A minor footnote to the announcement that David Letterman is retiring, was that Mike Mills of R.E.M. fame, broke the story.
He was part of the band for the scheduled musical guest that night, Joseph Arthur, so he was at the afternoon taping, and tweeted the news.
Joseph Arthur was on, because he has recently released a cover of "Walk On The Wild Side." Arthur was a friend of Reed's, and recorded this reworking, as a tribute to his late friend.
See the Letterman performance below, which includes Mike Mills, and Peter Buck of R.E.M.
See the video on Youtube.
Showing posts with label R.E.M.. Show all posts
Showing posts with label R.E.M.. Show all posts
Monday, April 7, 2014
Friday, April 4, 2014
Warren Zevon "Hit Somebody"
It may come as a bit of a surprise to you, but if you were to ask me who has influenced me most as a Radio Announcer, the answer would not be a name that would seem obvious.
I can certainly say I loved and listened intently to folks like Casey Kasem and WBCN's Charles Laquidara and Mark Parenteau when I was a kid.
But really, the person I have idolized the most, as a broadcaster, is David Letterman.
Now, I have never thought of myself as anything like (and certainly not equal-to) Letterman, in the ways that you perhaps appreciate Dave.
I was never trying to replicate his sense of humor, or his quick wit, or his wonderful grasp of irony, or his delightful snarkiness. I do love all those things about him, as a fan.
But as a broadcaster, I've always paid close attention to the way that Letterman communicates information, the way he simply (or sometimes, complicatedly) tells a story.
Take the way he announced his retirement on his show last night.
He did what he does most every night on the program. After the monologue, he heads to his desk and will tell a story, often with a personal aspect. I don't suspect that Dave is a racounteur, holding court with friends and telling endless stories. But we he does these direct-to-the-camera-and-audience moments, he is masterful at getting at the heart of the matter.
So he opens with some facts about how many shows he's done, and then he segues into a seemingly unrelated yarn about how he spent an entire day trying to identify a bird picture. And just when it appears that this is a simply shaggy dog story, you realize that it actually boldly underscores his point, that it is time for him to retire.
This is what I aspire to every day. Can I tell stories on the radio (and actually, on this blog too) that are engaging, even if they seem a bit shaggy, but that ultimately circle around to a clear, relatable point? I'll never be as good as Letterman, but setting the bar high is not such a bad thing.
The other, minor thing I learned from Letterman, is how to carefully, but clearly, show your passion.
Letterman must treat each guest as important. The show simply wouldn't work if he wasn't displaying enthusiasm for each and every guest.
And that is kind of how I approach being on the radio. I don't love each and every song I play, equally. But I recognize that each and every song is somebody's favorite. And I display enthusiasm of all songs with that in mind.
That being said, you can tell when Dave is passionate about a guest, particularly the musical guests. You can see it in the early days when R.E.M. came on, or in the late 90s when the Foo Fighters were guest, or recently when Jason Isbell appears. He'll give just a little bit extra to the introduction, or greet the band after the song with energy that lets the viewer know just how engaged he was.
I too have certain artists that I feel passionately about, and yes, I can let that sneak through in the way I talk about certain artists, hopefully without lessening the importantance of other folks we play.
And when you've set the audience expectation that you, as the host, have your special passions, the audience will respect those occasions where, when the moment is really right, you dive into a personal obsession.
Warren Zevon wasn't such a major artist that a network television show would normally devote a whole hour to him. But he was a major artist to David Letterman, and Dave's passion for Zevon allowed the netork door to be open for an hour. It was some pretty great television.
I've learned a lot from Dave. And I'm grateful for the things I've been able to take away, to make me a better air talent.
So, Mr Letterman, as you yourself once said to Johnny Carson, "Thanks for my career."
Did you know Dave is on a Warren Zevon recording? Listen for him on "Hit Somebody."
Hear the song on Youtube.
The retirement announcement on Youtube.
See Warren Zevon on Letterman on Youtube.
I can certainly say I loved and listened intently to folks like Casey Kasem and WBCN's Charles Laquidara and Mark Parenteau when I was a kid.
But really, the person I have idolized the most, as a broadcaster, is David Letterman.
Now, I have never thought of myself as anything like (and certainly not equal-to) Letterman, in the ways that you perhaps appreciate Dave.
I was never trying to replicate his sense of humor, or his quick wit, or his wonderful grasp of irony, or his delightful snarkiness. I do love all those things about him, as a fan.
But as a broadcaster, I've always paid close attention to the way that Letterman communicates information, the way he simply (or sometimes, complicatedly) tells a story.
Take the way he announced his retirement on his show last night.
He did what he does most every night on the program. After the monologue, he heads to his desk and will tell a story, often with a personal aspect. I don't suspect that Dave is a racounteur, holding court with friends and telling endless stories. But we he does these direct-to-the-camera-and-audience moments, he is masterful at getting at the heart of the matter.
So he opens with some facts about how many shows he's done, and then he segues into a seemingly unrelated yarn about how he spent an entire day trying to identify a bird picture. And just when it appears that this is a simply shaggy dog story, you realize that it actually boldly underscores his point, that it is time for him to retire.
This is what I aspire to every day. Can I tell stories on the radio (and actually, on this blog too) that are engaging, even if they seem a bit shaggy, but that ultimately circle around to a clear, relatable point? I'll never be as good as Letterman, but setting the bar high is not such a bad thing.
The other, minor thing I learned from Letterman, is how to carefully, but clearly, show your passion.
Letterman must treat each guest as important. The show simply wouldn't work if he wasn't displaying enthusiasm for each and every guest.
And that is kind of how I approach being on the radio. I don't love each and every song I play, equally. But I recognize that each and every song is somebody's favorite. And I display enthusiasm of all songs with that in mind.
That being said, you can tell when Dave is passionate about a guest, particularly the musical guests. You can see it in the early days when R.E.M. came on, or in the late 90s when the Foo Fighters were guest, or recently when Jason Isbell appears. He'll give just a little bit extra to the introduction, or greet the band after the song with energy that lets the viewer know just how engaged he was.
I too have certain artists that I feel passionately about, and yes, I can let that sneak through in the way I talk about certain artists, hopefully without lessening the importantance of other folks we play.
And when you've set the audience expectation that you, as the host, have your special passions, the audience will respect those occasions where, when the moment is really right, you dive into a personal obsession.
Warren Zevon wasn't such a major artist that a network television show would normally devote a whole hour to him. But he was a major artist to David Letterman, and Dave's passion for Zevon allowed the netork door to be open for an hour. It was some pretty great television.
I've learned a lot from Dave. And I'm grateful for the things I've been able to take away, to make me a better air talent.
So, Mr Letterman, as you yourself once said to Johnny Carson, "Thanks for my career."
Did you know Dave is on a Warren Zevon recording? Listen for him on "Hit Somebody."
Hear the song on Youtube.
The retirement announcement on Youtube.
See Warren Zevon on Letterman on Youtube.
Monday, September 30, 2013
R.E.M. "Half A World Away"
Here's a secret I've never told anybody:
I used to work at The Gap.
The idea of me working in a) retail, or b) fashion, is so far removed from any reality that anyone who knows me would associate with my life, that they'd be forgiven for thinking I was kidding.
