Staff Picks: Music
Singer Billy Stewart had chart success during the 1960's with hits like Fat Boy, Summertime, Sitting in the Park, Secret Love, and You Reap What You Sow and while he's not as well-known as the Motown label singers or James Brown, Stewart possessed and original style all his own that's worth checking out if you're a fan of old school rhythm and blues. His signature trademarks were improvising, scatting and rolling his tongue, all of which provided his vocal interpretations with a unique vitality. Tragically, Stewart died at 33 from an auto accident in 1970. For those new to his sound, try this excellent compilation that includes Stewart's recordings on the famous Chess Records label.
One More Time: the chess years
75 classic soul tracks from the vaults of Motown! That's right, 75 classics! Motown-produced music is my go-to, annual soundtrack to Michigan summers. This compilation brings forth the great music from the era's titans (Mary Wells, Marvin Gaye, The Temptations, The Miracles, The Supremes, etc.) but it also includes a few lesser known names like The Downbeats, The Valadiers, Paul Gayten, Lamont Dozier, and Barrett Strong.
Marc Bolan (aka T-Rex) was the man behind the boogie-woogie glam rock that came to define the sound of early 70's British music. Mixing campy looks with big guitar hooks, T-Rex banged out several pop anthems including 20th Century Boy, Telegram Sam, Bang a Gong, and I Love to Boogie.
This year marked the 20th anniversary of the death of Kurt Cobain and the subsequent dissolution of his band Nirvana. After being inducted into the Rock and Roll Hall of Fame this year, Nirvana continue to be the band most associated with the rise of alternative music into the mainstream during the 1990's.
Soul of Detroit
Looking for artists similar to those you already know about and enjoy? Well, we’ll try to make suggestions that expand your musical listening experience. Don't forget, you can access music from KPL through compact discs, free MP3 downloads (Freegal) and internet streamed albums via Hoopla.
• Liked Beach House, try Wye Oak
• Liked Steve Earle, try David Allan Cole
• Liked Pavement, try Parquet Courts
• Liked Solange, try Kelis
• Liked Bruno Mars, try Fitz and the Tantrums
• Liked early Pink Floyd, try Tame Impala
• Liked Lorde, try Sharon Van Etten
Raphael Saadiq has been around for quite a while. He came as a surprise to me because his vintage sounds. He seems extremely talented and is well packaged. He initially played with Tony! Toni! Tone! Over the years he has worked behind the scenes as a producer for some top names like, John Legend, Joss Stone, Stevie Wonder, Mary J Blige and the list goes on to some surprising other great artists.
What I really like about him is that he is very versatile. Raphael Saadiq is a singer, songwriter, guitarist and a record producer. I’ve read that his heroes are Chuck Berry, Stevie Wonder, Sly Stone and Little Walter. He says he wants to be a throwback with a futuristic twist. That certainly comes through on his latest CD Stone Rollin. That CD took me back to the 50s and 60s. It also had me reminiscing about Sam Cook. There are many great sounds and it is a great show of talent. It’s definitely R&B at its finest and it had me rolling.
The very first sentence in this book… “For everyone who ever picked up the back of an album cover, spied a producer’s name, and wondered what the hell he did, this book is for you.” …was alone enough to capture my attention and cement its purchase. In his 2004 book, Sonic Alchemy, author and publisher David N. Howard (no relation that I know of) takes his readers on a tour of the most influential and pioneering record producers and sound recording engineers of our time.
Subtitled Visionary Music Producers and their Maverick Recordings, Howard explores the styles and techniques of such legendary producers as George Martin (The Beatles), Phil Spector (60s “Wall of Sound”), and Brian Wilson (Beach Boys), and then moves on to the many others who helped shape the sound of the world we live in.
