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rainydawgradioblog · 13 days

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my favorite kilby block party performances of the past two years

with the month of may fast approaching, the countdown begins for the yearly pilgrimage to the birthplace of the church of jesus christ of latter day saints and indie rock bands, salt lake city utah. kilby block party will forever and always hold a special place in my heart for the two greatest weekends of my young adolescence. there is no greater joy in life than live music with the splendid company of utah natives growing up on dad rock and the coined kilby girls you’ll fall in love with for the short while. as a washington resident, the trek to the inner corner of the mountain west for the two - three day festival (depending on the year) to see the utmost refined lineup in the entire united states amidst finals weeks and graduations is excessive, a little tiring, and an experience of a lifetime. with this year’s lineup consisting of headliners from slow pulp to vampire weekend (a middle school favorite), i felt it was entirely appropriate to take a trip down memory lane to share my favorite performances from the last two years and grow my excitement for the next to come. without further ado, the best (objectively) kilby performances of springs in years past. viva utah.

10. casio ghost

the best part of the casio ghost concert was we had absolutely no intention to see it. the story goes we were famished the second day of 2022 kilby and on the hunt for cheap music festival food (an urban legend) when we stumbled upon both phenomenal, moderately-priced pizza and the self-proclaimed psychedelic surf rock band native to salt lake. at the time, the band only had out two eps and was playing at the smallest stage at the festival, which added to their charm. maybe it was the pizza and being under shade away from the scorching utah sun, but casio ghost I still remember as my favorite kilby concert of a band I had never heard prior. unfortunately the only photo evidence I have is the pizza, but check out these guys :)

9. car seat headrest

if you don’t appreciate lead singer will toledo’s light-up bunny head he wears when he performs that sparked accusations of him participating in the furry community, then maybe car seat headrest’s 2022 kilby performance isn’t exactly your cup of tea. i, however, enjoyed every bit of it. minus being the youngest in the crowd and receiving both unnecessary and off-putting glares from virtually every teetering on middle-aged unenthusiastic fan, the show itself was rocking. incel music with a splash of feminine angst.

8. alvvays

ultimately the reason i chose to trek down to the utah flats in the first place when i saw alvvays was on the lineup, the show was unbeatable. i have admittedly a great amount of biases as the canadian based band has been one of my absolute favorites since i first heard of archie’s wedding proposal. even with my prejudice, alvvays exceeded all my expectations for a performance, debuting two songs off their now acclaimed album blue rev, that had yet to drop, and rocking the stage with classics like adult diversion. and yes, lead singers molly rankin’s voice sounds just like it does it the studio; captivating. alvvays, marry me. enjoy pics of our awful seats.

7. surf curse

easily the most fun I’ve ever had at a live show - the surf curse crowd was simply unbeatable. a few different bands kept referring to the salt lake crowd over the weekend as the best fans for live music right now, and i didn’t fully grasp the truth of that statement before the surf curse show. the mosh was lively, the number of crowd surfers were too great to count, and i must shoutout the almost seven foot tall guy who hoisted me up on his shoulders so I stood ten feet tall. surf curse crowd, and band, as i suppose you put on an equally great show, i’ll remember you for the rest of my days.

6. the strokes

Cmon, it’s the strokes!!! my juvenile obsession with the new york city rock band took ahold of me during their performance. how i would describe the feeling of watching the strokes’ live performance would to imagine yourself playing guitar hero on steroids in front of a dozen 100,000 dollar surround-sound speakers with the actual band. quite frankly, it was awesome and reptilia sounds better in person.

5. clairo

to say i was transcended would be an understatement. clairo’s silky voice and utmost calm demeanor created a dreamy concert-going experience that could both rock you to sleep and illicit an emotional tenderness you didn’t think yourself capable of. she had my favorite visuals of anyone I’ve seen at kilby behind her, and her piano playing skills felt like the (still alive) joni mitchell’s ghost reincarnated and possessed her little body. spectacular.

4. the walters

at the end of the day, i am just a teenage girl and the lead singer of the walters, luke olson, is a beautiful man (he knows it too). i’ve never seen anyone dance, nor sweat, as much as this man - he was jumping into the crowd, doing the splits, and gripping the mic so firmly i thought it would explode. beyond my childish blushing from touching luke olson’s hand and almost passing out, their performance of cottage roads brought me to tears. and yes, there is a member of the band named walter.

3. phoebe f*cking bridgers

As an avid phoebe fanatic, it feels criminal to put her this low, but i decided to push away my biases and offer my readers an objective and most accurate ranking of the kilby performances. this is not to say phoebe wasn’t absolutely spectacular. i cried throughout the entire show, naturally, and was blessed with her surprise song at the end of the show to be the smashing boygenuis hit me and my dog, which she almost never plays at solo shows. phoebe wrapped up the 2022 kilby block party and left me with a bittersweet feeling in my chest as the weekend came to a close, a familiar sensitivity she emotes too well in her music.

2. the pixies

besides being an iconic band for the dad rock crowd everywhere and still performing when they’re a million years old (no offense, ily guys), the pixies performance was the coolest show I’ve yet to attend due solely to the atmosphere. on the third day of the 2023 kilby festival, a lightning storm rolled in during the pixies’ show, and as here comes your man played we all danced in the rain as lighting thundered over an enormous rainbow (i could not make this stuff up). shoutout the utah dessert’s spring storms, because the pixies (almost) stole the title for greatest kilby show thanks to mother nature.

mac demarco

with the sun going down on the utah mountains and the first day of 2022 kilby block party wrapping up, mac demarco came out with his cigarette-stained raspy voice, sporting a bucket hat and a big gapped-tooth smile and captivated every single person in that audience. he opened with on the level and hundreds of hands shot up in the air and didn’t come down as he ended the night with my kind of woman. every single song felt like a sensual dopamine rush and his off-kilter and strange commentary in between sets ranging from discussions of motels, cigarettes, and utah laid down an inexplicable vibe, what he does best at. all the worries of the world were laid to rest as mac demarco sat on stage and sang only the best of his discography. easily my most rememberable, favorite, and spectacular show i’ve witnessed - you’ll go down in history for me baby.

until next year. happy mothers day.

xoxo

gabi

#Spotify

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rainydawgradioblog · 13 days

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Tchaikovsky's Piano Concerto No. 1 and Frisson

Photo creds: Carlin Ma

Among the most beloved and well-known piano concertos ever written is Tchaikovsky’s Piano Concerto No. 1, which I had the absolute pleasure of seeing in concert at Benaroya Hall. Given that it is one of my favorites, getting the opportunity to see this concerto live made me feel like a kid on Christmas morning. Macedonian pianist Simon Trpčeski alongside the Seattle Symphony played under the baton of Osmo Vänskä and gave a performance that brought tears to my eyes (which isn’t much of a surprise to those who know me, but is still a compliment of the highest order).

The combination of Tchaikovsky’s score and Trpčeski’s ardent musicality had such an effect that it took all I had to not conspicuously sway along with the music. The first movement felt like what I would describe as a decadent and all-too-short meal, where I wanted to savor every bite and was sad at its conclusion, even with an almost 25-minute run time. Before I knew it, tears were falling down my cheeks, but this is one of the rare moments where one can take pleasure in public weeping. The second movement, by comparison, is much lighter music than that of the first, which was performed with perfect delicacy and Tchaikovskian whimsy. The third movement, at times rollicking and at others refined, was the perfect end where its culmination seemed to cause people (myself included) to almost rocket out of their seats for a standing ovation.

A feeling that I had throughout the performance was intense chills that originated near the top of my head and moved down to my fingertips in scintillating waves. I am no stranger to this sensation, I believe the first time I experienced music-related chills was at the tender age of 11 when I was particularly struck by one of Rhianna’s new releases. It seems my body’s capacity for these musical chills has only grown as I’ve matured, and in high school frequent chills when listening to classical were a harbinger of my blossoming love for the genre. When I attended the Seattle Symphony for the first time, I experienced music chills to a degree that nearly shocked me. Now, getting the chills is one of my favorite parts of a good live performance; it’s as if Tchaikovsky is giving me a spiritual head massage with one of those scalp massagers that looks like a weird whisk.

I’ve digressed with this personal history of musical chills, but the chills I experienced with hearing this concerto were so profound that it compelled me to do a bit of research on the subject. The phenomenon of music or aesthetic-related chills has been dubbed “frisson” (which is just French for shiver), and the internet has told me that I’m special, with frisson having a population incidence of roughly 50%. A discovery.com article really had me tooting my own horn, as it stated that a study involving MRI data proved that those who experience frisson have an increased volume of fibers that connect the auditory cortex to emotional processing areas, therefore suggesting an increased ability to experience intense emotion. I’m beginning to sound overly self-indulgent by talking about how cool and fibrous my brain is, but such is the nature of my duty in sharing musical science.

In case you were wondering about the biochemical side of things, I will now summarize an ASAP science video on the subject that I found quite interesting. Goosebumps are caused by adrenaline, and music causes an adrenergic response because of unexpected developments, causing a minor fear response. But the brain quickly realizes there is nothing to fear, and this prompt change from fear to calm could be the cause of music-related chills. I’m not sure how much I subscribe to that particular logic because I know this concerto like the back of my own hand, so I wouldn’t think that the unexpected factors into it. However, I read that appoggiaturas and sudden modulations can trigger a violation of musical expectation, so the aforementioned aspect of surprise might be more subconscious than knowing what comes next in the score.

I think I have babbled enough about the science of musical chills, so back to the music we go! Trpčeski gave a particularly enthralling encore, starting with a selection from his project Makedonissimo, which is dedicated to the people and music of Macedonia. Macedonian folk music is something that I hadn’t been previously exposed to, and I thoroughly enjoyed the rhythmic complexity. Usually, a pianist will end with one encore piece, but I was thrilled when Trpčeski was joined by Noah Geller (violin) and Efe Baltacigil (cello) for a second piece. One of my favorite parts of the encore experience is attempting to figure out what is being played since it is not often announced. For this piece, I figured it sounded like a mazurka or a polonaise, but I simply couldn’t determine the composer. As it turns out, it was the second movement of the Tchaikovsky Piano Trio, Tempo di Mazurka. I take pleasure in being slightly vindicated by the mazurka tempo, and I go forth with motivation to listen to more of Tchaikovsky’s chamber works.

I believe I have run out of a reasonable amount of blawg space, so for brevity, I will not go into detail about the second half of the concert, which was Prokofiev’s Symphony No. 6. You can trust that I would be singing its praises if I had more time and space, especially given my recent affinity for post-WW2 Russian symphonies.

