Filed under: Electro Wave, Indie, covers | Tags: Bright Eyes, cover, covers, Four Winds, The Killers
“Four Winds” is one of my favorite Bright Eyes tracks (and Bright Eyes is one of my favorite artists). Now you can imagine how excited I was when I read that The Killers (another one of my favorite bands) was covering this song for their new Spaceman EP. I didn’t know this cover was happening until I saw it on PMA an hour ago. In his review, Luis (PMA’s blogmaster) said that the cover was lackluster and I was worried, but I must say that can’t disagree with him more. I love the way The Killers have re-imagined the track!
Four Winds – The Killers
Just because Flowers doesn’t scream the vocals (like Conor Oberst does) doesn’t mean that there isn’t feeling behind it. There’s beauty in a softly delivered melody. Even so, I think that his sentiment comes through strongly in the “it brakes!” bit.
It takes a lot for a band to cover an already phenomenal track; there must be a reason. I think The Killers must have a great love for Oberst’s song and I appreciate that. I think stripping “Four Winds” of its folk backing and giving it an electro wave style opens it to a completely different interpretation – in true Killers fashion.
Where do you fall? You like the cover or should the Killers never have touched the song? Please leave me a comment!
[Note: I'm not really digging the EP cover art, though. I think the tile style looks great on the album cover, but the singles with the band's faces don't really do it for me. Thoughts?]
Filed under: Divine Comedy Mondays, Review, Rock | Tags: Divine Comedy, Eye of the Needle, Regeneration
Eye of The Needle from Regeneration
This seems like a very typical agnostic God-if-you’re-out-there-show-yourself song that bores me so much in pop music. It begins,
They say that you’ll hear him if you’re really listening
And pray for that feeling of grace
But that’s what I’m doing, why doesn’t he answer?
I’ve prayed ’til I’m blue in the face
But Neil was raised a good Anglican and uses surprising theological language. After all, he prays for “that feeling of grace” not belief, or even understanding. I’m sure he’d heard growing up again and again that faith precedes belief.
Also interesting is his indictment in the chorus. We don’t get Conor Obersts’ self-righteousness as in Bright Eyes’ “Waste of Paint” or Mike Skinner’s ambivelence in The Streets’ “Never Went To Church,” but instead, Neil draws his critique from Christ’s own images:
The cars in the churchyard are shiny and German
Distinctly at odds with the theme of the sermon
And during communion I study the people
Threading themselves through the eye of the needle
It’s not a mere pointing out of the Church’s hypocrisy. He does indeed point out that what they espouse to believe is indeed good. In fact, he confesses his own embarrassment of his own avarice and materialism in the previous song, “Lost Property.”
In the second chorus, Neil’s religious upbringing rears it’s annoying head again. He anticipates the Christian censure of desiring more than the Church as sufficient revelation. He sings,
I know that it’s wrong for the faithful to seek it
But sometimes I long for a sign, anything
Something to wake up the whole congregation
And finally make up my mind
But notice how it’s not only a sign for himself that he longs for. He sees that the “whole congregation” doesn’t even believe the Gospel. They too are not satisfied with the given revelation!
After he sings the last chorus, a beautiful Procol Harum meets church organ comes in with a lovely melody that seems like some Bach offertorium. In fact, that is the scene I believe Neil is trying to create. He sees this ugly disparity between the Gospel readings and the affluence of the congregation. As the alms are collected, he sees these well dressed men and women begrudgingly throw a few pounds at Jesus so they can feel better about their M5’s and Saville Row suits.
Here ends the lesson.
This past week was the spring telethon for Houston’s local public radio station. So instead of finding a calm restrained oasis of peace and common sense amidst the crazy, loud, and frantic world of the FM dial, I heard instead the annoying meaningless chatter of local Houstonians begging the listeners for money like some Baptist preacher bringing in tithes and offerings. I swear, there was almost a spiritual zeal to this telathon. I think I heard one of the announcers say, “Wherein have you robbed public radio? In your lack of membership.” (haha, sorry about the obscure reference to the minor prophet Malachi.)
Anywho, it got me think that I actually should support public radio. It also got me thinking (now living in Houston for the first time in five years) that I do indeed love Houston radio. SO, here is my list of the top 5 Houston radio stations:
1.) 88.7 KUHF
Duh, I’m an NPR junkie. Only problem is that they switch to lame classical music programing in the middle of the day and don’t feature all the awesome NPR shows that other stations (i.e., Ft. Worth) include. Alas, the ones they do have (Morning Edition, All Things Considered, Prairie Home Companion, Wait, Wait, Don’t Tell Me, Car Talk, Motley Fool and BBC News [the closest to unbiased news reporting the West has come to] are the best things on the radio. Period.
2.) Majic 102.1
Houston’s finest R&B station. Yes, they play the slow jams all day and ALL NIGHT! Siulebon knows I can’t get enough of that baby-makin’ music. Also, they are one of the few stations I know of anywhere that still has a Quiet Storm show in the evenings. They got your Stevie, Usher, Marvin, Pendergrass, TLC, and Vandross all in one place. Can’t go wrong with that!
