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Nostalgia

25 Oct

Music is very effective at conjuring up memories; however some songs go further and deliberately evoke nostalgia. It is a powerful emotion than only becomes stronger the older you grow.

An obvious classic is Don McLean’s American Pie. It doesn’t just hark back to better times but a specific day – The Day the Music Died when Buddy Holly and several other musicians were killed in a plane crash. Parts of the song are autobiographical, recounting how he heard about their deaths while delivering newspapers. Writing the song helped McLean come to terms with his grief. From the first line (“A long, long time ago… I can still remember how that music used to make me smile…”), the song is drenched in painful longing for things that have passed. Coincidentally (or not), it has become one of the most played funeral songs. Feel free to spend eight and a half minutes remembering what a great song it is.

Summer of 69 by Bryan Adams is another obvious choice. It may not have the lyrical depth of American Pie, but instead hits the listener with an emotional one-two about a summer of discovering music and adolescent romance. If you’ve ever had a childhood sweetheart, it will be hard not to picture them while listening to this song.

In a record all about looking back on growing up, Arcade Fire’s The Suburbs hits the nail right on the head. It begins with a childhood tale and then proceeds to hammer it home. Win Butler admits every time he thinks he has ‘moved past’ feelings for his childhood home, they catch him again. As if that wasn’t enough, the band worked with Google to create an interactive music video that makes it even more personal, meshing ‘We Used to Wait’ with photos of your childhood home. You can find it here. Prepare the tissues if you watch it.

Gaslight Anthem also trades heavily in nostalgia. All of their songs are told in past tense, telling stories of lost loves and better times. The whole of American Slang could be on this list. One that hits especially hard is their early song Navesink Banks. In it, the narrator walks down by the decaying New Jersey shipyards near his childhood home and says wishfully, “Ah Maria, if you’d have known me then…” In reply, Maria just says, ‘Listen baby, I know you know.’ It’s a powerful moment that says there’s a place for nostalgia, but you have to live in the moment.

Hip hop hasn’t been as quick to embrace nostalgia is it’s a younger genre. Nas’s Memory Lane is noted for its realistic depiction of life in the projects. In the first verse, Nas waxes lyrical about the good parts of growing up, yet after the chorus he is suddenly consumed by memories of lives that had been lost to drugs, prison and street fights. There are no rose tinted memories. His memory lane is gritty and unforgiving, yet he finds himself reminiscing about it anyway.

The Music of GTA 5

25 Sep

A couple of months ago, I wrote about the beauty of the Grand Theft Auto soundtracks. Now that a little game called GTA 5 has been released, it seems like a good time to analyse the music of Rockstar’s latest masterpiece.

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(A quick side note first – rather annoyingly, the in-game radio stations often get obscured by screeching tires and fleeing pedestrians as you’re driving. Feel free to adjust the volume for the radio stations in the Settings menu to make sure you can always hear them.)

West Coast hip hop classics are well represented in the tracks, as a throwback to San Andreas. Dr Dre’s “The Next Episode” is the first track you hear as you begin the game. Most of the songs on here veer towards the lighter side of G-Funk spectrum, being good songs to cruise along the highways to rather than gang anthems. Dr Dre’s associates like Snoop Dogg and NWA are also included several times. The station is even hosted by DJ Pooh, a real life producer who’s worked with many of the artists himself.

Contemporary hip hop is also out in force. The golden child of LA’s real life rap scene, Kendrick Lamar, is featured on not one but three songs, including Jay Rock’s great “Hood Gone Love It”, which was used to soundtrack Franklin’s trailer. There are also tracks by up-and-coming stars A$AP Rocky and Tyler the Creator.

Los Santos Rock Radio plays a constant stream of classic rock and pop from the 70’s and 80’s, including my favourite song from the game so far, “Radio Gaga” by Queen. This ode to the golden age of radio works brilliantly in a game where you will spend so much of your time listening to it. It also shows the game’s sense of fun, compared to the dour, serious GTA IV. You can also hear the likes of Stevie Nicks, Elton John and Phil Collins on this station.

As always, Rockstar takes pleasure in placing obscure genres and artists in its games. For example, Radio Mirror Parks plays non-stop ‘indietronica’, while Soulwax FM specialises in ‘fidget house’. Thanks to the games improved-radio system (just hold down a button to select the station and see what song’s playing), you’ll always know what you’re listening to, so you can find it again later.

If like me you loved San Andreas’s country station, K Rose, you’ll be pleased to know that it’s back in the form of Rebel Radio. I’ve not had much time to listen to it as you can only get it when out in the country, however I predict there will probably be some hidden gems on it, and also some intentionally terrible ones.

With 240 licensed songs, the entire soundtrack would take you days to listen to even without all the exciting things happening in Los Santos. If you somehow get bored of this wealth of music, there are even two hilarious talk radio stations to listen to. All of this adds up to one of the richest gaming experiences ever. If I’ve missed out your favourite song (which I probably have), share it below. Hey, it’s a free excuse to play more GTA!

How Festivals Learned to Stop Worrying and Love Hip-Hop

9 Sep

Something strange happened once Eminem completed his recent headline set at the Reading and Leeds festival a couple of weeks ago. As the final rousing chorus of Lose Yourself faded away, hip hop officially become part of the British musical landscape.

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Let me back up a little bit. Eminem had previous headlined Reading & Leeds (henceforth called R&L to save my fingers) in 2001. However, it is one thing for an artist to be booked when they’re a cultural phenomenon, and quite another when they’re a veteran of the genre. Many British festivals and magazines opened their arms to Eminem while he was at his height. Booking him 12 years on shows the confidence festivals organisers have in his huge back catalogue of work.