Thank you for heeding my classically inclined ramblings, until next time,

Addie

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rainydawgradioblog · 13 days

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FEIST @ THE SHOWBOX SODO!

On February 16th I was fortunate enough to see Feist perform at Showbox SoDo as a part of her “Multitudes Finale Tour”. As expected, the show was incredible and further solidified Feist as one of my favorite artists.

Leslie Feist, aka Feist, is a Canadian singer-songwriter that has been performing both as a solo artist and collaborator of Broken Social Scene for over two decades. The musician’s first studio album, Let It Die, was released in 2004. Her popularity skyrocketed when her 2007 track “1234” was featured in an iPod Nano commercial (lol). Feist has been regularly releasing albums since, with her latest being 2023’s Multitudes.

The Seattle stop of her “Multitudes Finale Tour” took place at Showbox SoDo, a venue that, in my opinion, gets too much hate! While it might not be the easiest to get to from UDistrict, there is no one else I’d rather take the journey for than Leslie Feist.

I got to the venue a little after doors opened and managed to secure a spot in the front row. The Showbox filled up quickly with a crowd consisting mainly of Millennials and Gen X. Time passed as we chatted amongst ourselves, and sooner than later, the show began.

A blurry, gray image started to project on a sheet behind the stage. At first confusing, it soon became clear that the projection was live footage being recorded by none other than Feist herself. Coming from backstage, she entered the crowd with her acoustic guitar and phone in hand, filming her point of view. As she snaked through the audience, applause filled the room and didn’t die down until she made it onstage and addressed the crowd.

Feist’s first song of the night was “The Bad in Each Other”, from 2011’s Metals. She followed up this number with two hits from Let It Die: “Gatekeeper” and “Mushaboom”. As a big fan of Let It Die, I was very happy to hear these songs played so early into the show. The rest of the audience seemingly shared this sentiment, as energy was high and a choir of voices sang along to the tracks. As "Mushaboom" ended, Feist requested a volunteer from the crowd to hold her phone and film for the projection. Dozens of hands shot up, but ultimately the task was given to an audience member named Kurtis.

The songs that followed were largely from Multitudes, including “The Redwing”, my personal favorite from the album. With just Leslie and her guitar onstage, the show had a very intimate feel. Live footage from Kurtis continued to project on the screen, slowly becoming more and more distorted. The videos on the screen began to mimic the multi-exposure effect seen on the Multitudes album cover. Flashing red lights accompanied “I Took All Of My Rings Off”, as intensity grew and the climactic point of the first half of the show was reached. The screen behind Feist suddenly dropped, revealing a full band ready to accompany her.

The second half of the night showcased a larger variety of Feist’s discography, starting with “My Moon My Man” from The Reminder. The highlight of the concert for me was “Any Party”, a song that I was previously unfamiliar with. With its unique structure and unexpected chord progression, this track was definitely a standout. Towards the end of the night, Feist played two of her biggest hits, “I Feel It All” and “1234”. Audience members sang and danced to the songs that, although released in 2007, feel timeless.

Upon the songs’ completion, Feist said her goodbyes and exited the stage - but the show was not yet finished. After a few minutes of the crowd's loud applause and chanting “encore”, Leslie returned to the stage for two final songs: “Of Womankind” and “Love Who We Are Meant To”. With their slower tempos and sweet lyrics, these tracks were the perfect way to end the night. Feist thanked the audience and her entire crew, including Kurtis, the “randomly” selected videographer. The crowd continued to cheer for several minutes after Feist’s departure, before eventually funneling out of the venue

Feist’s performance at the Showbox SODO was intimate, emotional, and most of all, a great time. If you missed this show and are hoping to see her in concert - you are in luck! On May 25th and 26th, Feist will be back in Washington, this time with Sarah McLachlan. I can’t recommend enough seeing Feist live!!

-DJ iBoy :)

#rainy dawg radio #seattle #concert #indie rock

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rainydawgradioblog · 18 days

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Rainy Dawg's Favorite Smash Hits

Our tireless Blawg team recently put their heads together and parsed out their favorite radio smash hits ever.

DJ Willem Dafoe and Chat GPT

Katy Perry - “California Gurls”

In the trenches of the great recession, Katy Perry knew what she had to do when she dropped California Gurls off her album Teenage Dream. With 84,000 downloads and 14.9 million plays on American radio, she single handedly stimulated the American economy back to greatness. The catchy chorus, integral Snoop Dogg feature, and shiny synthetic wig changed the course of pop stardom.

California Gurls is pop at its finest. Right off the bat, Katy shines with her vocals. The whole song is so iconic from start to finish that in her 2016 Super Bowl performance she goes “I know a place..SING IT” and the audience sings back “Where the grass is really greener.” Who else can command a crowd like that???? There is no other time and song where there would be shark mascots dancing offbeat. Left shark, I will never forget about you. Katy has such mastery over creating catchy songs and summer vibes. The song captures the essence of summer with its lyrics about California, beaches, sunshine, and carefree fun. It evokes a sense of warmth, relaxation, and freedom, making it a popular choice for summer playlists. The Snoop Dogg verse also elevates the song to great heights. His line “toned, tan, fit, and ready. Turn it up 'cause it's gettin' heavy.” Those are my nightly prayers I recite before bed to be honest. Katy Kat Forever!

Other considerations why California Gurls is The Mega Hit of All Time.

I ordered a sex on the beach at the bar because of this song and it was pretty good.

The Glee Cast Performance

The Candy Land visuals

Kira

“Jessie’s Girl” - Rick Springfield

There are quite a few things I have inherited from my father, among them: light hair, affinity for chocolate, and a love of 80s music. One of my earliest memories of music was downloading the song “Jessie’s Girl” on the iPod classic my parents let me use at the tender age of 5. While my other musical escapades at the time were limited to the pop songs on the radio, “Jessie’s Girl” introduced me to the rock genre and its powerful guitar riffs and infectious drum rhythms. The dog on the album cover was a plus too. Though this song and its stellar reception was probably a nightmare for poor Jessie, it will always sound sweet and youthful to me. This song will always remind me of my dad jamming in the late evening while washing dishes. Also as a society we need to bring back little guitar solo bridges.

Steven

Sade - “Smooth Operator"

After 3 bars of the most memorable percussive intro you have ever heard in your entire life, it is mandatory to audibly sing the bass fill going into the intro saxophone riff. Sade’s voice immediately swells and fills absolutely so much space over the simplistic and smooth bossa-nova-esque beat, with backup secondary backing harmonies filling even more space. The first verse finally cuts into a beat of silence before going back into the initial groove of the song with the song’s hook. This song is an absolute song-writing clinic. “License to love, insurance to hold” is an insane line to throw into a song. My favorite part about the music video was the intermittent cutting between the main antagonist cheating on the protagonist (Sade) and a dude ripping a saxophone solo.

Ben

Snoop Dogg, Pharell Williams - “Drop It Like It’s Hot"

It is the summer of 2015 and you and your brother have recently been given a PS4 and a copy of 2K15. The soundtrack has been curated by Pharell. It is the peak of his power hat phase. You will spend countless hours being blown out by those using Steph Curry and wired internet connections. You will grip the controllers so tightly that you can still smell the sweat on them (sorry). “Drop It Like It’s Hot” will come up on the shuffle more often than any other song and you and your brother will end up memorizing the lyrics through pure rote exposure. You will imitate the instrumental with tongue clicks and lackluster hand drumming. And watch the music video many many times. You will lose to Steph Curry again.

Emi

Blondie - “One Way Or Another” off Parallel Lines (1978)

I’ve had this Blondie poster hanging in my room since my freshman year of high school; its moved with me through about 4 bedrooms. Moms everywhere love Blondie and mine is no exception. She was still pissed when I bleached my hair to copy Debbie Harry, though.

I think Debbie Harry is one of my favorite icons ever. So I kind of have to pick one of my favorite Blondie signs for this post. “One Way Or Another'' is about an ex-boyfriend-turned-stalker that Debbie Harry had while living in New Jersey, reaching number 24 in 1978 on the Billboard Hot 100. While most all of Blondie songs are fun, this one seems especially whacky, with its guitar and bass doing weird riffs going down by half-steps and threatening vocals that’ll make anyone wish Debbie Harry would stalk them. I want to sing this song so badly right now really really loud but I can’t, so I’m going to leave and go somewhere else where I can. You should do the same!

Zola

Nelly Furtado, Timbaland - "Promiscuous"

There's a clip of Timbaland in the studio playing Jay Z the beat for what would become ‘Dirt off your shoulder”, where you can just tell Timbaland knows he has a hit on his hands. He’s got a gallon of water, and a smash hit. Timbaland ran the music industry in the 2000’s like nobody else. Cranking out hit after hit. The songs he had a hand in making would go on to become huge successes. Think Sexyback, Cry me a river, Apologize . In 2006, Nelly Furtado, and Timbaland came together to create promiscuous. The song which features a back and forth between two individuals’ both insisting on the promiscuity of the other. The song would go on to be a smash hit. In the United States, it went 7x platinum, and hit #1 on the Billboard hot 100, where it stayed for six weeks, until it was eventually dethroned by Fergie’s “London Bridge”. The song even inspired a line in the song “Give it to me”, another Timbaland song, featuring both Nelly Furtado and Justin Timberlake, in which Furtado takes a swing at Fergie (I seen you to try switch it up, but girl, you ain't that dope), after a line in Fergalicious that she interpreted as a diss towards her (Fergalicious (So delicious) But, I ain't promiscuous) (I'm pretty sure Fergie just needed a word that would rhyme with fergalicious). Promiscuous continues to stay relevant, various remixes and sections of the song continue to trend on tiktok. I continue to listen to it weekly. It continues to be played at 70% of the parties I attend. Might be one of the best songs ever cooked up by Timbaland, which is saying alot, considering hes also responsible for Big pimpin’ and 4 minutes.

Sofia

Dexys Midnight Runners - “Come On Eileen," Too Rye Ay I mean, has there ever been a better song to dance to! Kevin Rowland’s desperate vocals with the violin and accordion that were far from the norm at the time plus the slow-to-fast chant give this song its folksy charm. This song had the number one spot on the Billboard Hot 100 charts in the U.S. during a week in April 1983, and it was Britain’s best-selling single of 1982; despite all that acclaim, hardly anyone knows who the artist is or that this song is about Rowland’s feelings of Catholic guilt and shame about feeling “dirty” after growing up religious. This song’s been following me my whole life, and nothing beats hearing “Come On Eileen” at a party and forcing your friends to get up.

Thank you for reading. Check back for more Official Rainy Dawg Blawg Posts™.

