Today, August 6th saw the birth of artist and icon Andy Warhol. I'm sure you all know as much about him as anyone else.
In honor of his birth-date, I put together a shortish-list of artists known to have hung out in The Factory, Warhol's infamous studio, which really flourished during the mid-1960s. Now The Factory was rumored to have seen the likes of dozens upon dozen of some prolific musicians of the era. But, I'm just going to to go with ones that were infamous for their association with the studio.
This week's genre tour is a newer one (circa mid-2000s). Now, I'm not exactly sure if I have 100% grasp on what truly defines this genre (Shitgaze), but from what I gather is, it is a form of lo-fi indie rock that relies heavily on many tenets of noise-pop. So, you're going to find a lot of fuzz and heavy distortion, lyrics about disaffection, and more fuzz.
The genre emerged from the Shoegaze movement in the 90s, but really can look all the way back to albums like White Light/White Heat. I'm not completely sure why this genre appeals to me. Maybe incorporation of noise and new methods of avant garde is going to be what the next stage in punk rock will be. Time will tell. But until then, enjoy all of this fuzzy fuzzy rock.
Note. This blog is deeply indebted to Raven Sings the Blues; which appears to know everything there possibly is to know about this and similar genres. Check it out!!
This week's Wildcard is a compilation of the past 20 weeks of Wildcards. I chose 1 song from each list. And one bonus video. Enjoy! (Note: I'm not assembling anything else this week [vacation]) Take it easy!
Trying to tackle a metal genre tour is fun. Because, there are so many different sub-genres within heavy metal music, and, furthermore, there are typically just a handful of good bands within each category. What adds the icing on the cake, is that so many people LOVE LOVE LOVE these certain sub-genres to the point that they get upset if their favorite song isn't on the list. LOL metalheads.
For this genre tour I put together my definitive track list of thrash, a genre borne of the Second Wave of British Metal and the hardcore punk underground that emerged in the 1980s.
The genre is characterized by speed and brutality. Punk beats, grinding guitars, wailing solos and spitfire vocals. So brutal.
This week's Beauty in the Breakdown highlights Bruce Springsteen's "Born to Run," one of the greatest American rock songs of all time (as well as the hallmark of the Heartland Rock Genre).
Written in 1974, “Born to Run” was the product of The Boss’ youthful desperation (he was 24 at the time). Coming on the heels of 2 critically regarded but commercially feeble albums (Greetings from Asbury Park, New Jersey and The Wild, The Innocent, and The E Street Shuffle), Springsteen set out to write an album (and song) that would reflect his last-chance mentality, as it may have been his last chance at success before getting dropped from his label (Columbia).
The song was composed primarily on guitar (unlike the rest of the album, which was piano-driven), and was produced by Springsteen and Mike Appel. The recording process took place far before that of the rest of the album, and featured two members (drummer Ernest “Boom” Carter and keyboardist David Sancious) who would not be on the rest of the album (being replaced by Max Weinberg and Roy Bittan, respectively).
The production process is emblematic of Springsteen’s perfectionism and unflappable musical vision, which often includes nearly a dozen scrapped guitar tracks in search of the perfect sound. The song also features some odd Heartland Rock instruments (though not uncommon Springsteen instruments) most notably glockenspiel, saxophone and organ.
The album was Springsteen’s commercial breakthrough, peaking at #3 on the Billboard charts in 1975. The song itself reached #23. The critical success of the album has cemented it into the history of rock. Some accolades include being placed on the NPR 100, #21 on Rolling Stone’s 500 Greatest Songs of All Time, and one of the Rock and Roll Hall of Fame’s 500 Songs That Shaped Rock and Roll, to name a few.
Fun fact: The first recording of this song was actually credited to Allan Clarke of The Hollies. Thank God we have the Boss’ version (how this happened, I have no idea).
The Breakdown
0:00-0:13 The Intro
The first 13 seconds of this song is basically dominated by rhythm. Boom Carter’s kick drum basically feels like a rapid heartbeat, setting a tone of urgency and tension to the track. Another thing I love about this intro is the uniformity of all the other instruments aside from the drums and bass—the guitar, sax, glockenspiel and piano are all slamming the riff so anthemically; I love it.