But no, for a brief period right after college, I worked at The Gap.
Let me just cut to the chase: I was terrible at it and I didn't last very long in this job. Within a couple of months, I quit, and my employment there was never mentioned again.
Probably most telling about my tenure there, was that the thing I found most interesting about the job was the music they played in the store. In those days, there were cassette tapes, sent from the home office, that played over and over and over. They were pre-programmed with hip, modern music.
I was fascinated by the idea that someone at Gap-Central was creating these mixed tapes, particularly because they seemed to mirror my own personal tastes.
One night, after the store had closed and we were cleaning up, I noticed that the cassette that had been repeating all evening had no less that three R.E.M. songs.
"Whoever puts together these tapes must really love R.E.M." I said to my manager.
He clearly wasn't at all a music fan, as he responded, "Uh, who? Oh, is this them?"
He listened for another 10 seconds or so, to a song he had to have heard dozens of times over the course of the last work week.
Then he gave his "Dismissive One Sentence Review."
"This singer is kinda whiny."
It was never going to work between me and The Gap, nope.
Hear the song on Youtube.
I used to work at The Gap.
The idea of me working in a) retail, or b) fashion, is so far removed from any reality that anyone who knows me would associate with my life, that they'd be forgiven for thinking I was kidding.
But no, for a brief period right after college, I worked at The Gap.
Let me just cut to the chase: I was terrible at it and I didn't last very long in this job. Within a couple of months, I quit, and my employment there was never mentioned again.
Probably most telling about my tenure there, was that the thing I found most interesting about the job was the music they played in the store. In those days, there were cassette tapes, sent from the home office, that played over and over and over. They were pre-programmed with hip, modern music.
I was fascinated by the idea that someone at Gap-Central was creating these mixed tapes, particularly because they seemed to mirror my own personal tastes.
One night, after the store had closed and we were cleaning up, I noticed that the cassette that had been repeating all evening had no less that three R.E.M. songs.
"Whoever puts together these tapes must really love R.E.M." I said to my manager.
He clearly wasn't at all a music fan, as he responded, "Uh, who? Oh, is this them?"
He listened for another 10 seconds or so, to a song he had to have heard dozens of times over the course of the last work week.
Then he gave his "Dismissive One Sentence Review."
"This singer is kinda whiny."
It was never going to work between me and The Gap, nope.
Hear the song on Youtube.
Friday, August 16, 2013
R.E.M. "Carnival Of Sorts"
Fair songs for the next couple of days, for the MV Ag Fair . . .
Uh, what is this slice of awesomeness brought to us by Youtube? A super-young R.E.M. on a Nickelodeon show hosted by Fred Newman? Score!
See the awesome video on Youtube.
Uh, what is this slice of awesomeness brought to us by Youtube? A super-young R.E.M. on a Nickelodeon show hosted by Fred Newman? Score!
See the awesome video on Youtube.
Wednesday, August 7, 2013
R.E.M. "New Test Leper"
If you're a dope smoker, you're naturally paranoid.
I mean, not just from smoking dope, but (at least back in my day) from getting caught.
I was never one of those guys who could light up a joint in public and not care.
Really, I was never really a pot smoker myself. But I certainly traveled with pot smokers.
We were seeing R.E.M. at an amphitheater outside Nashville. This was the tour behind the record "Monster" and they were trying out new material that would eventually appear on "New Adventures In Hi Fi." It was raining. There were a lot of young people there who were more interested in drinking beer and making out, than listening to the band.
To make things a little brighter, one of my friends decided to light up a joint.
He hadn't gotten too far, before a figure was coming down our aisle, with a flashlight.
I nudged him. Instinctively, he tossed the joint to the ground and stepped on it.
The woman with the flashlight brushed passed me, handed something to my friend and kept walking.
I gave him a quizzical look.
He laughed and showed me the sticker she'd give him.
Hear the song on Youtube.
I mean, not just from smoking dope, but (at least back in my day) from getting caught.
I was never one of those guys who could light up a joint in public and not care.
Really, I was never really a pot smoker myself. But I certainly traveled with pot smokers.
We were seeing R.E.M. at an amphitheater outside Nashville. This was the tour behind the record "Monster" and they were trying out new material that would eventually appear on "New Adventures In Hi Fi." It was raining. There were a lot of young people there who were more interested in drinking beer and making out, than listening to the band.
To make things a little brighter, one of my friends decided to light up a joint.
He hadn't gotten too far, before a figure was coming down our aisle, with a flashlight.
I nudged him. Instinctively, he tossed the joint to the ground and stepped on it.
The woman with the flashlight brushed passed me, handed something to my friend and kept walking.
I gave him a quizzical look.
He laughed and showed me the sticker she'd give him.
Hear the song on Youtube.
Thursday, June 6, 2013
Foxygen "No Destruction"
Several years ago, while doing a periodic look at the gaps in some of our "library" stuff, we decided to put a couple of Velvet Underground songs into rotation at MVY.
Of course, we'd had a number of Lou Reed songs in rotation for years, including his more contemporary work. (His visit to the station in the 90s is a great slice of MVY lore). But adding Velvet Underground served the dual purpose of beefing up our representation of the late 60s and 70s without resorting to any worn-out classic rock, and it was an important nod to some of the roots of what MVY is.
We've always prided ourselves on playing bands that no one else plays, or songs that no one else plays. And in particular, we want to show the blueprint.
There's a reason we play a lot of Bob Dylan. It's because his stamp is directly on many, many of the artists and songs that followed, and that we play today.
And that was part of the reason I felt strongly that we should include some Velvet Underground tracks.
Last week, I heard "Pale Blues Eyes" on the station, and I had this thought: Where are the Velvet Underground influenced bands?
I mean, there are guys out there who are cribbing straight from Dylan (Jake Bugg, Tallest Man On Earth). There are bands who are direct descendents of R.E.M. and Talking Heads (Decemberists and Bell X1). And folks drawing influence straight from The Grateful Dead ("Queen Of California" and The Chris Robinson Brotherhood's "Rosalee").
To be sure, The Velvet Underground's influence is within many, many current bands. But its an influence that's two or three steps removed.
Not long after having this thought, I heard Foxygen's "No Destruction." And there it is.
Straight out of the Lou Reed school of vocal delivery, complete with New York City images, here's a band that directly references The Velvet Underground, instead doing it of by way of R.E.M. or Talking Heads or any other Lou Reed/VU acolytes.
What do you think? Does this track have a place on MVY?
Hear the song on Youtube.
Of course, we'd had a number of Lou Reed songs in rotation for years, including his more contemporary work. (His visit to the station in the 90s is a great slice of MVY lore). But adding Velvet Underground served the dual purpose of beefing up our representation of the late 60s and 70s without resorting to any worn-out classic rock, and it was an important nod to some of the roots of what MVY is.
We've always prided ourselves on playing bands that no one else plays, or songs that no one else plays. And in particular, we want to show the blueprint.
There's a reason we play a lot of Bob Dylan. It's because his stamp is directly on many, many of the artists and songs that followed, and that we play today.
And that was part of the reason I felt strongly that we should include some Velvet Underground tracks.