He examines the influence of reggae and dub legends like Lee “Scratch” Perry (Bob Marley, The Clash) and King Tubby (Dennis Brown, Augustus Pablo), the ambient wizardry of Brian Eno (Talking Heads, David Bowie), the “classic rock” sound of Jimmy Miller (Rolling Stones, Traffic) and Glyn Johns (Eric Clapton, Eagles, The Who), the postpunk Manchesterian vision of Martin Hannet (Durutti Column, Joy Division), and he documents the pioneering techniques employed by Flood (Nine Inch Nails, U2), Chris Thomas (Pink Floyd, The Pretenders, Sex Pistols), Dr. Dre (Eminem, Public Enemy), Arthur Baker (New Order), and well over a dozen others.
For a sound geek like me, this was a terrific find. Thank you, Friends.
Bargains in the Basement is an occasional series highlighting noteworthy items unearthed in the lower level of Central Library. What a treasure we have (quite literally) in the Friends Bookstore. When you can grab high quality books, music, and movies for little more than pocket change, life is good. And all the proceeds go to help support the library. So shop often; you never know what you’ll find. And stay tuned… I’ll let you know what I find!
Looking for artists similar to those you already know about and enjoy? Well, we’ll try to make suggestions that expand your musical listening experience by connecting like-sounding artists together.
• Liked Jackson Browne, try Dawes
• Liked The Avett Brothers, try The Felice Brothers
• Liked Neko Case, try Laura Marling
• Liked Miles Davis, try Chet Baker
• Liked MGMT, try The Flaming Lips
• Liked The Cocteau Twins, try Beach House
• Liked New Order, try The Knife
• Liked Bob Marley, try Peter Tosh
• Liked Billie Holiday, try Diane Krall
• Liked The White Stripes, try Wanda Jackson
• Liked Wilco, try Fleet Foxes
• Liked Pink, try Robyn
• Liked Bon Iver, try Elliott Smith
• Liked Mumford and Sons, try The Head and the Heart
• Liked Frank Sinatra, try Kurt Elling
the head and the heart
If you like the sound of old school soul music, be sure to get your ears on the work of Sharon Jones and the Dap-Kings. A recent bout of cancer hasn't diminished her expressive, lived in voice and while it may impact her future touring, her newest album Give the People What They Want reflects both her personal strength and her top notch, musical chops.
Give the people what they want
Butler is a native of Cape Town, South Africa. He started singing on the streets of Athlone for food and began touring when he was 7 years old. It’s hard to peg him because he has so many great sounds. He’s a singer, song writer and guitar player and he’s been described as a rhythm and blues, jazz and worship performer. He would probably approve of those tags because he does all of them well but I think his heart is in his gospel music. He's good! His cool jazz blends well into a gospel. And as far as rhythm and blues is concerned, I had to look the definition up and make sure I knew what rhythm and blues was. Under R&B, I saw words like urban, soul, gospel and others that would classify Butler as a contemporary R&B artist. Well, one thing is for sure, he's definitely got rhythm and he knows his blues. Still, I think Jonathan Butler would like to be best known for his uplifting, spiritual sound, which he is highly respected for.
KPL has several of his CDs. Some of his titles are Jonathan Butler, Surrender, The Source, Do you love me? He’s on a jazz CD called Summer Horns with Dave Koz and friends. Watch for his new CD Grace and Mercy. I'm sure it, too, will have a great sound.
If you’re a fan of early 70’s Soul music, you’ll want to get your hands on a couple of albums recently added to our R&B category. Having grown up a kid in the 1970’s, I definitely have a sweet spot for the beautifully crafted songs of groups and solo artists like The Manhattans, Marvin Gaye, The Delfonics, The Chi-Lites, Jackson 5, and The Spinners to name only a few. Check out the following:
The Manhattans, Sweet Talking Soul: 1965-1990
Love Train: The Sound of Philadelphia
The Delfonics, Adrian Presents the Delfonics
The Delfonics, La-la Means I Love You
The Chi-Lites, The Ultimate Chi-Lites
Sweet Talking Soul, 1965-1990
bet it’s a bit daunting to make music when your sister is Beyoncé,
but Solange is doing well for herself. I enjoyed the Motown feel of her 2008
album Sol-Angel and the Hadley Street Dreams, but I’m loving her new EP True.
