Posts Tagged ‘Ted Asregadoo’

Bourbon Street: “Short Notes on Four Bourbons”

Blanton’s: I was the beneficiary of an act of trickle down economics a few months ago.  Work was a tremendous pressure cooker that month, and I think my boss was very aware of my elevated stress level.  Knowing that I’m very fond of bourbon, he asked me to lunch one day, and on the way back, said:  “Let’s stop by BevMo and I’ll buy you whatever you want.”

Well, I won’t say no to good alcohol, so off we went.  When we got to the store, he corralled the store manager and said, “What’s a really good bourbon?”  I figured he was going to point me to one of my favorites (Woodford Reserve), but instead the manager said, “Oh, you have to try Blanton’s.”  It’s about $50 a bottle, and not wanting to be too greedy and grab a $300 bottle on the top shelf, I humbly said,  “Sounds intriguing, let’s do this!”  When I got home, and unboxed my gift, I immediately noticed the unique bottle that held what I hoped would be liquid gold.  It looked pretty spectacular.  The color was a deep, rich brown and when I opened it, it had some nice aromas but the real test was the taste.

Now, I’m a Woodford man, but I’m not so conservative that I’ll only drink Woodford, so when I first tasted Blanton’s, I was struck by how mellow it was in my mouth. There were hints of maple and vanilla, but not in an overpowering way. The finish, however, was somewhat disappointing. It’s not that it was entirely flat, but that smoothness that was part of the initial experience didn’t linger — nor did the dominant flavors.  Blanton’s is on the pricey side, but if you’re in the market for a “special occasion” bourbon, this is a good find. (more…)

Mix Six: “America”

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The theme of America in popular music has run the gamut of idealized notions of a land where one can pursue one’s dreams, to a kind of nightmare where those dreams are crushed. Even before the economy was in the toilet, the sense that life in America was more than the shining beacon of liberty that Neil Diamond sang about on The Jazz Singer soundtrack.  Instead, what we have here are songs of longing, love, loss, betrayal … you know, the stuff of life.  Instead of diving head long into the morass of song analysis in the intro, I’ll add my two cents in drips and drabs below…


“America,” Yes
(Download)

There’s something about Yes giving this tune a kind of pop proggy treatment that makes this rendition of “America” one that strips away all the melancholy of the original and reveals a song that’s a soaring journey through parts of the New World – with just a tad too much psychedelic guitar in the middle.


“Miss America,” David Byrne (Download)

Byrne’s love of South American Latin rhythms didn’t really abate ‘til he released Everything That Happens Will Happen Today.  That’s not necessarily a bad thing — especially when it comes to “Miss America.”  The duality of love/hate in the lyrics, and the music weaving Latin styles with more North American pop melodies really add to the song’s appeal on a meta level.  Wait.  I believe I’m over-thinking this song a bit too much.

“James Brown,” Big Audio Dynamite (Download)

Ah, James Brown.  The Godfather of Soul who really doesn’t like to take any crap from anyone — even if they didn’t do anything to him.  Brown’s run-ins with the law are pretty well documented, and even though the guy is a great musician who has contributed an amazing amount of glorious music, I wouldn’t have gone over to his house for small talk, help him repair his light, or even to use his toilet. You say you don’t know what I’m talking about, well just read they guy’s rap sheet and you’ll be up to speed.  Big Audio Dynamite has done much to idolize Brown’s speed chases with the cops, but what’s really the moral of James Brown and the cops?  That’s right, “I Fought the Law and the Law Won.”


“Brilliant Mistake,” Elvis Costello
(Download)

This song is more self-flagellation than a critical spitball lobbed at the culture of the U.S.  Costello, in an unusually bitter mood after his divorce, crafted a really catchy song that is laced so much seething anger that all that personal stuff could easily turn political- which it did by the late ‘80s.


“Bullet the Blue Sky,” U2 (Download)

U2’s ode to America on The Joshua Tree is less a paean and more of a pleasing painting with, at times, very dark overtones.  “Bullet the Blue Sky” is one of those thunderous songs that is certainly political, but the lyrics are more oblique so you really have to tease out what war Bono is referring to in the lyrics.  Considering that the album was released during the last years of the Reagan Administration, it doesn’t take a doctorate in political science it know that the imagery Bono conjures of bombs, money, displaced women and children has to do with the United States’ policy in Central America during the ‘80s.


“21st Century Breakown,” Green Day (Download)

The follow-up to the overtly political American Idiot finds the Bay Area boys heading right back into the political waters with “21st Century Breakdown” — this time, however, with a more personal is the political angle. To wit: “Born into Nixon I was raised in hell/A welfare child where the Teamsters dwelled/The last one born and the first one to run/My town was blind from refinery sun.” Oh, and if you know the biography of Billie Joe Armstrong, you know that he grew up in the lovely working class town of Rodeo, CA where much of the imagery of this song is derived.

