According to the social media calculator Klout.com, Justin Bieber rules the web with an iron fist (more like a scrawny fist). Klout measures internet popularity by combining tweets, Google mentions, Facebook likes, and other web indicators. After analyzing the details you are given a score out of 100. 100 marks popularity. Bieber has a perfect score (most likely the only thing he has ever scored 100 on). That is more than President Barack Obama who scores 88 on the service. I have a score of 21! Yeah! I’m moving up in the world.
So, does this matter at all. No, of course not. It is simply a way to judge your internet popularity and if people searching or mentioning you matters for your psyche, then I guess this is important. (Mention me! I want better Klout!) But, in all honesty, most internet users have the attention span of a goldfish and clicking the mouse is the portal to the grand diversity of internet addiction. Seriously, you can probably get from this post to a rousing video of animals jumping on trampolines. That probably would have an awesome Klout score.
Wow. Another item of Beatles’ history was up for auction. Beatles’ items are being auctioned off faster than beanie babies used to sell. It seems that everyday I see another thing being sold. At Braswell Galleries’ annual New Year’s Day auction, John Lennon’s famous white suit which he wore on the Abbey Road, was sold to an anonymous bidder for $46,000. That is one expensive, ugly suit. Soon enough they will be selling grass from Lennon’s grave. Anything auctioneers can take from Lennon they will. Heck, they may even auction off Yoko.
Here is a great video of Paul McCartney talking about his experiences recording music at Abbey Road during his Chaos and Creation at Studio 2. Here is some talking and a beautiful performance of “Friends to Go”
Happy New Year! If we can base music predictions off of 2010, I believe 2011 will be another great year for experimental genres and folk-blend rock. Harmonies are in! That is good news folks.
There are some confirmed tours for 2011, but we will have to wait a little while for most of the Spring/Summer concert schedule. I can tell you that Roger Waters is still doing his The Wall tour. It picks up again in March (Lisbon, Portugal).
Now, remember, David Gilmour will join Roger Waters for one show to perform “Comfortably Numb.” This was confirmed last summer. After it was confirmed, I predicted where Gilmour would join Waters. This is what I said:
“My guess is that Gilmour joins Waters at the 02 Arena in London on Tuesday, May 17, 2011. Yes, the tour reaches far into the new year. The 02 Arena is in a convenient location – it is near Gilmour’s residence – and the date is the last in the straight series of five shows played in London, only a mere hour away from the original Pink Floyd stomping grounds, Cambridge. It just all seems to perfect. But, like most things, we must wait and see.” July 19 https://musiccourt.wordpress.com/2010/07/19/relax-ill-need-some-information-first-just-the-basic-facts-where-is-gilmour-going/
“Roger Waters will be filming and recording all 6 shows at The O2 Arena in London in May.”
I smell clue. Roger Waters likes money and attention. Many would argue that these are his two most favorite things. Music is in there as well, of course. Filming implies a concert DVD. And, what better way to draw buyers than feature the Waters/Gilmour reunion on DVD. I am not saying that this is set in stone, but I do think that the filming may be evident of the “Comfortably Numb” reunion taking place during one of these dates. So, you have a 1/6 chance to pick the date. My guess was May 17. I stated that it was the last date for Waters at the O2 arena and at the time it was. But, another concert was added for Wednesday. I change my guess now to May 18. I guess we will see if I am right.
We are immersed in the New Year’s Holiday and perhaps the greatest part of it is the Twilight Zone marathon on SciFi or Syfy (they change the name of their channel often). I plan on sitting back and enjoying each episode all day long. Seriously, no episode of this the Twilight Zone is bad. Rod Serling, Binghamton native (by the way), was an absolute genius.
So, let me take this opportunity to wish you all a wonderful New Years. Your support is invaluable and I hope you have enjoyed the blog over the past year. I will strive to improve it even more over the upcoming year. There is always room for improvement, of course. I am happy to hear any suggestions or comments you have. Feel free to e-mail me at musiccourt@gmail.com.
I would also be honored to have you like the Music Court on Facebook. You can access the page through this link:
Also, please follow me on twitter. My handle is “musiccourt”
Over the past few weeks I have put together a countdown honoring the best 11 songs of 2010. If you have missed any of the song reviews during the countdown, do not fret. Below, I will provide a short rundown of the countdown with links to each review. Enjoy some of the best songs of 2010 before you toast to a New Year!
