I know that I’ve not always held indie music in the highest regard simply because it’s indie. Indie means deviation from the norm, something different then what I’m used to and that doesn’t always entice me. However, indie is how pop should really sound. It’s not even worth apologizing to Lady Gaga or Katy Perry because let’s face it, your music is called pop because there is no “bad music category.” As catchy as pop music sounds and as much as I may kid about the artists that produce such noise, there are certainly bands that get the short end of the stick when it comes to radio play and popularity.
In the movie Garden State, Natalie Portman turns to Zack Braff and says a certain song will change a certain someone’s life and while I can’t claim such transcendence from The Shin‘s “New Slang,” I can claim a restored faith in pop music. The Shins finely craft melodies and catchy hooks without losing the thing that separates them from mainstream artsits. Katy Perry talks about California Girls in bikinis and Lady Gaga says we are all born special, yet the Shins leave their lyrics open to interpretation as they talk in metaphors and speak without judgment or expectation. My first Shins album, Chutes Too Narrow, was given to me in high school and I listen to it to this day because no two songs sound the same or deliver the same message.
I also love the band Vampire Weekend. Just like The Shins, they have an unconventional musical and lyrical style. Musically, lead singer Ezra Koenig’s voice’s tone is not only unconventional, but also just plain different and the band incorporates such diverse elements as African rhythms into pop songs. And yet, the band always makes sure to add pop hooks to such an eclectic mix that their music always comes out surprisingly catchy and lyrically engaging to merit another listen and another listen after that.
Last night, the Texas Rangers were within an out of capturing their first World Series title, twice. For those of you apathetic or unfamiliar with baseball, I will keep this simple. The Rangers should have won and they should have won twice.
But they didn’t. The Cardinals fought back. First, on a ball that should have been caught in the ninth (to end the game), and second on a single in the 10th. Then finally, the hometown hero, David Freese, won the game on a walk-off home run in the 10th, capping off a comeback that will forever be remembered as an immutable classic, a moment of sheer amazement for the Cardinals and one of pure anguish for the Rangers.
This was only game six, though. Back in ’86 after the Mets pulled off an unbelievable game six comeback, Vin Scully, who was broadcasting the game, said that the Mets were not only alive, but they were well, a line that has always stuck out to me because of its simplicity and candidness. Jack Buck, after Kirby Puckett’s walk-off home run sent a series to game seven twenty years ago, said to fans “And we’ll see you tomorrow night.” Buck’s son, Joe, was broadcasting last night’s game and repeated his father’s frank sentiment. Only in baseball, right?
The question of where this game will rank among the always discussed “greatest games ever” will be directly affected by the result of tonight’s game seven. That’s what is so utterly awe-inspiring about the game of baseball. If history has told us anything, the Cardinals will beat the Rangers and capture the crown, sending a downtrodden Ranger’s squad, who have never won a World Series in the history of their franchise, back home to Texas. But who knows? Maybe Texas comes out angry and wins by six. Unlikely, yes, but possible. Hey, anything is possible, even angels in the outfield!
Baseball is a game of thought, patience and momentum. Momentum has shifted to the red birds. It can be squashed, but it will be tough. If the Rangers win tonight, last night’s game six will still be looked at as a classic, but its heaviness and aura of ‘destiny’ will be replaced with the ineffaceable disclaimer ‘the cardinals lost to the rangers in game 7.’ It may never top Mazeroski’s game 7 series-winning home run for the Pirates in ’60 or even Gonzalez’ game seven walk-off base hit against the Yankees in ’01, because both of those hits won the world series for their respective teams. But the sheer greatness of the Cardinals’ comeback may raise it on a different pedestal more equal to the Mets’ ‘amazin’ ’86 game six.
