T07:00:00.002-05:00

RJD2 recently released a collection of material spanning his the height of his career, which includes an EP of previously unreleased stuff entitled Tin Foil Hat. While nothing groundbreaking, I find myself really enjoying the EP. Rather than some of the bigger beats of his recent work, Tin Foil Hat finds RJD2 going back to his funkier roots with a lot of interesting instrumentation. The long and winding Thine Planetarium sounds like a long lost collaboration between DJ Shadow and RJD2 that was then used to score some dark dystopian film. A little obtuse I know, but like the first couple of tracks on the EP, Thine Planetarium sees RJD2 mixing his ear for exciting rhythm with some atmospheric and funky strings to great effect. If you like RJD2, Tin Foil Hat is a definite add to your itunes.

RJD2 - Thine Planetarium (YSI) (filesavr)

News Flash from the West Coast

2009-11-03T07:00:00.004-05:00

While I'm still not ready to call the West Coast the Best Coast yet, it has been churning out some impressively eclectic tunes recently. From the ramshackle to the dreamy and guitar-driven, these tunes showcase some pretty exciting young acts from the other coast. The Sandwitches mix ~~male and~~ female vocals with some banjo for a delightfully rundown singalong.

The Sandwitches - Back to the Sea (YSI) (filesavr)

Hailing from LA, Nite Jewel is like an early night in a big city after daylight savings makes it dark too early - energetic, but dark and unknown at the same time.

Nite Jewel - We Want Our Things (YSI) (filesavr)

Chasing Kings are the kind of music I imagine playing at some modern saloon in a dusty hole in the wall somewhere. Pianos and guitars cooperate to make a somewhat straight-forward, but still raucous track.

Chasing Kings - Dark Sunglasses (YSI) (filesavr)

The Very Best - 11/1/09 @ Great Scott

2009-11-02T07:12:00.000-05:00

Wow, tough to find words to describe how baller last night's The Very Best show at Great Scott was. Fresh off of a 36 hour plane trip (he landed an hour before the show) Esau Mwamwaya completely dominated the night, turning Great Scott's usually chill scene into a frenetic dance party. Two phenomenal dancers from the UK joined him on stage to up the energy level, and Johan Karlberg of Radioclit dropped some massive beats from the back of the stage.

Minds blown. Tangible evidence that music transcends language. Faith in Boston dancing restored.

If you have a chance to see The Very Best on tour, do it do it do it.

See tour dates here, read our interview with TVB's Johan Karlberg here, and cop these tracks and play them with the volume up.

The Very Best - Warm Heart Of Africa (f. Ezra Koenig of Vampire Weekend) (YSI) (filesavr)

The Very Best - Julia (Javelin Re-Do) (YSI) (filesavr)

The Very Best - Will You Be There (YSI) (filesavr)

Oh No? Oh Yes!

2009-11-01T08:00:00.000-05:00

As foreshadowed a month or so ago, Oh No has released his latest LP on the Stones Throw label, the awesometastically titled Dr. No’s Ethiopium. It’s an interesting album – 18 songs totaling only just over half an hour of music. Only three of the album’s tracks break the 2 minute mark (and those, only barely). It’s a format that fits Oh No’s style perfectly; he’s a beatmaker, not a songwriter. Dr. No’s Ethiopium serves almost as a sampler platter for rappers. It’s a catalogue of you-could-rap-over-this teasers that are begging to find their way onto Mos Def albums as backing tracks. It’s not that they’re not good on their own, but if you doubled the length and dropped some flow on top, they’d be fire.

Two of my favorites from the record invoke Oh No’s typical Middle Eastern samples really well and maintain a pretty cool feel throughout. When Oh No captures that feeling, there’s nobody better.

Oh No – The Pain (YSI) (filesavr)

Oh No – Melody Mix (YSI) (filesavr)