About once a month I’ll send off an email to Ted with suggestions for Mix Sixes. Usually he incorporates them into his post, which I greatly appreciate. This past Friday I came up with something ludicrous and sent it with the message, “Ted, here’s a Mix Six for when you’re really desperate.” Little did I know that my good friend Mr. Asregadoo was going to take some time off. His email back was “Hey this would be fun, Scott, why don’t you do it up for next week?” To me it read, “Great job, Scott, I’m on my way out the door so… whydon’tyoudotheMixSixformenextweekseeya.” Door slams!
Thanks, Ted.
So now you’re all stuck with my lame-ass “Sax in the ’80s” Mix. Enjoy!
Oh, and I apologize for not having the true mix up for y’all. I don’t have the software to do things up properly.–Scott
Before Dave Matthews made the saxophone cool again (RIP Mr. Moore), several of bands in the 1980s (mostly early ’80s) were incorporating the famous woodwind instrument into their sound, and I’m not just talking about a certain dude from Jersey (or that other dude from Jersey who sounds just like the first dude from Jersey and whose music was used for a cult film called Eddie and the Cruisers). In fact, several modern rock bands had sax in them as a central part to their makeup. Today we look at some of those acts and their well-known songs. (more…)
Last week, I was trying to figure out the awkwardly titled decade called “The 2000s.” Yes, there’s been an A.D.D. quality to the last 10 years, but it could also be argued that there’s also a postmodern current flowing underneath all those mini-trends that came and went so fast they didn’t say goodbye. If I may be so bold as to throw another musical novelty borne out of the proliferation of cheap multitrack audio software into this decade, it would be the mashup. I think the first time I heard a kind of mashup was with the release of the Small Soldiers soundtrack. Just a few years later, people wouldn’t need recording studios to do what the DJs where able to do on that soundtrack — and I’m thinking specifically of the “Love Is a Battlefield” Kay Gee remix with Queen Latifah and Pat Benatar. Nowadays, it’s clear that ProTools can do wonders, and the more people with time and interest on their hands delve into what new musical forms they can weave into familiar songs, the more the original songs take on new and interesting twists when mashed up together. Having tried to do my own version of a mashup called “the smashup” — where I smashed covers of certain songs together — I know the time and dedication it takes to put these mixes together. So, here we go with a mix from some very creative individuals who clearly have talented ears and great skills with a multitrack recorder. (more…)
I used to watch Thritysomething during its original run and on re-runs on Lifetime because, well, I’m a sensitive new age guy, I guess. Maybe it was the fact that my girlfriend (who later became my wife) was a big fan of the show and I just kind of got sucked into it. Or maybe, it’s because the show was so full of navel-gazing angst that, for me, it was hard to resist.
One of the minor characters who was integral to the narrative arc was Miles Drentell — the owner of D.A.A. D.A.A. was one of the most influential advertising agencies in Philadelphia, and it seemed that the weird world of manipulation/advertising was wrought, in part, by Miles. During one episode, he and Michael Steadman (moral anchor of the series) were eating dinner with some mucky mucks from the heartland and talking about an ad campaign. Steadman and the Midwest mucky mucks were hitting it off, and Miles, increasingly alienated by the conversation, blurted out an aphorism that my wife and I quote from time to time: “The Decimalization of time is so arbitrary…” And so it seems to be when it comes to popular music. If I say “The ‘70s” what comes to mind when it comes to music? The folksy stuff of the early ‘70s? Disco? Arena rock? How ‘bout the ‘80s? New Wave? Michael Jackson? Rap? Richard Marx? The ‘90s? Grunge? Rap? Boy Bands? Britney? Okay, enough questions … I think you get my drift.
