Okay, the baby is wiggling around under bilirubin lights to my left, and the wife is sweetly snoring on the foldout couch to my right, so I have a few minutes to share with you 10 songs I can’t live without.
From 2002, MeShelle Ndegeocello’s song Priorities 1-6. Bet even Papa Jo Jones would dig these crazy hi-hats http://url4t.com/WCQ
From 1996, Big Mama’s Door by Alvin Youngblood Hart http://lala.com/zFHv In his early 30s, Hart brings you oooold school blues
From 2004, Anais Mitchell sings her ingenious song, 1984. Combines Orwell’s 1984 w/ Prince’s 1999.
From 2008, ♫ She Got To You by Esperanza Spalding. Damn, that’s cold! http://lala.com/zSZl
From 2002, the song Tika Ngai from Lokua Kanza. Beautiful vocals from this native of the Congo (Zaire) http://lala.com/zm03
From 2004, ♫ Sleepwalking by The Bruces. Dark & earthy folk with some nice guitar picking. http://lala.com/zSJQ
From 2004, trip hop artist DJ Krush on “Transition.” Piecing together samples clean as Irish Spring…http://url4t.com/tFE
From 2001, Celtic singer Alyth McCormack on “A Mhairead Óg,” from album The Edge…dark piano chords, angel voice http://tiny.cc/j9EU5
From 2004, Plunger by Umphrey’s McGee. Math-rock pyrotechnics that get me all in a tither. http://url4t.com/EMT
From 2003, you may have missed “Slide” with Jill Scott because it was on bone player Jeff Bradshaw’s album.
What are some songs you can’t live without? Let me know. I can’t wait to check out them out.
Gotta go. Baby just slid out of her lights mask…cute little rascal.
For me, the joy of the creative process is up there with other key life events…say, feeling my wife’s prego belly as our baby does kung fu moves in utero.
That’s why I was tickled when I read a recent tweet from indie-rocker Laura Veirs. She said, “Somebody’s kicking me in the ribs! WTF?”
No, she didn’t get into a bar fight in England where she is currently on tour. She has an onboard band member (translation: she’s pregnant).
Indie Singer/Songwriter Laura Veirs
On the creative process, Veirs says in her online bio that writing “July Flame,” a song from her album by the same name (released Jan. 12, 2010, Raven Marching Band Records), helped her reach an important musical milestone.
“I’d been in a songwriting slump at that time and writing that song pushed me over my plateau and into a new place where I was surprising myself again,” she says.
The track’s title was borrowed from a variety of peaches called July Flame, which Veirs purchased for canning during a July 2008 visit to a Portland, Oregon farmer’s market.
Starting with a lonely, grieving guitar, the song takes us on a journey through firework flames and unfulfilled desire. The track never brings us to the shores of resolution, but gives us hope on the journey – as testified by a choir bolstered with uplifting strings at the song’s climax.
Full Lyrics to July Flame
“July Flame
Fiery kite
Will-o’-the-wisp
Lead me through the night
“July Flame
Sweet summer peach
High up in the branch
Just out of my reach
“Can I call you mine?
Can I call you mine?
“July Flame
I’m seeing fireworks
They’re so beautiful
Tell me why it hurts
“July Flame
Ashes of a secret heart
Falling in my lemonade
Unslakeable thirsting in the back yard
“Can I call you mine?
Can I call you mine?”
For Veirs, the creative process didn’t stop with the song. Check out the beautiful “July Flame” video. (This may be the first time you’ve seen peach fireworks and wildlife roasting marshmallows!)
If you’re interested in learning more about the making of Veirs’ “July Flame” album, this video is for you.
The Hidden Meanings of Secret Heart
“July Flame” has several meanings in the song – a peach, will-o’-the- wisp and unrequited love (my guess). So, I have taken “secret heart” from the second verse and given it totally unintended new meanings.
The Secret Heart (1946 film) – The New York Times describes “The Secret Heart” as “a psychological drama starring June Allyson as a disturbed teenager obsessed with the memory of her dead father and unable to embrace her stepmother.” Here’s the trailer.
