Cat Power: Moon Pix (1998)
Phil: A handful of winters ago I met up with an old roommate of mine at a Belgian beer bar for happy hour that happened to have half-off Belgian draughts from 4:30 to 6:30. So there we were, in the glow of yellow lights and green carpet, talking about those kids we hadn’t seen in forever, about ex-girlfriends and abandoned buildings and photographs, just getting pretty damn drunk. So I walk out of the bar, and stumble the few blocks to the bus station, trying to make sure I don’t miss the 500 because it’s pretty damn cold and I get to the bus stop and of course I miss the bus because I’ve been drinking and have completely lost track of time so I put on my headphones not remembering which damn album I left in my walkman and
there it was. I wrote about it then:
Filed under 1990s, Blues, Folk
Rancid – …And Out Come the Wolves (1995)
Jeff: What, you might ask, is the prestigious and well-esteemed SWR blog doing reviewing a derivative 90’s pop-punk-revival album? The answer is multifaceted but the first component of it is that it’s an amazing album. Another part of that answer is that I for one first began coming of age in musically the mid-’90s–the major labels were well into their signing spree of “alternative” bands, and MTV was playing music that was like nothing else I’d ever heard (it’s not Debbie Gibson, it’s not Guns ‘n’ Roses, it’s something else entirely). Weezer, Green Day, the Offspring, and Hole seemed like a breath of fresh air to a kid who wouldn’t hear indie music for another four years. It was an exciting time to be a 7th grader.
Filed under 1990s, Pop, Punk, Rock, Ska
Beck – Odelay (1996)
Glenn: Odelay‘s stylistic diversity, junkyard-dada sampling aesthetic, and anticipation of the mash-up have been justly praised. However, what strikes me 14 years out is the sheer range of moods Beck’s masterwork strikes. Is there any other record with this much emotional variety? From the goofball hick-hop of “Sissyneck” to the monster-movie drone of “Derelict” to the melancholy sigh of “Jack-ass” (a personal favorite) to the sheer fun of “Hotwax,” Odelay makes you feel joy, fear, sadness, confusion, and flashdance-ass-pants dance lunacy all in equal measure, sometimes in the same song.
Nirvana: In Utero (1993)
Adam: I was 12 years old and my family was on vacation in Florida when I saw the news reports on TV in our hotel saying that the singer from a band I was vaguely familiar with had killed himself. I was just beginning to be interested in rock music in 1994, and after Kurt Cobain’s suicide, I wasn’t allowed to own any Nirvana albums. I had to get my Nirvana fix from the radio and from a mixtape a friend gave me later that year which included half of Bleach and half of In Utero. I used to listen to it through headphones on the school bus and in the back seat of our minivan. I listened to it a lot in the winter of 1994-95, and for a long time after that, listening to In Utero reminded me of winter. I still haven’t heard the other half of Bleach, but I bought In Utero a few years later and I listen to it every now and then. My inspiration for writing this post was the recent media attention surrounding the DVD/CD release of Nirvana’s set at the 1992 Reading festival. I bought the DVD, and it is great because it documents what a Nirvana concert was like when the band was at the peak of its popularity. Continue reading
Filed under 1990s, Grunge, Rock
Warren Zevon doesn’t get the credit he deserves for being a great songwriter. He was well-respected among other musicians, and his songs are often covered by the likes of Bruce Springsteen, Bob Dylan, and others. As a teenager, Zevon briefly studied modern classical music with Igor Stravinsky, and in the 1970s, he was the touring keyboradist with the Everly Brothers as well as with Don and Phil Everly on their respective individual tours. He was also an occasional stand-in for Paul Shaffer on both late-night iterations of David Letterman’s show.
“Carmelita” from Preludes: Rare and Unreleased Recordings (2007)
“Carmelita” is a junkie’s lament and one of Zevon’s most famous songs, after “Werewolves of London.” The song first came to my attention recently after hearing a cover by GG Allin, of all people. The version I’ve posted is an acoustic demo, but after comparing it to the original release I felt this version was more affecting.
“Searching For A Heart” from Learning to Flinch (1993)
I very much like songs that are able to distill the complexities of love into such simple words, and yet still convey emotional depth, and “Searching for a Heart” succeeds admirably in that regard.
“I Was in the House When the House Burned Down” from Life’ll Kill Ya (2000)
This is just a great song that showcases some of Zevon’s darkly comic style.
Posted by Adam
There are some songs that, when I listen to them on my headphones while walking around in public, I start to feel really, really cool – like I know something that no one else does. This song has such groove. Try it out.
Songs: Ohia – “Captain Badass” from Axxess & Ace (1999)
Buy it here
Posted by Jordy
The Disintegration of the Persistence of Memory....sounds like a Flaming Lips song title, huh?
The Flaming Lips – “Feeling Yourself Disintegrate” from The Soft Bulletin (1999)
A while back, Jordy and I were talking about songs with dense, complicated arrangements, and how that density can enhance the meaning and emotion inherent in the song. He mentioned the late-60s/early-70s Beach Boys — Brian Wilson was nothing if not a genius of overload.
But the first thing that popped into my noggin was this ditty from the Flaming Lips’ best record. In fact, it is not especially dense, but I think that every guitar strum, every echoey mellotron yawn, every cymbal ping serves to create a sort of rock-and-roll tone poem. Toward the end the song itself begins to disintegrate.
What dense complicated platters do you love to spin, and why?
Buy the Lips
Posted by Glenn