#rainy dawg radio #seattle #spotify #college radio #smash hits

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rainydawgradioblog · 19 days

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tide2004 & DJ EMI’s Notes on the Show: Alkaline Trio at The Showbox (3/23)

A really shitty photo I took on my phone of Matt Skiba (pictured above)

EMI: Finally taking advantage of the Rainy Dawg connections to the Showbox, we walked up to the box office window in SoDo, ready to see Alkaline Trio. Being able to say “we’re on the press list” did something crazy to my ego, even if it was just free admission. To preface, I only know about 7 Alkaline Trio songs, all from my dad’s cds he would play in his old blue Ford truck. Apparently when I was small he would draw the Alkaline Trio skull on my sister and I’s shoulders with a Sharpie and go over the lines when they faded. He said we kind of had permanent tattoos for a little while.

We were about an hour late, and walked into a band called Drug Church playing, with a frontman who looked like a strange medley of Ian MacKaye and Macklemore.

Finally Alkaline Trio came out, fitted to the nines in their awesome suits and ties. Matt Skiba and Rob Doran, and a new drummer (original drummer Derek Grant retired)–Pete Parada, who has really made his way around the late 90s early 2000s pop-grunge-punk bands like the Offspring, My Chemical Romance, and Face To Face.

I never really appreciated Matt Skiba’s vocals. An eager but strict, strategically violent sound. I think it’s what makes Alkaline Trio such a good pop punk group.

The demographic was this: everyone was 45. Band tee, snapback, dickies shorts, vans, a little something for some edge, like a lot of hair gel, gages, or an american trad tattoo. You get the vibe. I hope that's me in 30 years. The band played Radio for the encore—one of their best songs (AKA one of the few I know). Screaming “I’VE GOT A BIG FAT FUCKING BONE TO PICK / WITH YOU MY DARLING” with the crowd was glorious.

I’ve had some time post-show to listen to more Alkaline Trio, so I made a little playlist of my favorite tracks here.

tide2004: Alkaline Trio didn’t play any of the songs I knew (I only know 2 songs). I haven’t been to a bigger “show” in a long time AND it was free so I had a great time pretty much regardless of the music. I liked Drug Church more than I liked Alkaline Trio’s set. Drug Church is always playing shows with bigger bands that I like, so I’m glad that I got to see them finally and see what they’re all about. Very interesting mix of pop and hardcore. It’s not really the soundtrack to my life, but they were good performers and musically sound. I can see the appeal. And the main guy really does look like Ian MacKaye.

PS: Sharpies are not allowed into Showbox, in case you were wondering. They confiscated mine at the door. I always carry pens and sharpies. If I was going to graffiti something I’d just put a posca pen in my sock.

#alkaline trio #seattle #showbox seattle

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rainydawgradioblog · 19 days

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10 most underrated Joni Mitchell songs

Joni Mitchell’s surprise return to Spotify marks the first day of my life. Two grueling years of mp3 downloads, YouTube video playlists, and Apple Music temptations took quite the toll, but we’ve made it. To celebrate, here’s a list of 10 criminally underrated Joni bangers that deserve your streams. Now!

“Refuge of the Roads” (1976)

The ultimate highway soundtrack, “Refuge of the Roads” is an escapist hallucination with some of the sexiest bass you’ll ever hear. Joni’s on the run, hiding from the critics and her deep-seeded feelings of love that keep her from being the picture of independence she longed to be. The song details her miraculous recovery from cocaine addiction thanks to a Tibetan Buddhist master in Colorado and the insignificance of her emotional existence. It’s also one of her favorite songs she ever recorded!

“Judgment of the Moon and Stars (Ludwig’s Tune)” (1972)

A piano tribute to Beethoven, “Ludwig’s Tune” is Joni finding solace in another legendary musician’s experience of being misinterpreted. Just like Ludwig, her art was deemed “too raw” at a time where no one was trauma dumping like Joni was. The song is a peak in Joni’s orchestration skills, with glorious winds and vocal runs, plus some of her best poetry to match.

“Talk to Me” (1977)

I never thought the same woman who sang “A Case Of You” would be literally chicken squawking on record, but we’re blessed to live in that reality. Joni’s sense of humor on “Talk To Me” is on full display, dodging punchy acoustic guitar and raging fretless bass, begging “Mr. Mystery” (presumably Bob Dylan) to talk to her. “You spend every sentence as if it was marked currency / Come and spend some on me” is lyrical brilliance, not to mention one of the most iconic opening lines, period.

“Harry’s House/Centerpiece” (1975)

Joni’s storytelling skills fly under the radar way too often, despite her pointed observations in “Harry’s House/Centerpiece” being one of the greatest critiques of gender roles in music. Her blend of jazz fusion and a jazz standard adds to the traditional versus modern views of gender roles she’s observing, and her top tier crooning sells it hard. Not to mention Harry Styles named a whole album after the song!

Borderline (1994)

Not many of Joni’s songs match the intensity of “Borderline,” with a drop dead gorgeous steel guitar/organ combo and insightful 50-year-old cynicism. I think of “Borderline” as her 90s version of “Both Sides Now”. She makes sure to remind us that no one really knows life at all, and pretending otherwise only builds the borderlines between us. A brutally honest queen!

“Love” (1982)

For someone who allegedly doesn’t know love at all, Joni seems very well-acquainted with it on this song. Her insightful takes are a lot to digest, but they’re paired with winding early-80s production that work seamlessly. Think Leonard Cohen-level poetry and Steely Dan-esque funk with just a touch of 80s cheesiness.

“People’s Parties” (1974)

Even Joni has social anxiety, and “People’s Parties” is very that. Her descriptions of the posh social climbers and dramatics at the exclusive events she attends is strangely relatable to your average introvert, while also serving up a juicy critique of elitism in showbusiness. “People’s Parties” is some of her most charismatic musical phrasing, and her lower register in the outro scratches every itch in my brain.

“The Dry Cleaner From Des Moines” (1979)

Charles Mingus pulled something so specific out of Joni that is not talked about enough. On “TDCFDM,” Joni’s practically playing the part of every instrument next to bumbling bass, skittering drums, floating saxophone, and razor-sharp horns, and sounding next-level doing it. If anything Joni’s made proves her supernatural abilities, it’s this song.

Conversation (1970)

“Conversation” is the original love triangle song, and Joni is feeling chaotic. She’s helplessly flirting back and forth with a guy who’s taken, bringing him apples and cheese and listening to him rant about his relationship issues. Sonically the song is the perfect encapsulation of obsessing over someone new, and her signature soprano is perfection as per usual.

The Last Time I Saw Richard (1971)

Holding a candle to ballads like “A Case Of You” and “River” seems unthinkable, but Blue’s closer makes it look easy. Richard and Joni play two sides of a spectrum; Richard being chewed up and spit out by pain and heartbreak, while Joni is fighting for optimism amidst the emotional devastation we hear on Blue. Joni’s pissed and panicked that someone could give up on happiness, so she’s “gonna blow this damn candle out,” refusing to let life get the best of her.

Here's my comprehensive guide to Joni in playlist form including influences, influencers, and more. Happy listening!

Mead Gill

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rainydawgradioblog · 24 days

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Best opening songs (in my opinion)

You know what they say, first impressions are everything. If I turn something on to watch it, and I am not immediatley entertained, im turning it off. You got to know how to captivate an audience! Opening a movie is hard. Opening a tv show is hard. A good soundtrack can make or break a production. Look at saturday night fever, a godawful movie. I dont think people actually know the plot of the movie, just that they had the bee gees gong crazy. Anyways. Please enjoy this list I have curated of my favorite opening songs in various TV shows and movies.

Real Gone By Sheryl Crowe - as heard in Cars (2006)

Everybody already knows Cars is a genuinely good movie, and its soundtrack is a big part of that. The opening scene of the movie is one of the best I have ever seen for an animated kids movie. Mcqueens opening “I am Speed” monologue, followed by his entrance to Real Gone (which somewhat foreshadows parts of the movie in the lyrics) is electrifying, and welcomes the audience into the movie. This is such a good introduction to a movie I am not even kidding I highly recommend a Cars rewatch.

Kids in America by The Muffs - as heard in Clueless (1995)

Clueless is another iconic movie. I think everyone should be legally required to watch it, at least once. The movie opens with a montage of the amazing life of Cher Horowitz, with a cover of “Kids in America” by Kim Wilde. The song is the perfect backdrop for the totally normal, noxema commercial-esque life led by our main girl Cher. These truly are the kids of America!

Stayin Alive by The Bee Gees - as heard in Saturday Night Fever (1975)

As mentioned above, nobody really cares about Saturday Night Fever aside from its soundtrack. The only reason you would want to watch this movie is for the soundtrack. You might get hooked into thinking "wow, this seems like a genuinenly good movie" as it opens swinging, John Travolta sashaying around as the Staying alive plays, but trust me, the only good part of this movie, is the opening. Source: I have seen it twice.

All Star by Smash Mouth - as heard in Shrek (2001)

What would a radio show of iconic opening songs in movies and shows be without shrek? We live in a PS (post shrek) world, so its hard to imagine a world without this movie. Shrek was released at the end of the disney renaissance era, and was meant to parody the cliche fairytale movies. If you didn’t know this before watching the movie, maybe the opening scene featuring shrek reading a fairytale, before ripping out a page to wipe his ass, and the bursting through his outhouse door, as Smash Mouth plays in the background, might be a tip off. All Star is the perfect contrast to the perfectly polished soundtracks of the fairytale that the movie was parodying. And you know what? Sometimes, the years start coming, don't stop coming.

Perfect Day by Hoku - as heard in Legally Blonde (2001)

The opening of Legally Blonde is quite similar to the opening of Clueless, probably because Elle Woods is like the slightly more grown up version of Cher Horowitz (Minus the whole stepbrother/boyfriend thing). We are introduced to Ms. Woods in a montage of Blonde, pink, and sorority girls. The background song of choice is a bit on the nose - it IS the perfect day, Elle is going to get engaged! But that's fine, because it's catchy, and fits the vibes of the movie perfectly.

Don't Trust Me by 30H3 - as heard in Pretty Little Liars (2010-2017)

When most people think about pretty little liars, they think of the trainwreck that was the last couple of seasons, which is unfortunate, as the first three seasons of the show were 2010s teen drama perfection. Nothing is more 2010 than the opening scene in the barn, with the girls blasting 3OH3. If only they knew what was in store. This song is so funny, what do you mean “Do the Helen Keller, and talk with your hips”? What does that mean? Maybe it's fitting that they chose a song with baffling lyrics to begin a tv show that would end with twelve million baffling plot lines.

