OK Go rocks! I found this band through a post on NRO’s the Corner and they are awesome. The first video is from their first album, Oh No, which is a pretty straightforward power-pop record (for an interesting story about the group’s videos and the music biz in general check out this Op-Ed NY Times piece by the lead singer). The second is from their latest effort released this year, Of the Blue Colour of the Sky, which is very eclectic, very cool and completely different from the previous album. Anyway, I’ve been listening to both albums non-stop for the last two weeks. Enjoy.
I found this video over at The Fire Wire of Jason Mraz playing at the Taylor booth at the 2010 NAMM (the National Association of Music Merchants) show. I liked it so much (as you know I’m a big Taylor fan – see this post) I thought I’d share it here.
One of my pet peeves is the phenomenon that I call the “wet-talker”. The wet-talker is someone who makes a slight smacking noise when he or she talks. Really that’s not quite accurate but it’s the best way I can describe it. Every time the wet-talker opens his mouth to speak you hear a gross, moist sound as if they have way too much saliva in their mouth.
The worst place to hear a wet-talker is on the radio and the worst wet-talkers on the radio reside at NPR. Most of their hosts are wet-talkers. Most of their guests are wet-talkers. Heck, even the people that do their advertising spots are wet-talkers (I’m exaggerating – but not by much). Surely this can’t be a hiring criterion for NPR. There can’t be a place on NPR’s broadcaster application that says “Are you a wet-talker?” Can there? Maybe it’s the microphones they use; maybe they’re so sensitive that they turn everyone into a wet-talker. Maybe wet-talking is a common condition of the snooty northeasterner, which is what NPR’s broadcast team almost exclusively consists of. I don’t know. All I know is that on most other radio stations I rarely hear wet-talkers and when I do, they’re usually guests on a talk show, not the everyday host.
Anyway, please join my crusade to stamp out wet-talking on the airwaves by writing your congressman and the FCC and asking them to ban wet-talking on all frequencies.
Thank you for your support.
As a proud owner of a Taylor 414ce (a much less expensive model than Dave Carroll owns I’m sure) I join Dave in condemning United Airlines or anyone else who would damage one of these beautiful instruments and not live up to their liability by fully compensating the owner for the loss (which of course should include a substantial amount for pain and suffering).
The new Gibson Dark Fire is making my musician pants go crazy. The robotic tuning is the coolest thing I’ve ever seen on a guitar. When I was in my band we did a Keith Richards cover song. Since the guitar part was in Open G tuning, I always had to take an extra guitar tuned to Open G to the gig. With the Dark Fire you can go from standard concert tuning to Open G to Drop D all with the turn of a knob. Not to mention the electronics that allow you to store amp simulations in the built-in preamp.
Well, ’87 is when things start to get a little sparse. There are still some really good songs but the quantity of quality stuff encounters a steep drop-off. If you are interested why I started doing these Top 10 lists (and for the top 10 of 1980) check out my 1980 post. For the others click, 1981, 1982, 1983, 1984, 1985 and 1986.
10. At This Moment, Billy Vera – As you know if you’ve been reading these lists, I’m a sucker for sappy love ballads – especially those that are of the baby-please-don’t-leave variety. I’m also a sucker for pedal steel guitar. This song has a slow gospel feel to it that turns country when the pedal still kicks in and then changes yet again to 50’s-style ballad when the horn section enters. The vocals display some of the most genuine emotion that you’re going to find in a song from this era. The guy sounds like he’s really hurting. If I remember correctly, the first time I heard this song was on an episode of Family Ties. Only after that did I start hearing it on the radio.
9. I Just Died In Your Arms Tonight, Cutting Crew – Alright, let’s get one thing straight – chicks dig this song! If you wanted to get a girl in “the mood” back in 1987 all you had to do was pop this cassette in the car stereo and your night just got a little more interesting. The guitar in this song has that edgy, reverby 80’s signature to it. The vocals aren’t great in that they sound like they could be any of the androgenous Brit bands of the time. But the melody and overall production value of the song make up for that.
