Posts Tagged ‘Jeff Giles’

Popdose Flashback ‘90: Digital Underground, “Sex Packets”

We’re only a few months into our Flashback ‘90 series, and we’ve already unearthed about as many regrettable hits as we have certified classics — and chances are, you aren’t sure which column the Digital Underground’s Sex Packets belongs in. If you were around at the time, you probably loved the album’s big hit, “The Humpty Dance” — at least until MTV and the radio overplayed it, at which point you never wanted to hear it again. These days, “The Humpty Dance” might be good for a few minutes of ironic nostalgia, but I’d lay even odds that for most listeners, it’s worn out its welcome long before it reaches the six-and-a-half-minute mark. To a lot of people, the Digital Underground was a novelty act, which is easy to understand, given that their biggest hits center around the goofing of a guy wearing glasses and a fake nose.

But they weren’t a novelty act. They were sort of groundbreaking, in fact — and though their commercial prospects dwindled as the ’90s wore on, they remained a steady live draw until 2008, when leader Shock G (a.k.a. Humpty Hump, as well as a number of other equally ridiculous characters) pulled the plug.

More of a posse than a concrete musical group, the Digital Underground brought P-Funk’s freewheeling party vibe into the hip-hop era, fusing live instrumentation with samples before it was trendy and releasing a series of uptempo party tracks (starting with the classic “Doowhutchyalike”) populated by a rotating cast of contributors that notably included a young Tupac Shakur. Long before every other rap song came with a “feat.” credit attached, the D.U. invited everyone from George Clinton to Del tha Funkee Homosapien (and, uh, the Luniz) to be part of their songs. (more…)

Rock Court, Small Claims Division: Bruce Springsteen v. Tommy Tutone

All rise.

The rules of this courtroom are simple. You will be presented with two songs, one by the plaintiff and one by the defendant. It is your task to decide if the defendant’s track is only coincidentally similar to the plaintiffs or, as members of the Bar Association put it, gosh darn it, I think they stole that feller’s tune rat’chere! You have been duly instructed.

Today’s docket: Tommy Tutone, plaintiff vs. Bruce Springsteen, defendant

Tommy Tutone – 867-5309/Jenny from Tommy Tutone 2 (1982)

You know, I have only one song anyone really gives a crap about and it’s kept me in good stead for a while. Springsteen has how many tunes under his belt, yet he has to pilfer mine? Strike a blow to The Boss for the little guy!

Bruce Springsteen – Radio Nowhere from Magic (2008)

It’s not that similar, you drama queen.

867-COPY?

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CAPTAIN VIDEO!: Kenny Loggins, “I’m Free (Heaven Help the Man)”

There are things each generation must explain to those that follow. Things they must atone for. The Founding Fathers had slavery, for instance. The freewheeling credit spenders of the 1910s and ’20s had the Great Depression. The “Greatest Generation” had the bombing of Hiroshima and Nagasaki.

My generation has Kenny Loggins.

To be fair, it was actually our parents who brought him his first measure of success, as the “Loggins” in “Loggins & Messina.” But they knew what they were doing–L&M’s recorded output, while slight, managed to stay on the sunny side of the line between breezy and banal more often than not. “Danny’s Song”? “House At Pooh Corner”? “Watching the River Run”? Classics.

But then Loggins & Messina broke up, and Loggins proved all too eager to expose himself as the dippy New Age doofus he’d always been at heart. His first few albums were a terrible blend of ponderous mysticism, mush-brained folk, and soft jazz, from the interminably mawkish music to the artwork that seemed to always feature a soft-focus shot of Kenny–all done up in a velour tunic or something similarly lame–striking a ridiculous pose against a backdrop of, say, the universe.

That was bad enough. But then the ’80s dawned, and he discovered two things: (more…)

Blu-ray Reviews: “The NeverEnding Story” and “Clash of the Titans”

Michael Ende’s The Neverending Story is a wonderful book, and one of a few novels that I read three or four times as a kid. It was something of a young adult literary sensation in the early ’80s — I don’t know how many books were translated from German into English and then went on to inspire a film trilogy, but I’m guessing the number is something like one, and if you’ve ever read it, it isn’t hard to understand why. Ende dealt with themes that book-loving kids have always responded to, including magic and fantastical creatures, but he was also smart and unflinchingly honest when it came to the real soul of his story, which focused on the desperate loneliness of a boy who missed his mother, couldn’t connect with his father, and didn’t fit in at school.

Ende’s sprawling tale filled almost 450 pages, nearly living up to its title, and anyone who went to see Wolfgang Petersen’s 1984 film adaptation had to expect some clear differences between the movie and the novel — for one thing, you just can’t squeeze that much story into a 91-minute movie, and for another, The Neverending Story is full of the kind of stuff that gave special effects departments migraines in the ’80s, including a flying “luckdragon,” giant creatures made out of stone, and — best of all — a magical realm being slowly devoured by a ravenous blankness called the Nothing. How do you show nothing on the screen? (more…)

Product Review: Blue Microphones USB Snowball

I’ve always owned PCs, and have never had much of an interest in home recording, so when Dave, Jason and I started recording the Popdose podcast a couple of months ago, I entered the fray as an absolute beginner — and if you listened to our first few episodes, you probably already knew this, because each of them was marred by some sort of audio glitch on my end, be it excessively low levels, annoying popping, or, in one case, my stupid accidental use of the Logitech camera microphone I have clipped to my second monitor.