Even though this sounds trite, history will decide. What I do take from last night’s game, is that baseball is still America’s pastime and, despite my almost equal love for football, I feel more of a connection to the diamond. I share memories with baseball that are indelible. I have actually somewhat learned patience, resilience, love, and misery through watching the Mets. It may sound sad, but it’s not. Baseball, and all sports, are steeped in their ability to make people come together and, despite their social economic status or party affiliation, root root root for the home team. Baseball is tradition and patience. It is euphoria and cold defeat. And, as my dad most aptly suggested, it goes by no clock of fixed time limit. The game persists in a tie. It does end, though. But it never truly does, does it? One game may end, but another one begins. It is the constancy of the sport that has captured our youthful vigor and awe. It keeps us young and full of hope, insatiable hope, unruly hope, seemingly never-ending blind hope, but hope.
As the great Babe Ruth said, “Baseball was, is and always will be to me the best game in the world.” That appears even truer this morning.
Now for your listening pleasure, here is the original version of “Take Me Out to the Ball Game.” This song, which has become synonymous with the seventh-inning stretch, was written by Jack Norworth (lyric) and Albert Von Tilzer (music) in 1908. Yes, the song is over 100 years old. Enjoy.
There is this show on Fox called the X-Factor in case you haven’t heard. I actually don’t believe that a show has been more hyperbolically hyped than the X-Factor in the history of American television. It is the most over-the-top reality singing competition I have ever seen.
Basically, the show is hybrid American Idol (for those most familiar with Simon Cowell‘s first US project) and The Voice (another US show that was probably based on the UK version of the X-Factor). The show, which unlike American Idol has much looser age restrictions (12-), features four judges who mentor four different teams of performers (girls, boys, over 30s, and groups). If you haven’t been watching, the show is now up to the Top 12, and American now gets their hands on the performers and chooses who moves on and who is ousted from the seizure-inducing lights, oversized video screens, and odd camera angles of the live show. Remaining in the conversation are 3 members of each group, and, honestly, they are all pretty talented.
I, because I am apparently a huge sucker for reality singing competitions, have been an avid watcher of the show, and feel that this is a good opportunity to give my predictions for the rest of the way. What are my qualifications? I have watched every singing competition show since American Idol premiered and have a pretty solid track record of picking winners.
Below, I am going to choose who I believe will be the top performer to remain in each group. Now, since it is America’s turn to decide, no grouping is safe, and acts can go home despite their affiliation. What I’m saying is that the next three weeks could possibly see all three groups getting out. Will that happen? Probably not. But it is now possible. After I choose my “best of the grouping,” I am going to pick my expected winner of the show. I’m torn between a few performers and I think the judges/producers of the X-Factor have done an excellent job of making this difficult on voters. It’s going to be fun. Shall we begin?
BOYS
Chris Rene
Chris Rene has the most inspirational story of the competition. A recovering drug addict with a son generally takes the cake. He also has something exceptionally important for the show. Unadulterated talent. Rene is a double threat. He won over the judges with a performance of a self-made rap/hip-hop song (which I will post below). But the man can also sing. His voice is smooth and delicate. His range is not fantastic (I think he is still maturing as a singer), but it is absolutely good enough to propel him to the end of the competition. Rene also carries himself with (as I labeled yesterday when watching a recording of the show with my family) a humble swagger. He just seems that he must have confidence in himself. The way he moves and performs would suggest it. But his sincere respect and emotion certainly portray him as humbled by the competition.
This is the direct opposite of one of his direct competitors, Astro, a teenage rapper, who is simply not young enough to understand what humble even means. His cockiness is funny and I can’t hold it against him. He wants to be a rapper. A rapper needs to be overly confident. It helps him, but also hurts him. I just don’t see it going over well with the American public (despite L.A. Reid‘s clear hopes of making him his next Justin Bieber – Reid, one of the judges, signed Bieber). His other competition is Marcus Canty. Canty is interesting. He may have the best voice in the competition. Seriously, he sounds like a young Stevie Wonder. He is an excellent performer and can seriously be an Usher-type musician. He is just a bit forgettable and doesn’t have Rene’s story. That’s why my pick is Chris Rene.
