The Friday Five: October 9, 2009
Friday Five : ˈfrī-(ˌ)dā,-dē ˈfīv : On the sixth day of every week I hit the shuffle button on my iTunes and share my five and drop a little knowledge and insight for each track. Sometimes there is a playlist involved, sometimes there isn’t. Sometimes we have guest, but most of the time it’s just me. The rest is up to you, our friends and readers! Fire up your media player of choice and share the first five random track of your shuffle in the comments.
The Five:
Editor’s Note: With barely time to listen to five tracks today I’m presenting an abbreviated shuffle. Once a few of you chime in I’ll add your content to the post… that’s right we’re crowd-sourcing this week’s five!! – Michael
Wesley Willis Fiasco – “Girls on Film” (from The Duran Duran Tribute Album, 1997)
Van Halen – “Runaround” (from For Unlawful Carnal Knowledge, 1991)
Prince – “Te Amo Corazón” (from 3121, 2006)
Beastie Boys – “Body Movin’” (from Hello Nasty, 1998)
Dog Eat Dog – “Games (feat. Ronnie James Dio)” (from Play Games, 1996)
Who’s got the next Five?
Matt from Addicted to Vinyl:
Elton John – “Can I Put You On” (from 11-17-70)
Bruce Hornsby – “Dreamland”
Caroline’s Spine – “Deep In Your Wake”
Eddie Vedder – “No Ceiling”
Tom Petty & The Heartbreakers – “Yer So Bad”Kelly Willis – “Fading Fast”
Kelly Willis is one of the country’s best country singers. If you are not familiar with her, I highly recommend you do so.
Steve Earle – “She’s a Mover”I am not a big Steve Earle fan (I always felt I should like him more than I do) but this is a great cover.
Beatles – “I Am Happy Just to Dance With You”Enough said.
Marshall Tucker Band – “Can’t You See” (Live)OK, I admit it. I love MTB, and a host of other southern rock bands from the ’70s. This is a great version of a great song.
The Yardbirds – “Certain Girl”Yes, the same song that Warren Zevon later made famous. Great song.
Keep em coming!
The Friday Five: October 2, 2009
Friday Five : ˈfrī-(ˌ)dā,-dē ˈfīv : On the sixth day of every week I hit the shuffle button on my iTunes and share my five and drop a little knowledge and insight for each track. Sometimes there is a playlist involved, sometimes there isn’t. Sometimes we have guest, but most of the time it’s just me. The rest is up to you, our friends and readers! Fire up your media player of choice and share the first five random track of your shuffle in the comments.
The Five:
The Who – “You Better You Bet” (mp3) (from Then and Now (1964-2004), 2007)
While I accept that saying that “You Better You Bet” – originally from The Who’s 1981 album, Face Dances – is my favorite song in the legendary band’s catalog is probably some form of blasphemy, I’m going to say it anyhow. It could be due to the fact that it was an FM radio staple during my formative years. I could be its infectious sing-along quality. Whatever it is, for me, it’s the tops.
Dead Can Dance – “The Carnival Is Over” (from Into the Labyrinth, 1993)
The ethnic fusion of duo of Brendan Perry and vocalist Lisa Gerrard has appeared on the Friday Five a few times over the past (nearly) two years. This track is quite possibly the best representation of the group. Soft beds of strings with contrasting medieval counter-melodies contrast against Perry’s powerful baritone.
Paramore – “Playing God” (from brand new eyes, 2009)
ANGST! The latest from the emo-pop power group Paramore serves up more pent up teenage rage than a sale at Hot Topic and contains some signs of growth and decent songs. Though it is a little difficult to take it seriously when it includes lyrics the like of which are to be had here:
“You don’t have to believe me
But the way I, way I see it
Next time you point a finger
I might have to bend it back
Or break it, break it off
Next time you point a finger… I’ll point you to the mirror”GRR!
John Coltrane – “Cousin Mary” (from Giant Steps, 1959)
A master class in improvisation, the entirety of Coltrane’s seminal Giant Steps should be required listening for everyone.