Last week, I heard "Pale Blues Eyes" on the station, and I had this thought: Where are the Velvet Underground influenced bands?
I mean, there are guys out there who are cribbing straight from Dylan (Jake Bugg, Tallest Man On Earth). There are bands who are direct descendents of R.E.M. and Talking Heads (Decemberists and Bell X1). And folks drawing influence straight from The Grateful Dead ("Queen Of California" and The Chris Robinson Brotherhood's "Rosalee").
To be sure, The Velvet Underground's influence is within many, many current bands. But its an influence that's two or three steps removed.
Not long after having this thought, I heard Foxygen's "No Destruction." And there it is.
Straight out of the Lou Reed school of vocal delivery, complete with New York City images, here's a band that directly references The Velvet Underground, instead doing it of by way of R.E.M. or Talking Heads or any other Lou Reed/VU acolytes.
What do you think? Does this track have a place on MVY?
Hear the song on Youtube.
Tuesday, January 22, 2013
R.E.M. "Losing My Religion"
"YOU BETTER NOT BE POOPING ON THE UNICORN!!!"
This is the kind of sentence that:
A) You never expected to hear yourself say.
B) Your childless friends will never understand how this is part of your existence.
C) You should never, ever have to actually say out loud.
D) All of the above.
It is now nearly 1am. Officially, Monday has become Tuesday. And I am just sitting down to write this post.
I don't know if it was the holiday, or some stir-craziness, or a pre-cursor to getting sick, but the kids were just insane tonight.
Not bad. Just reeeevvvvvvvvved up. There were performances. Costume changes. Lots of yelling. And hammering.
And yes, the 2 1/2 year old boy, who is potty training, took off all his clothes, but instead of making his way to the potty, he sat down, naked, on his sister's oversized stuffed pink Unicorn.
(No, he did not poop on the unicorn. We did get him to do the right thing)
After a Skype visit with their Grandparents (my folks spend winter in Florida), despite the high energy, we moved the kids to the bedroom, hoping to wind them down.
Sometimes the high energy is really a sign that they are over-tired, and if you can get them to sit still, they sack right out.
9:30pm. We have finally gotten to lights out. Neither kid is asleep. But if we can just get them to relax . . .
10:30pm. My 5 year old daughter is asleep. So is my wife. But the boy is lying there, in the dark, just talking, talking, talking. He's wiggling and kicking. So I tell him to get up and come out to the living room with me.
11:30pm. He's still motoring around. I haven't cleaned up after dinner, or checked my email, or thought about a blog post. I ask him if he wants to come sit with me. He says, "Nope," and keeps on playing with his puzzle.
But I have a secret weapon.
"C'mon up here," I say, and scoop him up off the floor. He protests, but his squirming eases when I put on the TV and say, "Let's watch Charlie Rose."
Some highlights of the Presidential Inauguration flicker on the screen, ("Dad! A parade!") and he settles into my arms.
Five minutes later, he is asleep.
After cleaning up---I love taco night, but it does create an assload of dishes---updating the Save mvyradio Pledge-O-Meter and brushing my teeth, I'm finally here at the computer.
With nothing prepared.
Soooo, let's make this a "I Looked At The Internet Today So You Don't Have To" feature.
My friends Jess Phaneuf and Lindsay Reid both posted this video. Someone with some time and some good music software edited R.E.M.'s "Losing My Religion." The very Minor Chord heavy song, has had the Minors changed to Majors. It sounds completely different, yet surprisingly the same.
That's all I got. G'night.
Hear the song on Vimeo.
This is the kind of sentence that:
A) You never expected to hear yourself say.
B) Your childless friends will never understand how this is part of your existence.
C) You should never, ever have to actually say out loud.
D) All of the above.
It is now nearly 1am. Officially, Monday has become Tuesday. And I am just sitting down to write this post.
I don't know if it was the holiday, or some stir-craziness, or a pre-cursor to getting sick, but the kids were just insane tonight.
Not bad. Just reeeevvvvvvvvved up. There were performances. Costume changes. Lots of yelling. And hammering.
And yes, the 2 1/2 year old boy, who is potty training, took off all his clothes, but instead of making his way to the potty, he sat down, naked, on his sister's oversized stuffed pink Unicorn.
(No, he did not poop on the unicorn. We did get him to do the right thing)
After a Skype visit with their Grandparents (my folks spend winter in Florida), despite the high energy, we moved the kids to the bedroom, hoping to wind them down.
Sometimes the high energy is really a sign that they are over-tired, and if you can get them to sit still, they sack right out.
9:30pm. We have finally gotten to lights out. Neither kid is asleep. But if we can just get them to relax . . .
10:30pm. My 5 year old daughter is asleep. So is my wife. But the boy is lying there, in the dark, just talking, talking, talking. He's wiggling and kicking. So I tell him to get up and come out to the living room with me.
11:30pm. He's still motoring around. I haven't cleaned up after dinner, or checked my email, or thought about a blog post. I ask him if he wants to come sit with me. He says, "Nope," and keeps on playing with his puzzle.
But I have a secret weapon.
"C'mon up here," I say, and scoop him up off the floor. He protests, but his squirming eases when I put on the TV and say, "Let's watch Charlie Rose."
Some highlights of the Presidential Inauguration flicker on the screen, ("Dad! A parade!") and he settles into my arms.
Five minutes later, he is asleep.
After cleaning up---I love taco night, but it does create an assload of dishes---updating the Save mvyradio Pledge-O-Meter and brushing my teeth, I'm finally here at the computer.
With nothing prepared.
Soooo, let's make this a "I Looked At The Internet Today So You Don't Have To" feature.
My friends Jess Phaneuf and Lindsay Reid both posted this video. Someone with some time and some good music software edited R.E.M.'s "Losing My Religion." The very Minor Chord heavy song, has had the Minors changed to Majors. It sounds completely different, yet surprisingly the same.
That's all I got. G'night.
Hear the song on Vimeo.
Wednesday, December 19, 2012
Pearl Jam "History Never Repeats"
I really came of age in music during a period where vinyl fell out of favor.
By the late 80s, hardly any bands were putting out "records." Everything was on CD or cassette.
But by the early 90s, some underground bands, who's members DID grow up valuing vinyl, were emerging from the underground and into the mainstream.
Michael Stipe and Peter Buck of R.E.M. famously started their friendship in a record store, and were among the first major artists of the early 90s to insist to their record labels that their albums be released on vinyl, as well as CD and cassette.
Being record collectors themselves, they appreciated the fabulous 45 too.
So continuing a tradition started by The Beatles, they released an exclusive 45 at Christmastime, sent to all members of their fan club.
Back in the early 90s, I was single and employed and, no, not rich, but I could put 10 bucks into a membership to a fan club or two. So I have a nice, small collection of 45s from R.E.M. and from Pearl Jam.
I LOVED getting this disc from Pearl Jam, because I discovered that Eddie Vedder was also a fan of Split Enz.
Hear the song on Youtube.
By the late 80s, hardly any bands were putting out "records." Everything was on CD or cassette.
But by the early 90s, some underground bands, who's members DID grow up valuing vinyl, were emerging from the underground and into the mainstream.