GIRLS
Drew
Drew has an eclectic, original and fantastic voice. It is effortless and ethereal (as judge Nicole Scherzinger described it). It’s not quite pop and not quite country, but a hint of a southern twang layers her clean chops. Drew (her last name is Ryniewicz so someone decided that they should just call her Drew – adding her to the endless list of artists who have changed, or eliminated their last names – see Gene Simmons or Bob Dylan, or should I say Chaim Weitz Hebrew and Robert Zimmerman) is an incredible talent and an early, understandable favorite. I am picking her because I just think she has the most subtle, incredible voice on the show. I mean, come on, she is 14 years old. Quite impressive.
Simon Cowell (the girls group leader) picked the strongest combination of contestants. Going up against her is Melanie Amaro (originally eliminated by Simon, but then brought back after Simon admitted his “terrible mistake” – which was as clear of a publicity stunt as I’ve ever seen). Amaro is a concoction of Jennifer Hudson and Mariah Carey. Her voice and range are spectacular. She is stiff competition. Then there is 13-year-old Rachel Crow, whose bubbly personality will put her on Broadway after The X-Factor. Guaranteed. She is an actress, who happens to have a good voice. Amaro can gain popularity as a ballad singer and Crow is infectious and can be a serious teen-talent, invoking images of youthful female 60’s singers (as my dad aptly pointed out). Crow did do some Surpremes last episode. The category is difficult and I’m going with Drew because she brings something too original to the table to give up.
OVER 30
Josh Krajcik
Josh Krajcik, who has staked his claim on the show as burrito-maker turned Joe Cocker-esque crooner, will win the over 30’s category because he is the closest thing the show has to a rock singer. Seriously, think about it. He is the only one. Krajcik’s bluesy, soulful voice remarkable. His unkempt look only adds to his appeal. He is likeable and his voice is powerful at all ranges.
The other two over-30 performers are Leroy Bell and Stacy Francis. I like Bell and Francis. Francis is an old-fashioned ballad singer with a voice tinged with exasperated passion (something that comes with years of trying and failing). Bell has a sweet, sultry, Motown-esque voice. Both artists should have been picked up years ago, but for one reason or another they were not. Bell and Francis will carry the older vote more so than Krajcik because they resemble the “dreams never die” message. I think Krajcik will carry some younger votes (and the rock crowd) and, because more young individuals watch this show and vote, he will be the last one standing in this group.
GROUPS
Stereo Hogzz
Unsurprisingly, two of the remaining three groups were acts that the judges created from performers who did not make it to the judge’s home round. Yes, the judges made two groups, coached them, and sent them out to perform. Since the egos of the judges are, I don’t know, kind of big, their creations have gotten some favoritism. Judge Paula Abdul, to her credit, did a great job with the groups, and one out of the two judge-created groups deserves to be in.
Stereo Hogzz was not a judge created group, but they will be the last one standing from the category. Why? They are a reincarnation of the Boyz II Men R&B, hip-hop fusion boy bands that were popular in the 90s. There is a place for that in the market today. Stereo Hogzz’ most recent performance showed exactly what they are and can be. It was R&B mixed with a bass/techno breakdown. I think that they will succeed even if they do not win.
They are competing against a InTENsity and Lakoda Rayne. InTENsity is a combination of a bunch of under 20s. Some are budding artists. Some are not. The sound is Glee-like, but even more corny and dull. They are cute, but, won’t remain long. Lakoda Rayne, on the other hand, can be supremely succesful. The equation is awfully simple. Four good-looking girls singing country music and harmonizing. Each has good enough lead potential with decent enough vocal distinction. This was a smart combination. I didn’t like them at first, but now I think that they can give the Hogzz and everyone else a run for their money. They may be slightly forgettable, but I actually believe that they can do well after the show.
FINAL PREDICTION!!!
So here we go. Who will win? Most likely, it will not come down to such an even split. It could. But I seriously doubt that the top four has performers from each category. I am very tempted to say that the winner will be Drew, and I know many people feel this way. But I have a hunch. I believe the winner of the show will be Chris Rene. I think so because he has the full package. Likeability, good voice, good story, lasting power, solid look, marketability, and the important ability to both rap and sing. He takes home the prize. Drew comes in second or third.
