Hey there! Sorry I missed a post or two — life in the music biz Terrordome is pretty busy-making. This week’s industry roundup will hopefully make up for my absence. So step right in, and we’ll get to it.
Sampling is the copyright issue that refuses to die. As hip-hop rose from the streets to become big business, sample-based artists suddenly had to be very careful about what they threaded together on their records. For example, there’s basically no way an album like Public Enemy‘s It Takes a Nation of Millions to Hold Us Back could (legally) be made today. And that record is in the Library of Congress!
Obviously, this is a complicated issue. But no matter what side of the debate you’re on, you can probably agree that there’s a good deal of tension between music licensing and contemporary audio production techniques.
If you’re interested in this stuff, check out this Atlantic article by University of Iowa professor Kembrew McLeod, who also happens to be the co-producer of an excellent film about sampling, Copyright Criminals. Kembrew is a close friend of my organization, and is the co-author of our upcoming book about sampling, Creative License (Duke University Press, 2011).
Say, you guys are record store people. . . what do you think of this article at PopMatters, “MP3s, the Death of the Record Store, and the Birth of the Closet Hipster?” I think it’s kind of silly.
This is interesting: 44 percent of UK 12-15 Year-Olds Think File-Sharing Should Be Legal. To me, this makes the case for blanket licensing that can be monetized at the ISP level, or at least so-called “bundled services,” which would offer opt-in, “all-you-can-eat” music consumption subsidized by a fee on your internet bill.
Musicians: here’s an informed take on the health care situation that applies to you.
I was at SXSW a couple of weeks ago. One of the panels I was at, “The Cloud Vs. the Paradise of Infinite Storage,” was incredibly fascinating. Read about it here.
You rekkid store peeps have probably also noticed that Universal Music has dropped its CD price to 10 bucks. I’m sure Crandall and I would both agree that this is something they maybe woulda been smart to think about doing around 2002-2003. Sigh.
Again, it’s hard to see a future where CDs sell at anywhere near the level that they did in the 1990s through, say, 2001. Particularly when you see reports stating that mobile app sales will outpace CD revenue by 2012.
Hmm, if Sony or Universal don’t license the copyrights of soon-to-be-extinct EMI, what happens to the Beatles catalog? I’m putting my money on Monsanto.
I don’t want to be the bringer of bad tidings, so let’s close on an upbeat note. Here’s a guitar that’s made to be smashed.
OK, that’s all the time I have for you weirdos. Buy my album. It’s at Pure Pop. Seriously, I only have a few copies left. It’s now officially a collector’s item.
Casey Rae-Hunter is a musician, producer, writer and music/media/tech/policy wonk in Washington, DC. This post does not necessarily reflect the views of his employer. You can harass Casey at his site, The Contrarian.
Meth, Ghost and Rae – Wu Massacre
It goes without saying that the Wu legacy is (one of) the most storied in all of hip-hop; therefore, the hype escalating since Wu-Massacre was announced earlier in 2009 is well-justified. One may worry that last year’s solo releases from Method Man, Ghostface Killah, and Raekwon would leave the Wu-Tang members low on content. Thankfully this is not the case, and Wu-Massacre does live up to – and possibly surpass – the hype.