0:14-1:02 Verse 1/Chorus 1
In the day we sweat it out in the streets of a runaway American dream At night we ride through mansions of glory in suicide machines Sprung from cages on Highway 9, Chrome wheeled, fuel injected and steppin’ out over the line Baby this town rips the bones from your back Its a death trap, its a suicide rap We gotta get out while were young ‘cause tramps like us, baby we were born to run
The thing about Springsteen, love him or hate him, is that his songs convey an almost palpable aesthetic. Now, I was never on the New Jersey Shore, specifically during the 60s and 70s. But, through his songs, and his storytelling, I almost feel like I can see and sense it.
In just two lines the Boss conjures that image—the working-class (probably) uneducated finding escape through machinery. This image isn’t specific to New Jersey, of course. You can look anywhere in the country and find hard-working folks sweating it out on the streets.
I also find connection in the line “we gotta get out while we’re young.” So often in these tough-as-nails towns even the most monotonous and unrewarding life can become a comfortable routine. Springsteen hits the nail on the head; we have to leave early, or we’re bound to be trapped here for the rest of our lives.
1:03-1:50 Verse II
Wendy let me in I wanna be your friend I want to guard your dreams and visions Just wrap your legs ‘round these velvet rims And strap your hands ‘cross my engines Together we could break this trap Well run ‘til we drop, baby well never go back Will you walk with me out on the wire? ‘cause baby I’m just a scared and lonely rider But I gotta know how it feels I want to know if love is wild, babe, I want to know if love is real Can you show me?
This song can pretty much be looked at in four parts. The first part we’re introduced to our protagonist, the second his girl, the third the general scene of the shore and the forth the triumph over a world against you.
With that said, in the second verse we meet Wendy, the love interest of our tragic hero. I think this verse was pretty much written to get the Boss laid. It’s a stereotypical outlaw romantic fantasy—a lonely character looking to run away with his woman, just to feel something; to try and prove that love exists. Because, maybe if escape isn’t physical, it can be an emotional escape into the soul of someone else.
Sonically, this verse (1:10) brings in some powerful chords slammed on the organ, and (1:16) a more manic interplay between the glockenspiel and the piano, which really fleshes out the music and melody.
1:52-2:10 Clarence Clemons…
Last week I talked about how even the best songs have divisive moments. One of the main criticisms of Springsteen (aside from his voice) is the hokey-sounding saxophone. I am inclined to agree. I’ve never been a big fan of the growl technique of embouchure on a saxophone. I think it just sounds a bit tacky; and Clarence Clemons uses it often. With that said, the solo is only 17 seconds, and it doesn’t not fit in with the song. But still…
2:11-2:37 Bridge and Setting
Beyond the palace hemi-powered drones scream down the boulevard Girls comb their hair in rearview mirrors And the boys try to look so hard The amusement park rises bold and stark Kids are huddled on the beach in the mist I wanna die with you Wendy on the streets tonight In an everlasting kiss
As previously stated, the third part of this song would be considered, to me, where the environment in which this escapist love story is taking place. We’re in a summer night on the New Jersey shoreline with the roar of engines surrounding cigarette-smoking kids with Ferris Wheels and observation decks silhouetted against a setting sun.
In the midst of this chaos we have our hero and Wendy, stuck in eternity in each other’s arms as the motorcycles and muscle cars drag up and down the strip.
2:38-3:02 Instruments
The instrumental bridge to this song really showcases the Boss and Boom Carter. Both men just rip fast, manic rhythms that build the tension to the breaking point.
3:03-3:56 The Breaking Point
To me, the final verse of this song is the most epic moment in rock and roll history. With the bridge building up and then letting off in a cathartic sigh, Springsteen puts us on the ropes. Then, instead of letting us down easily, he comes at us harder than ever:
The highway’s jammed with broken heroes on a last chance power drive Everybody’s out on the run tonight but there’s no place left to hide Together Wendy we can live with the sadness I’ll love you with all the madness in my soul Someday girl I don’t know when were gonna get to that place Where we really want to go and we’ll walk in the sun But ‘til then tramps like us baby we were born to run
The characters, in spite of everything negative about the place they are, have an unshakeable optimism towards everything. Our hero, perhaps out of fear to stay in the same place (both physically and emotionally) is giving himself completely to the new prospects in the love of someone else. Maybe the road is going to lead to happiness. Maybe the road will be neverending and unfulfilling, but without question the optimism is there that one day the darkness will end and the light of optimism will permeate our hero’s loneliness.
