Valentine’s Day Mixtape (No Matter Your V-Day Stance)

Posted on February 14, 2012 by bgibs122

With Valentines Day comes plenty of pink obnoxiousness, jewelry commercials making a comeback after the holiday rush, annoying anti-Valentine’s Day parties, and of course, the gifts. And I figured hey, there’s a lot of different songs about all aspects of love and relationships, so why not share some of my favorites? And, to make sure everyone’s covered, I divided the list into three convenient parts, so you can enjoy it no matter how you’re dealing with today!

Love Songs: The tried and true approach; if you’re happy with someone, these are the songs for you and yours.
1. The Cure – Lovesong: Well, no surprises here.
2. Foo Fighters – Everlong: “Everlong” gets my vote for Love Song of the 90s.
3. Best Coast – When I’m With You: “When I’m with you I have fun”, it doesn’t get simpler than that.
4. Marilyn Manson – Heart Shaped Glasses: From arguably Manson’s low-point artistically, he was still able to have this demented gem.
5. B.o.B ft. Bruno Mars – Nothin’ on You: There are a lot of pop silly love songs, but this one is a cut above the rest.
6. Incubus – Stellar: Loud and still pretty with a hell of a chorus.
7. Foxboro Hot Tubs – Mother Mary: Throwback romance, Green Day need to revive this project.
8. Plus 44 – Make You Smile: Plus 44 not have produced hits, but this one deserves to stay.
9. The Beatles – Something: Simply a classic.
10. Yeah Yeah Yeahs – Maps: Vulnerable and made even more poignant by the band’s then wildness. Utterly disarming.

Crush Songs: Ok, so maybe you don’t have that special someone yet, but you really want this one person, or just somebody to love. And even you just have the idea of someone to crush on, you should be able to enjoy these.
1. Candy Hearts – I Want You: Perfectly captures adolescent crushes in the best and worst way.
2. The Lemondheads – Bit Part: The shortest song on the list, and one of the catchiest, to boot.
3. Snow Patrol – You Are All I Have: Maybe a little more than a crush, but still really new and hopeful.
4. The White Stripes – You’re Pretty Good Looking (For a Girl): The White Stripes have a bunch of songs like this, but none as whimsical and disarming.
5. Best Coast – Boyfriend: If you miss someone, Crazy For You is the record you don’t want to listen to. Or really want to, depending on your wallowing.
6. Wavves – Post-acid: The boyfriend from the above, Nathan Williams might not romance as much as girlfriend Bethany Costentino does, but he can do it just as well when pushed.
7. Queen – Somebody to Love: The category’s classic.
8. Arcade Fire – Headlight Look Like Diamonds: Story has it that Win Butler and Regine Chassagne (Arcade Fire’s married leading singers) wrote this on their first date. Utterly adorable.
9. Taylor Swift – You Belong With Me: How could I leave this one off?
10. Weezer – El Scorcho: As likable as neurotic is ever going to get.

Heartbreakers: Fuck it, sometimes you just need a bottle of wine, someone to take your phone, and cry your eyes out.
1. Pearl Jam – Black: “I know someday you’ll have a beautiful life, I know you’ll be a sun in somebody else’s sky but why, why can’t it be in mine?” [drink]
2. Adele – Someone Like You: “Never mind, I’ll find someone like you” [drink]
3. Beck – Guess I’m Doing Fine: “It’s only lies that I’m living, it’s only tears that I’m crying, it’s only you that I’m losing, guess I’m doing fine” [drink]
4. The Ramones – Here Today, Gone Tomorrow: The simplest of the set lyrically, but hearing heartbreak from the otherwise goofy Ramones has an extra sadness.
5. Paramore – All I Wanted: “All I wanted was you” [drink]
6. Modest Mouse – Little Motel: Modest Mouse are no strangers to sad, but this is the first time it seemed to come from someone else and not Issac Brock himself.
7. Nine Inch Nails – And All That Could Have Been: I think this is Nine Inch Nails’ saddest song. Just consider that for a second.
8. Weezer – The World Has Turned and Left Me Here: The first hint that holy shit, Weezer could be sad.
9. The Smashing Pumpkins – Soma: The infinite sadness of the Siamese Dream trifecta.
10. Rivers Cuomo – Lover in the Snow: Between the sparse guitar and Cuomo’s hurt delivery, this one still smarts.

