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- Music Weekly: Dave Sitek
Hello podders and happy Friday to you all. We begin proceedings this week with a word in your collective ears from TV on the Radio's Dave Sitek, who is also quite possibly the most prolific, and coolest, producer in New York. But here's the thing: Sitek no longer resides anywhere near the five boroughs. In fact he upped ship to Los Angeles to make his first solo album, Maximum Balloon. When he was in London recently he told Rosie Swash why food and sex were the inspiration for said LP, and why he loves nothing more than a good bit of landscape gardening.
In Singles Club, Alexis Petridis and Rosie are joined by Tim Jonze for to hear the likes of Cee-Lo's Fuck You, Grinderman's Worm Tamer and a strange old cover of Lindsay Lohan's Bossy, by Autre Ne Veut.
Finally, we wrap up with Your Label's Showing, which this week looks at the rise of ickle indie label Young and Lost Club. From bunking off boarding school to see bands to signing the likes of Noah and the Whale, Sara and Nadia tell us about their career so far and DIY work ethic.
And that's your lot! We hope you enjoyed this week's show. Come and find us on Twitter and Facebook, should the fancy take you.
Переслать - New music: Florence and the Machine – Dog Days Are Over (Yeasayer remix)
Listen to Yeasayer's synth rubdown of the Florence hit now before it becomes the omnipresent soundtrack to some E4 teen drama or other
Florence and the Machine. You may have heard of them. No? Well they are pretty low-key. Anyway, having had her way with the UK, Florence Welch has started an onslaught on the US, starting with a sterling performance at last week's MTV VMAs. Since then, Lungs has catapulted from the lower reaches of the US chart to a new peak of 14, while the single Dog Days Are Over was downloaded nearly 100,000 times in a week. To coincide with all this new-found global success (the album is currently top three in Australia too), Brooklyn oddballs Yeasayer have given Dog Days a synth rubdown, stripping away the harps to leave stuttering vocal loops and airy, clipped beats. Expect to hear it as the sound-bed to a new E4 teen drama within the month.
guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More FeedsПереслать - Readers recommend songs about vegetables
Last week's song choices were written in the stars, but now it's time to dig deep and root out those little lettuce gems
Hello pop people, I'm glad you could make it. Well, actually I knew you would be here, because it was written in the stars. Years before Paul even thought about deciding to make fate and destiny a Readers Recommend topic a cosmic alignment made it inevitable.
In truth, we've all been driven here by powers beyond our control, so we might as well enjoy it. Immovable, immutable fate is, of course, mental Viagra for songwriters. Who wouldn't fancy a crack at trying to make sense of one of humankind's oldest and most intractable questions. And that's before you've even tackled the breezy romanticism of it all …
But first, the A-list:
Teenage Fanclub – Star Sign;
Joni Mitchell – The Circle Game;
Pete Rock & CL Smooth – Tell Me;
The Incredible String Band – The Eyes of Fate;
Talk Talk – Life's What You Make It;
Chaka Khan – Fate;
The Byrds – Wasn't Born to Follow;
Culture – Work on Natty;
Jeff Tweedy – Simple Twist of Fate;
Sly & The Family Stone – Que Sera Sera (Whatever Will Be, Will Be)
OK – so you knew all of those would be there anyway, right? Bearing that in mind, let's crack on with the B-list:
Cannonball Adderley – Cancer
Brilliant slice of early-70s bedroom soul-jazz where Adderley – Julian to his mother – outlines the defining characteristics of all Cancerians, even those who've yet to be born. Cancerians, apparently, are some of "the better home-makers in the soul-are system …" Good news for us all there.
Kiss – Detroit Rock City
A man cooking breakfast hears about a fatal accident on the radio. He then leaves the house and, apparently, dies in the same fatal accident. Fatal fate. No, I don't really understand it either, but this amazing TV footage from 1976 might help you at least appreciate the song.
The Grateful Dead – Ripple
RR regular Chris7572 describes how this Grateful Dead acoustic weepie from 1970 is, in fact, "a metaphysical meditation on fate and destiny, interspersed with a Zen haiku: Ripple in still water, When there is no pebble tossed, Nor wind to blow".
So now you know. And, frankly, so do I.
John Coltrane – Everytime We Say Goodbye
Particularly apt Cole Porter lyric dug out by Nilpferd, namely, "Why the gods above me, who should be in the know, think so little of me, they allow you to go …" Of course, none of the lyrics appear in this instrumental version, but, really, when the tune is this hot, who's counting?
Rush – Freewill
This is a band who have devoted the same amount of mental energy into the causal laws of determinism as other bands put into their spangly-trouser choices. Which is not to say spangly trousers aren't important – they really, really are and Rush have worn some doozies in their time – but, y'know, other stuff's good too. Don't get up yourself, the Canuck power-trio trill, we are simply, "Genetic blends, with uncertain ends, on a fortune hunt that's far too fleet …" Literally, innit.
Marvin Gaye – If I Should Die Tonight
Big Marv looks into the future and imagines the bad things that might happen, but then reasons that, thanks to the redemptive power of love, none of it matters. "If I should die tonight love, darlin' it would be far before my time (Editor's note: How does Mr Gaye know this?), I won't die blue, 'cos I've known you …" Beautiful.