Both are available for checkout at KPL.
And for anyone who just
can’t wait until the Super Bowl half-time show, KPL has plenty of Beyoncé
and Destiny’s Child for your listening pleasure.
I have always been a big
Norah Jones fan. She is one of the few artists to
have passed a tough test in my household: I can play Come away with me in my alarm clock every morning to
wake me up and I still enjoy the CD. There are not many CDs
that stand up to this test. So you can understand my pleasure
when I discovered a Norah Jones CD that I hadn't heard before in
the KPL collection. It's called Featuring and is a CD of duets and collaborations between
Jones and a wide variety of singers and musical groups. And
when I say "variety", I mean it! This CD is so neat in that
it showcases how versatile Jones is with her distinctive and
soulful voice pairing her with artists and groups such as
Ray Charles, the
Foo Fighters, and
The CD starts strong with a track from
The Little Willies. Jones and friends formed The Little
Willies in 2003 and came out with their second album For the Good Times in 2012. (You can also find
them on another excellent CD in the library's
collection: Putumayo presents Americana. It's bound to put you
in a good mood!) I was unfamiliar with Sasha Dobson prior to
this CD, but her duet, Bull Rider, is
fantastic! I have requested her CD through MeLCat and look
forward to become more acquainted with her music. Halfway
through the CD, Jones and friends adopt a totally different style
in Take Off Your Cool with
Outkast, Life is Better with
Q-Tip, and Soon the New Day with
Talib Kweli. A few songs later, there is a duet with Ray
Charles…need I say more? Who doesn't like Ray Charles??
But then, in my humble opinion, the CD reaches its pinnacle with
track 15: Creepin' In with
Dolly Parton. I love Dolly. Always have and always
will. This song makes me want to dance and sing over and over
again as I play it on repeat.
Basically, what I hope this blog conveys, is that this
compilation of songs is wonderful. Each and every song is as
delightful as it is different. I highly recommend this CD for
your listening pleasure.
It’s not even summer anymore (far from it, actually) and yet I’m still listening to this album on a relatively consistent basis. It’s just a good album. For all the controversy that surrounded Frank Ocean’s personal life in the mainstream pop scene, it’s a shame that certain critics disregarded the music and assumed it was all merely a PR gimmick to sell albums.
Truth is: even if Frank Ocean’s “coming out” was an expertly timed plan to garner popularity, he didn’t need it. The music stands brilliantly enough on its own legs. Quite FRANKly (harharhar), this is just what modern R&B should sound like.
I can respect the fun aspect of a well-produced Usher, Chris Brown, or Rihanna song as much as the next person from my generation. They’re fun in a party/club setting. But Channel Orange is just on a completely different level. The lyrics are far more diverse and compelling, and the music is actually unique and complex. There are moods and ideas represented on the album besides the standard “Hey, let’s party.” and “You’re a person I’m attracted to. Isn’t that wonderful?!” It all has a unified feel and tone, like there was a real attempt to make an album, as opposed to just a collection of singles. And even the songs that have more of a “good-time, fun-loving” feel to them still retain an organic edge that sets them apart from their contemporaries.
It’s intimate but vulnerable stuff. It feels real. It feels more like art than industry. That’s a big deal for music within any modern or contemporary category. And hey, I'm still listening to the album 6 months after its release. So, hats off to Frank!
Otis Redding wrote it, but Aretha Franklin owned it – “Respect”, one of the biggest radio and jukebox sensations of 1967, topped both Billboard Hot 100 and Hot R’n’B charts mid-year, reigning supreme on the latter for almost two months. The track cemented the Detroit native’s standing as the “Queen of Soul”, proving its potency as both a civil rights anthem and a dance floor phenomenon.
The Big O’s original Stax version, framed simply as a lover’s question, is a classic in its own right. Pleading being one of Redding’s strongest suits as a vocalist, it’s only natural that his request for “respect when I come home” is less demanding than begging, a “need” that he’s “gotta, gotta have”, never sounding sure that he’s going to get satisfaction as the track fades.