Ambrosia – “You’re The Only Woman” (mp3) (from Anthology, 1997)
Here’s something to consider “You’re The Only Woman” is Ambrosia’s least successful single. Make no mistake, you know this song and it’s quite likely that you like it. For those of us with an unhealthy addiction to the Mellow Gold this is a worthy addition to your collection (but more than likely you have it already.)
Now that’s a fine five, what’s yours look like?
The Friday Five: September 25, 2009
Friday Five : ˈfrī-(ˌ)dā,-dē ˈfīv : On the sixth day of every week I hit the shuffle button on my iTunes and share my five and drop a little knowledge and insight for each track. Sometimes there is a playlist involved, sometimes there isn’t. Sometimes we have guest, but most of the time it’s just me. The rest is up to you, our friends and readers! Fire up your media player of choice and share the first five random track of your shuffle in the comments.
The Five:
The Juliana Hatfield Three – “Spin the Bottle” (from Become What You Are, 1993)
In the early ‘90s Juliana Hatfield was kind of like everyone’s slightly older, slightly dirty sister – whereas Liz Phair was your slutty college-aged sibling, but I digress. After obtaining a moderate bit of notoriety with her first band, Blake Babies, she struck out on her own releasing her debut solo record, Hey Babe, in 1992. It wasn’t until 1993’s Become What You Are and the inclusion of this particular tune in the generation defining film Reality Bites that secured her place as an alternative rock superstar. With its simple sing song melody and lyrics that seem ripped from every teenage girl’s diary she connected with Gen X’ers soft side.
Hall & Oates – “Kiss on My List” (from Greatest Hits: Rock ‘n Soul, Part 1, 1983)
Little known fact: In an interview with Mix magazine, Daryl Hall said: “Eddie Van Halen told me that he copied the synth part from ‘Kiss on My List’ and used it in “Jump.” I don’t have a problem with that at all.”
Channel Live – “Homicide Ride” (mp3) (from Station Identification, 1995)
Taking cues from the grimy sparse beats of Wu-Tang Clan and the vivid street imagery of the Notorious B.I.G. the hardcore rap duo behind Channel Live should have been huge. Add to it the tight production and guidance of “the Teacher” KRS-One and it just further boggles the mind how this crew could only drop one single record and disappear.
Dweezil Zappa – “Anytime at All” (mp3) (from Confessions, 1991)
In the rampant resurgence of Beatlemania in pop culture in recent weeks I had nearly forgotten about this gem of a cover. Confessions was produced by Extreme guitarist Nuno Bettencourt and his influence can be heard all over the record, but no more than on this the cover of an album cut from A Hard Day’s Night. The layers upon layers of vocal tracks (provided by Nuno, Dweezil and Ahmet Zappa) take the song to a new level and the addition of a backwards tracked guitar solo – an obvious nod to George Harrison’s use of the technique – make for a truly stellar tribute.
Camera Obscura – “Lloyd, I’m Ready to Be Heartbroken” (from Let’s Get Out of This Country, 2006)
Scotland’s Camera Obscura is easily one of my favorite groups of the last few years. The perfect blend of lush orchestral indie-pop married with beautifully twee vocals and just a hint of a throwback to a simpler time the band here is issuing a – albeit 22-years-late – response to Lloyd Cole‘s classic “Are You Ready to Be Heartbroken?”
Okay, I’ve shown you mine, you know what to do…
The Friday Five: September 18, 2009
Friday Five : ˈfrī-(ˌ)dā,-dē ˈfīv : On the sixth day of every week I hit the shuffle button on my iTunes and share my five and drop a little knowledge and insight for each track. Sometimes there is a playlist involved, sometimes there isn’t. Sometimes we have guest, but most of the time it’s just me. The rest is up to you, our friends and readers! Fire up your media player of choice and share the first five random track of your shuffle in the comments.
The Five:
The Smashing Pumpkins – “1949 (vocal mix)” (from Rarities and B-Sides, 2005)
It seems like a lifetime ago when Billy Corgan was actually relevant. Despite his ongoing attempts to further bury his Smashing Pumpkins into the ground I will hold the bands early work near and dear to my heart. While clearly ego-driven, the ambitious Mellon Collie and the Infinite Sadness to this day stands as one of my favorite records of the mid 90’s. This particular track was part of a remix single featuring remixes by Roli Mosimann and Moby.