Number 11
“Tighten Up” by The Black Keys
I Said:
Yes, Frank is infectious, but so is the opening whistle, catchy riff, excellent bass and drum portion (Pat Carney at his best). The song is excellently put together, clean, but rugged. The mini-solo that repeats throughout the song serves as a shaking breakdown (or Frank dance portion). Because, as we all know, Frank is a Funkasaurus Rex.”
This is a 5-minute work of genius. Notice how we immediately are introduced to a wacky string section that already hits us with the Grizzly Bear sound. And when they erupt into the acoustic chords and normal string section it is as if we have been sent back in time. The string coordination is beautiful. Chris Chu’s voice appears in the first verse and, just like an ocean wave, douses listeners with water infused with vocal goodness. The harmony prior to the chorus is so British harmonizing it is absolutely scary. The lyric is not shabby either.
The band lives on vocal harmony. That is how they evoke their feelings. And, they have always done this well. But, by adding more instruments they have created an even more dynamic presence on stage. Now they pair more complex instrumentation with their harmonies. This provides a sound that hits you on multiple levels. This is why “Infinite Arms” works. The end of the song features the combination and it sounds like the puzzle pieces have been put together. It is form fitting. The song then fades beautifully.
The song is immediately depressing. The charcoal video is paired with Berninger’s gloomy voice, dark but level, and a solemn loneliness that immediately presents itself after the drummed opening. The squirming repetition is almost as uncomfortable as Berninger’s drunkenness throughout the video. But, please don’t take that the wrong way. Songs are occasionally supposed to move you out of your comfort song. If you listen to pure mainstream you never get the opportunity to experience different music. And this is exactly what “Bloodbuzz Ohio” is. It is representative of a band that may be slightly out of your normal listening zone. So expand it and taste something that nears on acerbic and austere, but still maintains a hook and melodic quality that draws you in.
Then the pre-chorus hits you with a wall of sound that just comes out of nowhere. Suddenly you are being hit by an orchestral sound before the chorus (or what seems like the chorus) hits you with this Bowie-like “Ashes to Ashes” segment. Then a sing-a-long and a flute. You stop and think to yourself, what the hell is going on? And that is when I first realized that this is a good piece of psychedelic music.
Gorillaz often do an exceptional job combining visual and auditory stimulants that excite and please the listener. Like I implied above, listening to a Gorillaz song and watching any released visual material is like watching a short film. Art and music are combined effortlessly.
It successfully blends two different genres of music effortlessly. It is so impressive. It may have been hard to find, but Broken Bells found and mastered the high road.
“Another New World” is the album’s chef d’oeuvre. It is a close to eight minute wonder. Seriously, the song is spectacle. Josh Ritter and his Royal City Band (his often forgotten tour/studio musicians) produce an epic.
“Fuck You” is a warped Motown song. Everything from the old-school video with the corny dance moves to the call and response to the soul swing and vocal. It’s funky and fun. Cee Lo Green displays his vocal range and at times even introduces humor into the song. It is bright Motown with a spiteful “Fuck You.”
The chorus is infectious. It’s like a disease. For days you are singing “let me come home.” And then the band adds an instrumental breakdown. The horns are matched with shouts of home and then a vocal end.
Before the song ends, Matsson holds out the word “the” in this vocal climax that is shattering. It is also a perfect way for me to end this countdown. There is an animation in Matsson’s croon that is warm, inviting and aggressive. This is a true strength in his music. He is a folk musician who can provide the erupting emotion that Spector’s “wall of sound” does, but with only himself and a guitar. He is a one-man-band who is significantly stronger then mostly all of his five or more band counterparts. That is an impressive feat. Heck, he might actually be the “King of Spain”
Last year at around this time in December I was summing up a decade of music. Today premieres a preview of the top songs of 2010, a post category that will run from December 20 – December 30 (Skipping the Sunday in between). Each day will feature a different song in a running countdown to the best song of 2010. Please understand this disclaimer. All opinions expressed in this list (especially order of songs) are opinions. That’s right. So, if you have another song that you believe deserved a spot, post it in a comment and let’s talk. Also, be nice. It’s New Years and Christmas and overall merriment should be the pervasive thought during this season.