Aretha’s having none of that in her updated NYC arrangement, featuring infectious girl-group vocal support from her sisters Carolyn and Erma, as well as a sweet King Curtis sax break. Standing the nature of the lyric on its head, her assertion that “what you want, baby, I got it” is shouted out with absolute confidence. Adding a lyric not found in Redding’s version, Franklin drives the point home by spelling out “R-E-S-P-E-C-T”, in case it wasn’t clear, adding “find out what it means to me” as an emphatic imperative. The lover’s question has become a statement of purpose, writ large enough to put not just one person on notice, but any and every person within earshot.
"Respect”’s cultural resonance was immediate and lasting. The song’s refrains of “sock it to me” and “TCB” became all-American catch phrases overnight. In addition to earning numerous awards and consistently high rankings on critics’ “greatest songs” lists, it was among the first 25 recordings to be included in the Library of Congress’s National Recording Registry in 2002. A signature song of the civil rights movement, the feminist movement, and Aretha’s storied career, “Respect” deserves all its accolades, truly getting what it’s after play after play.
I Never Loved a Man the Way I Love You
Santigold's music straddles genres--punk, hip-hop, pop, new wave--it's all there. Her influences range from Devo to Nigerian musician Fela Kuti to James Brown. She's collaborated with Kanye West and Lykke Li, the Beastie Boys, and Mark Ronson among others. Her style is hard to define, but she's just so darn cool. After waiting four years since her last album, 2008's Santogold, which I listened to nearly nonstop for months, I'm pleased to finally hear her second album Master of My Make-Believe. Like her first album, Master of my Make-Believe is a genre-blending, layered work of art that you can dance to. My favorite tracks include the single "Disparate Youth" and the first track "Go," a collaboration with the Yeah Yeah Yeah's Karen O that will make you bob your head. Listen to it at least twice--the more you hear it, the more you'll discover.
Master of My Make-Believe
Do you have a list of songs that simply remind you of summer or that you dust off from their Winter hibernation to crank out on your car stereo or I-pod? I like to have a couple of compact disc mixes in my car that feature some of my go-to tracks as I trek to the lake or head to the backyard cookout. What are your favorite summertime anthems?
Pavement's Cut Your Hair
The Faces' Ooh La La
The Chi-lites' Oh Girl
Michael Jackson's I Wanna Be Where You Are
The Descendents' Silly Girl
Big Star's Thirteen
Stevie Wonder's My Cherie Amor
Seals and Croft's Summer Breeze
Wilco's She's a Jar
Best Coast's Our Deal
Neil Young's Out on the Weekend
Crowded House's Don't Dream It's Over
Hall and Oates' Kiss on My List
Santo and Johnny's Blue Moon, Teardrop and Sleepwalking
When Adam “MCA” Yauch of the Beastie Boys died of cancer at the age of 47 on May 4, I immediately remembered when I first heard the band’s breakthrough release Licensed to Ill. I was working at a small town record store in a commuter town just outside of Detroit and it was standard practice for record companies to send music for in store promotion. When I unboxed that week’s offerings, I was immediately drawn not only to the iconic image of an airplane, but also the band’s name. Immediately I tore off the shrink wrap and dropped the needle on the vinyl. Until that moment I had no interest in rap or hip-hop, but the Beastie Boys’ rhymes instantly stole away my 15 year-old disdain for this style of music. MCA’s gruff atypical rap style on the record specifically drew me into Licensed to Ill. When he raps “That hypocrite smokes two packs a day…” on “(You Gotta) Fight for Your Right (To Party),” MCA was letting me know that he sympathized with the mixed messages adults often dispense. There is really not a weak track on this record and for years the cassette was a constant companion as I traversed the hell that was adolescence. “Paul Revere,” “No Sleep Till Brooklyn” and “Girls” were all played at high volumes that year. After hearing of Yauch’s death I celebrated his contribution to both music and my teen years by driving down Westnedge Ave., “Brass Monkey” blasting from my car.