Paul McCartney’s Secret Heart Operation – In the fall of 2007, Paul McCartney secretively had a coronary angioplasty. Apparently it did the trick. He’s alive and kicking and recently wrote the song, “(I Want To) Come Home,” for the new Robert De Niro film, “Everybody’s Fine.”
Not that the guys in British alt. pop group Field Music should listen to me, but here’s an idea for a Field Music video that’s sure to make the kids say “that’s beast!”
On Jan. 12, 2010, the group released the single, “Let’s Write a Book,” from the upcoming double-album, “Field Music (Measure).”
For me, the track evokes images of Prince writhing in funky purple accompanied by a leather-clad Terminator bodyguard (1984 vintage), while David “Burning Down the House” Byrne jumps up and down on stage. Add to the party what sounds like the Blue Man Group banging on those weird tubes, and you have a pretty good idea of how this song feels. It feels good…
Brothers and co-front men David and Peter Brewis of Field Music
With that said, who could encompass all of the above to star in an epic music video for the song? With his ‘80s-big-hair-macho, my vote would be for Chazz Michael Michaels, co-lead character in the 2007 movie, “Blades of Glory.”
Here’s how this whole video thing could go down:
Verse 1 “Let’s not apologise
Let’s not assume blame
And if there’s a whisper of dissent
Send it to the library”
In a sleeveless shirt, terrycloth headband and red leather pants and boots, Chazz struts down an aisle of books at the library. He winks at a sexy librarian, and then spins to look into the camera with his index finger over his lips (shhhhhhhhh!)
During the ensuing xylophone barrage, we see Chazz pop-locking and doing the robot at the book return desk.
Verse 2 “Oh honey, dearest
We’re all panicking now
I’m minded to take it away
Oh honey, darling
Can we learn to take what’s coming?
Resounding with take, take, take, take”
Chazz raids the kids’ section of the library, taking books from children and shaking his head at them while they cry.
Verse 3 “Let’s write a book
Let’s paint the walls
And if that makes us forget where we are
We’ll always be somewhere else”
Chazz, Michelle Kwan and Oksana Baiul read the book, “The Complete Book of Figure Skating,” together, and then Michelle and Oksana spank Chazz with it.
Oh honey
Oh darling
More pop-locking
And there you have awesomeness.
Be sure to check out Field Music’s new album, which is due out on Feb. 15, 2010. Here’s a link to two free songs: “Each Time is a New Time” and “Measure.” (At the Field Music home page, see the sticker at the bottom middle of the screen that says “click here.”)
You’ll notice the free download songs, are totally different from “Let’s Write a Book,” which is one of the reasons why you should check out this exciting group.
By the way, here’s a video Field Music actually made.
Deer ticks are nasty little arachnids whose mission is to suck the blood out of living creatures, all the while transmitting the horrible Lyme disease.
Well, in the summer of 2005, singer/songwriter John McCauley found one of the little buggers on his scalp on a camping trip and inspiration hit. His band would be “Deer Tick.”
(L to R, Deer Tick is John McCauley, Dennis Ryan, Chris Ryan and Andrew Tobiassen)
But don’t worry, this group is all about rocking your party – no blood sucking involved. (As far as I know, they can’t spread Lyme disease either.)
On the new song, “Dance of Love,” released Jan. 1, 2010, as part of the EP, “More Fuel for the Fire,” on Partisan Records, Deer Tick shares a road map for guys to get lucky…the old fashioned way.
“Well if I pull that chair out
Or maybe if I hold that door for you
If I do it cause my mother always told me to do
If I make a point to complement you
I’ll be feeling those legs already on mine
“Oh the dance of love
Well the dance of love
Is a wonderful dance”
Musically, “Dance of Love” is no lambada (the Brazilian dance of love). The song is wrapped in a Johnny Cash “Folsom Prison Blues” guitar groove, bolstered by some attitude from The Clash’s “Should I Stay or Should I Go” and uplifted by the spirit of the great Cajun bar bands such as the Pine Leaf Boys.
I love drummer Dennis Ryan’s driving beat on this tune. It’s busy, but in all the right places. On this track, Andrew Tobiassen’s lead vocals are a lot of fun. He’s no trained opera singer. This dude is just blurting out how guys feel about courting women, with all the raspy, hootin’ and hollerin’ that goes along with that.