Michael Stipe and Peter Buck of R.E.M. famously started their friendship in a record store, and were among the first major artists of the early 90s to insist to their record labels that their albums be released on vinyl, as well as CD and cassette.
Being record collectors themselves, they appreciated the fabulous 45 too.
So continuing a tradition started by The Beatles, they released an exclusive 45 at Christmastime, sent to all members of their fan club.
Back in the early 90s, I was single and employed and, no, not rich, but I could put 10 bucks into a membership to a fan club or two. So I have a nice, small collection of 45s from R.E.M. and from Pearl Jam.
I LOVED getting this disc from Pearl Jam, because I discovered that Eddie Vedder was also a fan of Split Enz.
Hear the song on Youtube.
Tuesday, October 16, 2012
R.E.M. "It's The End Of The World As We Know It"
Have you ever wondered what the lyrics were to some song, so you Googled it and you ended up on one of those sites that posts song lyrics?
Did you see this in the news last week?
Live Universe, a web group that maintains some "lyric" sites, lost a lawsuit and now owes $6.6 million in damages, for posting lyrics without permission.
So that seems like the end of finding lyrics on the web as we know it . . .
Reading that story, I drifted back to the days before the internet made everything so accessible.
In college (late 80s), I lived with a bunch of guys who could play instruments. And the newest friend in our midst was a Georgia-transplant who loved R.E.M.
I can remember one night early in the school year, where we decided we should learn how to sing and play "It's The End Of The World As We Know It."
The song is lyric-dense, and Michael Stipe was (and mostly still is) averse to making his lyrics available.
And that meant we had to figure them out for ourselves.
We sat in the lounge area with a pen and a notebook (there were no laptops). And I held my tape recorder.
All night long (and no doubt with beer in cans), we played and stopped and rewound and played and replayed and guessed and did our best to phonetically figure out what the hell he was saying on that cassette.
It was a moment where we gelled as a group. Something that bound us together for our college years. A moment that wouldn't have happened if someone had just said "R.E.M. lyrics? Let me Google that . . . here they are."
It's not the worst thing in the world to not have everything, all the time, at your fingertips.
Hear the song on Youtube.
Did you see this in the news last week?
Live Universe, a web group that maintains some "lyric" sites, lost a lawsuit and now owes $6.6 million in damages, for posting lyrics without permission.
So that seems like the end of finding lyrics on the web as we know it . . .
Reading that story, I drifted back to the days before the internet made everything so accessible.
In college (late 80s), I lived with a bunch of guys who could play instruments. And the newest friend in our midst was a Georgia-transplant who loved R.E.M.
I can remember one night early in the school year, where we decided we should learn how to sing and play "It's The End Of The World As We Know It."
The song is lyric-dense, and Michael Stipe was (and mostly still is) averse to making his lyrics available.
And that meant we had to figure them out for ourselves.
We sat in the lounge area with a pen and a notebook (there were no laptops). And I held my tape recorder.
All night long (and no doubt with beer in cans), we played and stopped and rewound and played and replayed and guessed and did our best to phonetically figure out what the hell he was saying on that cassette.
It was a moment where we gelled as a group. Something that bound us together for our college years. A moment that wouldn't have happened if someone had just said "R.E.M. lyrics? Let me Google that . . . here they are."
It's not the worst thing in the world to not have everything, all the time, at your fingertips.
Hear the song on Youtube.
Friday, September 21, 2012
R.E.M. "World Leader Pretend"
When I realized what was happening this weekend (that is, the Life Is Good Festival), I immediately went to look at Bob Dylan's tour schedule.
Not because I expect Mr. Dylan to be at the Festival.
No, I was checking to make sure that he was not out with The Never Ending Tour right now.
And while checking, I started humming R.E.M.'s "World Leader Pretend."
Dylan IS on the road next month, but right now he's not touring.
And that means I'll get to see Ben-Ben!
Brendan was my next door neighbor for the first two years of college at UMass. Our gang of friends spent many many night (and let's face it, days and weekends and dinners and dawns) listening to and talking about music.
And while I spent my time at UMass exploring the media end of the business, Brendan (or Ben-Ben, as his roommate called him) got involved with the University productions, which put on a slate of amazing shows all year long, that culminated in a big Spring concert. At every concert, while we'd be wandering through the crowd (most likely drunk) he'd have the thrill of working behind the scenes, as part of Load-In/Load-Out or Stage managing and such.
Brendan and I lost touch not long after college, but the advent of Facebook put us back into each other's orbit. And two years ago, I saw him post a status about being in Canton, Massachusetts on a mid-September weekend.
I wrote him. "Are you working at Life Is Good?"
He was!
We made a plan to meet, to see each other for the first time in about 17 years.
After college, Brendan continued to pursue a career in the touring business. And---as these things work---he had a combination of talent, good fortune and timing, to land a gig with none other than Bob Dylan.
You can say what you want about Mr. Dylan being inscrutable and mercurial and whatever, but if you've been paying attention, in the last 20 years, he's become remarkably consistent about who he works with. His touring band has changed very little, and, unlike much of the 70s and 80s, his touring band is largely the group of musicians that play on his records.
Apparently, this extends to the people Dylan employs on The Never Ending Tour. Ben-Ben and much of the core crew have been with Dylan for many, many years.
So that's Ben-Ben's life. If Dylan is on the road, then so is Ben-Ben.
It's quite a thrill to live vicariously through Facebook and see Brendan post pictures from far-flung places around the world.
And it's nice that Mr. Dylan has happened to be off the road for the weekend of the Life Is Good Festival in 2010, 2011 and 2012.
When Ben-Ben is not on the road with Dylan, he's with his family in Massachusetts, and will pick up a job here and there if it won't interfere with the start of the next tour. So he's picked up a gig running Good Vibes side stage at Life Is Good.
And while he grew up to be a roadie, I grew up to be a disc jockey, who gets assigned to introduce a few of the acts at the Festival. So for the last couple of years, I've been sent to introduce some of the acts on the Good Vibes stage.
It's pretty funny, and wonderful, to know someone from when you were practically a kid, and get the opportunity to work with them as a professional.
Saturday at 2:15, I'll be standing in the wings waiting to introduce Katie Herzig. Ben-Ben will have given me the standard speech he has to deliver to misbehaving DJs, about keeping my shtick short and sweet and getting the hell out of the way. And when he's ready, he'll give me the cue to send me out to center stage. We'll be interacting as the professionals we work hard every day to be---He's touring with perhaps the greatest musician that has ever lived; I am running a beloved, heritage, independent radio station.
This is hardly the kind of thing we could have imagined 20 years ago, when we were sitting around a UMass lounge, eating Bruno's pizza and listening to R.E.M., thinking we were terribly clever to change the words of the song so that we were singing, "I am, World Leader Ben-Ben . . ."
Hear the song on Youtube.
Not because I expect Mr. Dylan to be at the Festival.
No, I was checking to make sure that he was not out with The Never Ending Tour right now.
And while checking, I started humming R.E.M.'s "World Leader Pretend."
Dylan IS on the road next month, but right now he's not touring.
And that means I'll get to see Ben-Ben!