Unlike the USA, where rap is so mainstream Jay-Z can host his own festival, hip hop’s traditionally faced a lot of resistance in Britain. Back when Jay-Z headlined Glastonbury in 2008, many people were sceptical. Noel Gallagher claimed: “I’m not having hip-hop at Glastonbury. It’s wrong.” Jay-Z ended up receiving rave reviews for his performance, managing to please both the hardcore fans and those who only knew the chorus to 99 Problems. However, Glastonbury was always far more diverse than traditional rock festivals like Reading & Leeds.

If you need more evidence, look further down the billing at R&L this year. A$AP Rocky and Azealia Banks both performed the penultimate slots on the NME Stage on different days. Neither are household names but both have cult followings. On smaller stages, you could find a whos-who of up-and-coming talent, such as Chance the Rapper, Angel Haze, Earlwolf and Action Bronson. You could quite easily have spent the whole weekend there without hearing a single guitar.

This breakdown of genre barriers isn’t limited to rap. Melvin Benn, the organiser of R&L, recently tipped Chase & Status as future headliners. Electric music is another genre experiencing a huge boom but this will still come as a surprise to the festivals’ hardcore rock fans; the emphasis seems to be less on promoting what people expect and simply putting good bands on.

Eminem may be the greatest crossover rapper ever, partly owing to his rebellious hits aimed at suburban teens and partly no doubt due to his skin colour. However, the fact remains he has opened plenty of doors in the UK and it surely won’t be long before hip hop superstars like Kanye West and Kendrick Lamar step through them. 

To the Moon and Back with Topher Mohr

3 Sep

topher mohr

It should come to no surprise that musician Topher Mohr grew up in Michigan. His eclectic music, which aptly pieces together elements from several genres suggests inspiration, and what better motivation than the elaborate music history of Detroit? While Mohr is impossible to pigeonhole, his music did spark a thought. If Michael Fitzpatrick (of Fitz and the Tantrums) is today’s modernizer of old-school Motown hits than Topher Mohr is reviving the old art of tender crooning. It seems like a lofty proclamation until I introduce you to:

His gentle voice is soothing but subtly strong and passionate. His vocal is saturated with emotion, and the soaked feeling is easily identifiable in his airy guitar plucking. While Mohr does not have the dark, coffee-roasted voice of the traditional old-school, five-pack-a-day crooner, he does, however, revive the old sound and modernize it. It’s exciting to listen to him make an old standard like “Fly Me to the Moon” ring with a contemporary flair.

Beyond his black-and-white performance of “Fly Me to the Moon,” Mohr released his new LP Phlotilla earlier this year. Prior to the LP release, he toured the world with his friend Mayer Hawthorne, another artist who features an eccentric style of music creation. Mohr’s album focuses on vintage pop, and “Ruthless” stays true to the genre.

The rhythm is similar to Fitz’ Motown-inspired hits, but Mohr combines the rhythm with a Maroon 5 meets the 1980s melody. This combined with Mohr’s versatile vocal creates an intriguing hit that even has room for a clean guitar solo! It’s a moving piece and one of the strongest on the new album.

Find out more about Mohr (yes, I went there) at his Website. You can also check out his Facebook and Twitter.

Worst Music of the Week – “Roar” by Katy Perry

1 Sep
Turn it of. Turn it off!

Turn it of. Turn it off!

The content on this website focuses almost entirely on melodious music. We are melody freaks at the Music Court. It makes sense, doesn’t it? We are a music blog? Why would you all want to read about terrible tunes? Well…for all of those who are self-deprecating or interested in a few cheap laughs, welcome to the brand new Music Court category – Worst Music of the Week. And what’s the best way to introduce this category? With Katy Perry’s new single, of course!

Yes, this gem is #2 on the charts right now, and it is barking on the door of Billboard Top Hit. Why? Well, an obsessively devoted fan base can do that for you. But, still, popularity is by no means a metric of a “good song.” While my judgments are inherently subjective, I can safely say that “Roar” is a cruddy song. I will look beyond the claims that “Roar” is particularly similar to “Brave” by Sara Bareilles because, let’s be honest, most songs today sound alike.

Here is my issue with the song. It immediately gives off the feel of a cheesy reproduction of a OneRepublic song. Not to mention, at around 0:30, Perry’s vocal sounds conspicuously like “Ho Hey” by The Lumineers. The constant percussion and keyboard stroke is just so conventional and easy. Look, I understand it makes money, but, come on, put a little bit of effort into the verse. The culmination of electronic instruments at the chorus is simply lazy and overdone. If not for Perry’s changing vocal inflection when she sings roar in the chorus,  the chorus sounds like, I don’t know, just about most other Katy Perry songs. Do songwriters think the mainstream public will just eat up everything it vomits out like a confused dog? Well…yeah, because it does. It’s not difficult to pass a successful song through the Billboard charts today. Catchy, consistent beat. Choral climax. A ridiculous repetitive bridge with rising moans, and a final diapason of choral repetition – numerous overlaid tracks of the singer repeating the chorus. It’s pop music 101. Does that mean it’s bad? Not necessarily. It’s just that this particular Katy Perry single is such reproduced garbage that it needs to be knocked down a peg. The single is catchy and simple, though, and it comes to no surprise that when packaged with Perry it is a huge hit and the new flavor of the week among the tween population.

And the lyrics…

I got the eye of the tiger, a fighter,
dancing through the fire
Cause I am a champion and
You’re gonna hear me ROAR

I will say that they are at least positive and motivational. Gosh, though, the lyric is impressively corny. Like scribbled down while watching a 80’s Rocky sequel corny. Heck, it could be worse. It could be Miley Cyrus twerking.