So check out “Dance of Love” by Deer Tick. These guys will have you laughing, dancing and who knows what.
Deer Tick Extra: Here’s probably something you never imagined. Deer ticks singing soulful acapella.
Did you know that Hungary has a well-established hip-hop culture? The country’s first hip-hop album emerged in the mid-1980s.
That’s a testament to the kids who created rap music in the streets of U.S. urban centers and to the people of Hungary. Until relatively recently, Hungarians were under a creative lock-down (although less harsh than some other communist countries). Formally, communism ended in Hungary in 1989.
Based in Budapest, DJ Bootsie,one of Hungary’s emerging hip-hop leaders, has been in the game for over 15 years and is known for his cinematic, improvisational approach.
(DJ Bootsie plays live with a band, a video screen and only one turntable to provide melody and scratch solos.)
DJ Bootsie started his first hip-hop group, Az Arral Szemben (Against the Current), in 1995 and won a national DJ competition the next year. Since then, he has performed and recorded with Hungarian groups Yonderboi and Zagar and has released two solo albums: “The Silent Partner,” in 2004 (Ugar Records) and “Holidays in the Shade,” released Dec. 15, 2009, on BBE.
Hungarian Blues with Bass
Listen to “Holidays in the Shade,” and you’ll hear “epic instrumentals, basically on hip-hop foundations,” DJ Bootsie says in a video promoting the album (see link at the end of this article). “[The songs] carry strong cinematic influences as well as folk, jazz, electronic sounds and scratches here and there,” he says.
Also in the video, DJ Bootsie talks about his interest in musical structures and taking his listeners on a journey toward something inspirational, yet sad.
“Often, gloomy, not entirely positive music can also be uplifting, which actually reflects the mentality of the Hungarian people,” he says.
American musicians might say that DJ Bootsie is talking about the blues.
Kite Over Faurndau
DJ Bootsie has a gift for using dynamics to evoke emotions, similar to the dramatic music we hear so often in movie soundtracks.
Take, for example, the song, “Kite Over Faurndau.” A light acoustic guitar carries the music along with a playful snippet of female vocals. Interwoven are musical events that bring piano, accordion, string hits, rhythmic handclaps, rock guitar and distant sirens into the musical picture – all telling a story with a beginning, middle and end.
Perhaps that’s why DJ Bootsie’s music has translated so well into TV. The CSI franchise used his songs “Horseriders to the Abyss,” and “Ballad of the Spaceship Rigger (Pt. 1)” in its episodes. His work has also appeared in Hungarian TV and film.
Through an e-mail interview, DJ Bootsie shared with Eleven’s Song Reviews that his inspiration for “Kite Over Faurndau” was a personal one.
“Faurndau is a tiny, remote Swabian village in southern Germany where my grandmother lives,” he says. “During the initial work…of the song, I often recalled childhood memories of flying kites close to her place…The most careless time of my life these days were.”
He also shares, “The nature of the song, the airiness, the acoustic guitar, the zip and snap of it, made me start to clap my hands, like when one starts to dance involuntarily.”
So when you’re feeling introspective and need a good musical rush, check out DJ Bootsie. He’ll play a musical movie for your ears…you supply the script in your imagination. If you want to hear more music from Hungarian hip-hop artists, DJ Bootsie recommends listening to DJ Cadik and DJ Mango.
By the way, if you want to see some great panoramic views of Budapest, Hungary, check out the following Web site: http://tiny.cc/VuKAU .
From the Wu-Tang Killa Bees to indie-pop’s The Bird and the Bee, musicians are irresistibly drawn to bee references. And why not? The bee’s stinger is ideal for violent or naughty metaphors, and romantic songs come to life with a little pollination/honey-making innuendo.
Here are a couple snippets from the Diana Ross and The Supremes song, “Honey Bee (Keep on Stinging Me)”: “You started a fever burnin’ deep inside of me, since you stung me with your sweet love… This taste of honey you’re givin’ me has sweetened all my bitterness.”
(Diana Ross and The Supremes know a thing or two about bee metaphors.)
Sean Hayes (the alt-folk singer/songwriter, not the actor from Will & Grace) takes musical bee references in a socially conscious direction with his single, “Honeybees Falling,” released on Dec. 8 from Sean Hayes Music.