After six episodes, I knew my Plantronics headset microphone wasn’t going to cut it in the long term. We record the podcast over Skype, which opens us up to all kinds of sound quality issues to begin with; I was desperate to do anything I could to at least make things sound passable on my end.

Enter Blue Microphones. (more…)

The Popdose Podcast: Episode 7

If you’ve listened to all of the previous episodes of The Popdose Podcast — hell, even if you’ve only listened to three minutes of any given episode — you’ve likely thought the following at some point: “Man, these guys are assholes.” Well, we’re not necessarily taking that as an insult (even though we know you meant it as one). Some people actually strive to be assholes. Do we? We’re not saying, but we’ll tell you this: we do not intend to be douchebags. What’s the difference? So glad you asked!

See, on today’s podcast, we’re talking about assholes. We’re talking about how one becomes an asshole, what qualities make them an asshole, and what famous assholes we can look to for inspiration, guidance, and perhaps even warning. That’s why we’ve gone with the brilliant title of The Popdose Podcast, Episode 7: Assholes. And don’t worry, we’re not the only assholes on today’s show; no, today we’ve invited a Special Guest Asshole to join us — someone who’s an expert on the subject. Click, download, listen away, and for the love of assholes everywhere, please leave us a review on iTunes!

The Popdose Podcast, Episode 7: A**holes (1:04:39, 74.0 MB), featuring Jeff Giles, Jason Hare, and Dave Lifton, with special guest Chris Illuminati, co-author of Assholeology: The Science Behind Getting Your Way – and Getting Away With It.
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Show Notes

0:00 No time to waste, assholes! We jump right into our topic, starting with Jeff recounting a story of when he was an asshole to one of his brothers. It involves a turkey.

3:53 Jason shares his history of mouthing off to cops, and which family member he gets his assholish tendencies from.

9:03 It’s time for everyone’s favorite new game, Rock & Roll Assholes! We’re not going to spoil the show by revealing all the people we discuss, but we’ll tease you with a few: Daryl Hall, Murry Wilson, Don Henley, and Lou Reed. Also, Jeff names one specific artist that we’re almost positive has never been called an asshole before — ever.

30:29 Special Guest Chris Illuminati jumps onto the podcast, but unfortunately can’t get a word in edgewise before the three of us start in with the mother jokes. He tells us all about the origin of his awesome new book, and how he came to join the other two authors. He also illustrates the distinct differences between an asshole and a douchebag, and even breaks down the a-hole/d-bag demographics for the fine state of New Jersey. We test his knowledge on the previously-mentioned Rock & Role Assholes and others, and ask him to weigh in on specific asshole-ish scenarios. Chris Illuminati is clearly an expert in this field, and we’d like to thank him for joining us, and also give a big thanks to Don Povia at Hugging Harold Reynolds and the Blogs With Balls podcast — Don came in at the very last minute and made our chat with Chris technologically possible. You rock, Don!

EnDOSEments

52:46 Jeff endorses the Snowball USB Microphone from Blue Microphones, which he used for the first time during this podcast — with great results.

55:09 Dave endorses the medium of podcasting in general — go out and find some new shows to listen to! He specifically mentions The Sporkful as a new podcast he’s currently enjoying.

58:51 Jason endorses Super Mario Bros. Wii. It’s awesome and that is all you need to know. (Apologies for the digression into his triathlon training, but Dave started it.)

Wrappin’ It Up

1:01:15 Thanks again to Chris Illuminati for being such an awesome guest — go buy his book! Don’t forget to leave us a review on iTunes, and to visit our Facebook fan page as well as the Popdose Twitter feed. Thanks for listening and we’ll see you in April!

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CD Review: Texas Tornados, “Esta Bueno”

Tejano music so good that not even death could stop it, the Texas Tornados’ Esta Bueno is the first, unlikeliest, and best reunion album of 2010. The first time I heard these songs, it was so early in the morning that I hadn’t even had breakfast yet, but the always-welcome combination of Augie Meyers’ organ and the peerless conjunto accordion of Flaco Jiménez had me craving barbecued ribs before the third track was finished.

The Tornados haven’t released an album since 1999, but the long layoff wasn’t about laziness; Doug Sahm, the original Texas Tornado, died that year, followed in 2005 by guitarist and singer Freddy Fender. Lesser bands have been felled by less dire circumstances, but through perseverence, talent, and a little luck, the Tornadoes are still standing — and they’re joined here by Doug Sahm’s son Shawn, as well as five previously unheard Fender performances and a parting shot from the elder Sahm.