One Week by The Barenaked Ladies - as heard in 10 Things I Hate About You (1999)

Before somebody tries to argue with me that the movie was opened with Bad Reputation by Joan Jett, We see the Seattle skyline with One week in the background. So I consider this to be the opening song. Was there a movie geared towards teens made in the late nineties that didn’t feature this song? The barebaked ladies had the teen movie soundtrack curators of the nineties in a chokehold. While I do absolutely adore this movie, the fact that they try to pass off Stadium High School as being located in Seattle grinds my gears. It's in Tacoma!!!!!!!!!!!

What's A Girl To Do by Bat for Lashes - as heard in Scream Queens (2015-2016)

I think Scream Queens was underrated. I was hooked on the show immediately, especially after the haunting first drum beats (A sample of the drums originally heard in Be My Baby by The Ronettes). The tension created with the ominous tone of the background music is crazy. The song is just eerie enough to fit the mood, and adds a very haunting ambiance.

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rainydawgradioblog · 24 days

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10 most underrated Joni Mitchell songs

“Refuge of the Roads” (1976)

“Judgment of the Moon and Stars (Ludwig’s Tune)” (1972)

“Talk to Me” (1977)

“Harry’s House/Centerpiece” (1975)

Borderline (1994)

“Love” (1982)

“People’s Parties” (1974)

“The Dry Cleaner From Des Moines” (1979)

"Conversation" (1970)

"The Last Time I Saw Richard" (1971)

Here's my comprehensive guide to Joni in playlist form. Happy listening!

Mead Gill

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rainydawgradioblog · 1 month

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Rainy Dawg Radio's Favorite Covers

GRACE YANG

Remi Wolf's cover of “Pink + White” by Frank Ocean

Frank Ocean's Blonde is such an important part of my life. It soundtracked my high school years. Blonde is so precious to me and I hold covers to high standards. (Anyone traumatized by Car Seat Headrest’s “Ivy” raise ur hands! Jk. It's okay at best.) Blonde is a very hard album to cover as it's perfect as it is already. The stakes are so high. If you're covering Frank Ocean you better put your whole soul and body into it.

Fear not, Remi Wolf brings new light into a modern classic. Remi's voice is full of energy and power. Her style and charisma is undeniable.

One of my favorite features of Remi Wolf's cover that I think songs post 2020 severely lack is the powerhouse belting section in the last quarter of the song. Remi has the range!!!! Not many popstars can say that…MY DEAR MY DEAR MY DEAR ITS ALL DOWNHILL FROM HEREEEEEEE!

REMI WOLF ON TOP 💋🐋

DJ EMI

“Hybrid Moments” by Misfits, covered by Helvetia

“Hybrid Moments” is a model Misfits song. Released in 1985 off the album Static Age, Hybrid Moments didn’t need a cover. It's catchy and simple, with the shallow horror of the Misfits. But, since one was made, I’m glad it was done by Helvetia. A tangy, plucked guitar introduces the version instead of the thumping tom drums. It’s an unlikely mix, both versions are competing with each other: the muted, whiny vocals are inverse to Glenn Danzig’s dark belting, the slight reverb contrasts the heavy distortion, the slower BPM to the higher, etcetera, etcetera. Go listen for yourself.

Soph

The Chicks’ cover of “Landslide” by Fleetwood Mac

Everything about this cover is incredible. The harmonies, the mandolin, the bass, the slide guitar. It brings me back to when I was really young and my parents would play this song in the car. I never appreciated the cover that much then, but now I listen to it at least once a day. I don’t consider myself a country fan because I like it at times but I can only take so much at once. However, the country twang in this cover is truly so immaculate. It makes me want to ride a horse through random fields in Tennessee (Hannah Montana style), and you’ll never catch me wanting to do that any other day. I also adore the original song by Fleetwood Mac because who doesn’t love Stevie Nicks. The simplicity of the original really underscores her vocal and lyrical ability, but nothing will hit quite as hard as The Chicks’ version.

AUDREY

“Peepin’ Tom” by Courtney Barnett, originally by Kurt Vile

Courtney Barnett and Kurt Vile collabed on their joint album Lotta Sea Lice in 2017, where the two artists took turns hopping on each other’s tracks. “Peepin’ Tom” was originally “Peeping Tomboy” written by Vile and released in 2011. Six years later, Barnett’s vocal performance adds a necessary layer of queer nuance. Lyrics like: “I came across some girl / And I admired her / I was a peeping tom / More than it seems” resonate deeply with the dyke listener. Once a tale of boyish perversion, now more closely resembling the childhood longing of a closet case. For best results: listen whilst on a camping trip with your first love.

Zola

“Across the Universe” by Fiona Apple

Originally created for the soundtrack of Pleasantville, Fiona Apple took the Beatle’s classic, and made it much dreamier. Keeping most of the same instrumental, she retains the same lyrics. It might be one of my favorite songs of all time. Fiona’s melodic voice paired with John Lennon's lyrics create the perfect song for long moody walks in the rain, while you contemplate lifes choices. A top pick of mine for late night drives, or crying in bed, or even background music while studying. Something about it just makes me reminisce on my youth, as it feels like it should be played in the background while a much younger version of myself frolics. It provides a wonderful contrast to the chaos of everyday life. In my eyes, Fiona Apple can do no wrong, but this cover further solidifies it. Bonus points for creating a version that wasnt produced by one of my least favroite humans, Phil Spector!

Sean K

Björk - “Venus As A Boy” (Kali Uchis Cover for Like A Version)

LINK

Live on Like A Version, Kali Uchis does the impossible and performs a flawless cover of Björk’s “Venus As A Boy”. Even in the shadow of the iconic original track, Kali’s reimagined version manages to hold its own and sound even more ethereal. Kali captures the essence of Björk's playful vocals while adding her own signature inflections. On stage, Kali shines alongside her accompanying band. The clear musical chemistry between her and the band makes for a highly engaging performance that you will want to watch again and again. To this day, Kali’s performance continues to blow my mind and makes me hope more artists will take on the challenge of covering Björk.

tide2004

“Map Ref. 41°N 9°W” My Bloody Valentine, originally by Wire

One of my favorite songs by one of my favorite bands, covered by another one of my favorite bands. My Bloody Valentine changed the whole landscape of the song and I really like what they did with it. The sound and production remind me of Loveless. This was put out in 1996 on a Wire tribute album Whore: Tribute to Wire. It was also their last release until their 2013 album MBV. Awesome way to go out in my opinion.

Gemma

Denzel Curry’s cover of “Bulls on Parade” by Rage Against the Machine

I don’t listen to a lot of covers. Most of the time, in my opinion, the original artist is able to capture the emotions of a song far better than those who try to recreate it. For me, this song is a great exception. Curry’s vocal performance has a fullness and power to it that fully draws you into the song, whether you are jamming in your room or just grocery shopping. His gravely intense delivery and rapping ability work greatly to the song’s benefit, and the guitar is downtuned with a fuzz effect, making for a more sludge-y and aggressive sound overall. I can honestly say I would much rather listen to his version rather than the original, despite how iconic of a song it is.

k-murph

“fake plastic trees” - phoebe bridgers, arlo parks

the love of my life, otherwise known as phoebe bridgers, has produced an insane amount of fantastic covers. her covers of “friday i’m in love,” “day after tomorrow,” “it’ll all work out,” and “you missed my heart” are just a small selection of genuinely incredible picks. however, nothing quite comes close to the deep love i have for this cover of radiohead’s “fake plastic trees.” it can be found most accesibly on youtube or soundcloud, and between phoebe’s voice and arlo parks on the piano, it’s an absolutely masterful take on the already fantastic song from an objectively iconic band. phoebe’s vocals are smooth and times powerful (petition for phoebe to PLEASEEEE belt more often. the roughly 5 seconds we get on this track is not enough), making the journey through the song a perfect course of emotions. i think that this song is so fitting for phoebe’s style, and the piano backing track takes the song in a different direction that is so beautiful and sonically satisfying. the original “fake plastic trees” is a work of art, and the fact that this cover captures and reimagines its essence so beautifully is truly impressive.

youtube

Sofia

“Kangaroo” by This Mortal Coil (originally by Big Star), off It’ll End In Tears

One of the rare occasions that I think a cover is way better than the original…

I think that the Big Star version of this song is just okay – the cover, on the other hand, is (as put by user kateybereny in the comments under the YouTube video) “achingly beautiful”. The desperation in the singer’s voice in the cover is what makes it so much more affecting than the original, especially in the last few lines of the song, where she repeats “Oh, I want you / Oh, I want you”. The guitar (and maybe cello?) in the intro makes my stomach sink every time I hear this song. Awesome song for having a crush on someone. This song meant so much to me last spring quarter, so I think the nostalgia factor definitely contributes a lot to this being my choice (Honorable mention: “Superstar” by Sonic Youth).

Ben

“I knew that he was gonna sound great singing and it’s so… I don’t know… there’s really not too many words for it”

Those are words from Fiona Apple herself, said of Elvis Costello’s cover of “I Know.” Performed at the “Decades Rock Live” event, a now defunct concert series put on by VH1, Costello was offered the song after Apple covered his song “I Want You.” What intimacy is lost via Costello’s live performance is made up for by his searching delivery, one that is offered support in more robust instrumentation. Though I remain partial to Apple’s version, the song’s bridge is improved upon by Costello, its lurching staccato chords swelling as he pleads “Baby, I can’t help you out/while he’s still around.” What I love most about the cover is that — where Apple seems resigned to her fate as simply an option to her married suitor — the strife in Costello’s voice suggests that he remains desperately in denial. I also love the giddy jumps Fiona Apple does after running on stage to hug Costello at the conclusion of his performance.

Thanks for reading! We hope you have a great Spring Break... stay tuned for more posts!

#Youtube

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rainydawgradioblog · 2 months

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A. Savage showed me I can write a decent song (I’m delusional)

My first major purchase after arriving in Copenhagen last summer was a ticket to see Andrew Savage’s European tour in February. The legendary Parquet Courts co-frontman played Ideal Bar in Vesterbro with his band Midnight Stew to a crowd of me and 99 tall mustachioed film bro-looking Danish lads in their 20s and 30s. I fit right in wearing my artsy new A. Savage “Riding Cobbles” t-shirt, as Andrew convinced me with his lovely little tunes to write a song of my own.

Andrew’s visual aesthetic had me straight to Ticketmaster before his latest album Several Songs About Fire even dropped. Everything he rolled out in promo shoots, cover art, and concert merch was drenched in David Hockney meets “The Adventures of Tintin” meets the doodles on the back of my middle school binder.