Counting Crows – “Goodnight Elisabeth” (from Recovering the Satellites, 1996)
Easily one of my favorite songs in Counting Crows repertoire, “Goodnight Elisabeth” is a perfect example of the band’s strength and moreover Adam Duritz’s ability to craft the most lovelorn tale and wrap it up in a beautiful package. The lyric “If your the Queen of California I am the King of the rain…” continues in the tradition of the storyteller tying back to his past tales.
OutKast – “B.O.B.” (from Big Boi and Dre Present…Outkast, 2001)
This track is – in a word – relentless. At a frenetic 155 BPM it is the definition of banging and was the first OutKast single that really caught my attention. I was familiar with the group prior and loved the track “Elevators (Me & You)” but had not connected with the southern hip-hop duo outside that. That all changed with this track.
Paul Davis – “’65 Love Affair” (from Sweet Life: His Greatest Hit Singles, 1999)
This track just takes me back to days without a care, riding bicycles and running around during the summer. For that simple fact I cherish this track.
ZZ Top – “Rough Boy” (from Greatest Hits, 1992)
A few years later and maybe a little less “riding bicycles and running around during the summer” but this holds a similar place in my heart. Growing up just outside of the reach of NYC’s Z100 the Hudson Valley pop radio landscape in the ’80s was dominated by K104.7 WSPK and its Saturday Night all request with Dr. John Barron. It was through these shows that I discovered not just pop, but rock, new wave, AOR and of course the Power Ballad. “Rough Boy” was the third single from ZZ Top’s Afterburner and was their last in the ’80s.
I’ve got my five, what’s coming up in your shuffle today?
Review: Works Progress Administration, “WPA”
Glen Phillips’ brand of Southern California folk-rock has always flirted on the edge of its bluegrass and country and western roots. In the years since Toad the Wet Sprocket closed up shop, his songwriting has danced closer and closer to those roots, and with 2000’s Mutual Admiration Society – pairing Phillips with members of Nickel Creek – it seemed to come to the forefront. Taking that collaborative spirit to the next level, Works Progress Administration consists of Phillips and his MAS cohorts Sean and Sara Watkins (Nickel Creek, Fiction Family) with Luke Bulla (Jerry Douglas Band, Lyle Lovett), Benmont Tench (Tom Petty and the Heartbreakers), Greg Leisz (Joni Mitchell, Bill Frisell), Pete Thomas and Davey Faragher (Elvis Costello and the Imposters).
The group’s debut record, WPA, is a slice of modern Americana with strong pop sensibilities. Recorded over the course of five days, the recording itself feels very alive and immediate thanks to the production of Jim Scott (Wilco, Tom Petty). There is a dynamic that showcases the collective beautifully and shines a light on the real star of the show: the 12 well crafted songs that make up the album.
”Always Have My Love” is easily one of the strongest tunes that Phillips has written in the past 10 years. It’s followed by the equally stellar “Good as Ever”, with Sara Watkins providing her angelic voice to bolster Glen’s vocal. Sara takes the lead for the gut-wrenching cover of Ray Davies’ “I Go to Sleep”. As strong as these songs are, “I Could End This Now” (mp3) is easily my favorite track of the bunch. It manages to take the bluegrass mélange and adds just a touch of soul resulting in a stormy mid-tempo ballad.
WPA is not without its faults. The rave-up of “Paralyzed” and the hoedown of “Wedding or a Wake” seem awkward by comparison to the rest of the material. The record’s lowest moments come at the plodding “Who’s Gonna Cry for You” and “Remember Well”. Despite these small missteps, this record is a must for fans of the group’s respective origins.
Buy WPA: Amazon
Links: Official Site | on Last.fm | on MySpace | on Facebook | on Twitter
The Friday Five: September 11, 2009
Friday Five : ˈfrī-(ˌ)dā,-dē ˈfīv : On the sixth day of every week I hit the shuffle button on my iTunes and share my five and drop a little knowledge and insight for each track. Sometimes there is a playlist involved, sometimes there isn’t. Sometimes we have guest, but most of the time it’s just me. The rest is up to you, our friends and readers! Fire up your media player of choice and share the first five random track of your shuffle in the comments.