The knowledge that Esta Bueno includes leftover tracks might trigger warnings of tepid, cobbled-together Frankenstein albums from similarly afflicted bands, but you don’t need to worry — as Jiménez has promised in interviews, “the groove is back.” The band sounds looser and more inspired than it has since its first couple of records, and the new songs fit seamlessly alongside anything taken from the vaults. There are no surprises here, and that’s a good thing: You don’t listen to the Texas Tornados looking for wild experiments, you turn to them for fun, uptempo party music and brassy, sock hop-style slow dance numbers with a bilingual flair, with generous helpings of wily humor, organ, and accordion along the way. Esta Bueno delivers on all fronts. (more…)

Whoops!: Crosby, Stills & Nash, “Live It Up”

As we shall see repeatedly over the course of this series, the 1980s were not kind to many of the rock ‘n’ roll superstars of the ’50s, ’60s, and ’70s — and the decade was arguably cruelest to the now-grown flower children of the late ’60s. Sure, it must have blown to be Aretha Franklin in the mid ’80s, twiddling your thumbs through album after album of MOR bullshit instead of thrilling audiences with actual music, but at least you could reinvent yourself plausibly; once you’ve posed for a publicity photo in a field of sunflowers while flashing a peace sign, on the other hand, you’re pretty much fucked forever.

Thus did Crosby, Stills & Nash spend the bulk of the ’80s just sort of drifting around, taping the odd session and periodically releasing awkward studio albums between David Crosby’s embarrassing drug and/or legal problems. Things weren’t much better for their on-again, off-again compatriot, Neil Young, but he at least had the guts to be weird when his brand of artfully mangled rock fell out of fashion. Say what you will about Young’s ’80s output — and don’t think we won’t be visiting at least one of those albums during a future column — but even at his least approachable, he had something to say. The same couldn’t be said for CSN, who flirted with relevance exactly twice during the decade: Once when they recorded a theme song to the movie WarGames (which was pulled from the movie at the last minute), and once when they reunited with Young for 1988’s highly anticipated American Dream.

Of course, if you were around at the time, you probably remember that American Dream was awful — an overlong, undercooked mess of weak material and indifferent performances. For the first time, Crosby, Stills, Nash and Young sounded too bored to hate each other, and the result was one of the year’s biggest disappointments.

On the other hand, its cover didn’t consist of a picture of giant hot dogs being roasted on the moon. (more…)

CD Review: The Holmes Brothers, “Feed My Soul”

Getting old sucks, but some things just get better with age — just ask Wendell Holmes of the Holmes Brothers, who has dealt with some of the health issues that go along with advancing years (including a recent struggle with bladder cancer), and used them to help fuel a creative fire that’s burning brighter than ever. In fact, the Holmes Brothers’ latest, Feed My Soul, represents an artistic reawakening — for Wendell, who wrote seven of the album’s 14 tracks, and for the trio as a whole, which recorded some of its deepest, most resonant performances for the set.

Of course, if you know anything about the Holmes Brothers’ brand of gospel soul, you know their catalog is fairly impeccable, so it’s really saying something that Feed My Soul represents a noticeable step forward. I wasn’t optimistic when I read that Joan Osborne was producing the album, but her work behind the boards actually does the band a lot of favors — Osborne gets dirt under everyone’s fingernails here, bathing every grain in the Brothers’ voices in warmth and light while stripping their sound down to its pure fundamentals.

Given Wendell’s brush with mortality — and the fact that one of Soul’s earliest tracks is the recession blues number “Edge of the Ledge” — you might expect this to be a somber collection, but nothing could be further from the truth; from the smooth, Hammond-buoyed title track to the harmonica-laced kiss-off number “Rounding Third” (not to mention “Take Me Away,” the graceful, piano-led benediction that closes things out), this is a loose, sunny album, the sound of men who have faced the darkness and lived to shrug it off. It’s titled Feed My Soul, but this set of songs is really food for yours. Get yourself to the table.

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CD Review: Lifehouse, “Smoke and Mirrors”

Lifehouse fascinates me in many ways, none of them musical. For instance, who would have guessed these guys would still be around ten years after “Hanging by a Moment,” let alone have enough major label clout to command the “deluxe version” treatment for its new releases? In an era when no one buys albums at all, how is it that a slightly more tuneful (and even more anonymous) version of Three Doors Down has managed to defy the odds? Where are all these fans of politely pained rock & roll coming from? And how funny is it that Lifehouse’s relentless pursuit of platinum-certified mediocrity has given the band’s longtime manager, Jude Cole, the meal ticket that his own recording career sadly failed to provide?

I digress. And I digress because Lifehouse’s latest album, Smoke and Mirrors, offers absolutely nothing the band’s fans and/or detractors haven’t heard before: Sleek, perfunctory rockers, mildly thrashing alongside ever-so-earnest ballads, alternated according to some accountant’s precise algorithm, all given portentous-sounding titles like “All In” and “It Is What It Is” and “Wrecking Ball.” The only difference between this and previous Lifehouse joints is that — and I wish I was kidding about this — one track features Daughtry and was co-written by Richard Marx. YOUR MOVE, SOCCER MOMS.

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