8. Tonight, Tonight, Tonight, Genesis – I kind of had a wierd relationship with Genesis. I liked pretty much every single they released but I never bought any of their albums. To further confuse things, sometimes I didn’t know if a song was a Genesis or Phil Collins solo single. This song however was one that I had to own and so I bought it on 45, one of the few 45’s I ever bought. This song has a similar feel to “In the Air Tonight”; real atmospheric and kind of menacing. The lyrics of the verses didn’t seem to make much sense. “I’m comin’ down, comin’ down like a monkey” – what the hell does that mean?
7. Will You Still Love Me, Chicago – This is the first single from Chicago 18, as well as the moment that the group said “Peter who?” Despite Peter Cetera leaving the group the band continued their dominance of the mid to late 80’s charts by pumping out another power ballad with a memorable, catchy melody. I mainly remember this song because a girl that I liked invited me to go to the Chicago concert with her and her church youth group. I thought that this was a sign that she was into me. Later though I found out she was interested in one of my friends who was one of those guys that no girls where ever interested in (you know the type I’m talking about). Regardless of this painful memory I still dig the song.
6. The Next Time I Fall, Peter Cetera & Amy Grant – Much like #7, this song hears Peter Cetera ask “Chicago who?” This was his second post-Chicago solo hit and his proof that he could come out with catchy, melodic power ballads on his own. This song caused quite a bit of controversy at my church. Amy Grant up to this point had been a Christian artist and many of the faithful thought that she was betraying her ideals by doing the mainstream crossover thing. My only problem with it was that she sounded really sexy which caused me to think about her in ways that made me feel dirty…but in a good way.
5. Notorius, Duran Duran – With the jangly disco guitar bit and the popping bass line this song saw Duran Duran back in a big way. The horns added a great layer to the song and the melody was up there with all of their great songs. And of course “Notorious” continues their tradition of lyrics that either don’t make sense, are silly or both at the same time. Just a sample: “You own the money, you control the witness. I leave you lonely, don’t monkey with my business.” I hate it when people monkey with my business…I think.
4. The Lady In Red, Chris de Burgh – Chris de Burgh just sounds really cool and smooth in this song. This song is a straight-forward ballad and the only thing that makes it sound like an 80’s tune is the atmospheric keyboard part in the background. Otherwise, I think it could have been a pop standard in any generation. This was a great one to slow dance to at the school social.
3. Mandolin Rain, Bruce Hornsby – Hornsby is another one of those artists that, although I like every single he released, I never bought any of his albums. For some reason this song sounds like Autumn to me. It makes me think of leaves changing colors, pickup football games on the weekend and starting to pull out the sweaters from the back of the closet. Of the two songs that charted for Hornsby in ’87 (the other was his huge hit “The Way It Is”) this one was by far the less popular. I like it better because it’s more melodic and I never did like the preachiness of “The Way It Is”.
2. Don’t Dream It’s Over, Crowded House – My wife is a huge Crowded House fan and would have killed me if I didn’t include one of their songs on this list. However, I can happily say that I included “Don’t Dream It’s Over” without any coercion from her. I love this song. From the reverby guitar bit to the Hammond B3 organ solo that manages to sound classic and contemporary at the same time to the vocals, everything in this song works together to create a distinct sound. You won’t confuse Crowded House with any other band from the 80’s because they have a unique style that’s all their own.
1. I Still Haven’t Found What I’m Looking For, U2 – U2 finally made the big time with their release of The Joshua Tree in 1987. This is one of only two U2 songs that have reached #1 in the US; the other was “With Or Without You” from the same album. I’m a big U2 fan mainly due to a girl named Sydney that I was in Economics and Psychology classes with in high school. We didn’t really run in the same circles, but both those classes had assigned seating and we sat next to each other in both of them. She knew I was into music and in a band and told me that I really needed to check them out. Before then I had heard U2 on the radio but hadn’t bought any of their albums. I went out and picked up The Joshua Tree and War at the same time and was blown away. I picked this song over “With Or Without You” because I like the gospel theme of it. I always like the fact that U2 could put overt references to Jesus and Christianity in their songs and not suffer in popularity. It’s got a very memorable melody and of course Bono’s vocals are classic. This song would probably make my list of top 10 U2 songs if I was forced to make one.