Tag Archives: Sharon Jones and the Dap Kings

Top 100 Tracks of 2010 (75-51)

 

75. “Doubt”

The Corin Tucker Band

I always thought Carrie Brownstein was the more punk rock of the ladies in Sleater Kinney. I always thought she had the fire, the anger, and the edge that counteracted Corrin Tucker’s more feminine approach. I was wrong. So wrong.

 

74. “Stranded”

The Walkmen

I’m a sucker for trumpets, especially when they sound this damn dreamy.

73. “Theme From ‘Cheers””

Titus Andronicus

Looking back on my year, one memory that stands out the most is when me and BDWPS contributer PtheStudP visited Cheers in downtown Boston.  After a two-hour marathon at a beer festival, our tour guide Steph led us to Cheers where her friend Justin was bartending.  What I thought was going to a quick tourist visit turned into hours of drunken splendor. Soon the variety of beers and shots somehow turned into a night of boisterous chanting of  “U-S-A!”, “Lord-By-ron!”, and “Tom Arn-old!”  This song brings me back to that night, not necessarily because of the reference to Cheers in the title, but the chorus that could have easily been one of our chants that night: “So let’s get fucked up, and let’s pretend we’re all okay, and if you’ve got something you can’t live with, save it for another day. Save it for another day.”

72. “Bloodbuzz Ohio”

The National

After carrying The National’s Matt Berninger to Ohio, I’d like that same swarm of bees to visit Jim Tressel’s house.

71. “Tame On the Prowl”

The Medications

In most cases, my adoration of The Medications stems from trying to untangle the vine of intertwined guitar licks in each song.  “Tame On the Prowl” continues this tradition, but also features a melody that will quickly wrap around your Hippocampus.

70. “Whores; The Movie”

El-P

Not only is “Whores; The Movie” a stellar song, but it would also make a great movie (preferably in 3-D).

69. “Leave You Forever”

Cloud Nothings

I could never leave this song forever.

68. “Apartment Wrestling”

Maximum Balloon (featuring David Byrne)

If you’ve ever wondered what TV On the Radio would sound like if they joined forces with The Talking Heads, it’s as amazing as you expected.

67. “Grief Point”

Destroyer

This is not really a song, rather an audio-short-film, or an audio-psycho analysis, or maybe just the ramblings of a confused artist. Whatever the case, this eight minute insight into the mind of Dan Bejar and his view of music at this point in his career is fascinating.  Earlier this year, Bejar discussed ending his recording career altogether (fortunately he didn’t with a new album coming out soon), and this B-side to his “Archer on the Beach” EP captures him in the midst of this confusion of what role his music plays in both his life and his listeners.  Plus, I just like the imagery of “picnic baskets filled with blood”.  Call me a hopeless romantic!

66. “Fresh Hex”

Tobacco (featuring Beck)

“Maniac Meat” is such a fun fucking album and on “Fresh Hex” Beck joins the party, giving the album his own fresh take on their energetic sound.

65. “Pop Culture (revisited)”

The Ponys

The Ponys originally formed in Chicago back in 2001, and one of their earliest songs was “Pop Culture”.  For whatever reason, this song never made it onto a major record, only being heard during live performance.  I can still remember them playing this song when I first saw them live four years ago.  But in 2010, with the release of their song EP “Deathbed Plus 4”, “Pop Culture (revisited)” was finally released from captivity, and it sounds as lively as ever.

64. “Swim Until You Can’t See Land”

Frightened Rabbit

Water has always represented rebirth, and on “Swim Until You Can’t See Land” singer Scott Hutchison swims not only for a renewal, but also to feel alive again.

 

63. “You Must Be Out of Your Mind”

The Magnetic Fields

This past year I’ve had to learn how to forgive others, and also tried to gain forgiveness for those I’ve hurt.  In both cases this isn’t the easiest of tasks.  As the person who was wronged, there is some agitation with the idea that by simply saying “I’m sorry” that everything goes back to the way they were. They don’t and they never will. But as the person asking for forgiveness, you can’t “simply press rewind” and things will be they way they once were no matter how bad you would like them to.  Stephin Merritt’s snarky lyrics take on the persona of the one burned, and his stance can be either an anthem for moving on or a eulogy for a relationship (depending one what side of the forgiveness fault-line you stand).