I stumbled upon Gary Clark Jr., and his new EP Bright Lights, by chance one night, in the midst of viewing clips from one of the recent Crossroads guitar festivals (hosted by Eric Clapton). In all honesty, I’m not easily impressed by most young blues and blues-rock guitarists. They have a nasty habit of sounding very rehashed and generic to me, lacking authenticity and individuality in their sound. Gary, however, blew me over immediately with all the right vibes.
The sound is something like a swirl of R&B meets Hendrix, with even a little bit of Hip-Hop flair thrown in occasionally for good measure. The riffs also aren’t afraid to dance into the territory of Midwest rock bands like The White Stripes and The Black Keys. The man and his music have some serious “swag”; there’s no denying that. It’s the kind of sound that just oozes with credibility and legitimacy.
Gary’s clearly not trying to be anyone other than himself, and it shows. As a result, I’ve come to realize that Gary is now one of my favorite electric guitarists in the “young-gun”, 40 and under age bracket (one of my bandmates being my other main favorite, but I’m going to just say he doesn’t count…for now).
In short: Gary's definitely worth checking out if you're into something unique, soulful, and all types of awesome!
The bright lights EP
It's not uncommon to feel a nostalgia for music of another time and place that may cast today's sounds in a less favorable light, even if the evidence doesn't justify the position. However, fans of '60's pop radio can point to any of the following 45s from the summer of 1966 - listed in no particuar order - to make a very strong case for the excellence of that era:
The Beatles: “Paperback Writer” – before the late-summer stateside furor caused by John Lennon’s “more popular than Jesus” interview remarks, the Fab Four ruled US airwaves with this dose of proto-psychedelia, cut during the sessions for their landmark Revolver LP. Dig the “Frere Jacques” backing harmonies in the third and fourth verses.
The Rolling Stones: “Paint It, Black” – moving further away from their R’n’B roots with this brooding Middle Eastern-flavored recording from their Aftermath sessions, the Stones released the first rock single to feature the sitar. Keith Richards remains non-plussed by the US record company’s random insertion of the comma in the song’s title.
The Supremes: “You Can’t Hurry Love” – Motown’s biggest act charted their 7th number one smash (after a couple of singles that “only” made the top 10) with this infectious Holland-Dozier-Holland production that, for many, defines the Sound of Young America today. Despite the lyrics’ recommendation for patience, the song’s insistent rhythms (laid down by the legendary Funk Brothers) guarantee body movements by anyone within earshot.
The Lovin’ Spoonful: “Summer in the City” – it’s hard to detect the Greenwich Village quartet’s jug band roots on this driving ode to urban summertime heat, the misery it causes in the minor-key verses countered by the fun it promises in the major-key choruses. This is the first rock single to feature a jackhammer.
The Beach Boys: “Wouldn’t It Be Nice” – the third single from the Hawthorne, CA quintet’s timeless Pet Sounds LP had such a great flipside – “God Only Knows” – that both sides made the top 40 charts. In the UK, the single sides were flipped, gaining even greater chart success.
Dusty Springfield: “Goin’ Back” – Dusty’s soulful reading of this wistful Goffin-King composition was an international smash everywhere but in the US, where, for whatever reason, Springfield’s record company declined to release the song (which eventually became a minor hit in a version by the Byrds released the following year). The yearning nostalgia of the song’s lyrics is in sharp contrast to the youthfulness of the song’s performer and composers.
Bob Dylan: “I Want You” - the third of four singles from Dylan’s epochal Blonde on Blonde double-LP charted just weeks before the artist’s extended disappearance from the public arena after a mysterious motorcycle accident. The remarkably simple chorus lyrics are quite atypical of the increasingly complex wordsmithing Dylan fans came to expect, but that seems to be the point (driven home by the singer’s repeated, excited pleas of the title) of what’s essentially a simple love (or, more accurately, lust) song.
The Troggs: “Wild Thing” – one of the most covered (to this day) hits of the ‘60’s was a make-it-or-break-it follow-up to a failed debut single by the UK act almost named the Grotty Troggs. Though the track and its performers have a reputation for being “primitive”, few cover bands could pull off the ocarina solo featured in the song’s instrumental break.
