I don’t really believe in “guilty pleasure songs,” but if I did, this might fall into that category - though I’m not really sure why. The Black Crowes get ragged on a lot for various reasons, but at the end of the day they’re just a blues-based rock band, and in the grand scheme of things that’s really not such a bad thing. Besides, I know a thing or two about playing in a blues-based rock band with a set of brothers.
It appears at though many folks are wrapping up this whole Date Songs meme, including Lisa (who started the whole thing off - and who also posted a song today by TBC) but I think I’ll be continuing. I have far to many great songs in my library that are over 6 minutes and they’re worthy of attention too. I’m a sucker for a good long song.
One of David Bazan’s greatest talents is his ability to write catchy, memorable melodies and songs without always relying on the crutch of the traditional Verse/Chorus song structure. He uses a narrative style more often than most, especially on his more conceptual albums. This song is a perfect example.
Officer, please don’t haul me in, though I’m drunk again… I can explain. I swear to you, for a week I have been completely dry, until tonight. He’s been such a good example, everything he’s done for me, I couldn’t bear to let him down.
Monday night, brother sat me down very graciously and explained: "If I’m going to help you, I must make it very clear, brother that I love you, but certainly I hate your sin.”
So you see, you can’t arrest me. I swore I’d be careful not to further shame the family name.
David Bazan (Pedro the Lion, Headphones) recently took some time out of his day to talk to Chip Copeland & I for Sock Monkey Sound about many subjects; Randy Macho Man Savage, Bob Dylan, Elliot Smith, his past & present recordings- including 2011’s “Strange Negotiations.” Listen to the interview.
I really enjoyed this interview. It’s not even fair to call it an interview, it was more of a conversation, which is fitting because one of the greatest things about Bazan is his openness and accessibility to his fans.
Check it out if you’ve got an hour. His opinions on Bob Dylan and Auto-Tune were especially interesting to me. Really good stuff.
“Tumblr’s service prides itself on ease of use. ‘Tumblr lets you effortlessly share anything,’ they claim on their website. So when a user does have a question or is experiencing some trouble with the service, LaFountain wants to make sure their support experience is also quick and effortless.”
"Upon his death in 1977, Desmond [the songwriter] left the rights to royalties for performances and compositions, including "Take Five", to the American Red Cross, which has since received combined royalties of approximately $100,000 per year.”
That’s a lot of money. Every year. What an incredibly selfless and generous gesture.
Rivers Cuomo writes so many songs that this one, recorded during one of several Pinkerton sessions, was actually forgotten about. Let that sink in for a second. They recorded this fantastic song… and then they recorded a bunch more… and then they forgot about this one. Holy crap.
The last minute here is everything that made me fall in love with weezer, all rolled up into one compact little package - especially the guttural force of Rivers’ voice and Pat’s utter annihilation of the drums. Goddamn I miss this sound.
This song is actually fairly mediocre, that is… until the guitar solo kicks in at 2:49. Gilmour has rarely relied on effects in his playing, but in this case he’s created something pretty unique. It’s not that the Whammy pedal he used to create the long slow octave-slides has never been used before in this way, but he does it with more beauty and grace than I’ve ever heard.
There’s nothing like re-digitizing your CD collection to reacquaint you with forgotten favorites. What a unique band. They had an amazing sense of humor. Anyone who names an album “If It Weren’t For Venetian Blinds, It’d Be Curtains For Us All” is OK in my book. I’ve always liked them, much to the dismay of my ex.
Reblogging myself for 5:24 for May 24th.
People often try to lump Piebald into the emo scene or the pop-punk scene but I don’t think they fit snuggly into either. I still think unique is a good word to describe their sound.
I’ve previously documented my love for Use Your Illusion I, and this song is one of the four cornerstones of that love (the others: November Rain, Don’t Cry, and Double Talkin’ Jive).
This is truly one of Slash’s most impressive solos. It highlights the fundamental facets of his technique. Beginning at 1:48 with his mournful and weepy melodic slides and then kicking into high gear at 2:13 with his trademark blistering blues-based pentatonic shredding - laced with flavorful trills and bends in all the right places - the solo is a blueprint for anyone interested in trying to ripoff Slash’s sound. A warning though: if you try, you will fail.
It’s one of the few songs on the UYI albums for which Izzy didn’t receive songwriting credit. Izzy was the secret weapon of GNR, mostly in regards to his songwriting, but also largely due to his tasteful rhythm guitar. The track also features backing vocals by the late Shannon Hoon (of Blind Melon fame) and some professional golfer named Alice Cooper.