“Who’s out chasin’ after money? Little mouse in a maze
Clouds above the buildings, pockets full of rain
Mystery surrounds us, mystery all around us….
“Go ask the birds, the birds, the birds
Listen to the wind, the wind, the wind
Go ask the honeybees falling
Listen to the breathing in…”
In a recent e-mail interview with Eleven’s Song Reviews, Hayes explained his reference to falling bees.
“Honeybee populations are dying… It has been happening for years and it’s getting worse. It is a very scary thing with huge consequences… Go ask the honeybees!” he said.
To Hayes’ point, in an August 2009 Time magazine article, “New Clues in the Mass Death of Bees,” author Bryan Walsh reports on colony collapse disorder (CCD), a phenomenon that has resulted in the reduction of nearly one-third of all American honeybees in recent years.
On a higher level, “Honeybees Falling” urges us to rethink our disconnection from nature and the sometimes harmful decisions we make as a result.
“Asking questions like scientists or mystics. Knowing we do not know. The grind, grind, grind, easy-to-forget money is a made-up magic, but honeybees are real,” says Hayes.
“Honeybees Falling” isn’t Hayes’ first venture into the world of bee imagery.
In the song, “All for Love,” from the album, “Flowering Spade,” Hayes sings, “I’ll gather your honey. I’ll plant your seed. I’ll be your harvest, leave you my sting.”
If you are interested in hearing more from Hayes, he is releasing a new album on March 2, 2010, called “Run Wolves Run.” Here’s a pre-released video from one of the tracks, “Garden.”
My first exposure to singer/songwriter/guitarist Dave Davison was this Tuesday, when label Sargent House released a split EP with two songs from Cast Spells (a Davison side project) and Good Old War.
Listening to the moving, sentimental song, “Letters,” I assumed Davison was a folk singer. Check out this link to the EP: http://castspells.bandcamp.com.
Then, I searched Cast Spells on YouTube and watched the video, “A Badge, Glass Room Sessions.” Seeing Davison with his bushy hair and bare feet, playing his acoustic guitar, and I “knew” he was a folk singer.
Turns out I was only 31 percent right (approximately!) about Davison’s folk leanings.
He is best known for his work with Maps & Atlases, a Chicago-based math-rock, prog-rock, nerd-rock, post-rock, alt-punk group (pick your genre description). While the members of Maps & Atlases acknowledge a folk influence (in an MTV2 “On the Rise” segment), the group is pure technical chops and fireworks.
For those who are new to Dave Davison, I’m admittedly taking you on an ass backwards journey through his music. Don’t worry. “Letters” is a great place to start.
The honesty of Davison’s voice combined with his sweet but urgent guitar lines are powerful. Call it quiet confidence. His frenetic energy demonstrated with his other groups is subtler here.
Here’s an excerpt from the lyrics (couldn’t make out some of these):
“Dragonflies and gnats and their incisions in the water
……???
And I remember when you laughed, the rise and fall of your stomach
And the dirt and bark all over your skin
In lakes and spitting watermelon seeds
We planted a garden beneath our kicking feet
These are letters to you
These are letters to you”
If you are interested in getting to know Davison’s work better, check out the new split EP and his many other recordings. Also, he is currently on the road in select cities with Cast Spells, accompanied by Good Old War and Hezekiah Jones. According to Sargent House’s Twitter profile (@sargenthouse), audiences are loving it. Davison will perform with Cast Spells and HEY!TONAL in Europe starting in late February 2010.
Web sites of groups of which Dave Davison is a member include the following:
(Want to hear the song first? Scroll toward the end of this posting.)
So I walk into Banana Republic and I’m fascinated by something. It’s not the clothes or the freakishly stylish sales attendants…it’s the sophisticated in-store music. Apparently, Banana Republic wants to accessorize my eardrums.
That’s the idea. In fact, the retailer employs music licensing and branding firm Rock River to provide “branded music strategies.” Why? By selecting the right tunes for its stores, Banana Republic helps influence consumers to buy expensive shirts (I bought two.).
