CFP: The Legacy of Radiohead's 'The Bends' 20 Years On [Deadlines: 29 Jan / 12 Feb]

 
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Sunday, Oct 11, 2009

If I were to pick a definitive Smashing Pumpkins song, it would be the overlooked nugget “Hello Kitty Kat”, originally released as a b-side to the single “Today” in 1993, and later rounded up as part of the 1994 rarities compilation Pisces Iscariot. To me, the best Pumpkins songs always resembled huge swaths of color. The group was never afraid to be vulnerable or full-on rock monsters, and often did both in the same song, all while constructing walls of melodic guitar fuzz that built up to explosive finishes. “Hello Kitty Kat” is the Pumpkins at their best, incorporating all those factors while firing on all cylinders on a roller coaster of a song until the track practically collapses in on itself.


Speaking of melodic guitar fuzz, “Hello Kitty Kat” is sick with it. It’s no coincidence that frontman Billy Corgan’s best material was written between 1990 and 1996, a period when the man seemed inseparable from his Big Muff guitar pedal. Unlike lesser alt-rock guitarists, Corgan knew how to use the pedal in a way that the tone it generated enhanced his guitar parts instead of overwhelming them. The sounds Corgan coaxed out of his Fender Stratocaster thus served as the perfect missing link between psychedelia and grunge. That’s why I can never get hung up on Corgan’s nasally vocals like many of the band’s detractors do. At their artistic height the Pumpkins’ chief strengths were A) the guitars, and B) the arrangements. The more focus on both of those aspects, the better the song generally turned out.  On “Hello Kitty Kat”, Corgan’s vocals are mixed unusually low, sounding insubstantial next to the architectural wonder he has constructed with his arsenal of guitar tracks.


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Friday, Oct 9, 2009
One in a long line of one-hit wonders that deserve to be multi-hit wonders.

America has never fully embraced what I like to call frat rock – the blend of pop-punk perfection filled with crunchy hooks, lyrics that combine humor and attitude, and a keg-tapping, booty-chasing college guy mentality – even though some of my favorite songs would fit into that category.


Sure, Deadeye Dick’s “New Age Girl” became a Top 40 hit, peaking at #27 and selling half a million singles in the process. And “Flagpole Sitta” – the Harvey Danger song that ruled the summer of ‘98, at least for me – reached #38 on the Hot 100 Airplay chart (although with lyrics like “put me in the hospital for nerves and then they had to commit me, you told them all I was crazy, they cut off my legs, now I’m an amputee, goddamn you” the song should have been a number one smash).


But Blink-182’s arguably definitive frat rock song “What’s My Age Again?”, which stayed on the Billboard Hot 100 for almost five months, never charted higher than #58. The video, featuring Tom DeLonge, Mark Hoppus, and Travis Barker streaking through town, was both infamous and iconic, but unfortunately, the US didn’t seem to share their sense of humor. And SR-71’s awesome “Right Now”, which was a number two smash on the Hot Modern Rock Tracks chart, never came close to charting on the mainstream Hot 100.


So it’s not surprising that Bowling for Soup, a pop-rock band from Wichita Falls, Texas, didn’t have much luck with “Girl All the Bad Guys Want”. With a tongue-twisting chorus and hooks that refused to let go for hours or even days, the song should have been one of the bigger hits of 2003. Instead, it barely lasted two months on the chart, peaking at #64.


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Thursday, Oct 8, 2009
Director Marc Webb's deft, nuanced use of pop music does more than just enhance an already great film.

While the summer has now passed us by, many theatres in my town are still playing the hit rom-com (500) Days of Summer. The story of young lovers Summer and Tom marks the feature-length directorial debut of music video director Marc Webb, and with his use of pop music in the film, his pedigree shows. The music isn’t just confined to the soundtrack—it colors the story to the point where it almost becomes another character in the script.


It seems no accident that Summer herself is played by an actor who is also a singer and songwriter, Zooey Deschanel. Her main musical vehicle is the duo She & Him, “Him” being indie troubadour M. Ward, and their debut CD,  Volume One was released to critical acclaim in 2007.


Summer is portrayed as the ultimate muse, and Deschanel, well… she just married Death Cab for Cutie’s Ben Gibbard. Girls like Summer/Zooey are worshipped by guys like Tom/Ben—intelligent, sensitive, slightly nerdy types possessed of depressive tendencies and more than a working knowledge of the Jesus and Mary Chain’s back catalogue. The kind of girl who can boost area sales of Belle and Sebastian’s The Boy with the Arab Strap CD single-handedly by quoting lyrics from it in her high school yearbook. Even at the karaoke bar, where even the best of us are reduced to Whitesnake’s greatest hits, Summer keeps her hipster cred intact with her winsome and incredibly charming take on Nancy Sinatra’s “Sugar Town”. Summer is the thinking man’s heartthrob.


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Wednesday, Oct 7, 2009
Tom Waits isn't the only Pride of National City

“Angel Baby” by Rosie & the Originals should be the official song of National City, California, the way states have flowers or universities have mascots. The song reached #5 on the Billboard charts in late 1960, and most people don’t even know who sang it, even if they are familiar with the tune.  But for generations of kids who grew up in neighborhoods like mine, “Angel Baby” will always be the anthem of our childhood and an indelible part of the soundtrack of our lives. Other songs like “Always and Forever” by Heatwave and “Together” by Tierra round out the top spots on this chart, but “Angel Baby” is, without a doubt, number one.


The woman who wrote and sang the song at the tender age of 15, Rosie Hamlin, lived in National City during her elementary, junior high and high school years. I always knew this, and it was a point of pride for anyone who came out of our much-maligned little suburb of San Diego. We have Tom Waits, and we have Rosie. But I didn’t know until recently how far her influence reached, and that the likes of Robert Plant and even John Lennon were fans! In the Houses of the Holy liner notes, right after the lyrics to “D’yer Mak’er”, Led Zeppelin wrote “What ever happened to Rosie & the Originals?” And Lennon went so far as to call “Angel Baby” one of his “all-time favorite songs”, when he recorded a cover version in 1973.


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Tuesday, Oct 6, 2009
Some artists are more than merely great. There are some artists that for a period of years, a period that is finite, consistently produced music that, it can be argued, far exceeded the work of their peers. For that brief period of time they were definitely Masters of the Form.

It begins with 40 ominous seconds, dangerous seconds; 40 instantly intriguing seconds that capture the imagination of listeners desperate to find out what happens. It begins with 40 seconds that are more warning than music and the sense of danger is real. When Mick Jagger sings of fire sweeping through the streets “like a red coal carpet” and Merry Clayton’s amazing background vocals crack on the words “rape” and “murder” two-thirds of the way through “Gimme Shelter” the danger seems very real. That’s what makes The Rolling Stones’ 1969 masterpiece Let It Bleed so riveting. Every note of it sounds so damn real.


In 1968, with the release of Beggar’s Banquet, The Stones proved that they were not just another rock band; they were masters of the form. Beggar’s Banquet was the first of what could quite possibly be the four best successive rock albums released by any band in the history of rock and roll. The album was a work of startling simplicity, a collection of songs built around American blues and roots music that invented the concept of what it meant to be “The Stones”. With 1969’s amazing follow up, Let It Bleed, The Stones began to add to this concept. If Beggar’s Banquet is a masterpiece of simplicity then Let It Bleed is a masterpiece of authenticity.


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