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2012 Grammys Recap

Posted on February 13, 2012 by bgibs122

Well, the 54th Grammy Awards are over and done with, and overall, I’d call it a fun affair. The Grammys always feel like a somewhat fun reprieve from other industry award shows; while the Oscars are pretty monolithic, the Grammys feel looser and end up meaning less. Er, to me, at least. Let’s look at the performances this year, first.

Like last year, Bruno Mars proved to be one of the most stellar live performers with the shoddiest studio material through a shamelessly throwback, but too damn energetic to not like version of “Runaway Baby” (Raphael Saadiq and Bruno collab, anyone?). With as much energy, but way too arrogant and openly lip-synched-because-I’m-dancing (and using a fly system)-ness was Chris Brown in another forgettable performance. But aside from him, I think everyone performing did really well: Glen Campbell topped his own Band Perry/Blake Sheldon tribute that made everyone smile, and Taylor Swift smiled through a surprisingly on-target rendition of “Mean” (including the night’s least expected Banjo Rock moment).

Speaking of rock, holy hell was this a good rock ceremony. Adele might have left with the most awards, but Foo Fighters frontman Dave Grohl seemed to have the most fun. When his band didn’t plow through a fantastic version of “Walk”, or work with Dead Mau5 on a “Rope” remix, he rocked out with Paul McCartney and others on a phenomenal jam session  over The Beatles’ “The End” (Grohl running on stage with a guitar might have been my favorite laugh out loud moment of the night), and gave one of the night’s most memorable acceptance speeches.

Other stadium rockers Coldplay performed a touching duet version of “Princess of China” with Rihanna, then gave a damn compelling Coldplay concert promo with “Paradise” awash in color. Bruce Springsteen opened the ceremony with new single “We Take Care of Our Own”, which showed The Boss aging surprisingly well. This year’s intergenerational collaboration, Maroon 5 and Foster the People with the reunited Beach Boys, went over fairly well, despite Adam Levine not blending with harmonies, and the Foster boys clearly nervous.

The pop scene didn’t really tank, either. Rihanna went through an energetic if somewhat insipid “We Found Love”, and Katy Perry debuted new single “Part of Me” during her Gaga-aping performance. And Adele, the night’s leading lady, had a surprisingly fiery rendition of “Rolling in the Deep”, even though we heard the song enough in nominations that she didn’t need to do it. And aside from the aforementioned Chris Brown, that’s about all of the pop performances. I was actually disappointed with the night’s lack of Gaga. No space eggs, no performances, and no awards; she just sat there looking like a supervillian. But, like I said, Katy Perry tried to bring the weird in her place.

And then…Nicki Minaj happened. I’m writing this on Sunday night after the Grammys, but I’m sure that her debut of “Roman Holiday” will be one of the more talked about moments of the night. Filled to the brim with Catholic imagery, “I Feel Pretty”, an Exorcism send-up, a Christmas carol sample, and Nicki in full Roman Zolanksi batshit mode (I cannot make this up), “Roman Holiday”‘s big showing was the spectacle of the night, even if it seemed to have no message to speak of.

But enough about the performances, let’s talk trophies: how wrong was I this year?

Before we get to the big ones, I did pretty well on the miscellaneous awards that I predicted. Rock Album went to the Foo Fighters, my number two pick, instead of Jeff Becks’ award baiting Rock N’ Roll Party. Kanye walked away with Best Rap Album for My Beautiful Dark Twisted Fantasy, like I and everyone else predicted, which was great to see because MBDTF still holds up excellently. I also got to nail Bon Iver for Best New Artist, and Best Alternative Music Album. I did strike out twice, though: Best Country Album went to Lady Antebellum, confusingly enough, and Paul Epworth got Producer of the Year over my picks.

I did somewhat underestimate Adele, too. She had a clean sweep of Best Record/Song/Album, and Best Pop Album (I had her for 2/4: I gave both Album categories to Gaga). While I’m thrilled at Adele’s success, her music is great and she seems truly likable, she did make for an unsurprising ceremony; she was predicted to win where nominated, which killed any variety or suspense to the show. But still, she deserves it, and at least Song of the Year didn’t go to “Grenade” or some such bullshit. Anyway, I went five for ten on first guesses, eight for ten with second guesses, and completely missed twice. Not bad.

Click here for a full list of this year’s winners!