Anyway, before I travel home tomorrow (today marked the official end of Fall semester of my senior year at Binghamton University), I wanted to leave you with the #11 song on my 2010 countdown. The list is made up of 11 songs to mark our transition into 2011 and to hold true to the “one for good luck” axiom. I know. Aren’t I witty? Okay, not really. Let’s get to some music.
We kick off our list with a song about a dinosaur. Well, no, it’s not about a dinosaur, but Frank, the Black Keys’ puppet dinosaur, does star in the video for this catchy rock tune. Take a listen:
Yes, Frank is infectious, but so is the opening whistle, catchy riff, excellent bass and drum portion (Pat Carney at his best). The song is excellently put together, clean, but rugged. The mini-solo that repeats throughout the song serves as a shaking breakdown (or Frank dance portion). Because, as we all know, Frank is a Funkasaurus Rex.
We have gone through many songs spanning several genres on our Top 11 of 2010 list. But, today we reach the end with the #1 song that is good ol’ fashioned folk music. I have gone through some pretty complex songs in the countdown. I’m sure you are thinking how did a folk song reach the #1 spot for the year. Well, this specific song is not only a plain folk piece. It is a work of absolute perfection from a 27-year-old Swedish artist named Kristian Matsson, better known as The Tallest Man on Earth. The song combines a genius guitar riff, excellent lyrics and a voice that calls back to a young Bob Dylan (but it’s better). “King of Spain” is the most inerrant song of the year. It is both enjoyable and an absolute masterpiece. This is why it is #1.
Artist: The Tallest Man on Earth
Song: “King of Spain”
I’m not sure where to start. One side is telling me to simply post the song and publish the post. There is no need to defend a song that defends itself in its gritty beauty. However, I do feel that there may be some doubters out there and I do enjoy writing about music.
The Tallest Man on Earth is Kristian Matsson. Well, not really. Ah, you know what I mean. Like I mentioned above, he is a 27-year-old Swedish singer/songwriter. He is a multi-instrumentalist with a voice straight out of the Swedish mountains, boisterous and rural. He plays a bare style of folk, concentrating on the essential three elements to a true folk piece, instrument, voice and lyric. Not everyone can pull this off, of course. Why do you believe so many have to add synthesizers, extra instrumentalists and harmonizers. I am not claiming that those who do this provide us with bad music. On the contrary, most of it explores beautiful sounds that Matsson cannot provide us with. But, I would certainly argue that those who do play this folk-blend style of music cannot support an entire song solo. Matsson can. He is an old-fashioned folk singer who has reached a level of notoriety and success playing a distinct solo style of music.
This is why constant comparisons to Bob Dylan follow him. And while Dylan will forever maintain the title of most accomplished and rich lyricist, Matsson’s two albums prove that he has a strong inclination for guitar style and vocals, enough that he may give Dylan a run for his money. A comparison between the two is quite bold at this time for Matsson simply does not have enough of a body of work. But, I can comfortably say that Matsson’s keen style of folk is some of the best I have ever heard. Yes, it is that good.
The first 27 seconds of pure acoustic guitar is beyond good. I have a tough time describing it. It causes an unconscious smile and you cannot help shaking your head. It is so simple, yet so complex. The song employs a capo over an already changed key. Unusual chord progressions follow and after a quick harmonic a lower chugging progression lays down an awesome rhythm that the song will follow. There is a purity to this progression, an excellence that makes you want to put it on repeat for hours. And then Matsson’s voice comes in.
A Bob Dylan comparison immediately does pop in your head, but the voices are distinctly different. Matsson has significantly more range. His voice follows the chug of the chords and meets the chorus with full force. It seems nasally but is not. Matsson puts this odd guttural inflection into his words and then utters them with such power you are actually blown away. And this is necessary for the lyric which displays passion. It is a unconventional love song. It seems like the song focuses on a lover who thinks he can be anything now that he has been provided with mutual feelings from another. He writes,
“Why are you stabbing my illusion?
Just cause I stole some eagle’s wings
Because you named me as your lover
Well, I thought I could be anything.”
