Music Madness: Final Four

Time to pit the four conferences against each other in two votes to determine the final winner of Music March Madness!  The first match-up is the winner of the Since 2000 Bracket against that of the 50’s/60’s Bracket.  

The Since 2000 winner is the #3 seed, Arcade Fire’s FUNERAL.  Their debut album is regularly a favourite from the decade, and hailed in a popular return of epic rock anthems with tracks like “Tunnels”, “Wake Up”, and “Rebellion (Lies)”.  It’s also the only Canadian-made record to make it this far, beating classic albums from Erykah Badu, The White Stripes, Amy Winehouse, and finally Radiohead to make it to the final 4.

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The winner of the 50’s/60’s bracket is The Beatles’ Abbey Road, and this should probably not surprise me as much as it did.  People love The Beatles.  You do, clearly.  And Abbey Road is classic in every way an album can be, from one of the most iconic band’s of the 60’s, with classic songs (“Come Together”, “Octopus’s Garden”, and “Here Comes the Sun”, to name 3 of them), and even classic cover art.  This 10th seeded record of the conference is to date The Beatles’ best-selling album of all-time.

VOTE!

The second match-up is between the winners of the 90’s conference and the 70’s/80’s conference.

Thriller is the highest seeded album to make the final 4, with the automatic #2 spot of the 70’s/80’s for it’s high-selling status.  Thriller continues to sell more copies than any other record ever made, and features Michael Jackson in a state that we all wish we could remember him best.  Forget what songs came from this album?  “Billie Jean”, “Beat It”, “Wanna Be Starting Something”, “P.Y.T.” to name a few.  Oh yeah, and the title track.

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Representing the 90’s is The Fugees’ soulful female rapper, Ms. Lauryn Hill, on her brilliant solo debut, The Miseducation of Lauryn Hill.  Not only is this one of the most commercially successful rap albums of the 1990’s, but it also signifies the return of soulful r&b from a woman who can freaking sing.  Refreshingly, she also has something to say beyond the predictable sexy r&b we were so used to in 1998.  To get to the final four, she has faced off against some of the best rock from the decade, including U2’s Achtung Baby, Weezer, Alanis Morisette, and most recently (and perhaps surprisingly), Nirvana’s Nevermind.  

VOTE!

Music Madness: Elite Eight

Today is one of my favourite days of the year because it is the day that the final four NCAA basketball teams of March Madness battle in two games to determine who will play the finals on Monday.  I have a bit of time between games, so it’s time to finally move on to the March Music Madness’ match-ups between the Elite Eight!  Basically, these are the finals of each conference/era, so it’s kind of a big deal.  What albums do you want to represent each conference in the final 4?

*UPDATE: These brackets will be open for a short time only.  Get your votes in here before 7pm PST on Apr. 8th, and make sure you come back soon after that for the Final Four!

For the Since 2000 Conference we have Radiohead and Arcade Fire.

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In the 90’s we have Ms. Lauryn Hill going up against Nirvana.

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In the 70’s-80’s Conference, I was shocked to learn that The Joshua Tree is going up against Thriller.

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And finally, for the music of the 1950’s/60’s Conference, two downright classics in Kind of Blue and Abbey Road go head-to-head.

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Records for Road Tripping

On Saturday (3 More Sleeps!) I will be departing Vancouver on an epic road trip to visit my friend in Los Angeles.  There is much to be excited about: Seeing Kat, More sunshine and less rain, record shopping, Mexican food, and just as certainly, preparing music for the long drive.  Here are a few albums I’m excited to listen to while driving south – but I have to drive back to, so feel free to make your own suggestions in the comments below.  Oh, and if you want to check out any of the albums, their picture to the right will link to a Grooveshark stream.  In the order of backwards chronology, enjoy!

The Only Place – Best Coast, 2012

Reviewers everywhere raved about this record, and the truth is, I still haven’t listened to more than one or two Best Coast singles, so it seems that now is the time.  Plus, we have so much in common: I’m going to L.A., via the coast – the band is from L.A. and called Best Coast; I’ll be on the road – this album was written while on tour; the bear on the cover is hugging a map – I’ll likely be doing some map hugging myself.  It’s pretty much destiny.