Paired perfectly with the cartoony visuals, the music of Sevel Songs About Fire boils down melodies to a uniquely simple formula. Nothing is overcomplicated, leaving plenty of room to feel every chord change and focus on his glorious rusty voice, which is down-to-earth but also smooth enough to make me think he could burn the house down singing Frank Sinatra hits if he wanted. Andrew’s style makes great songwriting feel like something that anyone with a shitty guitar can do, and that’s not meant to sound shady.

Another major draw to Andrew’s music is his lighthearted pessimistic humor that he throws all over his lyrics. It’s the same humor that my dad’s college buddies who never had kids embody. You can tell he’s got a weird whimsical take on the world in the way he phrases his feelings. “My weekly dinner of popcorn and Coke / Every Friday, like communion that I took as a joke” in the intro “Hurtin’ or Healed” is objectively a bit bleak but you can’t help but smirk and hope you're as witty as him at age almost 40.

I can thank Andrew and his band Parquet Courts for my appreciation of art punk and a lot of the politically charged folk rock I obsess over today like early Courtney Barnett and Fontaines DC. The band’s pop art aesthetic and funky yet punky take on indie rock recontextualized a lot of harsh punk aesthetics into something that made a lot more sense to me when I was first getting into music. Album’s like Wide Awake and Human Performance were palatable but gritty enough to slap some taste into my teenage brain.

Where Andrew’s solo work deviates from Parquet Courts is his more laid back take on songwriting, packed full of energy without doing the most. He’s got a handful of chords and progressions that are standard but still sound so uniquely his own. Hearing a song like “Le Ballon” or his latest single “Black Holes, the Stars and You” put Andrew’s skill at building tension and emotion with just a few particular chords and subtle melodies on full display.

Most of the emotion conveyed on Sevel Songs About Fire is rooted in finding comfort in simple pleasures and observations in a life far from a sense of home. Living all the way in Denmark, I listen to “Riding Cobbles” bumping down the cobbled Copenhagen streets, “My New Green Coat” while wrapped in my new thrifted Bob Dylan jacket, and “Mountain Time” watching the geese fly in Vs like they do in the Cascades back home.

To me, the album is music to ramble to– it’s the music you listen to with your thumb out on the side of the road with a knapsack tied to a stick over your shoulder. I listened to the new album for the first time while waiting for trains between Berlin and Copenhagen, anticipating a long bus ride to Stockholm the next day. Being on exchange often felt chaotic, trying to experience as many new things as I could without a lot of regard to my ability to settle down, and Sevel Songs About Fire is exactly that. Andrew mentioned during his set that he loves touring because he has the unique ability of finding a sense of home in a lot of places, something I wish I was better at.

After Andrew’s show, I picked up my very own $35 guitar from the charity shop down the street and started thinking about tiny observations or inanimate objects that made me feel any kind of something. However insignificant these things seemed, they were unique to me which is exactly why Andrew’s music is so important. Several Songs About Fire was never about reinventing the wheel but more about a unique perspective and personality using the bread and butter of what makes a great song.

I beg of you please listen to Several Songs About Fire and after you’ve realized it’s your favorite album ever I’d give his debut album Thawing Dawn a listen. For more political indie rock stuff I’d listen to Parquet Court’s Wide Awake and if you like it even punkier, try Light Up Gold.

You’re welcome!

Mead Gill

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rainydawgradioblog · 2 months

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lyrics to life, a deep dive into the artist and the fan

helloooo!! my name is mya and this is my first RDR blog post!! (i’m super excited if you can’t already tell)

the coolest person i know has been writing for RDR for a while now and when she showed me her article all about the album songs by adrianne lenker, i knew that i wanted to be a part of this community too. sooo this first blog is gonna be about the songs that make up me, so you all can get to know her (spoiler, adrianne lenker makes a heartbreaking appearance on it)!!

1. "true blue" by boygenius

wow. no better way to begin than a song all about female friendship and connection. i grew up with a single mom, my older sister, and two older brothers. my mother and sister serve as power figures in my life and i can’t help but think of them during the line,

your love is tough / your love is tried and true blue.

the past few months living without them has given our love for each other a stronger foundation, and has become even more apparent in the 6 missed calls i get per day. it is an equally irritating yet comforting thought. but this song also pays homage to the lovely friends i’ve made in all seasons of my life. my emilee, my hope, my ify, my carly, and so many more incredible woman that built who i am today become alive in the line,

i remember who i am / when i’m with you.

2. "not a lot, just forever" by adrianne lenker

looking for a painfully heartbreaking song? hey right here!! bonus, this one physcially hurts to listen to!! my roommate once told me that my biggest strength but also weakness is how hard i love. this was after i went on an in depth rant on how the rest of my life would look if my situationship and i admitted our feelings for each other (spoiler, the feelings in question are definitely not reciprocated),

through your eyes i see / a smile you bring to me / to your joy i tether / not a lot, just forever.

despite constant heartbreak, i continue to fall hopelessly in love because one day i’ll get to experience a life resembling this line,

i could be a good mother / and i wanna be your wife.

i just really love LOVE. the idea of falling in love with someone and just being like, “i dont need that much of you, just all of it!!” like yes adrianne, we want every inch of the person we love so we can love them entirely.

3. "gramercy park" by alicia keys

this song is for the people who mold themselves to the ray of someone’s energy so they can feel more loved. unhealthy, i know!! who in their right mind would do that (...),

i’ve been trying to fulfill you with your every need / now you falling for a person that’s not even me.

her performance on tiny desk concert was incredibly moving. alicia keys has been telling it like it is since her first hit fallin’ (also my go-to karaoke song) which she performs for tiny desk beautifully. in this song especially, she describes the inner pleas of needing someone to stay so bad that you lose who you are trying to fit yourself into their narrative,

cause i forgot about the person i used to be.

i found her eventually, but at what cost!!

4. "lifetime" by faye webster

i live through a dreamscape fog called optimism, faye webster does too though so my feelings are valid. the word lifetime is mostly just repeated (honorable mention to the lyric, “can’t imagine me / before you / in a lifetime”), so the main focal point of this song is it’s mellow and rhythmic tone that showcase a seductively lucid-esque tone. lifetime also takes the crown for being so versatile, with making the cut for both my playlists for sex and for crying before bed!

5. "keep the rain" by searows

what if i just love this song!! what if there is no significance to it!!

nothings ever really quiet / when you need distraction to survive.

for my mental stability, lets end it here!!

it’s been fun,

mya

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rainydawgradioblog · 2 months

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“weekly rotation” gems from me, my roommates, and my boyfriend

a couple months ago, my boyfriend and i decided to start playlists on spotify with our “weekly rotations,” about 5-10 songs that we were totally obsessed with at the moment and couldn’t stop playing. we shared the playlists with each other, and it’s been the highlight of my week to pop on a playlist of new songs that i can talk about with him later. eventually, we roped two of my roommates into it too, and now our music-sharing collective has grown to epic proportions. i highly reccomend this practice to anyone who wants to get to know more music and see what their friends are listening to (besides a good old-fashioned spotify listening activity stalk) because it’s seriously so much fun. and if you decide to run and make your own weekly rotation to share, here’s a brief list of some gems from the rotations of my dear buddies, including my favorites, most revolutionary discoveries, and rediscoveries, for your consideration.

john:

as my original weekly rotation partner, john has provided me with a lot of content, and he has not disappointed. here’s my top four.

1: “doomsday” - MF DOOM

i’ll never forget the first time i heard MF DOOM in the back of my friend’s car in high school. my brain chemistry has never been the same again. what a genius, fun track this is. the backing track is so GROOVY!!!!!

2: “humbug mountain song” - fruit bats

this song makes me feel like an epic cowboy riding out into the sunset. what more needs to be said?

3: “who knows where the time goes?” - fairport convention

fairport convention has such a flawless folk-rock sound that provides the perfect background music for everyday listening. this song is so simple and beautiful, as they reflect on the passage of time with a calm acceptance that invites you to sit back and reflect, not a care in the world.

4: “long road ahead” - maybel

such beautiful vocals and harmonies. my favorite line, and namesake of the song, is “it’s a long road ahead/ but i know somewhere beyond the bend there’s peace,” which is a message i think all of us need to hear once in a while. or often. the soft guitar and harmonies make this a dreamy, hopeful track that soothes and inspires.

thea:

100% convinced me to force my roommates to make weekly rotations when she showed me the first song and genuinely changed my life.

1: “it’s really raining” - alison sudol

i can’t ever get enough of this song. it has the perfect instrumental and lyrics, simplistic enough to be the backing track to anything but engaging enough to make me want to do a little dance or maybe cry (in the rain, of course). also, you’ve got to stick this one out to the end, because the last verse/bridge/chorus (depending on how you look at it) is one of the most sonically satisfying moments in recent music.

2: “tile by tile” - alvvays

i’ve been getting way more into alvvays recently. i think their sound is so addictive, and this song is a great representation of some of what they do best. “am i still giving off the wrong impression? /i shouldn’t have ever dialed you up/ and i’m still lifting all your old expressions/ i shouldn’t have ever been calling it love” are phenomenal lyrics to begin with, and then they get combined with fabulous instrumentation and vocals and quickly it beomes a 30 seconds that i haven’t stopped thinking about for days.

3: “twilight” - elliot smith

there really isn’t an elliot smith song that i don’t like. and, like most of his discography, this song is a gut punch. relating struggles with love and addiction, and longing to love outside of a context of being an addict, this song is devastating and poignant. also, the chirping crickets that end the song are a perfect touch. it really does sound like laying outside on the ground at twilight, staring up at the sky.

4: “valentine” - fiona apple

this makes the second time within the last month that valentine has been praised on this blog. and it shouldn’t be any other way! the lyricism on this track, and everything that fiona apple has ever written, is inexplicably amazing. fiona apple, the woman you are.

cam:

i adore cam’s music taste because it’s just so her. which means nothing to you guys, because you have no clue who she is. but trust. it’s awesome.

“morning pages” - the japanese house, muna

“morning pages” is such a beautiful, romantic, heart-wrenching portrait of a relationship. the lyrics depict the ebb and flow of a relationship that may waver, but “it always comes back to her/ you always come back to her.” the love that the song describes is so raw and gorgeous. plus i LOVE the japanese house’s production. it’ll do it for me every time.

“emily” - jamie scott

this song is just so damn cute. the lyrics read like a hand-written love letter that got crumpled up and thrown to the side because he was too nervous to send it. the simple guitar and plaintive vocals are the perfect medium, and pick up as he describes the memories of their relationship in the perfect sonic encapsulation of heartbreaking nostalgia.