 

62. “Waterfall”

Fresh & Onlys

The Fresh & Onlys are time travelers, but instead of going to the past, they’ve come to us from the 60s, bringing with them a sound that has been long forgotten. Amazingly, a song like “Waterfall” grows out of the oldies, yet sounds like nothing else on the radio.  This is the type of song that would lead Marty McFly to say, “I guess you guys aren’t ready for that yet, but your grandparents loved it.”

 

61. “Below the Hurricane”

Blitzen Trapper

At first this seems like a beautiful little folk song, but halfway through the band kicks it up a notch with Doobie Brother’s persona that is sweetened with a couple drops of harmonica.

60. “I Learned the Hard Way”

Sharon Jones & the Dap Kings

The only thing I don’t like about this song is the fact that she never defines exactly what this guy did to turn her into such a bitter old maid.

 

59. “Mr. Peterson”

Perfume Genius

This eerie song tells the story of a teacher, Mr. Peterson, leaving a note on a student’s paper telling them to meet him at a certain time and place. For some reason, the narrator meets up with the teacher, smokes weed with him, and possibly has sex with him (although this event is only inferred).  When the teacher goes on to kill himself, the narrator doesn’t necessarily hold a grudge toward him. Instead, the speaker hopes that Mr. Peterson can find a place where he’s wanted, even if that place be hell.

So yeah, this songs kinda depressing.

 

58. “Moves”

The New Pornographers

After their lackluster 2007 release “Challengers”, I’d kinda written The New Pornographers off.  It just seemed like their sound had run its course and had no where else to go.  But on their latest release, “Together”, the band has found new ways to eek a little more life out of their collective, especially on a song like “Moves” that amps up their classic sound with a driving orchestral addition.

57.  “Suffering Season”

Woods

I made the mistake this summer of defining Woods as the next Neil Young. The falsetto vocals do conjure up images of Sir Neil, but a song like “Suffering Season” shows the band is influenced by many other voices of the past (possibly the Mamas and the Papas?).

56. “Girlfriend”

Ty Segall

In just two minutes, Ty Segall will have you singing along.  That has to be some type of record.

55. “Favourite Food”

Tokyo Police Club

Getting old stinks, a point this song pounds into the ground.  Not only have I had to face the facts that I’m no longer young, but my parent’s aging has become apparent, a notion that scares me.  When the lyrics say “cause it’s sweet getting old” followed by “Let the hospital be your home”, I can’t help but feel that Tokyo Police Club are being morbidly ironic. I would like to believe that there is some hope hidden within the metaphors of this riveting song, but I can’t seem to find them.

54. “Written in Reverse”

Spoon

With all that screaming and punching of piano keys, something must have really pissed Britt Daniels off. But unlike the Incredible Hulk, you’ll like Britt when he’s angry.

53. “Relief”

Sam Amidon

I really should start listening to some R Kelly.  A couple of years ago I couldn’t quit listening to Bonnie “Prince” Billy’s cover of R. Kelly’s “The Word’s Greatest”.   This year Sam Amidon, who is known for his modern interpretations of classic folk songs, switched his routine by taking R. Kelly’s “Relief” and giving it a more classic ambience. On second thought, I’ll just stick to people covering R. Kelly.

52. “POWER”

Kanye West

Even though it’s the third track on “My Beautiful Dark Twisted Fantasy”, “POWER” is the introduction to the Shakespearan tale found on this album.  In it, Kanye portrays a man dealing with the struggles of being in power. At times he seems arrogant and aloof, but near the end of the song the listener begins hearing a man realizing that the one thing he doesn’t have power over is himself.  By the time the outro arrives, the speaker is standing on a ledge envisioning himself jumping, saying, “This would be a beautiful death”.

Oh, and did I mention it samples King Crimson’s “21st Century Schizoid Man”?

51. “He Would Have Laughed”

Deerhunter

A lot of great musicians died in 2010 (Captain Beefheart, Ronnie James Dio, Mark Linkous), but the most devastating loss in my view was the death of Jay Reatard simply because Jay had so much left to create, so must potential.  Being friends with Jay, Deerhunter’s Bradford Cox wrote “He Would Have Laughed” in dedication to the lost genius.  I’m not sure if the song is necessarily about Jay with its abstract lyrics, although there is something there within the lyrics “Where do all my friends go?” and “What did you want to be?”.  I think the connection to Jay’s life is found within the music its self, with the slow progression that eventually goes into a euphoric swell, but then, just like Jay’s life, the song just suddenly stops. Fuck.