Mix Six: “The Remake”

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What possesses an artist to revisit his or her recordings years later and decide to remake the song?  Sometimes it’s money, sometimes it’s about a label being a big butt-head, and sometimes it’s just about revisiting a song to see what new wine can be wrought out of old wine skins.  Whatever the case, this week I’m going lay on you the good, the bad, and the ugly of remakes.  Oh sure, some of these don’t even sound like remakes at all, and others you may wonder: “Why the hell did they do that?”  But one thing’s for sure, you’ll probably be scrambling to hear the originals – just for comparison’s sake if nothing else. Okay, let’s get it started, shall we?

“Lady ’95,” Styx (Download)

Now here’s a case of a label being a big butt-head about a song the band wanted feature on a compilation album  The Styx corporation reunited in 1995 to put together a greatest hits collection to, well, make some money, and when assembling their song list they found out that “Lady” (recorded back in 1973 with their first label, Wooden Nickel Records) wasn’t available due to some legal back and forth the band had the good fortune to endure back in mid-‘70s. So, what to do?  They really wanted “Lady” on their latest greatest hit records, so they did what any corporation would do: create a knock-off and hope the fans wouldn’t mind.  This version is pretty close to the original, but if you’ve heard the song for as many years as I have (I remember hearing it when was a little kid in 1974), you get used all the subtle thing going on in the song with the vocals. And just hearing the intro, it’s clear that whatever guide vocals DeYoung was listening to when recording this, he just had to go and add a little flourish here and there and kind of ruin the whole thing.

“25 or 6 to 4,” Chicago (Download)

I know, you’re probably saying “Why?  Why did you take an otherwise novel mix and throw this proverbial turd in the punchbowl?”  It’s really to goad Jeff Giles.  You see, secretly he loves this version more than the original, but he can’t admit this to anyone openly because it would violate a clause in his membership agreement with Club Mellow Gold. Anyway, when this version was released back in 1986, I was enjoying my first paying gig as a radio DJ. One day, this single shows up in the mail, and I was immediately skeptical when I saw the title.  The program director (who is still a friend of mine) took it out of the envelope, and cued it up on the turntable.  At first, he had this quizzical look on his face when the music started, and then he started cranking up the volume and proclaimed to me that the song was “An amazing remake that’s going to introduce Chicago to a whole new generation.”  Now this was during the days of hush-hush payola, and I don’t recall seeing any money or blow in that envelope from the record company, but damn if this wasn’t in high rotation for about two weeks. When it was relegated to the “recurrent” file, everyone breathed a sigh of relief and happily passed over when it came up on their shift.

“After Midnight (Alternate Mix),” Eric Clapton (Download)

Okay, this is not a Clapton song, but rather it’s a song that belongs to J.J. Cale – who recorded a demo of it in the ‘60s.  However, Clapton popularized the song, so it’s kind of fitting to see what he decided to do with it 18 years after it was released. Now for those children of the ‘70s and ‘80s, you’ll remember this version was used to sell a lot of beer for Michelob, and it kind of raised some eyebrows among guys like me who smelled “sell out” when the commercial aired. But by then, many icons of the ‘60s were lending their songs and images to sell products other than their own music, so I guess Clapton saw another way to beef up his bank account and reached for the green.  As a remake of his original cover (how’s that for a weird sentence), it’s a pretty good one.  I could do without the moody intro, but the guitar work and the whole medium tempo groove is simply smokin’!

“De Do Do Do De Da Da Da (1986),” the Police (Download)

First off, let me apologize for the crappy quality of this recording. It’s unfortunately a very low quality rip, but it’s the only one I could find.  Yes, if you’re a fan of the Police, you know the band was planning on re-recording all of their hits for a greatest hits album in 1986.  But Stewart Copeland had a rather nasty fall off a horse and broke his shoulder and couldn’t complete the recording sessions. But before the band called it a career (‘til their reunion in 2008), they were able to remake “Don’t Stand So Close To Me” and “De Do Do Do…”  It’s hard to find this version because it was only released on Every Breath You Take: The Classics (the DTS CD). Now if you have that hard to find pressing, may the music gods bless you because you have, in this day and age of everything seemingly being available on the Internet, a rare recording.  I’m not sure what I really think of this version, because while I don’t hate it, I’m not really feeling it.  One thing I’m really happy about, though: that the band was never able to realize their goal of completely remaking all their old hits.