James & Bobby Purify – I Was Born to Lose Out
What a title. Apparently it was decided, from the very moment of their birth, that James and Bobby Purify (there were actually two Bobbys), would never get what they really wanted. "I'm like a child, all in need," they holler, "praying to the Lord up above …" But, crucially, that doesn't help either.
RD Burman – Ek Ladki Ko Dekha To
A wonderful piece built on the idea of a love so striking it's like you were destined to be overwhelmed by it all along. Boy meets girl, boy considers girl to be, "like a blooming rose, like a poet's dream, like a glowing ray of light, like a deer in the forest, like a moonlit night, like a soft word …" Spectacularly melodramatic clip here.
Love – You Set the Scene
Arthur Lee looks around him and thinks, "You go through changes, it may seem strange, is this what you're put here for? You think you're happy and you are happy, that's what you're happy for …" It's that type of deep thinking that probably drove him mad.
John Martyn – The Downward Pull of Human Nature
Wise words here from RR regular Scepticusually who listens to this track from 1996 and finds that Martyn believes we are all, "fated to debauch, betray, dissemble, overreach and dissipate …" Is that true? Or is that merely a boozer's self-justification? There's a whole other question that needs answering.
Here's a Spotify playlist of the A and the B.
Anyway, vegetables. Friday 1 October is World Vegetarian Day, so, despite being someone who is more likely to pilot a spaceship to the moon than become a vegetarian, I thought we should celebrate it in the way we do best. With great popular music. Now, we've done food a few years ago so I need you all to dig deeper. I want to hear songs that praise the vegetable and offer up thanks to each leaf, stem and root. Let's hear it for potatoes, collard greens, sorrel, winter purslane and all those other good things. Your nomination could contain a direct piece of veg-love, it could just be a passing reference, but either way it needs to be a song or a lyric that really offers up some respect to our funky, frondy friends.
And that terrible Smiths song is banned on account of it being joyless and embarrassing.
The toolbox: Archive, the Marconium, the Spill, the Collabo.
The rulebook:
DO post your nominations before midday on Monday if you wish them to be considered.
DO post justifications of your choices wherever possible.
DO NOT post more than one-third of the lyrics of any song.
DO NOT dump lists of nominations – if you must post more than two or three at once, please attempt to justify your choices.
Sparklehorse, let's make that day today.
guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More FeedsПереслать - Behind the music: The winners and losers of social networking promotion
Some musicians take years to finish a song. When we expect them to bash out blogs too we risk alienating talent
An artist I know recently signed to a major. The label wanted him to be active on social networking sites, to blog and so on, because apparently that's how you build a fan base these days. Within weeks, he was a nervous wreck. He spent hours sitting in front of his computer, slowly breaking into a cold sweat at the thought of each word he wrote being dissected, with no chance of revision once it had entered cyberspace, potentially spreading across Twitter, Facebook and other social networking sites.
He wanted to be witty, candid and sincere. He also felt the need to be a bit controversial, since that would be one way to attract attention to himself and, hopefully, his music. Yet that would also guarantee those indelible words would remain in the public eye ...
So stressed was this musician that he's now posted to a blog saying: "This is the last time I do this." Why? It had taken him years to distil his emotions into 10 songs, sweating over every word to make sure it divulged how he really felt, knowing that it would be part of his legacy forever. Now he was expected to write 500 of them in a week – preferably in a day.
In the magnificent volume Songwriters On Songwriting, in which Paul Zollo interviews legendary songwriters about their craft, Leonard Cohen describes his creative process: "It takes me months and months of full employment to break the code of the song ... I try everything to ignore it, try to repress it, try to get high, try to get intoxicated, try to get sober, all the versions of myself that I can summon are summoned to participate in this project, this work force." He proceeds with a tale of how it took him a decade to write Anthem, offering detailed explanations as to why he chose one word over another.
If Cohen started out today, would he survive as an artist? Would his songs become such a part of our cultural fabric that even someone such as Simon Cowell would pick one as the X Factor winner's single? Would he be expected to fund his next record by cooking a meal – or even doing a striptease – at a fan's house, or singing down the second-hand iPhone they bought from him for $1,000?
What if you just want to – and are only good at – making music? "Some people just want to build and sell typewriters, and there's nothing wrong with that," says Mike Masnick of TechDirt. "But they shouldn't then complain when people aren't interested in buying the typewriters ... [or] be upset when they are branded as archaic because they're trying to sell something in a market that has moved on." Cohen is not a businessman (though his former manager was ordered to pay him $9.5m after he sued her for siphoning money from him, so I guess he eventually learned). He's a damn good songwriter. Who knows whether he'd have been able to hone his craft if he'd been forced to work on his business acumen and social networking skills at the same time.
My friend with the blogging troubles may still be able to get his music out there because he has the marketing machine of a major to fall back on, but what about the musicians who don't? What if they're not part of the "artistic middle class" touted by TopSpin and other online music marketers, who consider themselves entrepreneurs and not just artists who create art for art's sake?
I recently heard a Danish band called Choir of Young Believers, who fall into that category. They may never get the Twitter retinue of an Amanda Palmer – who has nearly half a million followers – but their song Hollow Talk (which only has 23,000 views on YouTube, at the time of writing) completely stopped me in my tracks, sounding like a melancholic Arcade Fire doing the soundtrack for Wallander. I don't want them to write blogposts; I just want them to be able to keep writing songs that transport me to a much more beautiful place when I'm enduring the London underground at rush hour. And no, I don't own a typewriter.
guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More FeedsПереслать
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