“thick skull (re: julien baker)” - paramore, julien baker

i mean come on. paramore AND julien baker??? cam knows the way to my heart. julien baker was the perfect feature on this track-the lyrics are up her alley and she delivers them incredibly. the buildup on this song is perfectly paced and really gets you by the end of it.

“tin lover” - the paper kites

thrilled to see some paper kites representation. despite loving this band, i had actually never heard this song, and it is fantastic. it has only eight short lines, but it is the perfect mellow, watch the raindrops roll down the windows type of vibe.

honorary mention:

i also have another roommate!!! and don’t worry, contrary to what you may think up to this point, we don’t hate her OR her music taste. she just has apple music. (booooooo)(jk, i had apple music for a while. stop the apple music hate). regardless, jess has no weekly rotation, but she did show me an incredible song recently which i’ll add to this collection.

“leach” - cryogeyser

i adore the way that all the elements of this song are produced and put together. a perfect breakup song, the instrumentation and vocals create an anxious, almost eerie feeling that captures the stunned, lost breakup feeling. also, “i wish that i had never met you/ things would be different!!!!” is 100% the most screamable lyric on this entire list.

that's all my favorites! i hope you find a new song or two from this awesome list. and for anyone who's interested, i'll link my own rotation down below. happy listening, and

STAY COOL!!!

k-murph :)

#Spotify

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rainydawgradioblog · 2 months

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Stop Making Sense

“In retrospect, I can see that I couldn’t talk to people face to face, so I got on stage and started screaming and squealing and twitching about. Ha! Like, that sure made sense!”

- David Byrne

Re-released in theaters in September 2023, Stop Making Sense hit another re-release in January. Why do we care about this concert so much, especially 40 years after the live performance? The Talking Heads have a special way of interpreting the world into music, a way that helps life make a little more sense. “Normal” human interaction is difficult for so many, and the Talking Heads express said struggle. They take the simplicities of life and appreciate them, forcing the viewer to notice the innate beauty in our world, but more importantly in the people who inhabit it.

In Stop Making Sense, the stage is gradually assembled. The film begins with front-man David Byrne performing “Psycho Killer” with nothing but an acoustic guitar and drum machine, from then, bassist Tina Weymouth enters the stage for “Heaven.” As more band members join Byrne and Weymouth on-stage, each of their personalities manifest. Byrne is the erratic artist. Weymouth is the embodiment of self-expression. Jerry Harrison is the ‘stoic’ one, a stark contrast to Chris Frantz, who is the ‘comedian’ of the group. Once the entire band is on stage, guest performers join them, Lynn Mabry, Ednah Holt, Steve Scales, Alex Weir, and Bernie Worell (founding member of Parliament Funkadelic!). Though not core members of the band, these musicians are the essence of the film.

The eccentricities of each performer are an essential piece of the film, but beyond the screen, the audience is equally as important. Often I’ve seen Stop Making Sense alone. January, I saw it in an audience of hundreds. The energy of the room was like a buzz, a moment in time where you could be fully present and fully happy. The audience cheered along with the film at the end of every number, almost like the Talking Heads were performing in front of us, like we were placed among the 1984 audience.

It is unfair to compare any band to the Talking Heads in terms of genre or quality. They are entirely unique, though lumped in with the New Wave movement of the late 70s and early 80s. New Wave music has its origins in the French film movement, the Nouveau Vague. In “Psycho Killer,” Byrne stumbles around to a sharp drum beat, reminiscent of the finale of Breathless (a film by Nouveau Vague icon Jean-Luc Godard). Later in “Making Flippy Floppy” cards with seemingly meaningless words are projected behind the performers, again similar to various title cards from Godard films. Is this intentional? I couldn’t say, but Godard is also known for his raw, realistic representation of humanity. While Godard often focuses on the negative (but true) aspects of life, the Talking Heads and Byrne, in particular, highlight the joy in it.

Though it may seem dramatic to say, to me, seeing Stop Making Sense is a life-changing experience. It is a preserved moment of musical and human history, it is unchanging but has its unique impact with every viewing. But most of all I’d like to thank the universe for whatever series of events were responsible for putting David Byrne in THAT suit.

♡ Parks

#rainy dawg radio

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rainydawgradioblog · 2 months

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Interview with Samba Jean-Baptiste

The other day I came across an article about AI bots mass-releasing auto-generated music on Spotify under different names. A concept as democratic as “unfettered access to music by way of streaming services” was bound to be corrupted by bad actors. Artists are consigned to grueling tour schedules in order to make a living because streaming pays them in Monopoly money. Pitchfork is gone and the writing is on the wall for Bandcamp, because curation is now being handled by algorithms. It’s important to keep in mind that any artist releasing music today has to navigate a culture in which there’s more out there than ever before, it's all at the tip of one’s fingers, and everything except for the music itself is worse than it used to be.

The topic of how the internet has shaped music came up frequently in my discussion with Samba Jean-Baptiste, an independent artist out of Brooklyn. I discovered his work after seeing Dean Blunt’s music video to “Felony” (his best song? I’m ready to make the argument), and the Algorithm decided I might like a video titled “talk / pleasure.” Behind a camera that might be a flip phone, somone offers Jean-Baptiste directions: “Wait, look off that way, and start the song. Then just start doing your shit.” The music plays and we hear Samba’s subdued voice over acoustic guitar strumming. He crosses a wide urban boulevard. All of it is easy and unforced.

youtube

“Talk / Pleasure” was released on Cardinal, a project that’s difficult to categorize and beautiful and disarming. Jean-Baptiste chiefly uses acoustic guitar and his voice to create stripped-back art pop, as if the Young Marble Giants grew up listening to Stereolab instead of Lou Reed. The relationship between skilled yet raw guitar playing and more attuned peripheral production toes a line between an open mic performance and sound leaking from someone else’s headphones. There’s some really incredible interplay between organic and auto tuned vocals on “Windows.” The string and warped piano accompaniments on “A Wish Slanted” perfectly compliment Jean-Baptiste’s rhythmic strumming. It seems like he’s drawing from so much, because he’s had access to (and has seeked out) so much. The internet has given us windows into every corner of musical expression imaginable. If you’re an artist, how do you reckon with that, how does it find its way into your art? I didn’t want to put words in Jean-Baptiste’s mouth, so I reached out to see if he’d be interested in an interview for the Blawg.

He was kind enough to agree back in early December; we spoke over the phone for about 40 minutes. I think he was playing Dave Bixby in the background. In addition to the internet’s impact on the music landscape, he touched on song-writing, looping, and Veeze. Hope you all enjoy it. Please, check out Cardinal on Spotify, Apple Music, Youtube, and Bandcamp (before it’s subscription based).

Can you tell me a little about yourself?

Yeah, I’m 22, about to be 23, I live in Bedstuy, Brooklyn, I cook at a Japanese Breakfast restaurant that’s also in Brooklyn. That’s kinda what I do four days a week. I grew up in Massachusetts playing classical music, me and my sister, I played Cello, my sister played violin and we grew up playing in the Boston Symphony Orchestra. That’s where I gained a lot of interest in music, because when I wasn’t playing cello, everyone would be showing off like, what pop song [they] could play on the piano, and from there everything trailed into, you know, writing a little song about a crush or something when I was a kid.

My family is from Haiti. That’s important to me. In middle school I used to just make beats so I was really into dubstep and a bunch of stuff on youtube. I was always big on youtube, listening to people make beats at home, and then soundcloud blew up, which gave so much access to random nooks and crannies to the country and world for that matter. Got into songwriting a little bit. Used to make a lot of different sounding stuff to now. Picked up guitar, somehow, and I guess that landed me to where I’m at now.

Songs like “Better Now” from Cardinal feature a lot of looping. Do you find that to be a big part of your process?

It’s funny because looping, from making beats in middle school, looping is such a big part of it. You make something, you loop it, you progress from there. But by the time I realized I could be playing actual instruments in my recordings, I still had that mentality. I’ll record something and think: “this part is great, I’m just gonna loop it.” And it doesn’t feel unethical. Cause for me, for a long time, looping other people’s music was like, “you’re going to hell, you’re not making music” but somehow my eyes have opened up and my ears have opened up to so many new ways of sound creation, rather than seeing it like “you have to create from the sound up like you’re fucking Beethoven.” You can hear something and make something out of that and that’s ok. It’s not yours, it's everyone’s.

Looping is really interesting too because everytime you hear something or see something you can see something new about it. There’s albums I’ve listened to kajillions of times and it’s like I’m learning something new about it every listen. The same thing can happen with a simple loop, it’ll just be new information, newly perceived information each time. So yeah loops are super important to me.

When you’re writing a song, do you have an idea of what you want the finished product to be, or does it evolve naturally over the course of the entire process?

Definitely the latter. That’s funny I was talking to my dad *today* that when I make songs, or work on an idea, I have to like make the whole song, just so that when I go back to these drafts, I can see the full blueprint. [...] It’s definitely a process. If I write a song in one sitting, I’ll kinda just… show a friend. That’s not the stuff I like releasing.

How did Cardinal become more acoustic than your previous album, Pandora?

It wasn’t so much a conscious decision to be like, I have to be different from the last record, but it was a conscious decision in my process. Because Pandora was made while I was still primarily recording through my laptop, and like, there’s guitar on there, but it’s all pitched up, and my voice isn’t in my natural cadence. But in the same way I realized I could use my instruments and play them in my recordings, I was like damn. That feels natural. I can also just sing in my natural low voice, I don’t have to be reaching for something that I’m not. So it sort of just trailed in that direction naturally.

I was wondering if playing the cello made picking up guitar easier, or otherwise informs your guitar playing? You said you “stumbled on guitar,” which sounds like a bigger undertaking than you make it out to be.

Yeah, picking up guitar was pretty simple for me because of that knowledge, but like, there’s six strings on a guitar [compared to cello’s four], so I’ve found new ways to approach an instrument, because there’s a learning curve there. A lot of my songs, if you listen to them, it’s all the same chords, because I only know so much, and sometimes I’m fucking lazy and I know certain chords and they make me feel good enough.

Also it's funny because some songs are written on different guitars. “I Could Have Cried” was written on a guitar with five strings (the high E is gone) because my roommate didn’t finish stringing it. The other one I got in London, that one plays “Talk/Pleasure” and “A Wish Slanted” and it has four strings because two of them snapped. Each weird situation lends itself to a new creation, which is like a huge part of my process anyway. Error is so acceptable, if not sought out.

The stream of consciousness of it? Less premeditated?

Right. There’s a mix too though. I love when records have noise added after cause that’s real. You can only listen to so much perfect, cookie cutter stuff.

When you were making Cardinal, were there any major songs or artists that you took inspiration from?