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Radio Rant: Kelly Clarkson – Stronger (What Doesn’t Kill You)

Posted on February 7, 2012 by bgibs122

Hello, and welcome to Radio Rants! Who’s been big on the charts lately? Today in “Make You Feel Old”: this year marks a decade since Kelly Clarkson won the first American Idol. That American Idol is managing to limp into its tenth year is impressive on its own, but what’s even more impressive is that holy shit, Kelly Clarkson’s had staying power. One of my favorite things about American Idol is how it makes winners into demi-gods at the season finale only for them to becoming middling one-hit pop idols at best. And I’m not just riffing on famous failure Taylor Hicks here; I mean that the combined hits of him, Reuben Studdard, Fantasia Barrino, David Cook, Cris Allen, and Lee DeWyze couldn’t fill a greatest hits comp (“Idle American: 11 manufactured hits including 6 inspirational ballads, order now and receive a ‘Soul Patrol’ t-shirt for free!”).

But, of course, there are exceptions, and none shines brighter than Kelly Clarkson. Other Idol finalists might have had singles, but Clarkson’s second album Breakaway is still the most successful work by an Idol-alum. The thing has sold by the millions, and spawned four year-end Hot 100 singles. That’s as strong as Katy Perry did last year, a comparison that undercuts Perry, and really makes me long for 2005.

Anyway, today’s song is “Stronger” than yesterday, I mean I need you to hurry up now–dammit, sorry, off the album of the same name. Let me guess, we’re looking at another “You’re awesome!” inspirational song, aren’t we?

“What doesn’t kill you makes you stronger/Stand a little taller/Doesn’t mean I’m lonely when I’m alone”. Huh, well there’s most of our chorus. Yeah, yeah, what doesn’t kill you makes you stronger, we know.

“What doesn’t kill you makes a fighter/Footsteps even lighter” …a questionable rhyme, but ok.

“Doesn’t mean I’m over ‘cuz you’re gone”. Gone as in, “Since U Been”, one of Clarkson’s breakout hits and arguably best songs? Ok, getting beyond the “artist rewriting their own songs” riff, “Stronger” is the “Screw my ex, life’s wonderful” anthem that’s getting big just in time for it to get airplay/video exposure/posted on every insecure single person’s Facebook wall in time for Valentine’s Day.

While it uses a really tired concept, overall I think the song does an ok job lyrically. Granted, this isn’t new territory for Clarkson, but when she says she doesn’t need you anymore, damn does she mean it. Adele’s pissed at you, Christina Perri isn’t over you, but Kelly Clarkson doesn’t give a fuck about you. I guess my one complaint about the lyrics is that they don’t have any real weight to them. The only part you’re going to remember is the chorus, and even then, the catchiest part is “What doesn’t kill you makes you stronger”. As far as kiss-off songs go, “Stronger”‘s a little pedestrian while “Since U Been Gone” was the kind of song you lit your ex’s clothes on fire to (…what, no one else did that?)

If the lyrics slack off, the production makes up for it. Clarkson’s always used some sort of pop/rock production combo, and “Stronger” is no exception. Like early to mid compatriot Avril, Clarkson leans a little more on the synths these days than the guitar for the hits. But, like Avril, the kind of dancey synths still have room for some delay-effected guitar work. The chorus is perhaps a bit overstuffed, but Clarkson’s voice still stands above the mess of organ synths, pop drums, and octave jumping basslines. And, as far as catchy goes, this is solid; the hook’s instantly infectious and sticks with you longer than you’d think. And, of course, Clarkson still sounds great, especially when she lets loose on the bridge.

Overall, I like “Stronger (What Doesn’t Kill You)”. A little faceless, and not quite as fun as “My Life Would Suck Without You” or anything, but I’ll enjoy it if it comes on the radio or a playlist or something. I’m not fired up about it like “Without You” or anything, but it’s one of the better Radio Rant songs in recent memory. Kelly Clarkson, stay strong.

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Album Review: Lana Del Rey – Born to Die

Posted on February 6, 2012 by bgibs122

Fuck it. It’s finally here! After think-pieces on gender, authenticity, and what being indie means, we finally have the music behind the blogosphere’s latest obsession. And really, that’s what’s important for artists: the music. “But her real name is Lizzie Grant, and she has a millionaire dad!” Yeah, and? David Bowie pretended to be a space alien while making one of the best albums ever, and I’m pretty sure whoever Stefani Germanotta was got lost a long time ago.