The Five:
Editors Note: Beatlemania is alive and well and kicking this week’s five back to the ’60s for five tunes from the fab four.The Beatles – “Get Back” (from Let It Be, 1970)
“I’d like to say thank you of behalf of the group and ourselves, and I hope we passed the audition” – John Lennon
The Beatles – “You Know My Name (Look Up the Number)” (mp3) (from Past Masters, Volume Two, 1988)
If pressed to name my “Desert Island” Beatles tracks, this would land squarely in the Top 10. Hell, it would probably make the Top 5. Originally released as the B-side to “Let It Be” this track has the distinction of being the last official release in the The Beatles cannon.
The Beatles – “Ob-La-Di, Ob-La-Da” (from The Beatles, 1969)
And to the other end of the spectrum, this is probably one of my least favorite tunes in the catalog. To that point is a bad Beatles song a bad song? While you ponder that…
The Beatles – “You’ve Got to Hide Your Love Away” (from Help!, 1965)
We make our way to another favorite. According to Paul the song “is just basically John doing Dylan.”
The Beatles – “A Hard Day’s Night” (from A Hard Day’s Night, 1964)
Like many of you out there, the first thing I did when I got my hands on the remasters was cue up this track and turn up the speakers. The familiar, and noticeably clearer, opening chord rang out and it instantaneously transported me back to the first time I recall hearing the tune. The remastered track – and the whole collection, for that matter – brings to the front the considerable contributions of Ringo Starr. It’s as if I never noticed the bongo track underneath the verse.
What’s got you spinning across the universe this week?
Review: Desktop, “Desktop EP”
If you hadn’t guessed already I’ve got a soft spot in my heart for the blips and bleeps of the current generation of electronic indie pop. Detroit duo Desktop bring blips, bleeps, swooshing synths, atmospheric guitars and enough pop sensibility to make this all too brief EP an easy sell. Think of it as dance music at a time when we could all could use a reason to ignore our concerns and just dance. “Liberty” leads off the set with its quirky ‘80s techno leanings. “Fired Up” is the funkiest of the bunch with a driving beat a la Prince with shades of Cutting Crew. “Too Much” brings it all home with some over the top, make your ass wiggle goodness. What makes this an even easier sell is the fact that the group is offering it up for free.
Download Desktop EP Here
Links: Official Site | on Last.fm | on MySpace
The Friday Five: August 28, 2009
Friday Five : ˈfrī-(ˌ)dā,-dē ˈfīv : On the sixth day of every week I hit the shuffle button on my iTunes and share my five and drop a little knowledge and insight for each track. Sometimes there is a playlist involved, sometimes there isn’t. Sometimes we have guest, but most of the time it’s just me. The rest is up to you, our friends and readers! Fire up your media player of choice and share the first five random track of your shuffle in the comments.
The Five:
Björk – “Headphones (Ø remix)” (from Telegram, 1996)
I can only admit to being a pedestrian fan to Björk‘s career after this record, but Debut and Post rank high on my list of favorite records from the ’90s. Telegram was essentially the remixed version of Post with the exception of “The Modern Things” and “It’s Oh So Quiet”. Out of all the tracks on the record The Brodsky Quartet version of “Hyperballad” was my favorite and was featured on many of my mix tapes of the era.
Jay-Z – “Girls, Girls, Girls” (from The Blueprint, 2001)
I have a strange love/hate relationship with Jay-Z. If you were to peek at my library you’d see every single record he’s put out since 1996 but I’d be hard pressed to name even one album cut outside of the singles. I’ll buy The Blueprint 3 when it comes out and will listen to it twice and it will get cataloged with the rest. This track is irresistible though. Featuring Q-Tip, Slick Rick and Biz Markie on the hook and Hov flowing with more swagger than Al Pacino in Scarface it’s an instant classic.
Megadeth – “Holy Wars… The Punishment Due” (mp3) (from Rust in Peace, 1990)
In retrospect, Rust in Peace has aged considerably better than most metal records from that time period – I’m looking at you Metallica‘s Black Album – and this track in particular has resonated time and again. While the timing of it’s release made most assume it was commentary on the first Gulf War, Mustaine has gone on the record stating that the inspiration for the song was the ongoing conflict in Northern Ireland.