Nah I had no influences, I came up with this shit. I’m playing, of course, of course, there’s so many. I feel like a lot of people are finding my music through like Dean Blunt youtube wormhole, and he’s for sure one of my big influences, like all my influences are like 30+ year old black people doing their thing. But the main influence is music that sounds like wind, water, grass, and that all relates to guitar.

I wish I had a list of my influences, cause on this record there’s a lot you know? I had a lot of people in my life showing me new things, because I’m so closed minded often. And I like to try to surround myself with people that will show me something new. A lot of inspiration is what’s new to me.

I think wind, water, grass sums it up great. Wrapping up, would you have any recommendations for me and the good people of Rainy Dawg Radio as a whole? Movies, music, books, etc?

Hell yeah. I just finished this book called Your Love is Not Good, by Johanna Hedver… Movies? I’m still learning about movies. Two or three things I know about her. I’m into Jean Luc Godard, that slice of life stuff where nothing happens, cause it’s just like looping music to me. Music? I’ll just give you what I’ve been into recently, cause I have huge influences but they’re probably everybody’s. I’ve been listening to this song called “Tea in Bed” by Blessed and Blushing. That shit’s incredible. I’ve been listening to this song called “Everybody Knows” by Glucose. I’ve been listening to a Serge Gainsbourg record, The History of Melody Nelson. I’ve been listening to Veeze, you know, Ganger. There’s so much shit. There’s so much out there. Michael White is this great jazz violinist, I’d definitely recommend him. Forma Norte, that guy’s incredible.

Who’s that, Forma Norte?

Yeah, you know what’s funny is I found him on my “related artists,” online, and sometimes I find stuff I really hate through that. But sometimes I think “damn this guy’s awesome, how’s he related to me?”

It’s so interesting to hear an artist’s perspective of their “fans also like” on Spotify.

That first one I said, Tea in Bed by Blessed and Blushing, is just blowing my mind recently. I’m like, “who is sitting down and making this shit?,” it’s so good. And that’s what’s crazy is there’s so much music now, it’s like, is there even a point in trying to make a career out of this? No. I don’t think so. Which I think is lending itself to the best music ever, cause people are like “there’s no fucking way I’m gonna make a career out of this, I might as well just make what I want, whatever I want.”

You used to have to deal with the label, but now everything is just, “yeah go for it.”

It’s such a blessed time in that regard, but at the same time… let me chill on that. Let’s say, Marvin Gaye, “I Want You”? We’re not getting that right now. And that’s no hate to right now. But it’s just like that was a whole different way of living, thinking, moving, breathing you know. It’s just a whole different way of recording.

But we’re so blessed to be able to do exactly what we want without the idea of needing to make money off it. Obviously it would be nice. But it’s unlikely so people are just making cool shit. And I’m really thankful for that.

You can find Samba Jean-Baptiste on Instagram here and YouTube here. Once again, listen to Cardinal any way you get your music.

#Spotify #Youtube

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rainydawgradioblog · 2 months

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Rainy Dawg Radio's Favorite Lyrics Ever

These are, to our best knowledge, our favorite lyrics ever.

Parks

��Stuck Inside of Mobile With the Memphis Blues Again” - Bob Dylan - Blonde on Blonde

“Grandpa died last week and now he’s buried in the rocks. But everybody still talks about how badly they were shocked. But me, I expected it to happen, I knew he’d lost control. When I built a speed fire on Main Street and shot it full of holes.”

Bob Dylan.

“Ballad of the Last Five Years”- The Guess Who - Road Food

“So step right up and put your music where your mouth is.”

Just an all around amazing line. Also The Guess Who is definitely one of the top bands out of Canada. And I do not take constructive criticism.

“Up the Junction” - Squeeze - Cool for Cats

“I never thought it would happen between me and the girl from Clapham.”

The opening line of “Up the Junction” sets up one of my top ten favorite narrative songs of all time. Also see “A Quick One While He’s Away” by The Who, which is another one of the best narrative pieces, but the lyrics don’t stick to the inside of your brain quite like Squeeze.

“Everyday I Write the Book” - Elvis Costello -Punch the Clock

“Even in a perfect world where everyone was equal, I’d still own the film rights and be working on the sequel.”

There’s so many Costello lyrics I could have put here, but “Everyday I Write the Book” is cute, clever and one of the few not-depressing songs he’s written.

“What’s the Ugliest Part of Your Body” - The Mothers of Invention - We’re Only in it For the Money

“What’s the ugliest part of your body? Some say your nose. Some say your toes. But I think it’s your mind.”

What’s a song written by Zappa without some cynicism? Here he’s criticizing societal and generational ignorance, as per usual. In short, some people are real stupid.

“Andy’s Chest” - The Velvet Underground - VU

“And just like in a movie, her hands became her feet. Her belly button became her mouth which meant she tasted what she’d speak.”

Thank you Lou Reed, you have outdone yourself.

DJ eyelyds

In no particular order…and also as of right now because everything I like is tinged by extreme recency bias.

“Web in Front” Archers of Loaf Icky Mettle

“Stuck a pin in your backbone/ Spoke it down from there/ All I ever wanted was to be your spine”

As the opening lyrics of this two-minute song cut into the mix before any of the instrumentals get a chance, the catchy tone of lead singer/guitarist Eric Bachmann’s songwriting is apparent. His performance on both guitar and vocals has this nervous, sporadic energy that feels like it’s just barely being reigned in lends itself nicely to the subject matter of the song. For me, I read it as an obsessive almost neurotic love song. Bachmann wants so desperately to support this person that he would be happy physically being a part of them; to be their spine. More than happy actually, it’s all he ever wanted

“Drunk Drivers/Killer Whales (Live at O2 Forum Kentish Town, London, England) Car Seat Headrest Commit Yourself Completely”

“And if you can’t find your friends, you can leave without them/ And if you run out of drugs, you can sleep without them/ And if you want to go home, you can call a taxi/ And if you don’t wanna talk, you can sit in the backseat/ Please! Please”

In this live rendition of “Drunk Drivers/Killer Whales” off the 2019 live album Commit Yourself Completely Will Toledo adds this outro/verse. It connects to the themes throughout the song of well… not driving drunk. But it has a more bittersweet tone than a PSA ever could, especially in the context of the entire album of Teens of Denial, especially considering the song “Drugs With Friends.” Toledo is great at painting drug use as almost a marker of innocence and notes the isolation that can come from overuse. The opening line of the added outro, “And if you can’t find your friends, you can leave without” has a sort of tongue-in-cheek tone, in the sense that it is genuine advice to get home safe, but also is a somewhat childish way of exiting the situation. Toledo knows that he’s not a saint, nor an authority. He’s just made the same mistakes and is trying to make sure you don’t do the same. Please don’t do the same.

“Anthems For A Seventeen Year-Old Girl” Broken Social Scene You Forgot It In People

“Park that car, drop that phone, sleep on the floor, dream about me”

Sung by Metric’s Emily Haines, this whole song makes heavy use of repetition, with every lyric being said at least four times. This line is repeated the most and is also my personal favorite of the song. You can read it in so many different ways. Initially, I read it as being said to a lover, and hoping that they are constantly thinking about her. But the more interesting reading (and probably the more accurate one when considering the title) is a message to herself when she was seventeen. With this lyric specifically, a message to think about her future in a positive light, and not worry too much about her current anxieties: slow down, stop driving, take a rest, and think about your future. Not of all of the anxieties of being older, but rather the assurance that things will ultimately work out. The repetition of the line, as well as the amount of sincerity in her tone of voice help to sell this line, and the themes of the song in general.

soph

“As the World Falls Down” - David Bowie - Labyrinth

“I’ll paint you mornings of gold/I’ll paint you Valentine evenings/Though we’re strangers ‘til now/We’re choosing the path/Between the stars/I’ll leave my love/Between the stars”

Dorky love song for the dorkiest movie. It’s so cheesy but I will say the lyrics make me emo. I want someone to love me the way Jareth loves Sarah. :(

“Army of Ancients” - Dr. Dog - Fate

“I don’t wanna wake up/I don’t wanna move/I’ll skip the sermon and stick to the booze/I’m sorry/But I’ll take what I want in the dawn’s early light”

I think the build up to “I’m sorry” is what really gets me with these lyrics. You gotta listen to understand how he screams it. He’s truly sorry.

“Sports” - Viagra Boys - Street Worms

“Baseball/Basketball/Wiener dog/Short shorts, cigarette/Surfboard, ping pong/Rugby ball, wiener dog/Skiing down on the beach/Sports”

Epitome of America in this one. This reminds me of the horrors of high and middle school gym class.

Ben

These are the lyrics that make me laugh the most. Attempting to narrow down the lyrics that are most meaningful to me was making my head hurt.

"Harlem shake? Nah, I'm in Harlem shaking the weight

Shaking to bake, shaking the Jakes

Kill you, shoot the funeral up and Harlem Shake at your wake"

-Cam’ron, “Down and Out”

If the lyrics from this video counted, I would have included “Humpty Dumpty sat on a wall/Splattered his skull/I witnessed it/That was my dawg,” but I will settle for the original. Every word spoken by Cam'ron on Purple Haze is tattoed to my subconcious.

"See me on the court if you wanna diss me

Let's play a game of 21, it's really fun

I got half court shots and I'll post you up

I'm Latrell Sprewell, I'll choke the coach"

-Lil B - “Fuck KD”

I do not endorse any acts of violence perpetrated towards former NBA coach P.J. Carlesimo.

"Put a pill in a McFlurry, I'm goofy

Shoot me, acting for the cameras, it's a movie

I can see you're gloomy, 'cause I'm too t'd

I'm a dog on the roof like Snoopy"

-Bladee - “I’m Goofy”

This one both makes me laugh and is very meaningful to me.

DJ Penny Lane

“Brokedown Palace” - Grateful Dead - American Beauty

“Momma Momma many worlds I’ve come since I first left home”

This is one of my favorite lyrics of all time! It really puts life into perspective on how far you can go in life with “many worlds I’ve come”, yet you’ll always have those memories from your childhood growing up at home. The lyric itself is sung in a pleading way, making many listeners emotional because it's like “Look mom! Look how far I’ve come and how many worlds I’ve traveled!” So yeah baller lyric it even makes John Mayer cry when he performs it.

“Going to California” - Led Zeppelin - Led Zeppelin IV

“Made up my mind to make a new start/Going to California with an aching in my heart”

This one hits close to home, being from California I always find myself listening to this song. It’s such a thrilling feeling to get the motivation to start something new and change your whole life. Especially when that new place feels so natural like you are meant to go there or like in the song “with and aching in my heart.”