The Velvelettes: “These Things Will Keep Me Loving You” – the final ‘60’s 45 release from Kalamazoo’s very own stars of Motown, this modest R’n’B hit – loaded with classic Hitsville touches, from a finger-snappin’ intro to catchy vocal harmonies in support of an arresting lead - should have found wider airplay, but with so much competition on the airwaves in the summer of ’66, it’s no wonder that it became a buried treasure waiting for discovery, along with so many other worthy single sides from this period, by music lovers today… and forever.
I love to make music mixes for my friends. When I can get the response, “Wow I never would have listened to that song if it wasn’t on the mix you made me,” I feel like I have done my part to push good music out into the world. My seven year old daughter considers a good mix one in which you can roll down the windows and turn up the volume. Below is a playlist that consists of what I feel are the best tracks of the first six months of 2011. Mix it up and roll down your windows.
1. Weekend by Smith Westerns (Dye It Blonde)
2. Take Me Over by Cut Copy (Zonoscope)
3. Rolling In The Deep by Adele (21)
4. Sad Song by The Cars (Move Like This)
5. Discoverer by R.E.M. (Collapse Into Now)
6. Me, Me, Me by Middle Brother (Middle Brother)
7. Make Some Noise by The Beastie Boys (Hot Sauce Committee Part Two)
8. Dig A Little Deeper by Peter Bjorn and John (Gimme Some)
9. Don’t Carry It All by The Decemberists (The King Is Dead)
10. Barton Hollow by The Civil Wars (Barton Hollow)
11. Sim Sala Bim by Fleet Foxes (Helplessness Blues)
12. Shadow of Love by Sloan (The Double Cross)
13. Helena Beat by Foster the People (Foster the People)
14. If I Wanted Someone by Dawes (Nothing Is Wrong)
15. Future Starts Now by The Kills (Blood Pressures)
16. Till I Get There by Lupe Fiasco (Lasers)
17. Damn These Vampires by The Mountain Goats (All Eternals Deck)
I've discovered some of my favorite music and artists from watching television. When songs play in the background or at the start or end of a show, I often search for the lyrics online to find the name of the song and the performing artist. This has served me well. House and Fringe (as well as various commercials) have provided insight to artists and performers such as Massive Attack, Damien Rice, Editors, Langhorne Slim, and Ryan Adams.
When watching a recent episode of NCIS, Cote de Pablo's character, Ziva David, was singing Temptation--a Tom Waits creation. So, in true form, I went online to search for it to see where I could find a version of her singing it (beautiful rendition!). And, that is when I found that NCIS has two soundtracks available. I was able to easily check these two CDs out through our MeL interlibrary loan system.
While I recognized artists such as Jakob Dylan, Otis Redding, Bob Dylan, Keaton Simmons, Sheryl Crow and Norah Jones, I was able to add artists such as Oasis, Blue October, and Sharon Little to my list of new folks to investigate.
NCIS: The Official TV Soundtrack
If you lived in Kalamazoo during the 1970s and listened to WIDR (WMU campus radio) you undoubtedly heard a lot of Gil Scott-Heron – like others I’m sure, that was my first exposure to this highly influential musician and poet. Scott-Heron is often described as “the godfather of rap” for his sharply pointed spoken word infused jazz and soul. In his 1970 single “The Revolution Will Not Be Televised,” his deep soulful voice—accompanied only by a steady drum beat—brought life the hot-button issue of racial inequality; not as a radical street preacher but as an articulate street-smart professor (he held a master’s degree in creative writing). His words were riveting and immediate. “The revolution will not be brought to you by Xerox in four parts without commercial interruptions. The revolution will not give you sex appeal. The revolution will not make you look five pounds thinner, because the revolution will not be televised, Brother.”