3:57-4:30 Outro
The outro reprises the opening riff, and lets us off on the same optimistic note started in the breaking point.
The Analysis
Springsteen once called the song “The dividing line between adolescence and adulthood.” Maybe that’s why the song speaks so plainly and vividly to me. Being on this cusp myself I see so clearly where he’s coming from. But, in an even broader sense, this song is about rejecting settling. It’s about pushing the boundaries of this life. And, if you’re trapped in a place, or a relationship, or an age, or a certain situation, instead of sticking around waiting for change, sometimes you just have to run. You have to break down the walls of mediocrity in search of your own fulfillment—whatever that may be.
Thanks, Boss. Erik
Videos (The Many Incarnations of "Born to Run"): 1975
Today, in honor of Neil Armstrong and his famous lunar trek, I've put together a little potpourri of Neil. There aren't a lot of famous Neil's, says Nic Cage.
So basically this is going to be a compilation of Neil Young, Neil Sedaka, Neil Finn, Neil Zaza, Neil Halstead, Neil Diamond and Neil Peart. Enjoy all this Neil.
Track-List: 01. Jay Reatard - Wounded (MySpace/.mp3) 02. Someone Still Loves You Boris Yeltsin - Cardinal Rules (MySpace/.mp3) [Gotta love a stadium anthem written for a minor league baseball team] 03. The Very Best - Chalo (MySpace/.mp3) 04. The Tallest Man On Earth - Pistol Dreams (MySpace/.mp3) 05. Mission Of Burma - 1, 2, 3, Partyy!!! (MySpace/.mp3) 06. PENS - Networking (MySpace/.mp3) 07. Fergus & Geronimo - Harder Than It's Ever Been (MySpace/.mp3) 08. Ganglians - Voodoo (MySpace/.mp3) 09. Tonstartssbandht - Midnight Cobras (MySpace/.mp3) 10. The Fresh & Onlys - Peacock and Wing (MySpace/.mp3) 11. The Wooden Sky - Something Hiding For Us In The Night (MySpace/.mp3) 12. Blue Roses - Doubtful Comforts (MySpace/.mp3)
One new thing I have been looking to incorporate into this blog for a while has been an increase in writing. Because, well, I just like writing about music. One of the outlets of which I am calling “Beauty in the Breakdown,” wherein I look in depth at some of the long-considered classics in the Western music cannon then offer some commentary on their significance.
For the first installment I will be looking at The Beach Boys’ “God Only Knows,” long-touted as one of, if not the, quintessential American pop song.
A Little Background
Recorded in March of 1966 for the album Pet Sounds, “God Only Knows” is the opus of Brian Wilson, who handled all of the orchestration and melodic mastery, and Tony Asher, a lyricist who helmed much of the lyrical content on the album.
The song is sung by Brian’s brother, Carl, though originally intended for Brian. Carl was later chosen because both Brian and Asher felt he could express the depth of the song more emphatically. And, in my opinion, they were right.
Although only reaching #39 on the American pop charts, the song has been widely regarded as a masterpiece by Rolling Stone, Pitchfork Media, and as evidenced by the dozens upon dozens upon dozens upon dozens of cover versions.
Typical of numerous Beach Boys songs (and Pet Sounds songs in particular), “God Only Knows” features unusual instruments in pop music, most notably French Horn, which opens the song and forms the melody.
Fun fact: The song was the first in popular music to use the word “God” in its title, a fact that a) may have contributed to its lackluster chart performance and b) caused much debate among its creators.
The Breakdown
(Note: I am not the most knowledgeable musician. So if I mess up a music term or 2 please don’t hold it against me.)
0:00-0:17: The melody and heartbreak
The song opens up with a French Horn (Alan Robinson) fluttering over a banging harpsichord (Larry Knechtel, of Bread), the melody of which has been traced to the French Horns in Wagner’s “Hagen” motive (most notably movements 1 and 13), though I am a firm believer that it just spawned organically in the left side of Brian Wilson’s brain. The French Horn’s melody is both uplifting and optimistic, as only love can be. Then, at 0:08, the upright bass (Lyle Ritz) comes in with a choppy and descending riff, which qualifies the horn’s optimism with bittersweet sincerity – which is essentially what the song is about.