Primitive Radio Gods – “Standing Outside a Broken Phone Booth With Money in My Hand” (mp3) (from Rocket, 1996)
The ’90s produced more ‘One-Hit Wonders’ then you can shake a stick at. Primitive Radio Gods fell in alongside acts like Sneaker Pimps and Ruby with a mix of downtempo beats juxtaposed against alternative leaning instrumentation and vocals. Built off a sample of B. B. King‘s “How Blue Can You Get?” the track managed to peak at #1 on the Billboard Modern Rock chart and #7 on the Hot 100 before the Primitive Radio Gods faded into obscurity.
Paramore – “Misery Business” (mp3) (from RIOT!, 2007)
The first time I heard Paramore‘s Hayley Williams‘ voice it instantly had my attention. How could this tiny (then) teenage girl have such a huge voice was my first thought. The second thought was that they were going to be huge. Williams‘ voice combined with the killer hooks the band is known for have brought them tons of fans and critical praise, not to mention an opening slot on the No Doubt reunion tour.
Five down, who’s got five more to share?
The Friday Five: August 21, 2009
Friday Five : ˈfrī-(ˌ)dā,-dē ˈfīv : On the sixth day of every week I hit the shuffle button on my iTunes and share my five and drop a little knowledge and insight for each track. Sometimes there is a playlist involved, sometimes there isn’t. Sometimes we have guest, but most of the time it’s just me. The rest is up to you, our friends and readers! Fire up your media player of choice and share the first five random track of your shuffle in the comments.
The Five:
Editor’s Note: I’m running short on time this Friday, but the tunes are cranking and getting me through the busy day before heading down to NYC for some Acoustic 80’s (featuring Jason Hare of Popdose). I swear it’s an odd coincidence that each tune this week has a title consisting of two words.
The Rolling Stones “Miss You” (from Forty Licks, 2002)
Green Day – “Brain Stew” (mp3) (from Insomniac, 1995)
Billie Holiday – “Blue Moon” (mp3) (from First Issue: The Great American Song Book, 1994)
Rufus & Chaka Khan – “Sweet Thing” (mp3) (from Rufus featuring Chaka Khan, 1975)
Alexisonfire – “Accept Crime” (from Old Crows / Young Cardinals, 2009)
What has got you moving today?
The Friday Five: August 14, 2009
Friday Five : ˈfrī-(ˌ)dā,-dē ˈfīv : On the sixth day of every week I hit the shuffle button on my iTunes and share my five and drop a little knowledge and insight for each track. Sometimes there is a playlist involved, sometimes there isn’t. Sometimes we have guest, but most of the time it’s just me. The rest is up to you, our friends and readers! Fire up your media player of choice and share the first five random track of your shuffle in the comments.
The Five:
The Band – “Up on Cripple Creek” (from Greatest Hits, 2000)
I’ll admit that I’ve heard this track covered more often than I’ve heard the original.
Phish – “The Divided Sky” (mp3) (from 2009-03-06: Hampton Coliseum, Hampton, VA, USA, 2009)
In this case, I’ll let the music do the talking.
John Mellencamp – “Jack and Diane” (from The Best That I Could Do 1978-1988, 1997)
Pop Quiz: What unique quality does “Jack and Diane” have in common with Prince & The Revolution‘s “When Doves Cry”?
Jellyfish – “Will You Marry Me” (mp3) (from Fan Club, 2002)
I recently acquired this fantastic collection of demos, outtakes, b-sides and live material from what could easily be my favorite band of the early 90’s. As evidenced by my last.fm chart, I’ve been on a steady diet of Jellyfish ever since. “Will You Marry Me” is easily one of the band’s strongest unreleased tracks and was only performed live.
DJ Shadow – “Mashin’ on the Motorway” (from The Private Press, 2002)
I’ve been a fan of DJ Shadow from the first moments of Entroducing…. in 1996. In the years between solo outtings he released an early singles collection and worked as part of the U.N.K.L.E. project but nothing could compare to what he does best
Side Note: The first person to correctly guess the “Pop Quiz” question gets a copy of Assembly of Dust‘s Some Assembly Required.
What’s up next on your shuffle?