Vows – Kimbra, 2010

Kimbra sounds like she’s having a really good time on her funky debut album, Vows, and it’s hard to imagine not having fun while it’s playing.  I am planning to save this record for a much needed dance break, or perhaps as a celebration for crossing over a state line.  The song I’m most looking forward to is absolutely the bonus track, called “The Warrior,” for which I just found this Luchadore-themed music video:

Fleet Foxes – Fleet Foxes, 2008

Back when I was writing a list of what I thought were the best albums of the “ohsies” decade (2000-2009), Fleet Foxes’ self-titled debut was my number 5, but I put off writing about the album because I was convinced they were best heard while on the road.  This road trip seems like the perfect chance to put my own theory to the test, and maybe come home with a blog ready to publish.

Funeral – Arcade Fire, 2004

Another one of my favourite albums from that decade, I have plenty to say about it here.  This was unquestionably the album I spent the most time listening to in 2005 – particularly in the first few months of moving into a basement in Vancouver and beginning a grad program.  This is one of those albums that I know all the words to, but can’t remember ever trying to learn them. So, for the sake of loud singing in the car, Funeral will be my go-to.  Not to mention, it will be good to have some Can-Con to remember the music of home.

Hello Nasty – Beastie Boys, 1998

At the music store that I work at, we found a copy of this in print form in the clearance bin, and ever since, we’ve had it on display right across from the tills where we take yo money.  The cover art alone is enough to transport me back to high school… all of those classes so full like sardines’ tins… no just kidding.  The music is nostalgic, and although I went on an early Beastie Boys kick earlier this year when Adam Yauch died, I still haven’t really returned to Hello Nasty, even thought it was one of my favourites.

Janet – Janet Jackson, 1993

Why Janet?  Well, I love Janet Jackson for nearly any occasion – especially when she’s produced by Jimmy Jam & Terry Lewis – and the truth is, I came across the CD in my room and realized that it had been a while since I put it on. I rarely listen to it as a full album in iTunes because of all the interludes and whatnot that are often unchecked, so having to put it on in its compact disc format might actually have a advantage.

Cypress Hill – Cypress Hill, 1991

This road trip would be incomplete without some L.A. bred rap music.  I’m considering making an L.A. Rap playlist, that will be chalk-full of Dre and Snoop and Eazy E, but this self-titled, early 90’s classic seems like the right choice for a Vancouver (which has an actual Cypress Hill) to Los Angeles drive.  At the very least, I’ll be nodding my head to this one:

Tracy Chapman – Tracy Chapman, 1988

“Fast Car,” is on this album, and it’s a classic road trip song for obvious reasons: “Is it fast enough for us to fly away?”  But instead of just moving the one track to a playlist, I thought this album might be a chill break from the tunes that are meant to keep me awake and moving.  Tracy Chapman might be just what I need to reflect and rest as we watch the scenery pass by.

(IV) – Led Zeppelin, 1971

Led Zeppelin is perfect for driving to, and this technically untitled record is not only one of their best, but also has “Going to California.”  As an added bonus, “Stairway to Heaven,” will take up a whole 8 minutes.  I’ve had Led Zeppelin in my mind all week because of this amazing website, The Bonhamizer, where you can add John Bonham drum tracks to any song you want to upload.  It’s a lot of fun, but I’d rather drive to L.A. listening to Bonham how he was intended to be heard.

Saxophone Colossus – Sonny Rollins, 1956

Bet you weren’t expecting this one?  I will likely need some jazz at some point, so why not one of the best saxophone soloists who ever lived, playing some of his all-time best solos ever recorded?  No biggie!  I have loved this record ever since my high school band teacher gave us homework to go buy some jazz, and as a result, Saxophone Colossus was the second jazz album I ever spent my own money on (right after Miles Davis’ Kind of Blue).  Anyway, it’s catchy and awesome and I like it.

So, there are 10 albums that represent some of the diverse music that will be providing soundtrack to my epic adventure.  The problem is, if I count it up, this music will only last me about 8 hours, and the way there alone is roughly 25!  So, feel free to let me know what albums you’d be listening to on trip along the west coast in the comments below – I’m welcoming suggestions!

#2) The Arcade Fire: Funeral, 2004

When Arcade Fire’s Funeral is mentioned, I must admit, what comes to mind first is not always the music. I think of the thin cardboard disc jacket that often becomes hidden among my other CDs, and the single sheet bulletin style liner notes which in a short band bio notes, “the irony of their first full length recording bearing a name with such closure.” Ironic indeed. For as the tracks explore mortality and loss, they never gets bogged down with grief, but push ahead full of drive and… well, life!