“Carpet Crawlers 1999,” Genesis (Download)

Now here’s a remake I really love.  The production is lush, full, and the band’s maturity demonstrates that they were able to create a version of “Carpet Crawlers” that could feature both Peter Gabriel and Phil Collins – but do so in a way that made me want the band to regroup and record some new songs. Sadly, I don’t think that’s ever going to happen, but if it did, I for one would be ecstatic.

“Prayer ’94,” Bon Jovi (Download)

I hear the original version of this song every day at work, and yes, I’m sick of it, but I gotta hand it to Bon Jovi for breathing new life into a song that’s been very, very good to him.  I’m not sure what possessed him to go semi-acoustic on this song, but maybe it was a desire to demonstrate that he was more than just a guy with girlish good looks and hair. I’m not sure the lyrical content warrants an unplugged version, but do we really listen to Bon Jovi songs for their lyrical insight?

Mix Six: “Body Parts and Food”

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I think it’s obvious that the title of this Mix Six is pretty gross.  I mean, if I were in the restaurant business, having a title like “Body Parts and Food” would certainly be the death knell for my venture.  But, since this is music we’re talking about, I think you can figure out where this is going by simply using your noodle (Ha! I food reference — and a stupid second grade one at that) and thinking about bands who have branded themselves with a moniker that certainly gets attention. So, here we go with a little musical tour of the morgue and the produce aisle — um, I mean, bands with evocative novel names.

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Mix Six: “The Other ’70s”

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Quick!  Without looking at the list of artists below, what do you think of when you think of the ’70s?  Did you think of disco?  Maybe. What about arena rock? Perhaps.  The folk stuff from the early ’70s?  It’s possible.  British punk rock?  Could be.  Well, those categories quite possibly cover the major musical genres that dominated the “Me decade.”  But between the crevices and in the margins of the dominant genres were other artists who would later become associated with New Wave music, heralded as pioneers of electronica, or even New Age.  So let’s jettison our preconceptions of the ’70s and get ready for some uncommon sounds from a decade that gave us the end of the U.S. involvement in Vietnam, the end of Richard Nixon, and the (temporary) death of disco.

“Running Out of Angels,” Elvis Costello (Download)

Sure, Elvis Costello is an icon now, but back in the ’70s he was this little dorky looking Buddy Holly spastic goof who wrote some solid pop songs that wouldn’t see much radio airplay ’til the early ’80s  — at least in the U.S.  When the Costello box set of his first four albums came out in the ’90s, he included some demos that, to me, were a lot stronger than the studio versions. One of the demos that never really made it beyond the, well, demo stage was “Running Out of Angels” which, according the liner notes in the CD was novel because Elvis rarely had time to actually demo his songs.  He usually wrote them on the bus, rehearsed them during sound check, and then went into the studio to record them.  But what makes this a great demo is that fact that Elvis screws up during the first verse and then starts over without missing a beat.

“I’ll Come Running,” Brian Eno (Download)

Eno’s humor on his album wasn’t as apparent as earlier releases, but “I’ll Come Running” has some wonderfully humorous moments of an obsessive and overbearing personality. This album also signaled a later avenue for Eno (i.e., ambient music) which would creep into the music of many New Age artists who had a good run in the mid-’80s.  One of the more interesting (and geeky) things Eno would introduce during recording sessions were the “Oblique Strategies” that only an accomplished musician can seemingly get away with.  If you don’t know what I’m talking about, you can read the Wiki here, and then in the comfort of your own home, you might want to try some of these instructions when making music.

“Autobahn,” Kraftwerk (Download)

Oh, aren’t you lucky!  I dumped out of “Autobahn” after about eight minutes on the full mix, but because you’re a loyal reader (or just show up for the mp3s), I’m loading up the entire 22 minutes (and some change) of the song.  Even though Kraftwerk became fodder for the Dieter character on SNL, their music is so much more than what they did on “Boing Boom Tschak” off of Electric Cafe.  Indeed, “Autobahn” is kind of the grandfather of electronica music with its hypnotic vibe and synthesized soul.  All in all, a good ride.

“New Dawn Fades,” Joy Division (Download)

1979 was the year that Joy Division released their debut album, and boy what a brooding work it was.  It’s hard to believe that New Order was able to transcend that sound for a more upbeat pop beat that still had dark lyrics, but was so full of great hooks, that many didn’t really notice.  With “New Dawn Fades,” Joy Division really busts out the angst with snarling guitars, an always solid bass line from Peter Hook, and of course, Ian Curtis’ dark delivery.  Perfect for getting your goth on!

“I Zimbra,” Talking Heads (Download)

One of the most interesting lead tracks from a Talking Heads album — and the band chose it to be one of the singles released from the album.  I’ve never seen the Talking Heads perform live, but I did see David Byrne on his last tour.  He performed this song, and it was a note for note, pitch perfect version of the one on the album. Fear of Music is also noted for the group’s collaboration with Brian Eno, and I wonder if the band used his “Oblique Strategies” on this album. Considering how much Byrne admired (and copied) Eno in many ways (even dressing like him), they probably did.