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The Drums “The Drums”

The Drums
“The Drums”
[Moshi Moshi 2010]

Rating: 7.5

I spent last weekend in Portland with my brother, and while driving about the Mount Hood wilderness we noticed that all the rock stations played primarily grunge.  My guess is that this Northwestern oasis latched onto neighboring Seattle’s aura back in the 90s and still hasn’t let go.  I’m not arguing that there aren’t some incredible musicians in Portland (Joanna Newsom, Blitzen Trapper, M. Ward, Laura Veirs) but it seems the popular rock music in the area remains the music of the 90s.  This led to a discussion between the two of us about the 2000s.  Looking back through history, ever era had a distinct musical style, yet the past ten years didn’t yield anything definitive. Some may argue that it’s too soon to analyze the 2000s in general, but I guarantee that by the year 1999 anyone would define the 90s as a decade of grunge and gangsta rap.

My brother argued that all music anymore is recycled recreations of the past, that all avenues have been explored and now musicians are just driving up and down the driveway on their dirt bikes.  I thought about arguing his point by bringing up artists who continued to push the musical stratosphere into unexplored territories (Animal Collective, Deerhoof, Battles) but in terms of mainstream music, he had a point. Even in indie music the art of imitation has become popular with many bands utilizing retro recording techniques to try and capture the sound of an era long ago.

I would like to contend that I stand against the idea of sound theft, yet I can’t get enough of throwback bands like Sharon Jones and the Dap Kings, The Black Lips, and The Dutchess and the Duke.  But the artist I have the most difficult time with enjoying is the latest release from the Florida band The Drums.  It reeks of rip-off.  To be more exact, it virtually duplicates The Smiths, almost verbatim:

simple 80s drum track- CHECK

jaunty indie guitar riffs- CHECK

irresistible pop sensibility- CHECK

The only thing missing is the distinctive crooning voice of Morrissey.  Smiths without Morrissey equals crap, right?  Here in lies the dilemma.  Not only is a Morrissey-less Smiths listenable, it’s downright charming. The playful back-and-forth between Jonathan Pierce and Jacob Graham of The Drums will have you feeling warm-fuzzies from one lovable song to the next.  After the first track “Best Friend” you may try convincing yourself that the magic you just witnessed was a cute little stroke of luck. You’ll tell yourself, “When you emulate The Smiths, of course you’ll have at least one decent song.”

Even the lyrics about a dead friend in “Best Friend” resemble something Morrissey would have come up with:

But just when you think the duo has run out of pop-petroleum, the next song revs up and you’re continuing your joyous hike down happy trails.  The band doesn’t stray from the Smith’s/Cure/New Order style though; it’s all 80s, all the time. Can you imagine witnessing a mugging and being filled with joy?  Now just imagine if the person being robbed is Johnny Marr. Do you see why this album makes me feel dirty?  Only on “Down By the Water” does the band stray from the indie 80s vibe, yet even this song is a grave robbing of Buddy Holly’s mangled corpse.

I listen to “Down By the Water” while taking a bath to wash away my shame:

I read somewhere on the internet (so it has to be true!) that the band claims to have recorded this album in a bedroom with only a guitar, an old keyboard, a microphone, a tambourine, and a reverb machine. Although I doubt this mythology is true, I want to believe it SO badly because if it were true, in a strange way it would validate my addiction to their album.  Unfortunately, I struggle to accept this story. This album sounds too polished, too perfectly premeditated to have been an organic creation.

I love this album too damn much to accept that it is a total stylistic hold-up.  When I listen to “Let’s Go Surfing” I try to convince myself that they’ve taken the 80s sound and made it a hybrid of surfer rock, 50s pop, and modern rock, but I know in the end that I’m fooling myself. Whistling, bleeping keyboards, and short doo-wop chant interludes don’t mask the fact that this album isn’t trying to change the world. It’s simply fun. Crap. I hate fun.

“Let’s Go Surfing”, a nominee for both “Best Song of 2010” and “Worst Video of 2010”:

I finally had to concede that, yes, this album is grand theft audio and that’s okay. Not everything has to be completely original, or in this case, remotely original.  My brother may be right about the 2000s lack of an original sound, but imitation is happening everywhere.  With the likes of “Hawaii Five-O” on TV and “The Karate Kid” in theaters, I like to believe that at least in the music world bands aren’t simply remaking classic albums; they are harnessing the essence of the greats, and I guess in the case of The Drums, I’m okay with that.

Speaking of movies, The Drums even rip-off the opening drum track to “Footloose” for “Me and the Moon”. Where’s a Chris Penn dance sequence in a barn when you need one?:

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