Leaving my iTunes minimized, I pop Funeral into the ghetto-blaster that acts primarily as an alarm clock on my bedside table as I attempt to clean up my pig sty of a room before my roommate gets home. Christmas presents must find spaces, clothes must be washed, and papers must be sorted: welcome to the new year! I’m finding myself spending a lot more time with the lyrics than with all I need to put away though.

The album begins with 4 tracks with the same name: Neighborhood #1, 2, 3, and 4, with a short intermission between #2 (Laika) and #3 (Power Out), called Une annee sans Lumiere (Sorry, but I have no clue how to add French accents in here). #1 (Tunnels) paints a childhood dream in vivid picture of a town completely snowed in (did I mention these guys are from Montreal?). The two love-struck kids dig tunnels to meet in town alone, and find themselves in their own world, forgetting what life was like before.

The neighborhood tracks beckon us into a coming-of-age story, as we discover what we are to become only in light of reflecting on all that we’ve lost. #2 subtitled Laika refers to the first dog sent into space without intention to bring him back as a metaphor for the black sheep of the family. I love the relational dimensions brought into this song though, sung from the point of view of a sibling, we picture the fights with a parent, and even the way neighbors can revel in a good story to tell, regardless of the pain it causes. It’s sung with a lot of tongue in cheek goodness.

Thus begins the year without light. Une Annee Sans Lumiere breaks from the cycle of neighborhood pictures to find a moment to grieve and reflect, but only a moment. Upon closer investigation (looking up a translation), the song is really a joining of the songs on either side of it. Une Annee combines metaphors of family struggle (the father wears blinders like a horse) with a dark world that’s lost it’s power (“hey! The streetlights all burnt out”). In preparation for Neighborhood #3 (Power Out), Une Annee speeds up with tambourine and shouts of “Hey!” that make me want to start running all the way into the next track. Power Out continues to describe the town searching for light, and extends the metaphor to a final frustrated thought and plea: “and the power’s out in the heart of man, take it from your heart put it in your hand.”

Neighborhood #4 (7 Kettles) uses actual kettle whistles above the repeated string patterns in between verses. It drives me a little crazy, but creates a mysterious effect as Butler continues to reflect on the relationship between birth and death in lines like, “Time keeps creepin’ through the neighborhood, killing old folks, wakin’ up babies just like we knew it would,” and “they say a watched pot won’t ever boil… just like a seed down in the soil you gotta give it time.”

Crown of Love seems to be the center of this album, while all the other songs run at full pace this one is a simple apology: “if you still want me, please forgive me, the crown of love is not upon me,” showing of Butler’s ability to embody great passion. In the final minute, the track’s string driven 6/8 feel breaks into 4/4 and I break out dancing for the last minute of the song. My only disappointment on the entire album is that it fades out instead of developing the energy yet again, and expanding the song to 6 minutes.

But I forget all disappointment as soon as Wake Up strikes up and calls everyone to sing along to the syllable of “oh” like a good U2 chorus. In this song we return to the theme of growing older, and although the song begins heavily, they cleverly transition into dance beat that seems to face death without fear, affirmed by Butler shouting, “you better look out below!”

Hanging up clothes as Haiti plays, I can’t help but think the repeated counter melody sounds like a steel drum melody, though it tends to be played be flute and voices. Suspended electronic sounds remain while nothing else does, and the anticipated Rebellion (Lies) beat enters right on top with energy-contagious kick drum and bouncing double bass combo. I don’t want to close my eyes, because it’s simply not safe when you’re jumping around the room.

Finally Funeral comes to a close with female vocalist Regine Chassagne, who sings with a haunting Bjork quality. Until now she’s only headed up “oohs” or accented words or lines sung primarily by Win Butler, and I wonder if she was held back earlier in the album in order to create the surprise that In the Backseat brings. Swinging between two feels of either thin arch-shaped piano lines, and a heavy rock underscored by bowed bass, the instrumentation seems to hint at the song’s theme of moving between childhood and responsibility: “My family tree’s loosing all it’s leaves, crashing towards the driver’s seat”. At the end of Funeral, this is one of the few songs that appropriately fades into silence, and I’m left with nothing to do other than push play again.