“She’s So Modern,” the Boomtown Rats (Download)

A band that never really got a fair shake in the States, the Boomtown Rats had embraced a number of musical styles before calling it quits, but here they are at their snotty best with “She’s So Modern”– which sports unintentionally humorous line:  “She’s so nineteen seventies.”

CD Review: “Somebody’s Darling”

If there was ever a genre of music that I really can’t stand, it’s country music.  That being said, I have to say that the music gods must have a weird sense of humor because for about a year, the amount of country and Americana music that’s come my way has increased a great deal.  To wit:  I did an interview with Jessia Harp about her new album, A Woman Needs.  Then, I interviewed Mike Meadows from porterdavis, and now showing up in my mailbox was a CD from Somebody’s Darling.  I know that reviewing and interviewing three artists who have casted their lot with country and Americana does not make a deluge, but for me it’s more than I’m used to.  Don’t get me wrong, my taste in music does intersect with country and Americana through artists like Dire Straits and the first Lone Justice album.  But beyond that, I’m really not the kind of guy you’ll see donning a cowboy hat and doing some line dancing.

That being said, I have to say that the first full-length CD by Somebody’s Darling has won me over. Starting with the hook-heavy “Horses,” the album continues to deliver song after song, a potent cocktail of country rock with blistering guitars, a solid backing rhythm section and the powerfully bourbon and cigarette-soaked vocals of Amber Ferris. But this album doesn’t just rock hard, there are some rather lovely ballads that showcase Farris’ vocals in a much more stripped down manner.  Case in point is the wonderful “Chug Chuggin” where Farris sings of those favorite country themes: heartache and woe. But the song doesn’t languish in a mid to slow tempo groove, instead the band ups the tempo for a smoldering ride out. A couple of other  standout tracks are “Wind Gone Dry” and “Lonely”(Download) — which must sound simply sublime live.  The raucous guitar, the thumping bass and, of course, Farris’ vocals surely makes these songs big time crowd pleasers.

There’s a kind of an out of the box instant likability to Somebody’s Darling debut.  The album as a whole is very strong, and they demonstrate they’re players who certainly have the chops, but also the maturity to create music that doesn’t fall prey to what’s trendy.  Clearly, their aesthetic has struck a chord with the music buying public (As of this date, Somebody’s Darling is at #31 on the Americana charts, and are climbing at a slow but steady clip). And it’s really not a surprise since the songs have wonderfully placed hooks in both the music and the vocals.

Once Somebody’s Darling starts touring outside of of their native Texas, I’m sure their fan base will grow exponentially. Currently, the band has the unfortunate luck of sharing their name with a couple of other groups, but if it’s powerful roots-based country-rock you’re looking for, there’s only one Somebody’s Darling.

Mix Six: “Hello Ladies!”

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My iPod was having a love affair with the ladies the other day — which is a really good thing!  Not all the songs in the shuffle were the ones featured here, but it did give me a good idea for a mix that, well, is pretty much a celebration of the double x chromosome.  Now granted, I didn’t skip all over the genres to feature the many musical styles of women, but in true Mix Six tradition, I found six songs that mix well together.  So, as Gene Wilder said in the Willy Wonka and the Chocolate Factory, ” I hope you enjoy it.  I think you will.”

“Unbound,” Suzanne Vega (Download)

Suzanne Vega spikes in this electronica drenched tune on her excellent Beauty & Crime.  It’s an atypical composition in an otherwise meditative album.  Vega has one of those voices that’s easy to get lost in, and even in this song –which balances the electronic flourishes with some nice guitar work — Vega’s smokey voice adds the right amount texture to what could easily be a rather robotic tune.

“Pa’ Bailar – Siempre Quiero Mas (featuring Julieta Venegas),” Bajofondo (Download)

About two years ago, I got to see Bajofondo play a free concert in San Francisco (I even wrote up an album review for Popdose after seeing the show).  I gotta say, I was really impressed by their playing and the energy they brought to the stage. So much so, I thought: “Boy, these kids have a real future in the music business.”  Flash forward to 2010, and “Pa’ Bailar” is one of the songs on my “workout” playlist on my iPod.  The hypnotic 4/4 drum beat leading off the track really makes for a perfect mid-tempo workout tune (go ahead, try it).  Plus, Julieta Venegas’ voice is just scratchy enough to add a nice bit of passion to Bajofondo’s electronic tango music. And just when I think “Hey, this song would sound great on a soundtrack, or even a commercial,” Acura steals my thunder by using part of the song to sell their cars.

