Posts Tagged ‘Moby’

Motion Picture Soundtrack: Temptation

vampirediaries

Welcome, fans of the Vampire Diaries!  In episode 3, the closing moments of the show featured a cover of the classic New Order song  “Temptation,” as envisioned by Moby and vocalized by Laura Dawn.  If you’re here, you probably enjoyed the cover version of the song quite a bit and might be surprised to find that it’s older than you think – it was originally released on Moby’s 2005 album Hotel.  Anyhow, please stop by the main site (www.popdose.com) to see if we’ve written about any other subjects you might be interested in.

Moby – “Temptation”

Mix Six: “The 2000s”

DOWNLOAD THE FULL MIX HERE

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.

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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…)

Bootleg City: “Vin Scelsa’s Live at Lunch,” 6/28/00 (Pt. 3)

Here are some fun facts about singer-songwriter Jules Shear:

1. He’s from Pittsburgh. So is actor Jeff Goldblum, who stars in a 2006 pseudo-documentary called Pittsburgh that chronicles his homecoming performance in a production of The Music Man five years ago. It also stars Illeana Douglas, a friend of Goldblum’s, who was dating Moby in ‘04 and learning more than she wanted to know about the musician’s appetite for pornography.

2. Illeana Douglas and Moby never dated, hence Pittsburgh’s status as a “pseudo-documentary.” But Moby did research his role by borrowing Jules Shear’s extensive collection of amateur porn.

(Okay, so that “fact” about Shear’s porn collection is a lie. And it’s possible he wouldn’t consider it to be “fun,” either. But why should Jeff Goldblum be the only person who’s allowed to blur the line between fact and fiction? On that note …)

3. For a brief period in the early ’90s, Shear cut his own hair. When he was finished with a trim he’d yell, “Shear genius!” Sadly, no one was around to hear it.

4. Jules & the Polar Bears was originally going to consist of Shear and three actual polar bears, but due to his unwillingness to relocate to the North Pole — and polar bears’ general inability to play instruments — he eventually settled for human musicians David Beebe, Richard Bredice, and Stephen Hague. However, he insisted on treating them like real polar bears, going so far as to contractually limit them to an all-fish diet.

5. Jeff Goldblum starred in the 1988 movie Vibes with Cyndi Lauper, whose hit song “All Through the Night” was written and first recorded by Shear. The soundtrack of 1985’s The Goonies includes two songs performed by Lauper as well as one by the Bangles, “I Got Nothing,” which was cowritten by Shear. The Bangles then recorded Shear’s “If She Knew What She Wants,” another song he recorded first on one of his own LPs, for their album Different Light. Goldblum sings in Pittsburgh for his role as Professor Harold Hill in The Music Man, but songs like “Seventy-six Trombones” probably would’ve sounded better coming out of Lauper’s mouth.

6. “Jules Shear” is a stage name. His real name is Julianne Shear.

7. Did you know that legendary author Jules Verne used rival sci-fi scribe H.G. Wells’s time machine to travel forward in time to 1984, where he declared Cyndi Lauper’s “Time After Time” to be “not as good as that one Shear wrote”? And that after watching The Adventures of Buckaroo Banzai Across the 8th Dimension he declared costar Jeff Goldblum to be “quirky as hell but fun to watch”?

8. Jeff Goldblum, Jeff Goldblum, Jeff Goldblum!!!

9. The Pittsburgh Penguins recently won the Stanley Cup, but don’t talk about the reigning hockey champions around Shear or he’ll go into a loud, profane tirade about how there aren’t any penguins in Pittsburgh. There aren’t any polar bears either, but you’ll only make things worse if you bring that up. Just change the subject to Happy Feet and you’ll see that he loves penguins — it’s lapses in geographical logic he can’t stand.

10. Though it hasn’t been confirmed that either Jules Shear or Jeff Goldblum has read Michael Chabon’s The Mysteries of Pittsburgh, it’s nice to imagine them being members of the same book club. Especially if one’s a big fan of Jules Verne and the other’s a big fan of H.G. Wells and they’re willing to wrestle over who’s better.