It is described well in this final verse. His eagle wings allow him to soar (a common feeling when you are deeply in love). He feels like he can be anything, like the “King of Spain.”
Before the song ends, Matsson holds out the word “the” in this vocal climax that is shattering. It is also a perfect way for me to end this countdown. There is an animation in Matsson’s croon that is warm, inviting and aggressive. This is a true strength in his music. He is a folk musician who can provide the erupting emotion that Spector’s “wall of sound” does, but with only himself and a guitar. He is a one-man-band who is significantly stronger then mostly all of his five or more band counterparts. That is an impressive feat. Heck, he might actually be the “King of Spain”
From the lyrical epic of #4 to the Motown obscenities of #3 and now on to “Home” by Edward Sharpe and the Magnetic Zeros, a song that relives a Hair-like (on a lesser scale) 60’s anthem, catchy and pleasing. Generally I expand on where we are at before I get into the song’s review but “Home” is way to good to wait for. So, to quote Rex Ryan, “Let’s go get a snack.”
Artist: Edward Sharpe and the Magnetic Zeros
Song: “Home”
Yes, the band consists of all of them
Out of the all of the songs on the top four, I knew right away that “Home” would have a spot in the 2010 elite. While it was on Up From Belowwhich was released July of 2009, the song did not become a single until 2010 and therefore can and does have a spot on the countdown. I knew the song would have a spot on the countdown because not often does a song come around that successfully presents music that is so different and mold it into a popular and creative song. I would even venture to say that the indie/pop song is not starkly different, but, rather an ode back to 60’s music where “Home” would have fallen into a verdant music scene where new music blossomed, even when it was different. It is funny. “Home” is fresh new look at indie music even as an ode back to songs created 4o years ago, and it maintains a quality that many 60’s bands mastered in their success. Simplicity.
Listen:
The beginning of the song immediately grabs your attention. A bubbly whistle follows a repetitive guitar riff and some hand percussion. “Hey” separates the verses sung by Alex Ebert and Jade Castrinos. Ebert and Castrinos are so out of the 60’s hippie culture it is scary. Seriously, they toured the United States with their band in a fashion most similar to the acid laden journey of Ken Kesey and the Merry Pranksters on their bus “Furthur.” Look at the picture above. Tell me that does not send your mind back 43 years to the summer of love.
I can really describe Ebert with one statement he made. After leaving a 12-step program he stated that he skedaddled because he wanted, “to live in a more honest reaction to the truth of the moment, not be bound to certain behaviors by fear-based dogma,” This is from Wikipedia. Southpark would agree.
Jade Castrinos was recently interviewed by Under the Radar and when asked about “Home” she said,
“It grabbed me the moment I heard it. I played on it for a long time, so after that for it to reach other people and get into their bloodstream. I loved it, I really loved it. It was one of the first things we laid down. I thought it was cool, it’s cool that it has caught on.”
I think she describes it well here. It most certainly gets in your bloodstream. It gets in your head. The traded verses emit an awesome effect. The song is like a conversation (and at the end it actually does spark an odd conversation between Ebert and Castrinos where Ebert describes how he fell in love with Jade after she hit her head and almost died). The conversation changes each time they perform the song live which adds a whole new cool element to the song.
The chorus is infectious. It’s like a disease. For days you are singing “let me come home.” And then the band adds an instrumental breakdown. The horns are matched with shouts of home and then a vocal end. An open A, B, C# (what it sounds like to me) and we are back into the whistle. The song can repeat a thousand times and not get old. It is a 5 minute piece that seemingly can narrate any upbeat commercial.
A listener to the song on the Youtube video above writes, “I think those 4,424,028 views are just me replaying replaying replaying this song!” That is perhaps the best description of the song. It is the catchiest song of the year, by far. And I believe #2 is a good spot for it. Tomorrow I will reveal #1.
popularity by combining tweets, Google mentions, Facebook likes, and other web indicators. After analyzing the details you are given a score out of 100. 100 marks popularity. Bieber has a perfect score (most likely the only thing he has ever scored 100 on). That is more than President Barack Obama who scores 88 on the service. I have a score of 21! Yeah! I’m moving up in the world.
The Music Court 