Since I spent the entire month of January listening only to albums released in 1974 (you can hear about it HERE), I’m currently playing a game of catch-up on 2017 releases. I’m hoping to have an album to review by next week, but in the meantime, the BDWPS.com page has been stagnant for the past week and a half. To fill some space, I thought I’d share my favorite release of the year so far in the video for Father John Misty’s “Pure Comedy.” I’m sure many of you have already seen it, but if you haven’t, it’s a glory to behold. The song is also pretty great. Hopefully the site will be back to its normal routine in the next week or so.
While doing research for the “Year of the Bowie” podcast (which you should be listening to and if you aren’t, you’re missing out!), I discovered this little animated clip that imagines what the Berlin recording sessions might have been like for David Bowie, Brian Eno, and Tony Visconti. I’ve watched the video several times and can’t get enough of it, whether it be Visconti’s insistence that he was a major part of the album Low, Eno’s strange approach to sound, or Bowie’s slapdash approach to the creative process.
A couple of months ago, MTV released an un-aired interview with The Replacements on their YouTube stream, and it’s worth all eight minutes of your time. At this point in their career (1989), the band was in shambles, trying to keep the music coming while knowing full well that their time with major label Sire was on the brink of ending (they also might be highly inebriated, which is par for the course with The Replacements). As a result, Paul Westerberg and Tommy Stinson talk with a frankness that is hard to come by in our time of publicists and political correctness.
On Monday night, Lady Gaga took to the Grammy stage and performed a series of David Bowie songs. She put her best effort forward, but the performance as a whole felt discombobulated due to whirlwind medley and Gaga’s distracting theatrics. I don’t necessarily blame Gaga for this disappointing display; the Grammys have always tried to squeeze as many performances into the music industrie’s night of self congratulations, but it might have been wiser to have simply performed one or two classics and given them the time and focus they deserve.
10 years ago, the art of the music video seemed on the verge of extinction. With MTV’s move toward more mainstream programming, the music format that propelled the careers of artists like Madonna, Michael Jackson, and Britney Spears seemed to be a thing of the past. President Van Toeffler pronounced that, “The novelty of playing music videos has worn off,” and with that, the MTV generation died. Music videos lived on via video websites like YouTube and Vimeo, but the big budget endeavors of the 80s and 90s were far less of a common creation in a time of uncertainty in the music industry.
But in the past few years, the music video has found a rebirth. To compete with music streaming services like Spotify and Pandora, YouTube has advertised its self as a free alternative and even went so far as to create their own music awards show. The result of this move has been staggering with more and more music fiends turning to YouTube for their listening experience. Some of the artistic music videos created in 2015 show what a resurgence the art form has had as of late. Here are my 10 favorite videos of the year.
For avid BDWPS Podcast listeners, I want to let you know that this month’s episode was recorded last night, but I ran into some technical issues afterward. Today, those issues continue, and it may not be another week until I’m able to publish the episode. To help fill the void until I’m able to resolve this issue, I decided to post my favorite song of the moment, PWR BTTM’s “1994.” Musically, the song hearkens back to the sounds of my youth (the 90s), and the video is just as nostalgic in its imagery. The only issue that I have with this garage-pop gem is that it’s over way too soon. I’m sure you’ll find yourself hitting the replay button just as much as me.
Podcast returns later next week.