3.) Jack FM (103.7)
I listen to this station for the sole reason that I want to hear what song will be played next. I’m serious, the whole schtick of Jack FM is to play music that cannot be contained by decade or genre. SO it’s even more of a mix bag then the so called Mix stations.
4.) Hot 95.7
Siulelbon would not be satisfied unless dropped some Top Twenty on your behind. Hot 95 is a very young station. I swear–the DJs must be 22 and the listeners 14-19. They play the hot hits (37 times a day) and give away tickets to Brittney Spears and Les Freres Jonas. What more could you ask??
5.) Country Legends
Has potential to be a much better station than it is. They do play some WIllie, Cash, Nashville era Orbison, Cline, etc. but they play almost the same 4 or 5 songs every day (I swear, if I hear “My Daddy’s Hands” one more time I’m gonna punch my hand through the window) and they play some real Nashville trash from the late 70s and 80s (about the time COuntry music learned about synths). Nonetheless, getting to hear “Boy Named Sue” and “I Fall To Pieces” on the way to work makes it worth it.
Give me some feedback, and perhaps some shout-outs to your fav. stations!
Filed under: Indie, Pop | Tags: Miike Snow, Mike Snow, Remix, The Kids Don't Stand a Chance, Vampire Weekend
Vampire Weekend’s debut album was one of 2008’s most hyped indie albums [and it was well deserved!] Because of the unending hype they recieved a great many remixes from – what seems like – everyone and anyone for their singles.
Here’s a remix by Miike Snow of Vampire Weekend’s album closer, “The Kids Don’t Stand a Chance”. I’m always pleasantly surprised when somebody remixes an album cut. It shows people actually still listen to albums in their entirety. [Not that I'm an album nazi. I go the singles route a lot more than I should, I think.]
The Kids Don’t Stand a Chance
(Miike Snow Mix) – Vampire Weekend
The remix is great. It’s one of those remixes that makes you fall in love with a track all over again in its new form. The mix makes Weekend sound like a more refined version of MGMT. Instead of going in an absolute dance route, the boys from Miike Snow opt for a dreamy electronic sound that works perfectly.
Do you like the remix? Please leave me a comment with your reactions.
Filed under: Pop, Pop Roundup Series, Review | Tags: Blue, Eiffel 65, Flo Rida, Sugar, Wynter
Sugar (feat. Wynter) – Flo Rida
Flo Rida (among others – cough, T.I.) has been sampling semi-recent hits in his new material. First it was Dead or Alive for “Right Round” and now he lifts the hook of one of 1999’s major crossover dance hits by Italian Europop group Eiffel 65: “Blue” [Mp3].
Why it’ll sell: To the casual music listener who wasn’t ever truly aware of Eiffel 65’s brief foray into American pop, the song will seem familiar (more money for Flo) and those who like hip pop more than straight up dance pop will see this as a fantastic elevation of a catchy hook. Flo Rida wins. The song is moving up the charts as we speak. It’s not exceptional in the grand forum of hip hop, but it’ll be a blazing Top 40 track because of it’s undeniably catchy nature. Plus, it helps that Flo Rida is working with having a female singer on another track. It gives his stuff a lot more flavor. “Sugar” may be more of the same from Flo Rida, but I like it too much to be too annoyed with it.
Did you enjoy “Sugar” or is it too sweet for your musical taste buds? Please leave me a comment!
Filed under: Pop, Pop Roundup Series, Review | Tags: Black Eyed Peas, Boom Boom Boom, Boom Boom Pow, Fergie, MR GASPAR, Remix, Will.i.am
Boom Boom Pow – Black Eyed Peas
I’ve had this track since the middle of February, but I hadn’t really warmed up to it until I finally heard it on the radio this week. The minimalist sound that prevails throughout the track is unusual for producer/rapper-singer Will.i.am. To hear a sustained synth chord over a pretty simple beat with the greatly over-processed pop vocals creates a cool effect – but not one that’s completely unfamiliar. Though it is a stretch for Will.i.Am, this still manages to have him written all over it – which is only sometimes a good thing. What will make this song massive is Fergie’s vocals, specifically the “Will.i.Am drop the beat now!” bit – her vocals providing the introduction of the synth that drives middle of the track make the best part of it. At the end of the track Wil.i.Am capitalizes on America’s current love affair with India with an Indian sounding synth line that manages to keep the track interesting until its end. Overall, a great pop track that speaks directly to the times. ( It’s definitely not 2000 and late. It’s really not 3008, though.)
I think that the reason I didn’t initially take to “Boom Boom Pow” was that it seems to me like Will.i.am waited to see if the current trends in music stuck (autotune, minimalist production like Timbaland and Kanye West’s, meta dance music about beats and dancing, Indian sounding western pop) and then ran with them to make a record that sells. Brilliant marketing strategy, but hardly original. But then, when is pop incredibly original?
BONUS DOWNLOAD: Boom Boom Pow (MR GASPAR Mix) – Black Eyed Peas
Do you like “Boom Boom Pow”? What do you think of the first installment of the Pop Roundup Series? Please leave me a comment!