0:18-0:41: Verse I
I may not always love you But long as there are stars above you You never need to doubt it I’ll make you so sure about it
God only knows what I’d be without you
Of course, one of the most memorable parts about this song is the seemingly contradictory opening line, with comes off like a rather callous way to open arguably the greatest love songs of all time. Is it, though?
This may shoot down my romantic credentials a little, but to me the greatest part about love is that it is a feeling. It churns your heart into a bloody mass and it clouds your judgment; but it is the greatest sensation in the world. And, like all feelings, love can be temporary. “I may not always love you,” but in this moment, I can’t imagine myself not loving you. That is the kind of love I would want.
The line is just so honest. And isn’t honesty one of the cornerstones of love in the first place? If Wilson/Asher came out and made absurd accusations this song would never be where it is. For example:
I think unrealistic love isn’t endearing, which makes “God Only Knows” such a great love song. And I think Larry David would agree with me.
0:42-1:03 Verse II
If you should ever leave me Though life would still go on believe me The world could show nothing to me So what good would living do me
God only knows what I’d be without you
This verse, of course, continues with the theme of honest love. But, judging by the first verse, one has to question the sincerity of the second. Essentially, what the verse is saying is that, “Yeah, if you leave it’s going to suck, but I’ll live, though it’ll be a meaningless life.” From the first verse we get the impression that this figure is head over heels in love, but knows that sometimes love ends and we move on; sure it hurts for a while, but eventually life still goes on, believe me. The second verse feels more lovesick and less pragmatic. But then again, is that really a bad thing?
And once again, the verse is closed with the non-chorus refrain, “God only knows what I’d be without you.” Which is, in my opinion, the most beautiful line a love song has produced. And, makes any doubts in our figure’s head sort of null, because in this moment his heart completely belongs to this love.
1:04-1:27 Brian Wilson Arranging
From 1:04 to 1:28 is Brian Wilson flexing his competency as a composer. This section is filled with stunning harmonies (obviously Wilson’s strong suit) and interesting percussion (which was more prevalent on SMiLE). Also, in this section at 1:18, a line in the sand is drawn. To me, and to a lot of people, I believe, the flow and aesthetics of the song is tarnished a little bit with the backup vocals’ “bum-pa-bum-pa-bah-bah…” which, though fits in the song, comes across as a little hacky, and emblematic of the Beach Boys’ more surf-influenced earlier ten albums. But, not everything is perfect, as this song can surely vouch.
1:28-1:59 Verse II Redux
Once again we are hit with the second verse. And, given light of my earlier analysis, because this verse is repeated and not the first, perhaps our figure is more lovesick than he lets on. Maybe he is in a state of realistic co-dependence, where, though the love might not always last forever, he can’t bear the thought of its end. One of the great aspects of this verse and pseudo-chorus is that, at 1:54, we get the triumphant return of the French Horn, which will inevitably carry us through to the end.
2:00-2:52 God only knows what I’d be without you
The last 52 seconds of the song are perhaps the most beautiful. They combine Wilson’s amazing harmony and melody with the repetition of “God only knows what I’d be without you.” If these words don’t make you appreciate or evaluate the love you have, or long the love you don’t, then maybe you aren’t cut out for love in the first place.
And we fade out.
The Analysis
Now, I always appreciate Pitchfork’s constant striving to put their songs in a sociopolitical context; which is why it is impressive that they chose “God Only Knows” as their #1 song of the ‘60s over something more politically charged or socially significant.
But the fact of the matter is that a song’s/band’s/album’s relevance doesn’t need to be linked to a movement. Rather, it can be tied to the human experience and reflected in the melody and lyrics. Brian Wilson and Tony Asher combined to produce the most primal interpretation of the most valued human emotion: love. And, even if they didn’t succeed entirely, their bittersweet honesty evokes nothing less than that guttural longing, or that warm appreciation of a love so great it is hard to imagine.
Bonus Videos:
Here are just a couple great uses of "God Only Knows" in pop culture:
and
Finally; this song is said to have been directly influenced by "God Only Knows," one of Paul McCartney's favorite songs of all time. And it's pretty obvious.
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