In Ranting About Music’s own Lana piece, I mentioned that I really wanted to reserve judgment for when Born to Die came out, mostly because we had so little to go off of before its release, and partly because I wanted it to be…better. “Video Games” was a great first single, but the other songs eeked out in pre-release didn’t capture that same spark, no matter how hard the tried (coughcough “Born to Die” coughcough). Unfortunately, the same is true for most of Born to Die: it’s essentially “Video Games” with 11 (or 14, if you got the shiny deluxe version) songs standing in its shadow.

I mention “Video Games” because, aside from most likely being the first song written for this album, it also serves as the record’s blueprint. If you loved the reverby, synth string and piano minimalist production of “Video Games”, then good news: you’re going to be hearing that all the fuck over on Born to Die. Produced by hip-hop veteran Emile Haynie, the album’s main sonic concept is melodramatic, atmospheric pop combined with hip-hop beats.

While it’s a clever idea, it’s never developed much over the album’s 50 minute runtime, and suffers greatly for it. Last year’s dark, hip-hop/pop hybrid Take Care worked because Drake had the charisma to make such an empty soundscape compelling (not to mention some solid writing–more on that later–and the fact that even Take Care had some robust moments). Del Rey’s wallflower-at-karaoke  stage presence isn’t especially drawing, and when the production wears thin, so does she. Songs like “Million Dollar Man” and “Summertime Sadness” get lost in their own doe-eyed pout, leaving listeners to space out.

More than anything else, what really hurts Born to Die is that it blends its good and bad too well. For the times where the production does something interesting like on the cinematic thrill of “Off to the Races”, the lyrics tank. When everything’s looking good, the songs go on too long; I always expect “Video Games” and “Born to Die” to end about a minute before they actually do. Sometimes Del Rey’s voices takes a random pitch change when I don’t expect it to; she switches from her lower “I’m trying to be sultry” sultry alto to an almost annoying Baby Doll-like head voice.

Some songs still come out on top, though. “Video Games” and “Blue Jeans” still sound fresh, and new cuts “Radio” and “Dark Paradise” stick better than most of the other material. “Dark Paradise” is pretty standard as far as ballads go, but the lyrics, Lana, and the production are all actively engaged. “Radio” is the smoothest pop song on the album, and bolstered by some choral work. It’s calm, catchy, and graceful.

That same grace, or lack thereof, is what really makes the bad songs bad. “Diet Mtn Dew” uses one of the clunkiest metaphors on earth (“You’re no good for me/But I want you, I want you” It’s like how she feels about the soft drink, but also her boyfriend, ha!) with lyrics to match. Also, here and on other dud of note “National Anthem”, Del Rey uses a weirdly Ke$ha-esque sing-talk-rap hybrid that just doesn’t work. It all gets back to confidence, and Del Rey just doesn’t sound like she has the flair for the delivery.

When I did my mini LDR preview, I called the lyrics one of the strongest draws. After dealing with plenty of misfires across Born to Die, hearing Del Rey randomly coo “Pabst Blue Ribbon on ice” on “This Is What Makes Us Girls” was the final nail in the coffin to this album’s lyrics. Hearing lines like, “Fire of my loins”, “Take Jesus off the dashboard/Got enough on his mind”, and “Money is the reason we exist/Everybody knows it’s a fact/Kiss, kiss” played completely straight leaves a lot to be desired, and–like the production–what’s good about Born to Die lyrically isn’t developed much beyond its initial pitch (admittedly, “Video Games” is still a lyrical homerun, and she can still get a good line in every now and then; see: “You look like a million dollar man/So why is my heart broke?”). There’s also something in the record’s romantic bend that’s off-putting; Del Rey’s always pouting and prancing for the somewhat callous guy that never cares enough, but she’s hopelessly devoted to her “bad boy”, anyway. Pitchfork quipped that Del Rey never got beyond “an ice cone licking object of male desire” and “a faked orgasm”; I just can’t top that.

Defenders may say that the world wasn’t ready for Born to Die, but I don’t think Lana Del Rey was ready for Born to Die. I genuinely think that she could have a long run of success, but she needs to develop and grow more as an artist before that’s possible; gain some confidence, polish her writing, and expand her sound. As for this record, it has a few songs that I’ll keep in mind, but more that I’m ok letting go, two and a half stars out of five.

tl;dr: A star isn’t Born, 2.5/5.

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