The album opens with a bang as the much-revised “Criminology 2.5” (originally set for the Only Built 4 Cuban Linx, Pt. 2 tracklist) sees the rappers delivering fiery bars set deep within the underbelly of the New York streets. And they don’t let up. Embodying their hardcore tag, the trio balances braggadocio, noir-ish storytelling, and witty punchlines with ease, while each of the three personas complement one another. Read the Full Review
Erykah Badu – New Amerykah Part 2. Return of the Ankh
New Amerykah Part Two: Return Of The Ankh is more than up to the task, and as many expected, it goes in the opposite direction—inwardly directed where Part One interrogated the world, softer sounding rather than jagged and near-random, more acoustic and less processed. It’s smoother than anything since her 1997 debut, Baduizm, which the gliding funk of “Window Seat” announces right at the top. But Badu still takes risks that pay off: “Out My Mind, Just In Time,” the closer, is a three-part, ten-and-a-half-minute meditation on love and sanity that features wracked piano and bass that goes astoundingly low, and “Incense” is a moody, harp-driven instrumental co-produced by Madlib. And “Fall In Love” rides on a swirling, almost psychedelic Eddie Kendricks loop that connects it to Part One as confidently as much of the rest of the new material stands on its own. Read the Full Review
Bonnie Prince Billy & The Cairo Gang – The Wonder Show of the World
The latest Bonnie “Prince” Billy album elevates The Cairo Gang’s main man, Emmett Kelly, from bit player to key collaborator, making prominent use of the avant-folkie’s voice and guitar as they wind easily around Will Oldham’s. The Wonder Show Of The World relies equally on Oldham’s in-the-moment spontaneity and the kind of ghostly after-the-fact orchestrations that Kelly brings to his own work. The album-opener, “Troublesome Houses,” sets the tone, coming out rhymeless and rhythmless: Its hook is little more than a two-note guitar signature, joined by little wisps of sound, as though friends wandered by, dug what Oldham and Kelly were doing, and were inspired to pick up their own instruments. Read The Full Review
There are as many opinions about Health Care Reform as there are strains of the flu. Like it or lump it, the legislators have legislated. Here at Pure Pop we only see one course of action when vastly complicated and controversial bills dominate the headlines; we listen to songs that are superficially connected to them. In that spirit, we proudly present 10 songs to Celebrate or Lament Health Care Reform By.
1. Gregory Isaacs “Night Nurse”
A classy start.
2. Phish “Down With Disease”
The local heroes take a stand against disease.
3. Alien Sex Fiend “Here Cum Germs”
Is being a sex fiend covered under the new plan?
4. Deltron 3030 “Virus”
Animated persons are low-risk for skin disease.
Read the rest of this entry »
Goldfrapp – Head First
Alison Goldfrapp never does anything halfway. From the icy, otherworldly electro-acoustic soundscapes of 2000’s Felt Mountain to her subsequent romps through dance-pop and leering glam, she’s become a more dangerous and dignified counterpart to the look-at-me theatrics of Britney Spears and Christina Aguilera. Now, following an unexpected shift toward pastoral psych-pop on 2008’s Seventh Tree, she and collaborator Will Gregory have circled back to dance music, this time with a pronounced emphasis on ’80s synth-pop and Italo disco. (Read the full review)
She & Him – Vol. 2
Volume Two picks up almost exactly where Volume One left off, with Deschanel still playing a smart, sensitive young woman often on the unrequited end of love but never letting romantic disappointment get her down: “Sometimes lonely isn’t sad,” she declares on the stately opener “Thieves”. She’s still the headstrong heroine, though: “Why do I always want to sock it to you hard?” she wonders on “Over It Over Again”, sounding as playfully frustrated as Loretta Lynn. And Ward remains content to cede her the spotlight, toiling behind the camera. He dresses her songs in deceptively simple SoCal folk rock, dusty cowboy-trail country music, and crisp Brill Building pop. The similarities to Volume One don’t make Volume Two redundant, but reassuring: It’s not typecasting if the role is this complex. (Read the full review)
Drive-by Truckers – The Big To Do
Drive-By Truckers have always been able to blend bar-raising, no-nonsense rocking with vivid character sketches. When the economy was on an upswing in the early part of the last decade, albums like The Dirty South and Decoration Day were as much a part of the playlist for upscale art-school Brooklynites as they were for bricklayers. With stories about double-digit unemployment receiving as much air time as reports of seven-figure bank bonuses, The Big To-Do, just by its timing, brings comparisons to John Mellencamp’s Scarecrow. With that album, Mellencamp went from the blue collar hero of MTV to a voice of rural America left out of the ‘80s economic boom. (Read the full review)
That’s right Clutch fans, we’re giving away 2 free tickets to one lucky winner for the upcoming show at Higherground. All you gotta do is respond back on our facebook fanpage here on this blogpost and let us know in brief detail, how much you want these tickets.
Winners will be picked at random.
I’ve got to admit that I got a giddy little rush when I saw this promo resting on the stack when I came into work. Hopefully Happy Birthday are already mildly familiar to you, as they hail from our very own town of Brattleboro. You may have caught them at either their first show at The Monkey or opening for Devendra Banhart at Higher Ground. I alas, narrowly missed them both times and have been thoroughly bummed about it. They kind of popped up out of nowhere. According to the Sub Pop website, they started playing together because member Kyle Thomas (aka King Tuff aka member of Witch) was too scared to play his newly written pop songs by himself and asked Chris and Ruth to join him. After meeting Kyle by way of an “obsession” with his 2008 release Was Dead under the nom-de-plume King Tuff, Sub Pop was dying to get either some more tracks out of him. The result is Happy Birthday, a self titled album produced by local Ryan Power.