Well, what about “The 2000s?” (Crap, I thought I was through with questions!) It’s a decade that hasn’t really defined itself with a genre of music the way its predecessors did. But here we are at 2009, and if we’re slaves to the notion of decades, then 2010 means it’s the start of a whole new world. Could it be because of the way in which the Internet has fragmented music consumption, radio taking fewer and fewer risks when it comes to formats, and MTV creating niche channels that cater to certain demographic groups, that the power of a medium to frame the tastes in popular music has resulted in “The 2000s” not having defining characteristics that are easily distilled into unique one or two-word terms? (more…)
A few weeks ago, I took my family down to a train wreck of an event called the Great American Food and Music Festival in Mountain View, CA. It was supposed to be a day where you could eat regional foods from around the country, listen to music like Marshall Crenshaw, Big Bad Voodoo Daddy and Little Feat, and then watch cooking demonstrations from Bobby Flay and Guy Fieri of the Food Network. I won’t go into too much detail on why it hellish experience, but just to give you a sample (ha!) of why it was such a poorly organized event, I give you this: it was a day where you had to stand in line for three hours to get food — like a hot dog from Pink’s Hot Dogs. Anyway, as we were driving down, we were listening to the radio and “Under Pressure” by Queen and David Bowie was on. This started a 10 minute discussion on duets and collaborations that started with UB40 and Chrissy Hynde’s cover of “I Got You Babe.” I kind of filed some of the duets in my mind with the intention of doing a Mix Six at some point in the future, and guess what? The future is now.
“Getting Away With It,” Electronic and Neil Tennant (Download)
This collaboration between Bernard Sumner of New Order and Johnny Marr from the Smiths lasted longer than I thought it would. And with Neil Tennant from the Pet Shop Boys lending his distinctive vocals to the song, Electronic went from “side project” to almost a supergroup in the ’90s (I’m sure someone is going to argue that they were a supergroup, but I’ll leave that to a discussion in the comments section). The song sounds so much like New Order and the Pet Shop Boys, that Johnny Marr’s contribution sounds rather muted.
“Slow Train to Dawn,” the The and Neneh Cherry (Download)
Like many folks, I was a big fan of the The’s Soul Mining. I bought the cassette on a whim when it was released in 1983 and probably listened to it non-stop in my car for a two weeks. When Infected came out three years later, I immediately bought it because I heard/saw the lead single on MTV and just loved it. While I didn’t find Infected to be as quirky as Soul Mining, it had some great songs on side one. Side two was more of a “grower” side that included “Slow Train to Dawn” with Neneh Cherry doing co-vocals. This was, of course, years before she charted as a solo artist with “Buffalo Stance.” (more…)
Like most kids, summer used to be such a great time of the year for me. School was out, you had all day to spend with your friends, and it was just nice not having to get up and be at a place where a bell signals the passage of time. That first month of summer vacation was amazing! Sleeping in, staying up late, swimming, playing sports, BBQs, and that general feeling that you were free. However, as the months wore on, extreme boredom set in, you were broke, and suddenly going back to school didn’t seem so horrible.
Now that I’m an adult, it’s easy to forget how magical a season it could be. But maybe this mix can capture the spirit of the good, the bad, and the stupid of summer.
At first glance, this really isn’t a song about summer, but the fact that “sunshine” is in the lyrics and the Andrea True Connection loop of “More More More” is the hook has summer written all over it. There are allusions to heat, laying on the lawn, and a relationship that’s gone wrong — so yeah, it’s definitely a summer song.
“Summertime,” DJ Jazzy Jeff & the Fresh Prince (Download)
Even though I’m a California native, I did live in Philadelphia for a couple of years, and living in a city where there are actually four seasons instead of just wet and dry, I never really understood why people would say they loved summer since, well, California has many hot days throughout the year. But if there’s a song that reminds me of summer in Philadelphia, this would be it.
Hiya, kids! This week’s mix is brought to you by Jeff Johnson, who’s been a friend of mine since high school. Ever since I’ve known him, Jeff’s tastes in music have skewed toward the soundtrack side, specifically orchestral soundtracks. We attended film school together (I changed majors at the end of my junior year), and he went on to write and direct a feature film called Holly vs. Hollywood. Nowadays Jeff is happily ensconced as the online store manager at the ever-popular soundtrack store (and record label) Intrada in Oakland, California. Intrada is one of those rare record stores where they not only exclusively stock movie soundtracks, they also restore and reissue them. Jeff also cohosts the podcast Filmed, Not Stirred with his gal pal Lisa. It’s unique because they review a new movie and compare it with an older movie in a similar genre or director. So you see? There is life after film school! —Ted
You’re about to discover six pieces of music you’re not even really supposed to notice. So what is it about film-music geeks that makes it virtually impossible for them to watch a film without noticing its music? And even more curious, why would they want to listen to it on its own?