Brendan was my next door neighbor for the first two years of college at UMass. Our gang of friends spent many many night (and let's face it, days and weekends and dinners and dawns) listening to and talking about music.
And while I spent my time at UMass exploring the media end of the business, Brendan (or Ben-Ben, as his roommate called him) got involved with the University productions, which put on a slate of amazing shows all year long, that culminated in a big Spring concert. At every concert, while we'd be wandering through the crowd (most likely drunk) he'd have the thrill of working behind the scenes, as part of Load-In/Load-Out or Stage managing and such.
Brendan and I lost touch not long after college, but the advent of Facebook put us back into each other's orbit. And two years ago, I saw him post a status about being in Canton, Massachusetts on a mid-September weekend.
I wrote him. "Are you working at Life Is Good?"
He was!
We made a plan to meet, to see each other for the first time in about 17 years.
After college, Brendan continued to pursue a career in the touring business. And---as these things work---he had a combination of talent, good fortune and timing, to land a gig with none other than Bob Dylan.
You can say what you want about Mr. Dylan being inscrutable and mercurial and whatever, but if you've been paying attention, in the last 20 years, he's become remarkably consistent about who he works with. His touring band has changed very little, and, unlike much of the 70s and 80s, his touring band is largely the group of musicians that play on his records.
Apparently, this extends to the people Dylan employs on The Never Ending Tour. Ben-Ben and much of the core crew have been with Dylan for many, many years.
So that's Ben-Ben's life. If Dylan is on the road, then so is Ben-Ben.
It's quite a thrill to live vicariously through Facebook and see Brendan post pictures from far-flung places around the world.
And it's nice that Mr. Dylan has happened to be off the road for the weekend of the Life Is Good Festival in 2010, 2011 and 2012.
When Ben-Ben is not on the road with Dylan, he's with his family in Massachusetts, and will pick up a job here and there if it won't interfere with the start of the next tour. So he's picked up a gig running Good Vibes side stage at Life Is Good.
And while he grew up to be a roadie, I grew up to be a disc jockey, who gets assigned to introduce a few of the acts at the Festival. So for the last couple of years, I've been sent to introduce some of the acts on the Good Vibes stage.
It's pretty funny, and wonderful, to know someone from when you were practically a kid, and get the opportunity to work with them as a professional.
Saturday at 2:15, I'll be standing in the wings waiting to introduce Katie Herzig. Ben-Ben will have given me the standard speech he has to deliver to misbehaving DJs, about keeping my shtick short and sweet and getting the hell out of the way. And when he's ready, he'll give me the cue to send me out to center stage. We'll be interacting as the professionals we work hard every day to be---He's touring with perhaps the greatest musician that has ever lived; I am running a beloved, heritage, independent radio station.
This is hardly the kind of thing we could have imagined 20 years ago, when we were sitting around a UMass lounge, eating Bruno's pizza and listening to R.E.M., thinking we were terribly clever to change the words of the song so that we were singing, "I am, World Leader Ben-Ben . . ."
Hear the song on Youtube.
Wednesday, June 6, 2012
R.E.M. "Superman"
Last weekend, I was out for drinks with Craig Sherman, who likes to ask questions.
"If you could be anyone famous, who would you be?"
Strangely, the answer came to me quickly.
"Mike Mills of R.E.M."
Waay back in college, I had a next door neighbor from Georgia and a bunch of friends who were musicians. So naturally, we learned a few R.E.M. songs.
Even though it was a cover, we thought "Superman" (a hidden track on the cassette!) would be a great addition to our repertoire.
Kristine had the best voice, so of course she would sing the Michael Stipe part. And since I could barely do anything else to contribute (my bass playing skills were severely limited), I got to sing the Mike Mills part.
And here's what I discovered.
Despite the fact that Stipe get referred to as the "lead singer" and Mills as the "back-up singer," on "Superman" Mills sings just as much as Stipe does.
In fact, this is true on a ton of R.E.M. songs. He never comes off as the "lead singer" (except for the couple of songs he gets to sing lead on, from "Out Of Time"), but he's not a background guy by any stretch.
I became more attuned his contributions to the band.
A casual R.E.M. fan might suspect that R.E.M.'s melodic sensibility came from either the lead singer with amazing pipes, or the guitar player (Peter Buck) who seemed to produce endless combinations to guitar (and later, mandolin) figures to build songs around.
But multi-instrumentalist Mills, was the main contributor of songs you know and love, like "Don't Go Back To Rockville," "Nightswimming" and "At My Most Beautiful."
So Craig Sherman asked the question, and as I flipped through names in my head, I stopped on Mike Mills.
As I told Craig, and the rest of of gang at the table:
"He's this awesome musician, in one of the biggest bands in the world, but he never had to live out front. He's been super-successful, and never has to work again if he doesn't want to, so he's free to pursue whatever creative outlets he wants to. He'll probably eventually make a solo record, but he'll be able to do so without the crushing expectations that will be heaped upon a Michael Stipe solo record."
I'm sure my therapist would have a few interesting thoughts about my reasons for picking him.
Hear the song on Youtube.
"If you could be anyone famous, who would you be?"
Strangely, the answer came to me quickly.
"Mike Mills of R.E.M."
Waay back in college, I had a next door neighbor from Georgia and a bunch of friends who were musicians. So naturally, we learned a few R.E.M. songs.
Even though it was a cover, we thought "Superman" (a hidden track on the cassette!) would be a great addition to our repertoire.
Kristine had the best voice, so of course she would sing the Michael Stipe part. And since I could barely do anything else to contribute (my bass playing skills were severely limited), I got to sing the Mike Mills part.
And here's what I discovered.
Despite the fact that Stipe get referred to as the "lead singer" and Mills as the "back-up singer," on "Superman" Mills sings just as much as Stipe does.
In fact, this is true on a ton of R.E.M. songs. He never comes off as the "lead singer" (except for the couple of songs he gets to sing lead on, from "Out Of Time"), but he's not a background guy by any stretch.
I became more attuned his contributions to the band.
A casual R.E.M. fan might suspect that R.E.M.'s melodic sensibility came from either the lead singer with amazing pipes, or the guitar player (Peter Buck) who seemed to produce endless combinations to guitar (and later, mandolin) figures to build songs around.
But multi-instrumentalist Mills, was the main contributor of songs you know and love, like "Don't Go Back To Rockville," "Nightswimming" and "At My Most Beautiful."
So Craig Sherman asked the question, and as I flipped through names in my head, I stopped on Mike Mills.
As I told Craig, and the rest of of gang at the table:
"He's this awesome musician, in one of the biggest bands in the world, but he never had to live out front. He's been super-successful, and never has to work again if he doesn't want to, so he's free to pursue whatever creative outlets he wants to. He'll probably eventually make a solo record, but he'll be able to do so without the crushing expectations that will be heaped upon a Michael Stipe solo record."
I'm sure my therapist would have a few interesting thoughts about my reasons for picking him.
Hear the song on Youtube.
Saturday, May 26, 2012
R.E.M. "I Remember California"
Here's another Weekend
Post:
What with Memorial Day happening this weekend, I went looking for some "Memory" songs. Funny enough, I'd pulled this one out last week for Barbara, who was putting together a set of California songs.