He collaborated with many of the jazz heavyweights of his time – Brian Jackson, Ron Carter, Hubert Laws to name a few and his influence is acknowledged by a generation of artists, from Kanye West and Public Enemy to Eminem. His work touched on a variety of social and political issues, including addiction (“The Bottle” - 1974), slavery (“Rivers of My Fathers” - 1973) and racial oppression (“Johannesburg” - 1976). In 1979, he joined other high profile artists in Musicians United for Safe Energy (MUSE) and contributed “We Almost Lost Detroit,” a poignant reminder of a close-by nuclear near-disaster in 1972.
In 2010, Scott-Heron released his fifteenth studio album, I’m New Here, to great critical acclaim. A track called “Where Did The Night Go” is highlighted here. Gil Scott-Heron passed away last Friday in New York after a brief illness. He was 62.
Over the past couple of years there has been a spike in retro-sounding soul musicians whose work echoes the groundbreaking sounds of early sixties Motown and Stax recordings. For starters, the soul enthusiast looking to delve into some of the newer troubadours will want to grab a copy of Sharon Jones & the Dap Kings’ I Learned the Hard Way, Amy Winehouse’s Back to Black, Mayer Hawthorne’s A Strange Arrangement, Fitz and the Tantrum’s Pickin’ Up the Pieces, and the forthcoming Raphael Saadiq’s Stone Rollin’.
I Learned the Hard Way
I cannot get the first track of Adele’s new album 21 out of my head. “Rolling in the Deep” is soulful and catchy, and one of those songs you want to sing along to while driving in the car. Adele is a British singer, who at age 22 has already made huge waves in the pop charts—it’s no wonder, her voice is amazing. The album as a whole is a little uneven; it starts out strong but loses energy in the middle due to a few slow, uninspired ballads right in a row. The end of the album picks up a bit with a unique take on the Cure’s “Lovesong.” All in all, it’s definitely worth a listen.
The music world lost some of its most talented and accomplished musicians this year. Here is a short list of several artists whose works can be found and enjoyed here at the library.
Alex Chilton (Big Star)
Mark Linkous (Sparklehorse)
Ari Up (The Slits)
Pete Quaife (The Kinks)
Doug Fieger (The Knack)
Keep an eye on the sky
I was not terribly impressed with the musical output from 2009, but after compiling my Top Ten CDs from 2010 I discovered a bunch more that were better than most of last year’s list.
Since I could only offer ten selections for the official KPL Top Ten page, I present ten more great CDs from the past twelve months.
11. Lady Killer by Cee Lo Green
12. Body Talk Pts. 1 & 2 by Robyn
13. Adrift by The Red Sea Pedestrians
14. Majesty Shredding by Superchunk
15. Of The Blue Colour of the Sky by OK Go
16. The Guitar Song by Jamey Johnson
17. Transference by Spoon
18. I Learned the Hard Way by Sharon Jones & The Dap Kings
19. Broken Hearts & Dirty Windows: Songs of John Prine by Various
20. Maya by M.I.A.
I have to say that at first listen Plastic Beach went in too many different directions for me. However, by the end I more than appreciated the analogy between the album’s title and its musical landscape. Now, I spend a little time each day soaking up the sounds of this album. Gorillaz had already established itself as an institution where pretty much anything goes, but with Plastic Beach the “band” blends about as many musical styles as it does songs on the album (16 tracks with a running time of just over 56 minutes). Not to say that each track sticks to any kind of formula whatsoever, it absolutely does not in the most refreshing ways. Damon Albarn, the Gorillaz’ driving force, is able to convince the listener to blindly accept the transition within and between each song. You almost wonder if this capacity for persuasion was necessary to convince the eclectic group of artists that make the Plastic Beach what it is. Bobby Womack, Mos Def, Mick Jones and Paul Simonon of The Clash, Lou Reed, Snoop Dogg, De La Soul, Sinfonia Viva, Mark e Smith, and the Hypnotic Brass Ensemble all join the regular cast of mysterious cartoon Gorillaz to create an album that will spend a lot of time on my playlist. Take a walk along the Plastic Beach and you will pick something out of the sand that’s worth your while.