Taking Artistic License Scottish singer Angela McCluskey knows the value of music licensing. As part of the group, Telepopmusik, she sang the Grammy-nominated song “Breathe,” which was featured in a 2003 TV ad for the Mitsubishi Outlander.
In a 2004 interview with National Public Radio, McCluskey said she loved being associated with the car commercial. “If they associate it, then they could buy the album… Car commercials are the only way anybody’s ever going to hear your music anymore,” she said.
This year, she sang “I’m Not the Girl” for a TV ad featuring the Schick Quattro TrimStyle For Women Razor. See the bizarre video: http://www.quattroforwomen.com/media.php (hint – look for the computer-animated topiaries).
Recently, McCluskey performed on the Season Six trailer soundtrack for the TV show, “Entourage.”
Indie Evolves Don’t assume that McCluskey is a lightweight because her music is attractive for commercial use. Just the opposite. Music branding companies such as Rock River, DMX, Inc., Shout It Out Loud Music and Elias Artsoffer their clients the best musicians out there, including indies.
(Musicians James Allen and Angela McClusky attend the 2008 FilmAid International Power of Film Gala in New York City.)
Francis Garcia, creative director and founder of Shout It Out Loud Music (www.shoutitoutloudmusic.com), a New York City-based advertising, TV and film music company that has composed original scores and licensed music for Audi, Cadillac, Toyota, Ford, Walmart, McDonald’s, Discovery Channel, Nicktoons, Fuse and Fox Searchlight, recently shared the following with Eleven’s Song Reviews:
“Record labels have become more reliant on music licensing as a revenue stream as CD sales have dramatically diminished. Labels and publishers have become savvier at getting their music into the hands of advertising agencies.
“Concurrently, there’s been a stylistic paradigm shift that’s forged the way for recording artists, as advertisers have moved away from ‘jingles’ and toward album music. The indie music community has even become less denouncing of artists that choose to have their music licensed by a major brand. These factors have made the landscape of music business vastly different than what it was 10 years ago.”
To her credit, McCluskey is a Lilith Fair alum and has worked with R.E.M., Dr. John and Cyndi Lauper. She has also recorded several albums with the Wild Colonials, Telepopmusik and Tryptich and has released her own solo projects.
Message in a Bottle? McCluskey’s song “Message,” from the album, “You Could Start a Fight in an Empty House,” (released Nov. 23, 2009, on Bernadette) is receiving a lot of attention from my MP3 player these days.
Grooving to this electronic music track, I imagine myself speeding in a Porsche Cayman at 2 a.m., heading to an epic party hosted by “Brangelina.” McCluskey’s vocals, world-wise and mysterious, transport me to such places.
At the same time, “Message” is ripe for a slick marketing campaign. I can see the song backing a FedEx commercial. How about an Absolut Vodka ad (hence my message-in-a-bottle reference)?
What are your thoughts about the commercial use of indie music?
Is the world a big rubber band ball with everything connected to everything? Maybe. When you look for common threads among people, history, science…relationships start to surface. At the very least, you and I are connected right now through the Internet. So with this in mind, let’s play a game (not the Kevin Bacon game).
Question: What do “The Secret” (the Law of Attraction philosophy featured on Oprah), jazz artists Eddie Harris and Pharaoh Sanders (best known for their work in the ‘60s and ‘70s) and the year 1983 have in common?
Answer: Georgia Anne Muldrow.
Many of the universe’s funkiest wavelengths have converged recently to create the neo-soul hip-hopstress, Georgia Ann Muldrow (jahjahmuldrow on Twitter).
Born in 1983, Muldrow was raised in a musical home in Los Angeles. Her mom, Rickie Byars Beckwith, sang with avant-garde jazz saxophonist Pharaoh Sanders among others. Muldrow’s late father, Ronald Muldrow, was a jazz guitarist who played with artists such as soul-jazz pioneer Eddie Harris.
With this foundation, Georgia naturally gravitated toward music, and also appears to have incorporated her mother’s spirituality. Beckwith is the musical director of Agape Spiritual Center, a “New Thought” church founded by Muldrow’s stepdad, Dr. Michael Beckwith. The reverend was featured in the 2006 movie, “The Secret.”