This prediction would not be full, though, without a dark horse. Looking over the remaining contestants, I am attempting to narrow down a top four. I think that the groups will be the first grouping to have no acts left. I’m going to give two dark horses. First, watch out for this Lakoda Rayne group. They are the only quasi-country group (unless you consider Drew country, which she is not, but she could pull off any song it seems). Remember last year’s American Idol. It came down to two country singers. Country is HUGE in the US. Lakoda Rayne can go to the end or they can be out in two performances. It can go either way. My second dark horse is Marcus Canty. If L.A. Reid does this correctly, he will turn Canty into Usher. At least he will try to do that. If he does, Canty can lose the forgettable label and become a favorite. Upbeat, modern song choices mixed with creative choreography and wardrobe will help with this.
No matter what, this is going to be interesting. That is only my opinion and please don’t shell me if you don’t agree. I want to know what you all think? Comment below and let’s talk about it.
If there are two things I’d like for you, my faithful and always wonderful reader, to get from this Obscure Classic Rock post (besides the fact that I must come off as an obsequious music writer – I do have unpopular sentiments, trust me), it is that a band name is exceptionally important and that bands that famous classic rock musicians played in prior to the pinnacle of their success often go understated. We will get to the name part a little later. For now, I want to provide some commentary on the latter point.
Before talented artists hit it big in popular bands, they almost always start in another band. The band may contain members of the ultimately successful line-up, but, it is exceptionally rare that every member of the known line-up grew up and formed the band together. Now, usually the first band is fallow, raw, and, therefore, understandably unsuccessful. But we are talking about the 60s and 70s, man. Even the bands before the bands were awesome. So why didn’t they just succeed at the outset?
Remember a few posts ago I mentioned how the Seeds experienced decreased popularity by mid-1968. The Seeds, a very talented band that in a lesser talented year may have been among some of the top acts, were going up against bands like, hmm, let’s see, The Doors, The Beatles, The Rolling Stones, The Mamas and the Papas, Simon and Garfunkel – need I really continue? Quite simply, the talent was incredible, and unfortunately bands frequently fell between the cracks. One such band (keeping with the semi-Fall theme) was the Birds. No, not the Byrds. The Birds.
These Birds
And now we come back to the first thing I wanted you to take from this post. When you name your band, be original. Choose something that some other group (perhaps from across the pond) won’t think of. It is, though, rather impossible to anticipate same-name problems, so sometimes you must go on luck. The Birds and the Byrds were producing music at the same time, and at the height of The Birds’ British success, The Byrds’ version of “Mr. Tambourine Man” was just released (1965) by the British CBS Records. And, unfortunately for the Birds, it went to town on the UK single charts. A slight issue, right. While both bands might have spelt the avian animal’s common name differently, they pronounced the name the same, and that’s what did the Birds in.
The Birds are known as being Ronnie Wood’s first band. Wood later played with The Creation, Faces and, now, the Rolling Stones. Bassist Kim Gardner also got his start with the Birds, later playing in The Creation with Wood. The Birds, though, unfortunately get that “first band” title too often. They were a talented act that, in 1964, were labeled as the next big thing, receiving equal billing with the Who at some concerts.
The Birds were formed in 1964 when the members were teens in Yiewsley, London. In addition to Wood and Gardner, the band featured vocalist Ali McKenzie, guitarist Tony Munroe, and drummers Bob Langham and Pete McDaniels. They originally called themselves the Thunderbirds (which was actually the name of a 60’s band from Iowa, but, one that did not achieve success equaling the Byrds, so if the Birds kept their original name, both bands would have probably been able to coexist.) They changed their names because they were to play a show on the same bill as Chris Farlowe whose backing band was named the Thunderbirds. Whole lotta’ name problems, hah?
The band earned a recording contract with Decca after a “Ready Steady Go” Battle of the Bands, and they released their first two singles “You Don’t Love Me” and “Leaving Here.” They would continue to release music (including “That’s All I Need You For” which was a never recorded track from the 1967 movie Deadly Bees) until a lack of success led to the group, which at once held much promise, disbanding. But, like I mentioned, a lack of success did not mean that the band wasn’t good, and the Birds represent another great band that was not able to have sustainable success during what was both the best and worst time to be a musician (the mid-late 60s).