“Get Him Back,” Fiona Apple (Download)

All the drama surrounding the release of this album makes for good soap opera fun, but was the album worth the wait — even with all the tracks that surfaced on the Internet?  Absolutely!  Much of Apple’s music has a very musical theater quality to it, but it’s really great when she chucks all that and just delves into a solid pop song.  “Get Him Back” has some really dark lyrics, but the song’s irresistible groove makes me kind of gloss over all that anger Apple is channeling in the lyrics.

“Tennessee,” The Mimsies (Download)

Originally from Norman, Oklahoma, the Mimsies has a good 10 year run in the club scene — which culminated in a couple of years on the Warped Tour.  The band broke up in 2004 and pretty much went their separate ways.  Nowadays, former lead singer, Casey Castille, lives in Oakland, CA, and from what she wrote on her My Space page, she’s been doing a lot of non-musical things like building a law firm, working on archeology projects, and event baking cakes for people at the Pentagon.  I know, “Huh, Wha’?”  But what about the music?  Well, if you own any of the Mimsies’ three albums, consider yourself lucky because they are not really available out there in Internet land.  Sure, you can grab a few tracks from a My Space page started by a fan, but “Tennessee” is not an easy one to find.  I was lucky enough to find it years ago, and I’m glad I download it when I did because this song is solid.

“People Got A Lotta Nerve (Live),” Neko Case (Download)

An album that made many “Best of” lists for 2009, Neko Case’s “People Got A Lotta Nerve” is certainly one of the more radio friendly songs off of Middle Cyclone, but I really prefer this live version — that was a bonus video on the iTunes download.  I can’t say that I’m a Neko Case aficionado, but for those of you who are, you tell me if you think the live version of this song is superior to the studio recording.

“If The Stars Were Mine (Orchestral Version),” Melody Gardot (Download)

I was surprised by the lush orchestration Gardot used on her third album — but in a good way.  Worrisome Heart in 2008 was a real treat with its spare arrangements and David Lynchian jazz style, but it’s easy to see how a follow-up that essentially gives listeners more of the same could easily result in a dud.  Thankfully, Gardot had the good sense to expand her style in such a way that her fans wouldn’t be alienated by her new direction.

Mix Six: “Bear McCreary”

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Being a science fiction TV geek has gotten easier since my childhood days of Space: 1999, Star Trek, and the original Battlestar Galactica.  Thanks in large part to the financial success of Star Wars and Star Trek movies, science fiction programs have been easier to pitch in Hollywood — or so it seems to me.  Moreover, with the popularity of video games that, more often than not, have a science fiction theme to them, it’s increasingly clear that science fiction not a genre that’s only  relegated to the nerds.  Sure, a large part of the SF fan base are nerds, but there are so many closeted science fiction fans who won’t admit to liking the genre that a full picture of the demographic is kind of blurry.  It’s like adult contemporary radio in a way (i.e., a format that’s programmed for women).  Few men admit to liking soft rock, but now that Arbitron is using their PPM (Portable People Meter) to collect information about listening habits, they are finding that men do indeed like their fair share of AC artists. I would imagine a similar phenomenon is happening when it comes to science fiction — that is to say, there’s a large swath of the population that won’t admit to liking science fiction TV shows or films, but their viewing and purchasing habits suggest otherwise.

Enter the composer Bear McCreary … a guy who has composed an impressive amount of music for the series Battlestar Galactica (BSG), and has done so by largely breaking with the stylistic norms surrounding science fictions TV shows and movies.  Composers scoring TV shows or movies with science fiction themes have, to me, either created music that’s bombastically romantic with full orchestras, or have tried to craft futuristic sounds that can sound rather ridiculous.  McCreary  has charted a “third way” when writing music for BSG. Finding inspiration in music from around the world, many of McCreary’s music cues for BSG would have middle eastern flourishes, Asian Indian references to sacred texts, Scottish bagpipes, and heavy metal guitars that wove together a rich musical tapestry reflecting the cultural roots of the human race.

And he did all this before he turned 30.

Bear McCreary is more than BSG, he’s provided scores for a number of projects that include TV, commercials, and now video games. The more I listened to his work, the more I wanted to feature his music that’s stylistically diverse than what most are used to. So that means this mix isn’t weighted toward his BSG work, but rather surveys a wider grouping of  music projects.

Beary McCreary, “Human Target: Main Titles” (Download)

I watched a couple of episodes of this new Fox TV show, and found it kind of boring. However, I’ve been reading McCreary’s blog for over a year now and find it to be a wealth of information on what goes into a scoring session. The work he’s doing for Human Target has some nice stylistic elements (i.e., the use of a boys choir in an episode called “Sanctuary”), but the title sequence is pure heroics with that whole military undercurrent thing going on.  I featured this selection because I think it demonstrates that McCreary can easily create music that reflects the tone of the show.  Too often, composers gets trapped by their successes, and after BSG, I’m sure McCreary had to prove that he was more than a Johnny One Note when it came to working in other genres.

