(via Arabs With Synthesizers – “Nabd (ft. Khaled Nweiran)”)
From: Amman, Jordan
For fans of: Boards Of Canada, spacey electronic
Arabs With Synthesizers is electronic duo George Rizeq and Zaed Na’es keyboardist Basel Naouri following one rule: no digital instruments. All the instruments you’re hearing on this track are analogue, and it’s a throwback sound from a contemporary Jordan.
(via Toots & The Maytals – “Louie Louie”)
Album: Funky Kingston
A reggae remix of Richard Berry’s classic frat standard made famous by The Kingsmen and
stolen from inspired by René Touzet’s “El Loco Cha Cha Cha”. Funky Kingston is also an essential reggae record for those who want to move beyond Bob Marley.
(via Glen Campbell – “Sadly Beautiful”)
Album: Meet Glen Campbell
Glen Campbell’s cover of “Sadly Beautiful,” one of the great late-careerReplacements tracks, will break your heart when you hear it transformed into a country ballad with a lot more strings. This is also a reminder that Paul Westerberg is one of the great ballad songwriters of any genre (see also his unreleased demo for “You’re Getting Married”).
(via John Adams – ‘Nixon In China’)
In 1972, President Richard Nixon traveled to China to meet with Mao Zedong in an effort to strengthen relations between the two countries in the later years of the Vietnam War. It was one of the most important diplomatic moments of the 20th century, and it’s the visit that would have defined Nixon if Watergate never happened. It’s the kind of real life epic that could only be captured in an opera.
At least that’s what John Adams thought in 1983 when he began writing the score to his first opera to Alice Goodman’s libretto and Mark Morris’ choreography. Adams wrote the opera by the encouragement of stage director Peter Sellars, who saw the complexities of Nixon’s visit; it could have been an election ploy, a genuine diplomatic mission, or both. However, Adams and Sellars did not want to create another bland satire poking at the easy target of Nixon, an awkward power-hungry stiff who is perhaps the easiest American President to make fun of. The goal of the opera was to explore the humans on both sides of the meeting and to capture the historical moment from those who were actually there. Even the title Nixon in China invokes some involuntary humor – can you imagine Richard Nixon walking around in China? Adams understands what he’s going up against in his attempt to humanize Nixon, and the play’s success is how he often gets close to his goal.
The main characters are Nixon and his wife Pat, Mao Zedong and his wife Jiang Qing (Madame Mao), and the two advisors of each leader, Henry Kissinger and Zhou Enlai. The opera is divided into three acts: Act One details the first night of the visit and the initial meetings between Nixon and Mao, Act Two follows Pat around rural China and exploring everyday Chinese life, and Act Three describes Nixon’s last night in China and everyone’s mixed feelings on the success of the visit.
Nixon in China has always been more influential than acclaimed – its initial reviews were mixed – but over the years it has earned its position as one of America’s most important operas. It is more famous for its existence than its success as an emotional engaging piece of music; few operas are based on a media event that was televised all around the world. Though the opera takes place in China, Adams’ score borrows almost entirely from Philip Glass’ minimalist style and rarely takes on any Oriental influence. That’s where Goodman’s libretto comes in, which is written in rhymed and metered couplets inspired by traditional Chinese poetry and theater.
American operas may not be as established or as grand as its European siblings, but Nixon in China was, and still is, a groundbreaking attempt at turning an old and inaccessible musical style into something modern and, dare I say, relatable? Also, does anyone think the beginning of the opera sounds like Elliott Smith?
(via Spoon – “Finer Feelings”)
Album: Ga Ga Ga Ga Ga
Is this Spoon’s best song? It has the usual suspects of a good Spoon song; Britt Daniel’s wordplay sung like a nervous cool-kid junkie (“Memphis comes creeping down my back / Somehow this place tastes just like an attack”), Rob Pope’s lean bass, Jim Eno’s tight no-frills drums, and Eric Harvey’s spacious keys. It’s a song that rewards with each listen, yet it has the instant catchiness that comes from fuzzy noise that only Spoon, and sometimes Wilco, can create. Be damned those who say Ga Ga Ga Ga Ga is Daniel’s Billy Joel record (“The Underdog”), this is Spoon true and true, the only band in the world that can try something entirely new and still sound like themselves. All hail Spoon.
(via Charles Mingus – “Wham Bam Thank You Ma’am”)
Album: Oh Yeah
This was one of David Bowie’s favorite records, but you should already know that if you listen to Ziggy-era Bowie.
(via Stevie Wonder – “Village Ghetto Land”)
Album: Songs In The Key Of Life
“Village Ghetto Land” is such a stark point in an otherwise joyous record, but Wonder is no stranger to protest music like this (Innervisions) and he puts his masterful songwriting to good use here. It also sounds like a Final Fantasy song.
I think this is the first time I’m hearing Lester Bangs’ voice. It’s strange hearing a writer’s actual voice and trying to match it with the voice of their writing. Often it doesn’t match, and sometimes it’s harder to read a piece when you know how it sounds when that writer speaks. What all that said, I think Bangs’ voice matches his writing – a drunken seriousness that’s sloppy yet to the point.
I also agree 100% with his thoughts on Beatlemania.