tag:blogger.com,1999:blog-33388711.post778742617267590753..comments2023-05-27T09:17:05.498-05:00Comments on Dusty Likes Music: iPod RouletteAnonymoushttp://www.blogger.com/profile/18186506571227921241noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-33388711.post-75849868832817059352008-10-29T09:53:00.000-05:002008-10-29T09:53:00.000-05:00I actually really like "Close Edge" by Mos Def. A...I actually really like "Close Edge" by Mos Def. As you said, there's not much going on, but I love it anyway.<BR/><BR/>I'm completely on board with your Jeff Buckley bourbon/cigar plan. It's a fantastic album...I think you'll dig it.Anonymoushttps://www.blogger.com/profile/18186506571227921241noreply@blogger.comtag:blogger.com,1999:blog-33388711.post-80947362534949708982008-10-27T07:02:00.000-05:002008-10-27T07:02:00.000-05:00Thanks for posting again Dusty. Let's go:1. "Sle...Thanks for posting again Dusty. Let's go:<BR/><BR/>1. "Sleeping Bear, Sault Ste. Marie," by Sufjan Stevens (from <B><I> Greetings from Michigan: the Great Lakes State </I></B>)<BR/>- Not a song I think about a whole lot, aside from the title. It starts like one of his 21 second instrumentals, but the vocals come in (along with the banjo that is a trademark of this album) big and chorus-like (for this album, anyway - I'm sure it would have been huge if he had recorded this with Illinoise's budget). The chorus is all there is, pretty much, but it's great. Feels like you should be outside, lake-side, right down to the crickets that close out the song.<BR/><BR/>2. "Lazy," by Yellow Hammer, from the <B> Ocean's 12 </B> sountrack. <BR/><BR/>This doesn't belong on here. Not much to it, and it's a four minute instrumental. Kind of a letdown for what was the movie's strongest point (the music in general, that is).<BR/><BR/>3. "Remote Control," by the Clash, (<I><B> The Clash </B></I>)<BR/><BR/>One of their rougher songs that places them closer to the punk genre that is identified with the name of The Clash more than with their music. Not a huge fan of this one, though I really like the way the verses come in. I'm sorry to say that I've not listened to this album enough to place it in context. Maybe next time. O.K., the ending's cool.<BR/><BR/>4. "Close Edge," by Mos Def (<B><I> The New Danger </I></B>)<BR/><BR/>Two things a rap song has to have for me to enjoy it are: 1.) good layering of instrumental and vocal tracks, which this song doesn't really have much of. That would be o.k. if 2.) the rhythm of the vocals influences the rhythm of the song so that there is a complementing of percussion (d.j. shadow), other instrumental elements (the roots, at their best, and kanye), and vocal rhythm (outkast). This track features minimal elements of either of these two, which is disappointing since I expect more from mos def. He is kind of the lo-fi hip hop guy, so there's something else happening here, I just know it.<BR/><BR/>5. "And the Rest Will Follow," by ...And You Will Know Us by the Trail of Dead (<B><I> Worlds Apart </I></B>)<BR/><BR/>A good song with a great intro, interesting chord progression, and chorus. The lyrics of the chorus, "I know how the best will fall, and the rest will follow," lends a confident prediction of everyone's come-uppance. The syncopation and percussion in this one make the song. Listen for the bird shriek at 2:35. <BR/><BR/>6. "Dream Brother," by Jeff Buckley (<I><B> Grace </B></I>)<BR/><BR/>I don't listen to Jeff Buckley. Maybe because I don't sit around outside with people and smoke. This song sounds like it would be good to do that to. It's kind of spacy, but sounds like a live recording at the same time. Definitely has that mid-90's alternative, no, really alternative, sound to it. Next time I'm in Lexington and the weather permits, we should drink bourbon and smoke cigars while listening to <I><B> Grace </B></I>.<BR/><BR/>7. "Cemetery Gates," the Smiths (<I><B> The Queen is Dead </B></I>)<BR/><BR/>A corny song from a gloomy Morrissey album. He drops 19th century literary names and advice about plagiarism over an almost campfire-song-like chord progression and tempo, in the setting of a cemetery.<BR/><BR/>8. "Kommienezuspadt," Tom Waits (<I><B> Alice </B></I>)<BR/><BR/>I love this album. Those warm-toned horns are there throughout the album as much as any other, changing the rainy-day texture of Waits' sound to rainy-day-at-the-circus textures. This song especially - sounds like a German ringleader is calling people to come in and see a freak show, but I'm sure it's more grumpy than that, considering the rest of this album. It also sounds like there's poop involved somewhere, too. In other words, it's a good song.<BR/><BR/>9. "Emergency Exit," Beck (<I><B> Guero </B></I>)<BR/><BR/>This was a strange album, even for Beck. As varied as his repertoire is, this one just doesn't seem to fit somehow. This song is an example of that: it has a heavier feel, but still has a strong beat to it. I guess he usually kept the two apart up until now (2005) and so this seems kind of a curveball. The song itself is fine, one of those songs that only Beck could pull off but not his best. Sounds like a heavier "Peaches and Cream" (from <I><B> Midnight Vultures </B></I>).<BR/><BR/>10. "Hey Porter," Johnny Cash (take your pick -<I> Ben </I>)<BR/><BR/>I love this song. I think it was the first Johnny Cash song I ever really listened to. It's sung from a passenger on a Southbound (capital S) train who can just tell he's getting closer to home as the day breaks. You could not tell this story any other way. If there's any way you could miss the message of the music, Mr. Cash makes it so clear that you can almost see the mist sitting on the ground of a humid Carolina/Georgia/Tennessee morning.Fosterfacehttps://www.blogger.com/profile/07078427164102504729noreply@blogger.com