Here's a cool live version . . .
Hear the song on Youtube.
Weekend posts are a chance to revisit songs that have happy memories, not of anything in particular, other than just hearing the tunes.
Many of these songs were tracks that I played during my 90s stint as an Alternative/Modern Rock radio show. They're tunes that I hardly hear these days, but are wonderful to revisit.
Click on the "Weekend Posts" label below, to see other posts like this.
What with Memorial Day happening this weekend, I went looking for some "Memory" songs. Funny enough, I'd pulled this one out last week for Barbara, who was putting together a set of California songs.
Here's a cool live version . . .
Hear the song on Youtube.
Weekend posts are a chance to revisit songs that have happy memories, not of anything in particular, other than just hearing the tunes.
Many of these songs were tracks that I played during my 90s stint as an Alternative/Modern Rock radio show. They're tunes that I hardly hear these days, but are wonderful to revisit.
Click on the "Weekend Posts" label below, to see other posts like this.
Friday, March 9, 2012
R.E.M. "Nightswimming"
I remember really liking "Nightswimming" when "Automatic For The People" came out. I thought it was tender and beautiful.
But 20 years later, my feelings have changed (yes, this record is 20 years old!).
I've realized, I love it more.
The tune came on mvy one day when I was driving around, and as I sang along I could feel that the song was reaching me in a deeper place.
Why?
I think it's because the song is nostalgic, fondly looking back at youth, or at least a particular time. And at 23, I don't think I could have had the same sweet sense of nostalgia that I have now.
At 23, out of college and in the professional world, I missed my high school and college days. But missing that period in my life didn't evoke the same feelings that they do at 43, when I miss those days from such a distance, and with a great sense of wistfulness.
It's not like the song didn't effect me at 23. It certainly did.
But I guess you can't fully appreciate a song about nostalgia, until you are old enough to appreciate nostalgia itself.
Hear the song on Youtube.
But 20 years later, my feelings have changed (yes, this record is 20 years old!).
I've realized, I love it more.
The tune came on mvy one day when I was driving around, and as I sang along I could feel that the song was reaching me in a deeper place.
Why?
I think it's because the song is nostalgic, fondly looking back at youth, or at least a particular time. And at 23, I don't think I could have had the same sweet sense of nostalgia that I have now.
At 23, out of college and in the professional world, I missed my high school and college days. But missing that period in my life didn't evoke the same feelings that they do at 43, when I miss those days from such a distance, and with a great sense of wistfulness.
It's not like the song didn't effect me at 23. It certainly did.
But I guess you can't fully appreciate a song about nostalgia, until you are old enough to appreciate nostalgia itself.
Hear the song on Youtube.
Monday, November 21, 2011
Alison Krauss "Paper Airplane"
Maybe it's a function of having a baby.
Or maybe this happens every year (and I have just forgotten, because I'm so damn tired, due to having a baby).
I was putting together a list of all the albums we put into rotation on mvyradio in 2011, for our annual Top 25 poll, and I couldn't get over the number of records---BIG records---that feel like they've been around for years, but have actually only been out for 12 or fewer months.
Lucinda Williams "Blessed"?
R.E.M. "Collapse Into Now"?
Bright Eyes "The People's Key"?
All released this year.
The Grammy-winningest woman in history puts out her first record in 7 years, and it's so far in the rearview mirror that I didn't remember that I came out in April?
That's the sign of a good year. That's the sign of a year so full of great releases, that even great records get pushed to the back burner.
You can check out the list of all albums we played in rotation, and vote for your top five. Voting automatically enters you to win CD copies of The Top 25 Of 2011.
Thanks for your help!
See the video on Youtube.
Or maybe this happens every year (and I have just forgotten, because I'm so damn tired, due to having a baby).
I was putting together a list of all the albums we put into rotation on mvyradio in 2011, for our annual Top 25 poll, and I couldn't get over the number of records---BIG records---that feel like they've been around for years, but have actually only been out for 12 or fewer months.
Lucinda Williams "Blessed"?
R.E.M. "Collapse Into Now"?
Bright Eyes "The People's Key"?
All released this year.
The Grammy-winningest woman in history puts out her first record in 7 years, and it's so far in the rearview mirror that I didn't remember that I came out in April?
That's the sign of a good year. That's the sign of a year so full of great releases, that even great records get pushed to the back burner.
You can check out the list of all albums we played in rotation, and vote for your top five. Voting automatically enters you to win CD copies of The Top 25 Of 2011.
Thanks for your help!
See the video on Youtube.
Friday, October 7, 2011
R.E.M. "Welcome To The Occupation"
What with the Occupy Wall Street protests finally getting some media attention, I can't believe I haven't heard this song this week.
The song is supposedly about U.S. intervention in Central America, but like many of Michael Stipe's oblique lyrics, you can probably graft on any meaning that strikes you.
Such as it is with the protests. While much has been made of the fact that there is no coherent voice or single issue bringing these protesters together, few have seemed to recognize that all the points of view and the myriad of issues spring from the same place: frustration. And that common frustration allows each protester (and any other person who has an inkling that the protesters are on to something) to graft on their particular issue as the reason for Occupy Wall Street.
And there are many worthy things to direct anger at. Unaccountable banks. Wall Streeters who cooked up toxic cocktails for us to drink for their profit. Corporations who pollute. The wealthy who support cuts for social services for others, but not tax increases for themselves. Ineffectual politicians. Or the ones just out to screw you.
All are battles worth fighting. But let me make a suggestion, to those Occupying Wall Street and those who want them to have a coherent message.
There is an ideal that I think most all Americans, on the right, the left, or wherever, could get behind. It is a belief in a true Democracy.
Focus on political reform that returns us to a true Democracy, where every person’s vote counts equally, and elections and policy aren’t unduly shaped by wealth.
Your vote should count as much as my vote, regardless of who has money and who doesn't. And if corporations are, under the law, considered a person, their ability to influence the political process should be no greater, and no less, than yours or mine.
If you can effect that one change, then all your other concerns about the financial system, Banks, corruption, environmental polluters, etc, will be attainable.
Without removing the money from the political game, its an uphill battle in all directions.
(I should add this disclaimer that these opinions are my own, and should not reflect in any way on mvyradio, which strives to present itself as an apolitical voice)
Hear the song on Youtube.
The song is supposedly about U.S. intervention in Central America, but like many of Michael Stipe's oblique lyrics, you can probably graft on any meaning that strikes you.
Such as it is with the protests. While much has been made of the fact that there is no coherent voice or single issue bringing these protesters together, few have seemed to recognize that all the points of view and the myriad of issues spring from the same place: frustration. And that common frustration allows each protester (and any other person who has an inkling that the protesters are on to something) to graft on their particular issue as the reason for Occupy Wall Street.
And there are many worthy things to direct anger at. Unaccountable banks. Wall Streeters who cooked up toxic cocktails for us to drink for their profit. Corporations who pollute. The wealthy who support cuts for social services for others, but not tax increases for themselves. Ineffectual politicians. Or the ones just out to screw you.
All are battles worth fighting. But let me make a suggestion, to those Occupying Wall Street and those who want them to have a coherent message.