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Hooks ‘N’ You: Richard Barone, “Cool Blue Halo” and Other Works

Live albums have been a staple of the music business for ages, and even if you’re someone who loudly proclaims to have no interest in them whatsoever, it’s probable that you have at least one or two buried somewhere in your collection, even if it’s stretching back to your vinyl or cassette days. I’m pretty sure the first live album I ever purchased was Wings Over America, which served as my transition from the Beatles into Paul McCartney’s ’70s solo output – to this day, attempts to sing along to the studio versions of the songs from that record never fail to throw me – but there are quite a few other live records that I’ll spin with regularity, from the Smiths’ Rank to Robyn Hitchcock’s Storefront Hitchcock to Howard Jones’ The Peaceful Tour Live. (Yeah, I know, that last one might sound like a bit of a head-scratcher, but my wife and I saw HoJo in concert while on honeymoon in the UK in 2001, and that disc is a solid representation of the set he performed.)

On the whole, however, I must admit that I tend to prefer those live albums where the artists reinvent their songs by placing them in an acoustic setting. Nowadays, it’s something that everyone does…and more often than not, when they do so, it’s with an attitude generally reserved for someone who’s just reinvented the wheel. It’s as if they’re saying, “I am so awesome because I could take my song and de-rock-ify it,” when the reality is that they probably just figured, “Hey, here’s a way I can make a few more bucks off my old hits!” I’m not saying that I don’t still tend to enjoy them, anyway, but…okay, look, here’s the deal with acoustic live albums: the last one that truly mattered was Nirvana’s MTV Unplugged in New York. Now, as far as the best acoustic live albums that mattered before Nirvana, you can vote for Clapton or Tesla or even McCartney, but I only ever think of one: Richard Barone’s Cool Blue Halo.

Now, if you’re a regular NPR listener or find yourself scouring their website, you may be saying, “Hey, this guy is totally jumping on the bandwagon started by Tom Moon in March 2007!” Not true. I picked up my copy of Cool Blue Halo on cassette in a cut-out bin way back in 1990, and I’ve loved it ever since. The reasons I picked it up were threefold: 1) I’d seen his name in my copy of the Trouser Press Record Guide and remembered the write-up as being favorable, 2) it included a cover of the Beatles’ “Cry Baby Cry,” and 3) it was less than $2.00. (C’mon, gimme a break: I was a poor college student at the time!)

As it turned out, I found myself in love with the album long before I ever hit that Beatles cover.

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Exit Music (For a Film): “The Bourne Ultimatum”

There are fewer members of the Washington establishment that I detest more than Richard “Dickface” Cohen. I noticed yesterday evening that he’s finally soured on his hero John McCain, but I’m willing to predict that within a few weeks he’ll have decided that McCain has somehow regained his honor, and that Obama has committed some unforgivable transgression of campaigning, and at this point Cohen will happily resume shilling for the Arizona senator. Cohen is as much of a turncoat liberal as Joe Lieberman, and soon enough he’ll return, tail between his legs, to genuflect at the altar of power.

One of the most sickening episodes during the Bush administration, one that betrayed so many members of the Washington press as nothing more than sycophantic lapdogs for the establishment power structure, was the conviction of Scooter Libby and the commutation of his sentence by President Bush. Among the litany of abuses of the basic principles of both democracy and constitutional government, this was the one example that stood out to me as an unmistakable signal that our system of representational government, as articulated in the Constitution, was in dire jeopardy.

I’ve seen a number of lists of questions that the press should theoretically be asking Sarah Palin, if they ever get a chance to query her outside of a very strictly controlled setting (such as Charles Gibson’s interview, which was surprisingly adversarial). But I’ve got one question that’s been bugging me that I’d really like to see someone ask John McCain: “Did you think it was appropriate for the President to commute the sentence of convicted perjurer Scooter Libby, and would you have done the same thing?”

The Film: The Bourne Ultimatum

The Song: “Extreme Ways”

The Artist: Moby

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Exit Music (For a Film): Moby, “God Moving Over the Face of the Waters”

Heat PosterI don’t think Michael Mann is particularly interested in popular music.

It’s practically impossible to think of Phil Collins’ classic song “In the Air Tonight” without thinking of the iconic scene in the Miami Vice pilot when the song plays as Crockett and Tubbs are driving towards a fateful meeting with a narcotics kingpin. Throughout the series, popular music from artists like Peter Gabriel, Dire Straits, and Depeche Mode played an important role in the establishment of the show’s distinctive, pastel-driven style. And although Michael Mann helped create the show and served as its executive producer during the better part of its run from 1984 to 1989, it’s not apparent that he was intimately involved in the musical selection. When he remade Miami Vice as a film in 2006, Mann eschewed the opportunity to use period music and instead relied on more modern artists like Goldfrapp, Mogwai, and Moby.

The Film: Heat

The Song: “God Moving Over the Face of the Waters” (download)

The Artist: Moby

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