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Category Archives: Music
Salutations is a surprise. After Ruminations (the 10-track album written and recorded by Conor Oberst in the cold confines of Omaha, Nebraska) came out last year, the news that a second album, with full-band arrangements of those same 10 songs plus seven more, would be released this year was an unexpected bonus. Featuring the contributions of The Felice Brothers and Jim Keltner, it promised a new treatment of some of Oberst’s most raw compositions. The result is a fulsome new release, markedly different from its 2016 cousin.
If nothing else, Salutations is a fascinating look at the changes that come from collaboration and evolution in a studio setting versus the isolation in which these songs were born. Instead of relying solely on piano, acoustic guitar, and harmonica, Oberst and company employ accordions, organs, strings (of both the orchestral and fiddle varieties), and ethereal sound collage elements to build up these tracks and give them a unique character.
I first learned about The Mountain Goats’ latest album, Beat The Champ, when a friend of mine messaged me saying, “I’m pretty sure John Darnielle is releasing an album for you and you alone.” My friend was obviously joking, but she’s right that Beat The Champ, a concept album where each track is about some facet of professional wrestling, is tailored to a rather unusual venn diagram of fans. Despite the fact that Darnielle, the main creative voice behind The Mountain Goats, resides in a traditional hotbed for wrestling, there are probably few other folks in the world who have both sung Darnielle’s praises and also waxed philosophical about the main event at Wrestlemania.
And yet, there’s something very natural about Darnielle directing his humanizing gaze toward the squared circle. In the past, Darnielle’s shown a particular aptitude for writing poignant, heart-wrenching songs about vagabonds, broken men, and other self-destructive characters. Sadly, none of these individuals are in short supply in the wrestling business.
“It felt like a religious experience.” That’s how I described the last time I saw Conor Oberst perform live. In the summer of 2007, Oberst, fronting his usual band Bright Eyes and welcoming a slew of special guests, did a week of shows at Town Hall in New York City. I found myself sitting in the front row, captivated. That description feels hyperbolic now, but it was truly and sincerely felt at the time. For a certain strain of twenty-somethings who entered adolescence at the turn of the millennium, Oberst did more than just provide the soundtrack to our heartaches. He gave verse and form to our struggle to find meaning and come of age in a world that seemed to be both rapidly shrinking and receding away from us.
And yet beyond those starry-eyed acolytes, Oberst became a polarizing figure for both music diehards and casual fans. Equal parts lionized and dismissed, the pallid, dark-eyed singer has been championed as the next Dylan for his trenchant insights and folky style, and also slammed as a hack who scribbles feeble mawkish laments.
But for those few pitiable individuals who seemed to be untangling the same messy thoughts Oberst tried to unravel in his music, the Bright Eyes frontman sang something approaching beautiful, heart-rending truth, or, at least, truth to that experience. When he bellowed out to the crowd at Town Hall that his next song, “was about the rapture–maybe you’re waiting for it” before breaking into “Four Winds”, it felt like the heavens themselves would shatter as the band broke into the first violin-soaked beat.
Recently, Cracked’s Robert Brockway wrote an article discussing cover songs that stole the show from the original. He concedes at the get-go that it’s a mission where the “rules are subjective and everybody hates each other by the time it’s over,” but the exercise is still a worthwhile one. As he describes it:
“The point is to think of a cover song that just completely stole the show from the original artist, not necessarily because of its quality, or arrangement, or performance, but because the cover has an intangible something that more fully embodies what the song should have been.”
There’s something I have always appreciated about cover songs. I grew up in a time where remixes were slowly becoming the well-populated domain of DIY DJ’s, and the internet featured a wealth of music and lyric repositories that made it easier than ever for people to put their own spin on a favorite song. The spirit of the aughts was to not only take the old and make it new again, but to make it personal.
When we started this tradition last year, I mentioned that as New Years Eve starts to roll around, you’re apt to see a number of “Best of 2011” music lists. I have no issue with these lists, and I think it’s great to look back at the best new music of the past twelve months. But this sort of thing doesn’t capture experience that most people have with music in a given year. In the past year, I discovered plenty of great music, some of it from 2011, some of it from decades ago, and everywhere in between. In that spirit, I present to you, in no particular order, the Top Ten Songs I Was Stuck on in 2011.
Around this time of year, everyone puts out their “Best of 2010” lists. There’s nothing wrong with this practice exactly. It’s a good way of looking back at the past year of excitement, entertainment, and events, but I always feel like it misses something, particularly with respect to music. If you’re anything like me, the newest and best additions to your music collection did not all come from 2010. There’s something so great about discovering a brilliant song written anywhere from a few years ago to a few decades ago that is equal to the novelty of any new release. With that spirit in mind, here is a list of the top ten songs I discovered this past year, regardless of when they came out.