There is an ideal that I think most all Americans, on the right, the left, or wherever, could get behind. It is a belief in a true Democracy.
Focus on political reform that returns us to a true Democracy, where every person’s vote counts equally, and elections and policy aren’t unduly shaped by wealth.
Your vote should count as much as my vote, regardless of who has money and who doesn't. And if corporations are, under the law, considered a person, their ability to influence the political process should be no greater, and no less, than yours or mine.
If you can effect that one change, then all your other concerns about the financial system, Banks, corruption, environmental polluters, etc, will be attainable.
Without removing the money from the political game, its an uphill battle in all directions.
(I should add this disclaimer that these opinions are my own, and should not reflect in any way on mvyradio, which strives to present itself as an apolitical voice)
Hear the song on Youtube.
Friday, September 23, 2011
R.E.M. "Electrolite"
"I'm Outta Here."
I thought it would have been such a fitting end.
That line is the last lyric on the last song on what could have been R.E.M.'s last record, "The New Adventures In Hi Fi."
Bill Berry, the band's drummer, had decided to leave the band, and R.E.M. was the type of group, the type of people, where, if one guy left, the whole band was over.
I mean, they made some pretty interesting, classy decisions in their career.
You know, every R.E.M. song's writing credit, is credited to all band members? Most bands have the person who wrote the lyrics, get the songwriting credit (and therefore, that part of the royalties). But R.E.M. wanted to acknowledge the equal contribution of all members.
When their longtime manager from the early days, left/was dismissed from the band, the band simply issued a statement saying they would not discuss the details. And never have.
And when Berry decided to leave the group, they called a press conference and all four members sat on camera for an interview to discuss Berry leaving the band, and to say that they would honor his wish that the group continue.
Think about that. Can you think of another band that had a member abruptly leave, and held an amicable press conference to calmly discuss it? Instead of sniping through the press (hello Van Halen, Rolling Stones, ad finitum).
And (well, so far anyway), this week's break-up announcement was devoid of the drama and/or opportunistic hype that a lesser band would have taken advantage of.
They could have announced this coming break-up ahead of a "Farewell Tour," to boost sales.
But they didn't.
The released a simple statement, with comments from each member, saying thanks to the fans. And calling it quits for the right reasons---they had said everything they needed to say as a group.
Classy.
My greatest reason for appreciating how this band has conducted itself all these years, is a personal one.
Sometime I'll tell you the tangled story of the hostile corporate takeover of the first radio station I worked for. But let me jump to the R.E.M. part.
We were trying to block this corporation from taking over our little, family-owned, independent radio station, by petitioning the FCC to stop the sale.
The local community had been rallied, but we wanted to have some weighty voices from other camps. My job was to contact artists, and ask them to write a letter to the FCC on our behalf.
I wrote to 50 American artists, not necessarily expecting anything.
But one group got back in touch with me.
I got a call from an assistant to R.E.M.'s manager, Bertis Downs, who asked a few questions, and then said, "What do you need us to do?" and "When do you need us to do it?"
I asked if they could draft a letter, asking the FCC to help the community keep our radio station. I gave her a few of the salient points the letter should hit.
And that was it. To paraphrase Arlo Guthrie, "somewhere in Washington enshrined in some little folder, is a study in black and white" of R.E.M.'s attention, commitment and honorableness.
I'm happy we have their many years of music. I'm grateful that it was made by people who have lived up to the reverence being shown to them.
See the video on Youtube.
I thought it would have been such a fitting end.
That line is the last lyric on the last song on what could have been R.E.M.'s last record, "The New Adventures In Hi Fi."
Bill Berry, the band's drummer, had decided to leave the band, and R.E.M. was the type of group, the type of people, where, if one guy left, the whole band was over.
I mean, they made some pretty interesting, classy decisions in their career.
You know, every R.E.M. song's writing credit, is credited to all band members? Most bands have the person who wrote the lyrics, get the songwriting credit (and therefore, that part of the royalties). But R.E.M. wanted to acknowledge the equal contribution of all members.
When their longtime manager from the early days, left/was dismissed from the band, the band simply issued a statement saying they would not discuss the details. And never have.
And when Berry decided to leave the group, they called a press conference and all four members sat on camera for an interview to discuss Berry leaving the band, and to say that they would honor his wish that the group continue.
Think about that. Can you think of another band that had a member abruptly leave, and held an amicable press conference to calmly discuss it? Instead of sniping through the press (hello Van Halen, Rolling Stones, ad finitum).
And (well, so far anyway), this week's break-up announcement was devoid of the drama and/or opportunistic hype that a lesser band would have taken advantage of.
They could have announced this coming break-up ahead of a "Farewell Tour," to boost sales.
But they didn't.
The released a simple statement, with comments from each member, saying thanks to the fans. And calling it quits for the right reasons---they had said everything they needed to say as a group.
Classy.
My greatest reason for appreciating how this band has conducted itself all these years, is a personal one.
Sometime I'll tell you the tangled story of the hostile corporate takeover of the first radio station I worked for. But let me jump to the R.E.M. part.
We were trying to block this corporation from taking over our little, family-owned, independent radio station, by petitioning the FCC to stop the sale.
The local community had been rallied, but we wanted to have some weighty voices from other camps. My job was to contact artists, and ask them to write a letter to the FCC on our behalf.
I wrote to 50 American artists, not necessarily expecting anything.
But one group got back in touch with me.
I got a call from an assistant to R.E.M.'s manager, Bertis Downs, who asked a few questions, and then said, "What do you need us to do?" and "When do you need us to do it?"
I asked if they could draft a letter, asking the FCC to help the community keep our radio station. I gave her a few of the salient points the letter should hit.
And that was it. To paraphrase Arlo Guthrie, "somewhere in Washington enshrined in some little folder, is a study in black and white" of R.E.M.'s attention, commitment and honorableness.
I'm happy we have their many years of music. I'm grateful that it was made by people who have lived up to the reverence being shown to them.
See the video on Youtube.
Sunday, September 4, 2011
R.E.M. "Finest Worksong"
Throwing up a few work songs this weekend, in a Labor Day frame of mind.
R.E.M. + horns. Who would've thought that would work?
See the video on Youtube.
R.E.M. + horns. Who would've thought that would work?
See the video on Youtube.
Wednesday, June 22, 2011
R.E.M. "Tongue"
"Are you guys getting wet out there?"
I was seeing R.E.M. on their tour supporting "Monster." It was their first tour in 6 years. Things had changed for R.E.M.
The last time they had been on tour, it was behind the album "Green," their 6th record, which, like each predecessor, got them a little more attention than the last record. They had graduated to playing arenas.
But albums seven and eight were real breakthroughs, major worldwide successes. So by the time record number nine, "Monster," was released, the band's decision to tour brought them to much larger venues, including outdoor amphitheaters.
This night, outside of Nashville, Tennessee, the weather wasn't so great. Rain had been on and off, and thunderstorms were threatening. But the rain had stopped when Michael Stipe asked the question:
"Are you guys getting wet out there?"
And it struck me as a sign of much change with R.E.M. when Stipe, is a slow, low voice, followed his question with:
"I'm a little moist myself."