The best way I can describe this album is to describe the kind of birthday party Happy Birthday would play. It would be in honor of the well liked but eccentric (maybe even crazy) kid at school. They have this party in their parent’s backyard with kitschy decorations and bowls of chips and someone’s older brother spiked the punch so everyone runs around with party hats on playing tag with confetti poppers, and no one feels embarrassed. When it’s time for the band to play, the kid’s dad gets on the mic and makes a few jokes because he’s a little sloshed, and announces them all official-like. Then the band members just walk onto stage from where they were standing in the crowd and play with their party hats on. The crowd of misfits bop around to the grimy pop of “Girls FM” and “Zit” and slow dance and sway to “Subliminal Message” and “Eyes Music.” This is the alternate reality Adventures of Pete and Pete Polaris soundtrack set in Vermont. This is the band playing in a garage that you hear on your way to school and they get stuck in your head all day in a good way. This is AWESHUM, and on sale, so come buy it.
Have you ever seen a movie you didn’t enjoy, but for one reason or another you still found it commendable? Maybe it had a great performance or perhaps it highlighted a social issue in a way that you liked.
Have you ever known someone who you found insufferably boring, but you liked them anyway, perhaps because of their integrity or because they drive a nice car?
How about with music? I’ve sure experienced this. Here’s a list of bands and artists whose music I don’t enjoy but nonetheless meet with my approval.
Frank Zappa
I don’t care for his music because: Frank Zappa is without question a first-rate composer and performer. Nonetheless, his subversive approach to writing music leaves me cold. It’s perhaps unreasonable to entirely dismiss someone with such a massive catalog, but by and large I don’t enjoy the man’s music when I hear it.
He gets a pass because: Zappa’s autobiography, The Real Frank Zappa Book, is one of the best books I’ve ever read. Also, he wrote the theme song to Duckman and very nearly collaborated with the Mystery Science Theater 3000 folks. Also, this amazingness:
If I had to listen to an album: Cruising with Ruben & The Jets. Definitely.
Eric Clapton
I don’t care for his music because: Eric Clapton is one of the most successful solo artists in all of rock n’ roll. This is in no small part due to the man’s massive talent, but it’s also because most of what he does is extremely safe, middle-of-the-road blues rock. If that’s your bag, god bless you, but I find it sterile.
He gets a pass because: Eric Clapton relentlessly promotes fellow musicians. In the last decade alone, he’s released albums co-billed with B.B. King and J.J. Cale as well as co-headlined tours with the likes of Jeff Beck and Steve Winwood. Granted, these other artists are fairly well-known in their own right, but they get an undeniable boost when they’re working with The Clap’.
If I had to listen to an album: The Derek & The Dominoes album is great and I enjoy quite regularly. As far as solo stuff goes, uhm… one of the early ones?
Green Day
I don’t care for their music because: Green Day’s brand of stadium pop-punk is a bit too re-heated for me. Sure, when I was 13 their music was a revelation. Dookie was the soundtrack to my being in the seventh grade. Being older, Green Day just don’t strike me as a band that transcend their influences in any satisfying way. They’re way too produced for their style of music and the songs don’t say anything to me.
They get a pass because: When their latest album came out, Green Day refused to offer a censored version of the album, ensuring Wal-Mart wouldn’t carry it. As anemic as I find their music these days, I admire their taking a stand and I wish more bands would do the same.
If I had to listen to an album: Probably Insomniac, for the nostalgia.
Coldplay
I don’t care for their music because: As the always quotable Casey Rea one told me, Coldplay are Radiohead for soccer moms. They aspire to be the biggest band in the world. The consequence of making sure you are inoffensive to all pallets, however, is that you become flavorless.
They get a pass because: Chris Martin’s appearance as himself on Extras was savagely self-deprecating and performed with a surprising comic panache.
If I had to listen to an album: Probably the most recent, what with it’s Eno presence and all.