(Georgia Anne Muldrow’s mother, Rickie Byars Beckwith, and stepfather Michael Beckwith) Take into account these influences along with the hip-hop voice of Muldrow’s generation, and you have the song, “Never a Day in Vain,” from the new album, “Early” (released Nov. 10 on Animatedcartunes). Listen to the song here
Here’s an excerpt of the lyrics:
“My prayer is to be better, and to live a life of love
An honest human being, whose light heart can soar with the doves.
It’s hard to keep your head up, when life’s smoke obscures your gaze
I pray to see the beauty, even in that smoke’s dark haze
And when, I feel worthy to receive, the universe opens up to me
I’m a wide open vessel, true love expressin’,
I’ll never live a day in vain”
Another 1983 Connection Steven Ellison (Flying Lotus), with whom Muldrow and her partner, Dudley Perkins have recorded and performed, called his debut album, “1983.” (I can all but confirm that this was the year he was born.)
Here’s a video of Perkins (a.k.a. Declaime) and Muldrow (a.k.a. Patti Blingh) performing to Flying Lotus’ beats.
Ellison’s background was similar to Muldrow’s in that he grew up in L.A. in a musical family. He is the great nephew of Alice Coltrane, the late free-jazz singer/mystic and John Coltrane, the late jazz god.
Now follow me here. Pharaoh Sanders, who played with Muldrow’s mom, also recorded and played with the Coltranes, who were big influences of Muldrow’s and just about all serious musicians out there.
(Let me know what you think of this song by leaving a comment.)
To your dismay, the couple you follow on your favorite TV drama has a nasty blowup over infidelity. In a dress by Vera Wang, the distraught woman sobs alone in her dark apartment with her back against the bedroom door. Her scorned lover races off in his 2010 Camaro. He shakes his head in disbelief about the betrayal and then suddenly punches the dash.
In my view, the song, “Ambulance,” by Eisley on the new EP, “Fire Kite,” was born for moments like this.
The track explores the kind of emotional hurt that only a romantic relationship can inflict – when your broken heart aches so badly you may need to call an ambulance.
(Eisley’s song, “Ambulance” – my vote for the next track featured on “Grey’s Anatomy”)
Here’s an excerpt of the lyrics, sung by the band’s keyboard player, Stacy Dupree:
“I need an ambulance, I took the worst of the blow
Send me a redeemer, let me know
If I’m gonna’ be alright, am I’m gonna’ be alright
Cause I know how it usually goes, I know how it usually goes
“I built a monument, for the love we used to know
But that is far removed, and you say
That I’m gonna’ be okay, and yeah I’m gonna’ be okay
But it doesn’t seem that way, no, love, not today
“Cause I was told to get out, told to leave
Told to have my things in the parking lot
No, no, no, no, no, no, no, no, no, baby, yeah
Just send me that ambulance, oh
Just send me that ambulance”
Intentionally or not, Eisley, a group from Tyler, Texas, made up of four sibling twenty-somethings and a cousin, has written a song that could fit nicely in the “Grey’s Anatomy” genre of music, an unlikely category that has emerged since the TV show debuted in 2005. Grey’s Anatomy has featured a who’s who of cool young artists, including KT Tunstall, Ingrid Michaelson, Anna Nalick, Brandi Carlile, Peter Bjorn and John, The Bird and the Bee and Feist.
In recent years, Eisley has toured with several well-known bands, including (you may have seen this coming) “Grey’s Anatomy” soundtrack alumni Coldplay, Snow Patrol, The Fray and Gomez.
To get a feel for the song, “Ambulance,” think of the emotional intensity of tunes like Sarah McLachlan’s “I Will Remember You,” along with the sweetness of Lisa Loeb & Nine Stories’ song, “Stay.”
So grab a box of napkins, a quart of ice cream and experience the song, “Ambulance,” by Eisley on the EP “Fire Kite” (Sire Records Company, released Oct. 9, 2009).
Sources: www.washingtonpost.com (Eisley: Rock and Relatives – These Four Siblings, Plus One Cousin, Are Truly at Home on the Road, April 18, 2008), www.purevolume.com/eisley, www.cbsnews.com (Grey’s Anatomy Music Revisited, May 17, 2007) and iTunes (Grey’s Anatomy search).