With earlier albums touching on political subjects and more recent albums awash in tasteful strings, with their activism up-front-and-center and their prevailing attitude being unadulterated earnestness, R.E.M. up to that point, had never struck me as a "funny" band. Or a "sexy" band.
Fun? Yes. Energetic? Yes. Even cheerful? Sometimes. But not usually funny. And never playfully sexy.
But in a quick flash on the previous album (when Stipe throws an Andy Kaufman-as-Elvis-Presley impression into "Man On The Moon"), and moreso on "Monster," the band, and Stipe in particular, seemed to be having fun with the characters in the songs.
And the song that followed his "moist" quip seemed to be the culmination of a willingness to really be something different, be someone different.
He introduced the song by saying, "Sometimes I write songs for boys. Sometimes I write songs for girls. This one, is for the ladies."
Can you imagine a full-song falsetto, up-front and on top of the mix, on an early album like "Fables Of The Reconstruction" or "Murmur"? No way.
"Tongue" had it. It sounded great. It suited the band. It was a sign of change and of growth. It was a good moment.
See the video on Youtube.
From a documentary, with a bit of discussion about "Tongue"
See the video on Youtube.
I was seeing R.E.M. on their tour supporting "Monster." It was their first tour in 6 years. Things had changed for R.E.M.
The last time they had been on tour, it was behind the album "Green," their 6th record, which, like each predecessor, got them a little more attention than the last record. They had graduated to playing arenas.
But albums seven and eight were real breakthroughs, major worldwide successes. So by the time record number nine, "Monster," was released, the band's decision to tour brought them to much larger venues, including outdoor amphitheaters.
This night, outside of Nashville, Tennessee, the weather wasn't so great. Rain had been on and off, and thunderstorms were threatening. But the rain had stopped when Michael Stipe asked the question:
"Are you guys getting wet out there?"
And it struck me as a sign of much change with R.E.M. when Stipe, is a slow, low voice, followed his question with:
"I'm a little moist myself."
With earlier albums touching on political subjects and more recent albums awash in tasteful strings, with their activism up-front-and-center and their prevailing attitude being unadulterated earnestness, R.E.M. up to that point, had never struck me as a "funny" band. Or a "sexy" band.
Fun? Yes. Energetic? Yes. Even cheerful? Sometimes. But not usually funny. And never playfully sexy.
But in a quick flash on the previous album (when Stipe throws an Andy Kaufman-as-Elvis-Presley impression into "Man On The Moon"), and moreso on "Monster," the band, and Stipe in particular, seemed to be having fun with the characters in the songs.
And the song that followed his "moist" quip seemed to be the culmination of a willingness to really be something different, be someone different.
He introduced the song by saying, "Sometimes I write songs for boys. Sometimes I write songs for girls. This one, is for the ladies."
Can you imagine a full-song falsetto, up-front and on top of the mix, on an early album like "Fables Of The Reconstruction" or "Murmur"? No way.
"Tongue" had it. It sounded great. It suited the band. It was a sign of change and of growth. It was a good moment.
See the video on Youtube.
From a documentary, with a bit of discussion about "Tongue"
See the video on Youtube.
Sunday, April 10, 2011
R.E.M. "Let Me In"
Here's another Weekend Post:
I didn't have a chance to write about the anniversary of Kurt Cobain's death this week, but I'll do a longer post on Monday. This weekend I'm just posting a couple of "lost in the 90s" Cobain tributes.
This one was buried deep into R.E.M.'s "Monster" record. As usual, it's pretty hard to decipher what Michael Stipe is talking about, but you have to appreciate that this is a tribute done by someone who truly was a friend of Kurt's, who knew him and cared about him.
Weekend posts are a chance to revisit songs that have happy memories, not of anything in particular, other than just hearing the tunes.
Many of these songs were tracks that I played during my 90s stint as an Alternative/Modern Rock radio show. They're tunes that I hardly hear these days, but are wonderful to revisit.
Click on the "Weekend Posts" label below, to see other posts like this.
I didn't have a chance to write about the anniversary of Kurt Cobain's death this week, but I'll do a longer post on Monday. This weekend I'm just posting a couple of "lost in the 90s" Cobain tributes.
This one was buried deep into R.E.M.'s "Monster" record. As usual, it's pretty hard to decipher what Michael Stipe is talking about, but you have to appreciate that this is a tribute done by someone who truly was a friend of Kurt's, who knew him and cared about him.
Weekend posts are a chance to revisit songs that have happy memories, not of anything in particular, other than just hearing the tunes.
Many of these songs were tracks that I played during my 90s stint as an Alternative/Modern Rock radio show. They're tunes that I hardly hear these days, but are wonderful to revisit.
Click on the "Weekend Posts" label below, to see other posts like this.
Monday, March 14, 2011
R.E.M. "Sidewinder Sleeps Tonight"
Over a couple of beers, I tried to explain "Interpolation" to two of my friends, to see if they could help me with a few examples that I could use on The Hot Seat.
Halfway through the conversation, I realized that, while I knew what it was when I heard it, I didn't have the language to properly explain it.
So maybe I should start there:
"Interpolation refers to using a melody, or portions of a melody (often with modified lyrics) from a previously recorded song, but replaying the melody instead of sampling it."
So samples don't count, because they use the original song. Just mentioning another song in the lyrics doesn't count. And we're not talking about a strict cover version either.
The best example I could come up with is "Sidewinder Sleeps Tonight," which uses the melody of "The Lion Sleeps Tonight," as part of the song. But it's not a cover or a reworking of "The Lion Sleeps Tonight." It's just got Michael Stipe singing that one part of the old song, incorporated into the new one.
Tonight I'm doing a Hot Seat on "Interpolation" and I'll be playing the original song, followed by a song that incorporates an element of the original tune. Hear it tonight at 9pm ET on the stream, or find it later in the archives.
And while I have your attention about this song, check out this old article about the origins of "The Lion Sleeps Tonight." When I originally read it years ago, I thought it was one of the most interesting pieces of Rock journalism I'd ever read.
You'll never hear that song the same way again.
Halfway through the conversation, I realized that, while I knew what it was when I heard it, I didn't have the language to properly explain it.
So maybe I should start there:
"Interpolation refers to using a melody, or portions of a melody (often with modified lyrics) from a previously recorded song, but replaying the melody instead of sampling it."
So samples don't count, because they use the original song. Just mentioning another song in the lyrics doesn't count. And we're not talking about a strict cover version either.
The best example I could come up with is "Sidewinder Sleeps Tonight," which uses the melody of "The Lion Sleeps Tonight," as part of the song. But it's not a cover or a reworking of "The Lion Sleeps Tonight." It's just got Michael Stipe singing that one part of the old song, incorporated into the new one.
Tonight I'm doing a Hot Seat on "Interpolation" and I'll be playing the original song, followed by a song that incorporates an element of the original tune. Hear it tonight at 9pm ET on the stream, or find it later in the archives.
And while I have your attention about this song, check out this old article about the origins of "The Lion Sleeps Tonight." When I originally read it years ago, I thought it was one of the most interesting pieces of Rock journalism I'd ever read.
You'll never hear that song the same way again.
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