“That’s All The I Need You For” (which as you can see was only partially done for the movie. The end features Ali McKenzie’s reformed Birds line-up playing the song.) features McKenzie’s excellent R&B/Mod rock voice mixed with some quality guitar work.
“Leaving Here” is an excellent first release. Lively energy is emitted from the song in the fast-paced chord-heavy guitar track and the turned-up note-striking guitar solo. You can hear that British R&B (“maximum R&B”) much in the style of the Who, the Creation, the Smoke, and other Mod-style bands playing at the same time as the Birds. The music was dance-able, hyper and melodious (even with the fuzzy, loud guitar). And the Birds were excellent at creating it for the short time that they did play together.
When I interviewed Jacob Miller I asked him what I ask every musician that I interview. If you were stuck on an island with only access to three albums what would you choose to listen to for an extended period of time. Miller, a 21-year-old blues/country/ragtime acoustic fingerstyle technician originally from Wisconsin, answered, “Townes Van Zandt’s Flyin’ Shoes, Tift Merritt’s Another Country, and Ton Van Bergeyk’s Lulu’s Back in Town. And I thought, wow, how diverse and fitting for his cited musical genres. We have Van Zandt’s country croon, Merritt’s twang, and Van Bergeyk’s insane finger-picking guitar skill. “All on vinyl,” he completed his list with a laugh.
Miller is a member of a special breed of modern musician, one who does not do a disservice to his inspirations, but rather carries on the warm tradition of their music. His unique brand of bluegrass and ragtime inspired finger-picking is peaceful and the tunes emit an effortless Nick Drake-like relaxation, but they also are effervescently folksy in the vein of Dave Van Ronk and early Bob Dylan.
“That Same Old Feelin'” is a great song to open Miller’s collection with. This, and 12 other tracks appear on Miller’s debut album Blue Ridge Ramble, a hearty, mature career opener and a great buy. “That Same Old Feelin” encaptures the sunny afternoon, on-the-porch, feel; so acute, you almost feel that you are there sipping a cold beer.
Fittingly, this is exactly what Miller was going for with the album.
“Laid back is definitely the feel I’d like to portray with my music,” Miller said. “The majority of my time West was spent on the porch playing and drinkin’ with friends. The old time style just seems to paint a simple picture; something that’s easy to fall into.”
Miller, who first picked up an acoustic guitar (his aunt’s) when he was 12, moved to Portland, Oregon, at 18, with intentions to pursue music. “I moved into a house of phenomenal folk/blues traveling kids,” Miller said. “I became enthralled with old time, backcountry blues, and bluegrass from the early-mid 20th century. A good friend and housemate of mine, Cliff Mitchell, introduced me to finger-style ragtime and things just seemed to escalate from there.”
Miller continues to put in the time and effort to study the genre and better his ability. That is refreshing. He is only 21 years old and the talent simply oozes from him. Let’s check out another tune from the album.
“Bone Orchard Blues” is my favorite song off of the album. The verse is obviously carried by the creative, repetitive guitar hook that is so reminiscent to traditional blues that it is like someone reincarnated Mississippi John Hurt (whom Miller cites as an inspiration) and put him in the recording studio. Miller does not have Hurt’s deep croon, but his droning, one-tone vocal style fits the depressed blues lyric well. It’s impressive sophistication. And, in the style of his blues inspirations, Miller is currently traveling with no particular destination in mind.
“As far as touring, my plans are ever-changing. I’ve spent this last year traveling around without a clear destination. But it’s nice, as I seem to stumble upon shows to jump on rolling through the various towns I’ve stayed in. I’m currently in Arizona for another week or two and plan on catching a greyhound to California to stay with some friend for a bit. I plan to busk some while in San Fran. Afterwards I’ll be making my way back up to Portland to visit some family and play as many bars/venues as I can find. From there, it’s pretty open-ended.”
The Music Court 