Jimi Hendrix – Valleys Of Neptune What if Hendrix had collaborated with Miles Davis, gotten into synthesizers, put together that big band he’d been planning at the time of his death? Would rock as we know it be different now? What would Hendrix have made of hip-hop? Would he have had a hand in inventing it? Something about his music points so strongly toward unimaginable next accomplishments that it’s hard to consign him to the past.
Hendrix’s estate was a mess for years, and many shoddy reissues tugged his spirit into dingy corners. With the release of “Valley of Neptune,” a new phase begins. This album of previously unreleased studio material is the first in a new campaign from Experience Hendrix, the company led by the artist’s stepsister Janie. Deluxe reissues of the three sets Hendrix made with his band the Experience will be released on the same day, and Janie recently said that there’s enough unheard stuff in the vault to make for a decade of new releases. Read The Full Review
Broken Bells – Broken Bells Calling Broken Bells “the new Postal Service” is really kind of a lame comparison. It conveys a significantly different musical style and evokes an era-specific pop culture phenomenon that doesn’t need to be replicated. But like Benjamin Gibbard and Jimmy Tamborello, Burton and Mercer are an immensely talented pair who’ve made a really great album. And we hope it’s not their last.
If you’ve heard “The High Road,” the group’s single that dropped in December, then you’ve already heard the best track on the record. That may make for a slightly anti-climatic listen for those most anticipating the release, but that’s not to say there aren’t numerous musical gems to be enjoyed. Read The Full Review
Liars – Sisterworld As they’ve done previously with Berlin and Salem, Liars drew inspiration from a specific location for Sisterworld, cocking a wary eye at Los Angeles—though it’s hardly the L.A. Randy Newman would recognize. This is a place of profound alienation, a pothole-cracked parallel City Of So-Called Angels where the fringe elements lurk in the shadow of Hollywood glitz. Like most Liars albums since the group’s disco-punk false start, that fringe is certifiably lunatic: Here, Liars’ usual creeping unease turns seductive—the increasingly rational voice of the inner psychopath, Charlie Manson whispering in your ear. Read The Full Review
Sometimes it’s fun to set yourself arbitrary rules to see what you can accomplish and sometimes it’s fun to raid youtube for lost classics and old forgotten relics. Sometimes, those two past times collide and create a fun little game where i pick an artist or band and scour the internets looking for only their offically released videos. You get to enjoy the fruits of this labor. I know I know, you can thank me later. Feel free to suggest an artist or group, or link in sources to videos you think should be included.
More videos after the jump.
Beloved virtual-band Gorillaz return this week with their first album since 2005′s Demon Days. Having previously relegated production duties to top-shelf talents like Dan the Automater and Danger Mouse, Gorillaz boldly do it for themselves this go-round. Frightened? Fear not. With Plastic Beach, the band demonstrate they are fully capable of producing the kinds of diverse, eclectic and infectious soundscapes they are known for.
Gorillaz are also known for their collaborations with guest musicians. In this respect, Plastic Beach does not come up short. There’s a little something for everybody here; from high-profile MC’s like Snoop Dogg and Mos Def to icons like Bobby Womack and Lou Reed. By and large, everyone’s bringing their A-game. On “Some Kind of Nature,” it’s thrilling to hear Reed sing with a bit of youthful energy for the first time in decades. Grime MC’s Kano and Bashy are delightful on “White Flag.” “Superfast Jellyfish” offers the head-scratching pairing of De La Soul with The Super Furry Animals’ Gruff Rhys in an album highpoint. A handful of so-so performances aside (Mark E. Smith, I’m looking at you), Plastic Beach’s guests deliver on the promise of their pedigree.
Damon Albarn, the band’s mastermind, is in fine form as well. One need only listen to the sublime “Rhinestone Eyes” for evidence that Albarn is up to the task of carrying a song without assistance. It’s difficult to offer praise for the rest of the band because I’m not entirely clear on who’s doing what for Gorillaz these days. Whoever these unsung heroes may be, they do nice work.
Plastic Beach has a few faltering tracks, and the band’s sound is a little less striking than it was ten years ago when their genre-hopping style was less commonplace. Nonetheless, Plastic Beach is a worthy successor to Demon Days and one of 2010′s best releases so far. If you haven’t seen it yet, check out the video for the album’s first single, “Stylo.” It’s fantastic. (Unfortunately we can’t embed it.)