In coming up with this list of my favorite soundtrack cues, two things are obvious: 1) all the pieces are composed by either Jerry Goldsmith or John Williams, and 2) they were all composed between 1976 and 1982. I don’t know what that means, except to say that I discovered all of them when I was between the ages of 11 and 17. I had them all on vinyl and played them so many times as a kid that I wore out the records. These aren’t necessarily the best pieces of film music, but they are some of my favorites. (more…)
Okay, I fully admit that as a guy who loves progressive rock, I’m setting myself up for ridicule and taunts from the peanut gallery. I hear you derisively yelling, “Math rock geek,” or “Lover of unicorns, ferries, and 7/8 time.”
Whatever.
Progressive rock is a genre of music that has an odd cross-section appeal. On the one hand, there are geeks who are lured by the complexity of the music. On the other, there are stoners who just love a good trip — and need an appropriate soundtrack. Sometimes you get a combination of stoner/geek in one person — and they end up creating things like Second Life or Boohbah. Me? I love melody more than complexity, so my tastes in progressive rock lean more toward what’s presented here.
The first time I heard Yes was in my junior year of high school. I had just moved to a new school, and I met a guy who turned out to be a huge lover of what we now call classic rock. Led Zep, the Doors, Hendrix, and Yes. One day, he lent me an old 8 track tape he had of Close to the Edge. I had an old stereo that had an 8 track player, and I must have listened to that tape for three days straight. I wasn’t too taken by the songs at first, but by day two, something clicked and I was hooked. (more…)
On paper, it sounds like a moneymaking formula: take individual members from successful bands, put them together in a supergroup to make music, record the magic, and watch album sales go through the roof. Yes, the Supergroup can, at times, be seen as a crass money grab, and at times it is. However, there are other times when the result of these ventures bears some tasty fruit. Now, people’s taste being what they are, it’s going to be an argument without end as to which of the groups represented here are Supergroups or Superduds. I certainly have my opinions, but don’t let that dissuade you from defending or slamming the six in this mix.
Back when Asia made their debut in the early ‘80s, they were touted as the next big thing that would define rock music for the decade. Think about it: you take a little bit of Yes, Emerson Lake and Palmer, and King Crimson, put them in a blender of sorts, serve up the contents and … what do you think you’re going to get? Go ahead and insert a 40-Year-Old Virgin joke here. (more…)
DOWNLOAD THE FULL MIX HERE
First off, let me say that “Y.M.C.A.” didn’t make the cut on this mix. Yeah, it’s a fun song, but chances are you’ve heard it a million times, and it’s such an earworm that it really belonged on last week’s mix — but I didn’t have the heart to do that to you. Clearly, I did have the heart to foist Billy Joel and Neil Diamond on you, but that’s because I have so much love in my heart.
This week, we’re spelling it! Yep, for some reason songwriters will often spell words in their songs, and sometimes it works, and other times, well … no so much. Oh, and for those of you who actually listen to the full mix you’ll get some humorous drops culled from the wilds of You Tube that just helps me state the obvious in this mix.
“C.I.T.Y.,” John Cafferty and the Beaver Brown Band (download)
This is the tune that started me thinking about songs where spelling seems to count for something. (more…)
Let me get this out in the open: I work in a dangerous place. No, I don’t work with nuclear materials, nor do I work at a restaurant where I train as a competitive eater on the side. Rather, I work in a place where earworm attacks happen, and, as of late, are happening more frequently. You see, I work at an Adult Contemporary radio station where some of the songs have an effect that I can’t seem to shake. Yes, some songs get trapped in my head and the lyrics, melody, and various hooks weave themselves into my cerebral cortex like those creatures did to Chekov and Captain Terrell in Star Trek II. Or as Khan so eloquently said about the worms of Ceti Alpha Five (but could easily been talking about the songs featured here): “You see, their young enter through the ears and wrap themselves around the cerebral cortex. This has the effect of rendering the victim extremely susceptible to suggestion. Later, as they grow, follows madness — and death.”
Oh, little earworm, how you have tortured me! And now, dear readers, I pass along the love. (more…)
