Friday, April 25, 2008

“Just Don’t Care” For Those Lyrics


Alright people, this is getting a little ridiculous. It seems some song lyrics are as cyclical as skinny-legged jeans; leaving us for a brief moment only to enjoy a resurgence a few years later. Why is it that we constantly hear the same tired, uninspired song lyrics cropping up throughout pop music? Every time I hear it, I silently hope that it will be the last time, alas, it never is. Maybe it’s an lyrical rite of passage to write a song marrying “maybe” with “baby” or “girl” with “world,” but then, maybe these songs should never receive airplay to begin with.

But the most egregiously overused rhyme in music today (and yesterday, too) is the pairing of “air” with “care.” Or more directly, this sentence: “Throw your hands in the air and wave them around like you just don’t care.” The original lyricist should be receiving royalties for the number of times it’s reprised in pop music. Artists ranging from OutKast, Dr. Dre and Ed Lover to Sting have made use of the lyric somewhere along their careers. And hey, I get it, you want people to get into the music. You want them to show their interest and get them excited. But there has GOT to be another way to do it. What about asking crowds to piggy-back on each other? Or wave just one arm? There are a ton of words that you could rhyme with “arm.” (“Everybody throw up an arm! For lunch I ate a chicken parm!” See how easy that was?)

The latest iteration of the well-worn Air/Care rhyme comes in the form of Michael Stipe’s tenor whinny on REM’s single “Man-Sized Wreath.” While not taken verbatim, Stipe offers “Throw it in the air, kick it around the dance floor like you just don’t care.” While I understand writing lyrics can be difficult I would expect more from an accomplished lyricist like Stipe. These lyrics are tired, worn and in need of a rest. There are too many other words out there to be used for artists to constantly be leaning on these old hands (see my arm suggestion earlier).

I therefore resolve that lyrics such as these be retired and enshrined in Cleveland’s Rock n’ Roll Hall of Fame. Think of it, each rhyme could have a gold plaque lined with the artists that have sung their praises through the years. Maybe this would finally force some artists to offer us something new.

Thursday, April 24, 2008

The New Brooklyn Interpol



Last night, I attended a majestic show at the Brooklyn Academy of Music (BAM) called “American Tunes” that featured the songbook of Paul Simon. While Simon played plenty of his hits through the years, he also invited several current musicians to join him on stage to reinvent some of his greatest songs. Performers included Amos Lee, Gillian Welch, Josh Groban, Olu Dara and a little known, Brooklyn-based, band called Grizzly Bear.



Ten minutes alone on stage was enough to establish their unique sound by reinventing two Simon classics, “Graceland” and “Mother and Child Reunion.” I was immediately struck by Grizzly Bear’s controlled sound. Every note was consciously meant and meticulously emphasized. I could hear their intent beyond the notes. “Graceland” was reinterpreted to incorporate a several minor chord changes and new syncopations while “Mother and Child Reunion” was slowed down considerably and layered with a stark guitar wailing over a sprawling, undulating bass.



So for all you Interpol lovers, the next big thing has arrived. Grizzly Bear’s quiet, haunting sound creates a deep trance similar to Interpol’s breakout “Turn on the Bright Lights.” Tracks like “Deep Sea Diver” and “Knife” are fine examples of their slow, chilling effected sound. If only we could get the Paul Simon songs recorded too.



Friday, April 11, 2008

Today is going to be a good day

I feel good this morning. As I was driving to work I turned on the newest rock station in NYC, 101.9 WRXP - The Rock Experience. I have listened to this station for the past month. They do a good job of mixing Classic Rock with Modern Rock and some Contemporary stuff in between.

This morning at approximately 8:44 EST, they played none other than my favorite band on the planet: dada. I was besides myself. I thought to myself: "Self, how could this get any better? Maybe if they played some David Bowie, my favorite artist, right after this." AND THEY DID! Immediately following dada's "Dizz Knee Land" they played "Let's Dance"!

I think RXP was trying to tell me something. Message received my friends, message received.

Tuesday, April 8, 2008

The Arrival... Not Charlie Sheen's


With her third album, Kathleen Edwards has begun to find her own voice. No longer the love-child of Lucinda Williams and Neil Young, Edwards emerges with a sound and voice all her own.

Previous efforts, Failer and Back to Me, often offered whimsy as she took on topics like dating and mating in modern times. The Edwards of old offered lyrics like “But I don’t think your wife would like my friends” (from “Westby” on Failer). Lyrics like this spoke comically about Edwards playing hard to get. These sentiments, however, no longer are part of her canon with her latest release. The title track, “Asking for Flowers,” pleads sorrowfully, “Asking for flowers / Is like asking for you to be nice / Don’t tell me you’re too tired / Ten years I’ve been working nights.” Apparently, the earlier play was for naught; she wound up in the relationship she had playfully avoided. These sentiments are furthered in “The Cheapest Key” in which Edwards complains “B is for bullsh*t and you fed me some.”

Continuing her maturation, Edwards takes on larger issues that the standard heartache.
Songs like “Oh Canada” and “Oil Man’s War” show Edwards beginning to play in a political realm of sadness and turmoil.

Musically, Edwards’ evolution is on full display. Tracks like “Buffalo” and “Asking for Flowers” boast a timbre richness that she had yet to capture on tape. There is a newfound cohesiveness that trumps the previous adjunct instruments. Asking for Flowers succeeds in delivering a rich, textured sonic feel.

Other standout tracks include “Goodnight, California” and “I Get the Money, You Get the Glory,” a country-honk tune that, in one of the more creative lyrical offerings, boasts allusions to Gretzky and Marty McSorley, two of hockey’s greatest. The pedal-steel guitar is a welcome addition as well.
Edwards’ arrival is on full display. At times capricious but overly moody, she has given us a album of that is fully her own both lyrically and sonically.