Bear McCreary, “Derek’s Mission” (Download)

It really pissed me off when Fox canceled Terminator: The Sarah Connor Chronicles.  But for some unknown reason, no one really tuned in to the series; a series I had a very high regard for.  McCreary’s score for the show has many similarities to his work on BSG, but T:SCC was much more meditative than BAM! BAM! BAM! action that the Terminator movies where known for. The show grappled with religion, ethics, nihilism, love, artificial intelligence, time travel and alternate time lines in a way the producers of Lost wish they could.  After the season 2 cliffhanger, I was hoping Fox would green light a TV movie to wrap up the loose ends of the narrative — which had grown very complex by the time the show ended. Alas, it was not to be.

Bear McCreary, “A Tauron Sacrifice” (Download)
Being the huge BSG fan that I am, I thought I would really love Caprica, but I really didn’t like much of the pilot or the first couple of episodes.  However, by the third episode, I started to warm up to the story.  The music is quite a departure from what McCreary was doing on BSG.  Sure, there are some stylistic similarities (after all, it is the BSG universe — just 58 years before the their worlds were attacked in a nuclear holocaust), so carrying over some themes and styles is expected.  However, McCreary is more rooted to European classical music on the Caprica soundtrack than the world influences he displayed on BSG.  Since the series takes place on a planet and city that’s supposed to be a cultural, political and economic center of their society (much like New York City), McCreary decided to go with a musical style of Caprica’s ruling elite, as evidenced by the swelling strings and operatic quality of this music cue.
Bear McCreary and the BSG Orchestra, “Theme from Battlestar Galactica: The Plan” (Download)
McCreary and the BSG Orchestra have been playing concerts in L.A. for the last couple of years, and lo and behold, they fill the venues!  This live version of “The Plan’s” main theme turns into a really wonderful extended jam.  For BSG fans, the use of The Gāyatrī Mantra has been a mainstay of the opening since season 2, and I absolutely loved how McCreary was able to rework the original opening into a more lively and percussive song.  And Raya Yarbrough’s vocals are in top form on this live performance.  If you have iTunes, I recommend downloading the video of this concert if only for the cello jam in the middle.

Bear McCreary, “Dark Void” (Main Finger Remix) (Download)

The makers of the video game, Dark Void, had a contest where they asked people to remix the main theme to the game.  After a number of submissions, Jesse G won the contest (judged by McCreary).  What he liked about G’s remix was that it incorporated the feel of an 8-bit score McCreary composed for the PC game — which captured the feel of early video games:

The Main Finger Remix, like the best of the entries, cleverly combined elements of my track with original material to forge a new musical identity. However, it managed to structure these disparate musical puzzle pieces into a form that flows like a good song. This piece never stays the same long enough to get boring and it never changes so radically that it feels like a montage of unrelated ideas. And there are some fantastic ideas here: the shuffle groove cut up from my taiko riff, the simple sine wave synth lines that bring to mind the 8-bit stylings of my own “Dark Void Theme (Mega Version),” the heavy-rock bridge featuring acoustic drums and electric guitar and the re-harmonization of the melody at the end of the piece, among others. I especially appreciate the restraint on display in allowing the melody to rest cleanly atop the driving remix elements, giving the listener the melody to listen to. I know I’m biased because I wrote that melody, but still … its fun to listen to it in such a new context!While many of the submissions resulted in intense beats, The Main Finger Remix struck the perfect balance between remix originality and good ol’ fashioned musicality. This is a piece of music I want to keep listening to. Now, if you’ll excuse me, I’m putting this thing on my iPod right now!

Bear McCreary, “The Mask of Fargo” (Download)

Eureka is on its third season on SyFy, and it has a a lot of whimsy embedded in its narrative arc that makes the show quite likable. And it’s that whimsical quality that McCreary is going for in this selection. From the episode “Noche de Sueños,” the denizens of the secret town of Eureka start sharing their dreams (some are rather comic) after a toxic spill.  The situations are humorous at first, and then things start getting more serious/dire for those who inhabit the town. “The Mask  of Fargo” is a cue that certainly reflects tragic/comic nature of the episode with the bravado of the Spanish theme, and later, a kind of sad breakdown part in the middle, only to have somewhat triumphant finale.  Entire cues are rarely used in these shows, but it’s refreshing to hear when a composer really understands what’s going on in a scene and uses that to craft an appropriate musical companion piece.