“August” - Flipturn - Citrona

“But now you’re a stranger, And I’m still July, But don’t you remember, August, honey you were mine”

Current favorite song of the moment, highly recommend listening to this song in a car. The song is supposed to reflect on how in life we come across people that can be the closest people to us and know us better than anyone, then at another they become complete strangers. Flipturn wrote the song because one of the members was only having luck finding love in the month of August, then after that month everything would fall apart. I love when they say “I’m still July” because it means the person is still stuck in the month before August, making their lover a stranger.

tide2004

“This Floating World” – I Hate Sex – This Floating World

“In my fall I would feel so light, so warm / I would have no regrets, no fear and above all things / I would be alone, floating along”

“Alison” – Slowdive – Souvlaki

“Alison, I'll drink your wine / And wear your clothes when we're both high / ‘Alison’, I said, ‘We're sinking’ / But she laughs and tells me it's just fine”

“Vendetta” – Irate (NYC) – New York Metal

“This ain't mall metal made for little bitches”

kmurph!!!!

unfortunately, i would have actually dropped dead if i tried to narrow this down to three. so, five it is. some of these are serious and some are not, and i love them all equally.

“bonfire”-childish gambino-camp

“made the beat then murdered it, casey anthony”

i laugh every single time i hear this lyric, which has got to be hundreds if not thousands of times at this point. idk if i should be laughing at it, honestly. but it has the exact desired impact.

“no flex”-tiny meat gang-locals only

“i pull up in a foreign whip-you hear my honda civic/i pulled another foreign bitch-i think she might be british (i got a text!)”

to those whom this lyric is significant, it has layers upon layers. TMG cooked so hard on their joke music that they realized they were accidentally making unironically good music.

“john my beloved”-sufjan stevens-carrie and lowell

“so can we be friends, sweetly/before the mystery ends?/i love you more than the world can contain/in its lonely and ramshackle head”

you could sub this out with any collection of words sufjan stevens has ever written and i would stand by it.

“turn me down”-julia jacklin-crushing

“don’t look at me, look at the centre line/maybe i’ll see you in a supermarket sometime”

this was the best and also most utterly soul-crushing and devastating and life-ruining way to end this song. i love it.

“fear city”-surf curse-magic hour“i might just cum at the sound of the dying child in me/(wait, what did he say?)/i said my hair's just way too short to make a living/ (that's definitely not what he said)”

i just adore the complete absurdity of this. i don’t know why it was written but i’m so glad it was. brightens my day a little bit every time i hear this little exchange. also lowkey poetic.

EMI

“I fell right into the arms of Venus De Milo” - “Venus” by Television

“Not a lot of room to grow

Inside this leather terrarium” - “Type Slowly” by Pavement

“These hoes chase bread, aw damn she got a bird brain” - “I Don’t Fuck With You” by Big Sean

“You’re a star-belly sneetch, you suck like a leech you want everyone to act like you” - “Holiday In Cambodia” by Dead Kennedys

“Waldo Jeffers had reached his limit” - “The Gift” by The Velvet Underground

“Centered ‘round long time ago

On your ability to torment

Then you took your tongs of love

And stripped away my garment” - “Gut Feeling/(Slap Your Mammy)” by DEVO

“I’ve been screwing on the tracks of abandoned train stations” - “Art Star” by Yeah Yeah Yeahs

“Tap all over this big world

Take my hand you ugly girl” - “Mutilated Lips” by Ween

Caught your hand inside the till

Slammed your fingers in the drawer

Fought with kitchen knives and skewers

Dressed me up in women’s clothes

Messed around with gender roles

Line my eyes and call me pretty” - “Laid” by James

“I swung my fiery sword

I vent my spleen at the lord

He is abstract and bored

Too much milk and honey” - “Transport is Arranged” by Pavement

“We were fucking corndogs” - “History Lesson Part 2” by Minutemen

“Some people like to go out dancing

And other people, they have to work

And there’s even some evil mothers

Well they’re gonna tell you that everything is just dirt

You know that women never really faint

And that villains always blink their eyes

You know children are the only ones who blush

And that life is just to die” - “Sweet Jane” by The Velvet Underground

“Everywhere eyes

Nowhere to die

No place to shove your sharpened heel” - “Father to a Sister of a Thought” by Pavement

“ALL I WANTED WAS A PEPSI

AND SHE WOULDN'T GIVE IT TO ME

JUST A PEPSI” - “Institutionalized” by Suicidal Tendancies

“Rosemary

Heaven restores you in life

You’re coming with me

Through the aging the fearing the strife

It's the smiling on the package its the faces in the sand

It’s the thought that moves you upwards

Embracing me with two hands” - “Evil” by Interpol

“And he gave you a german shepard to watch

With a collar of leather of nails

And he never once made you explain or talk

About all of the little details” - “Master Song” by Leonard Cohen

“Stallion / walking on my back / I raised it from birth / never holding black (yeah!) - “Stallion” by The Garden

“If you want me to

I will be the one

That is always good

And you’ll love me too

But you’ll never know

What I feel inside

That I’m really bad

Little Trouble Girl” - “Little Trouble Girl” by Sonic Youth

“I like all the different people

I like sticky everywhere

Look around

You bet I’ll be there

Hot metal in the sun, pony in the air

Sooey and saints at the fair” - “Saints” by The Breeders

“New Year’s Eve was boring as heaven / I watched flies fuck on channel 11” - “Private Eye” by Alkaline Trio

Sofia!!

“And when everyone winds me up I just can't wind down/ and the April rain soaks my jokes to a pulp/ the sun makes my eyes burn/ and it must be my turn/ to fly with the birds this time”

“The Birds” – Swervedriver, Ejector Seat Reservation

I LOVE THIS ENTIRE SONG AND ALL ITS LYRICS!!!!!!

“We dreamt of all of your lives as we carry home dust of the cloudless summer skies/ And the salt that we give is of us and all we ever had waste in the same place in the end

“The Same Place” – Centaur, In Streams

Apparently the lyrics to the songs on this album are about the singer’s kid that died while the album was being written, which is definitely why this song and all the rest are so sad they’re almost unlistenable. All of the lyrics to this song are so emotional and they complement its heavy sound so well.

“Watching the parade with pinpoint eyes full of smoldering anger/ you can do whatever you want to, whenever you want to”

“Ballad of Big Nothing” – Elliott Smith, Either/Or

Honestly picking a favorite Elliott Smith lyric is kind of an impossible task, but this one always sticks out to me. This song is about being tired of your life and addicted to drugs – the repetition of the line about doing whatever you want to and the bitterness with which he says it is so impactful.

“When the loving comes and we’re already gone/ Just like your dad, you’ll never change”

“Sulk” – Radiohead, The Bends

Lol

“I’ll make a bitch stand outside forever like the Statue of Liberty”

“I Don’t Fuck with You” – Big Sean (E-40’s verse), Dark Sky Paradise

I mean… come on…

Zola Thomas

“Dont trust me” - 3!OH3, Want

“tell your boyfriend if he says he got beef, that im a vegetarian and I aint fucking scared of him”

3!OH3 might not be remembered as musical geniuses of their time (or remembered at all), but this might be one of the best lyrics of 2008. Using beef in its literal, and figurative sense helped create one of the most creative lyrics to come out of late 2000s electropop. While most of their other songs have faded away into obscurity, Don't trust me has managed to cling onto a resemblance of cultural relevance thanks to the genius of this lyric

“Fat lip” - Sum 41 - all killer, no filler

“I like songs with distortion, to drink in proportion the doctor said my mom should've had an abortion”

While on its own, this lyric is a nugget of genius, the thirty seconds of “bortion” echoing before the chorus only adds to it, and really adds to the ambiance of the song. There's so many other great lyrics in this song, but the abortion echo solidifies this as the best parts of the song.

“Taco Truck x VB” - Lana del rey - Did you know that there's a tunnel under Ocean blvd

“Pass me my vape, I'm feeling sick, I need to take a puff”

Lana has written many amazing lyrics throughout her career, she is known for her storytelling through her songwriting. Lana is also known for her affinity for vaping, so it might not have been too surprising when her art imitated reality, and she sang about craving her vape. She's so real for that.

“Thrift shop” - Macklemore - The heist

“What you know about rocking a wolf on your noggin? What you knowing about wearing a fur fox skin? I'm digging, I'm digging, I'm searching right through that luggage One man's trash, that's another man's come up”

Nobody encapsulates the feeling of an amazing score at the thrift shop better than macklemore. He managed to make thrifting exciting, and gave a voice to the random crap you always see at the thrift store.

Steven

I struggled gathering lyric after lyric from artist after artist that I found to be extremely profound or extraordinarily funny but in the end I am casting it all aside just to give you pure and unfiltered out of context Car Seat Headrest one liners. Enjoy.

I used to enjoy losing money, but now all I do is win - “Oh! Starving”

Fucking goddamn, how I love your shoulders - “No Passion”

I’m changing your anatomy, hipbone is connected to my heart - “happy news for sadness”

You are not real. - “I Wanna Sweat”

Will they play music I like? “Sleeping With Strangers”

I was young and I loved you but then came the shabba-de-beop-dop-be-shibby-day-oh-yeah. Shabba-de-bop-bop-be-shibby-day-oh-yeah - “The Ending of Dramamine”

I’m an optical illusion - “Beast Monster Thing”

Last night, I dreamed Obama came to my birthday party. -“You’re in Love With Me”

All my fantasies are faking orgasms - “America (Never Been)”

I won’t need my hair cut for months! - “Is This Dust Really From the Titanic?”

Last night, I dreamed I had returned to the land of my favorite highways - “Hey Space Cadet (Beast Monster Thing in Space)”

I want to kick my dad in the shins - “Something Soon”

Get a job! - “Times to Die”

All of my friends are making money - “Times to Die” congrats Will Toledo and Crew!

You just want to see me naked! - “Fill In the Blank”

It ain’t no pair of Air Jordans - “1937 State Park”

She’s not my ex, we never met, but do you still think of me? - “Unforgiving Girl (She’s Not An)”

Can you kick his ass? Can you kick his ass for me? - “Cosmic Hero”

Oh please let me join your cult! - “Beach Life-In-Death” there are always real tears streaming down my cheeks and my face is red as hell screaming this part

You’ve just been singing about girls, what do you know about girls? Fuck - “Nervous Young Inhumans”

Getting high on nothing - “Can’t cool me down”

And my actual maybe favorite lyric ever

I would sleep naked, next to you naked -“Cute Thing”

Thank you for reading! Next time, our blawggers will compile their favorite covers... stay tuned.

#lyrics #big sean #tweaking #lockedin #car seat headrest

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