Mix Six: “San Francisco Music Now”

DOWNLOAD THE FULL MIX HERE

Over the weekend, Popdose’s Jeff Johnson and I were able to get together for a bit of a visit.  Alas, the circumstance behind this get together was rather somber, but we were able to have a couple of hours at a bar chatting about film, writing, life and other things large and small.  At one point we touched on writing for Popdose and he asked if I had anything for this week’s Mix Six set.  “Jesus H. Christ! Are you kidding? I’ve got nothing.”  Now, clearly that’s not the case since you’re reading this, but if it wasn’t for the Winter Music Fest in San Francisco that starts this week, and the fact that the San Francisco Chronicle spotlighted the event in Sunday’s Datebook section, you probably would have been S.O.L. if you were looking for a new Mix Six.

It was a bit of luck that I was able to get a list of bands playing at the Winter Music Fest because, quite frankly, I’ve been in a bit of a musical rut as of late.  However, having the chance to check out many of the artists who are playing at the festival, I think whatever musical rut I’ve been in has been, um, unrutted for now.  And if you’re a regular reader of this feature, you know that my taste in music is pretty much rooted in pop.  Put it another way, I love hooks, and the bands/artist I’ve featured this week have hooks galore!  So before I get mired in jibba jabba, let’s get this mix started, shall we?

“Candy Gold,” Rykarda Parasol (Download)

If you’re a fan of Nico and Nick Cave, you’re going to love, love, love Rykarda Parasol.  She’s a San Francisco native, and her atmospheric and moody songs are very dark, and at times, atonal.  However, when she wants to bust out the melodic pop, she does so in a way that weaves in her unique musical style. “Candy Gold” is a tune that came out a few years ago, but it’s a great gateway song into her already three-deep album catalogue.

“Put It Down,” Eric McFadden Trio (Download)

Eric McFadden has been bouncing around the San Francisco music scene for years, and has become known for his melodic, but eclectic style of guitar work.  Some of his songs hearken back to a kind of ’60s sound, but it’s never a direct copy of any one guitar god.  Rather, he plays with taste, sophistication, and is clearly such an accomplished musician that he has no need to impress newbies by overplaying.

“Out of the Abyss,” Judgement Day (Download)

Just when you thought there couldn’t be anymore variations to metal music, along comes Judgement Day who take metal in a direction that few would have thought possible — namely , the use of stringed instruments.  If you thought that a jingoist, pot-belly, redneck (Charlie Daniels) was the only guy who could rock the fiddle, you’d be wrong.  One listen to Judgement Day, and “The Devil Went Down To Georgia” will sounds like chopsticks.

“Up Up Up,” Please Do Not Fight (Download)

Please Do Not Fight has a lot of great things going on in this song, but the one thing that stands out is a kind of Styx/Dennis DeYoung synth thing.  “Up Up Up” is a wonderful pop song, and I think given time (and the all-important exposure) they’ll make some serious headway in the larger music scene.

“Everyone’s Got To Go,” The Soft White Sixties (Download)

Now here’s a band who is not shy about wearing their music influences on their sleeve. Hell, just looking at the title of the band should be a gimme, right?  Right.  The Soft White Sixties is R&B to the core, and out of the songs I previewed on their My Space page, “Everyone’s Go To Go” had me circling back for repeated plays.

“Where Did You Go?” Bird By Bird (Download)

When you think of bands from Berkeley, I would imagine that a power pop group would not be first on your list.  But Bird By Bird simply has some of the most radio-friendly songs in the grouping featured here.  Fronted by Jonathan Devoto (formerly of The Matches), “Where Did You Go” has an instant likability, and very soon you’ll be singing the chorus in your head (or blurting it out in the shower) after a couple of listens.

Pop Politico: “The Times They Are A-Changin’ Back!”

The election of Scott Brown to the United States Senate has been the sexy political story of the week, but it’s also a reminder to the Democratic party — and President Obama — that “change” doesn’t come without a fight. For the past year, Obama and the Democratic leadership have been far too conciliatory in their efforts to govern.  Reagan Revolutionaries — fueled up on a heady mix of Randian certainty, (Leo)Straussian political theory, von Hayek economics, evangelical Christian social conservatism, and a right wing media coalition of AM talkers and Fox News Channel — have, for decades now, been at the storm front of their efforts to remake America in their own image.  The presidency of George W. Bush demonstrated the limits of that ideology, and with the election of Barack Obama, the vast majority of the electorate connected with his message of change and projected their hopes (and votes) on him to bring about something other than Bushworld.

The issue of health care was a key concern among Americans during the 2008 campaign (still is, despite all the hoopla about “41″ being the magic bullet killing “Obamacare”).  Back in the post-glow of the presidential election, the thought that we here in the colonies would finally get health care that was affordable and universal meant many things to people.  Mostly, I think people where excited by the thought that 1/6 of their paychecks weren’t going to 1/6 of an economic sector that, in some states, had a near monopoly over health insurance. Yes, there are 40 million people without insurance, but for many of those who have health insurance, it’s a world where each year you’re almost guaranteed to see your rates go up, your co-pays go up, and a level of care hampered by a private bureaucracy. People complain about taxes, and vote for candidates who promise not to raise theirs. But rarely do we see people voting to stop the rate of inflation on our health insurance.

In a way, it wouldn’t matter if Obama tried to create a health care plan like the Clintons did back in the ‘90s, or, like he chose to do, sketch some broad goals, and let Congress create a bill that took in the variety of goals and voices represented in both houses.  Both methods of trying to reform the system meant that the opposition to such change would not go quietly into the night. And that’s exactly what happened.  Republicans, and their conservative allies with deep pockets, threw tons of money at opposing Obama at every chance they could get.  What did they have to lose? They were already a minority party who could say the most crazy-ass things on TV, radio, the Internet, or print, with very few people calling them on their shit.  Indeed, the more crazy they were, the more media time they got. Sure you could watch Jon Stewart featuring a parade of wingnuts, see him shake his head and make a snarky remark, but then surf over to CNN, Fox News, or even the Big Three and see them taking up the topic of “death panels” like they were covering intricacies of the moon launch.

So Scott Brown wins and the big message is that it’s a political game changer. Well, it’s certainly going to make Obama’s job tougher in Congress, but how did that “filibuster-proof” majority in the Senate work out for Obama?  It didn’t seem to stop Republicans from all the delaying tactics that kept the Senate in session almost to Christmas, nor did having clear majorities in both houses keep the bill from being watered down to the point where it hardly seemed like reform at all (Hello?  Remember the deals with insurance companies, Nebraska, Louisiana, and unions?)  Personally, I think Obama and the Democrats in Congress need this kick in the crotch. They need to be passionate about their politics the way Republicans are passionate about theirs.  They need to energize the people who voted for them and remind them that if they don’t make demands like the people who oppose the reforms Obama are trying to make, the president is going to cave and chart a middle path between center-right and hard right. In short, the Democrats (both elected officials and voters) need to be clear on what the Democratic party stands for.  With Republicans, they have their message down (even though for the last 8 years, their party has not walked the walk), but the Democrats?  What do they believe in?  Part of the problem is that the party is made up of a loose affiliation of groups that are not united around an ideology. Another part of the problem is that the president cannot (and does not) articulate a consistent set of goals he’s committed to (or in political parlance, issues he’s willing to die for). Maybe it’s because Obama was happy to be all things to all people on the campaign trail and have them project their hopes on him. His speeches were certainly rousing, his campaign was masterful, and the public loved the fact that he was a fresh face whose national political experience was minimal. However, for those who were really listening to his speeches, it was clear that he was very much a centrist much like Bill Clinton. And like Bill Clinton, he had a lot of corporate friends helping him fund his campaign. Money does indeed talk, but if we’re to believe Michael Lind writing in Salon, then the deep pockets that supplied Obama with cash did so because corporatists were placing their bets that Obama would correct the “neo-Confederate right[ward]” shift George W. Bush took the country. Corporatism seems to demand a coalition of Blue Dog Democrats and Olympia Snowe Republicans. There are certainly a good number of Blue Dogs in D.C. but where are the moderate Republicans? I guess the neo-Confederates that Lind is talking about either aren’t supporting Republican candidates, or if they are, their guys on the right ain’t delivering what they want.

Whatever the case, what really matters from here on out is whether Obama addresses the economic desperation that the corportists help to create for those struggling to hang on to whatever crumbs are blown their way.  The unemployment rate is but one indicator in the Great Recession, and while it’s understandable that Obama had to address the big fires that would have certainly made matters worse if left unattended, losing focus on jobs, jobs, jobs (or to bring back a golden oldie from the Clinton era, “It’s the economy, stupid”), it left the field wide open for Republicans like Brown to tap into and foment resentment toward a president and his policies that were less than a year old.

So, where do we go from here?  And by “We” I mean those who understand that in crisis like this, playing it politically cautious is the wrong thing to do. Since Obama is not going to change his cautious ways unless he’s forced to, and unless he just likes smiling for the camera, kowtowing to the Right, and acting like it’s all okay that he’s not getting what he was elected to do, he won’t get passionate about a liberal progressive agenda unless the people who voted for him hold his feet to the fire (Like LBJ told MLK to do back in the ’60s) and demand he act on the democratic wishes that propelled him into office.