In today's reviews, I check out a classic album that defines genres, as well as the new Darkness record. Share and enjoy.
Monday, August 20, 2012
Sunday, August 19, 2012
August 19: Daily Guru, "The Playlist #17: Drew"
Today on The Playlist, my buddy Drew stops by to talk about some amazing tunes. Share and enjoy.
August 19: The Chordettes, "Mr. Sandman"
There are certainly pieces of music that as long as time goes on, they will persist due to the purity of sound and outright pivotal role they have played within the progression of all forms of music. Strangely enough, while one might assume that any such song is easy to remember and constantly being referenced, there are a number of songs worthy of these accolades that have somehow managed to take a bit of a secondary role to other hits. This is more persistent as one digs back further into music history, and yet it is impossible to deny the importance of the wide array of shifts that occurred in nearly every genre of music throughout the 1950's. As the sounds of jazz branched off in countless directions and the early rumblings of rock and roll began to take hold, there was also a resurgence of great vocalists, and this was perhaps the only period in history where the power of a singers voice was commercially able to carry a song without any sort of backing. That is to say, in the heyday of the "do wop" and a capella movements, there were a number of brilliant performers that found somewhat unexpected success in this instrument-less arrangement. Among the finest of these groups were The Chordettes, and while their name may not be instantly recognizable, there has never been a version of the classic song "Mr. Sandman" that comes even close to their 1954 rendition.
While some may argue that this version of "Mr. Sandman" is not "completely" a capella, the fact of the matter is that the scarce instrumentation could easily have been removed without any problem, as it is the vocals that drive this track. In fact, some have made the argument that on this recording, the instruments, particularly the soft horns actually get in the way more than they add to the mix. Setting that aside, while some may claim that there is also percussion on the song, it is certainly not standard in any way, as though they sound like a soft snare and woodblock, it is in fact Cadence Records founder Archie Bleyer slapping his knees in rhythm alongside the snare. It is also Bleyer who provides the response of "yes?" in the songs' third verse, and his contributions further the songs' overall sense of musical purity. The only "real" instrument that makes itself somewhat persistent on the track is the piano from Moe Wechsler and a subtle string arrangement. These instruments do well to stay far away from the vocalists within the overall mix, but there is one element other than the singing that cannot be overlooked. While every song in history attempts to create some sense of individuality to perfectly capture the mood, few songs have succeeded in the manner that the eight-note vibraphone line does on "Mr. Sandman," and it has become as iconic as the song itself.
However, due to the nature of the song, as well as the direction of the arrangement, it goes without saying that it is the vocals from The Chordettes that truly vault "Mr. Sandman" to such heights. The way that the voices of Jinny Osborn, Nancy Overton, Lynn Evans and Carol Buschmann compliment and contrast one another is the epitome of sonic beauty, and one can only listen in awe of the phenomenal vocal control they display all across "Mr. Sandman." The harmonies found across every line they sing is something beyond the term "gorgeous," and you can hear the influence of this vocal arrangement across pop music to this day. The ease with which the quartet slides between the notes is second to none, and there is also a certain sense of fun that one can detect within their singing. Yet along with their blissful vocal performance, it is the way that The Chordettes manage to capture the soft, almost sleepy undertones of the lyrics, and it is the subtle, almost grinning thoughts of exactly "what" they were hoping "Mr. Sandman" would deliver that turns this track into such a timeless classic. The combination of the purity of their singing, along with the outright strength and skill that all four vocalists show remains unparalleled to this day, and one can argue that modern singers could learn quite a bit from their work.
It almost goes without saying that over the decades, "Mr. Sandman" has become one of the most well-known and heavily covered songs in history. Everyone from The Supremes and The Andrews Sisters to Emmylou Harris and Marvin Gaye have recorded versions of the song, yet none come close to the sheer perfection of The Chordettes recording. But the fact of the matter is that this take actually set the standard for a number of different elements of music, from the soft, almost seductive sound of the "female vocal group" to the reminder that even with changes in mainstream appeal and technology, nothing can replace sheer talent. It is largely due to the latter of these facts that the original recording by The Chordettes continues to be used all across popular culture more than half a century after it was first released, as the mood and sound is simply unbeatable, and though the group would go through lineup changes over the years, it is this combination of voices that remains without question their finest. While other groups would record more commercially successful songs under the title of "do wop" and a capella, there remains an intangible appeal and allure behind The Chordettes' absolutely flawless 1954 recording of "Mr. Sandman."
While some may argue that this version of "Mr. Sandman" is not "completely" a capella, the fact of the matter is that the scarce instrumentation could easily have been removed without any problem, as it is the vocals that drive this track. In fact, some have made the argument that on this recording, the instruments, particularly the soft horns actually get in the way more than they add to the mix. Setting that aside, while some may claim that there is also percussion on the song, it is certainly not standard in any way, as though they sound like a soft snare and woodblock, it is in fact Cadence Records founder Archie Bleyer slapping his knees in rhythm alongside the snare. It is also Bleyer who provides the response of "yes?" in the songs' third verse, and his contributions further the songs' overall sense of musical purity. The only "real" instrument that makes itself somewhat persistent on the track is the piano from Moe Wechsler and a subtle string arrangement. These instruments do well to stay far away from the vocalists within the overall mix, but there is one element other than the singing that cannot be overlooked. While every song in history attempts to create some sense of individuality to perfectly capture the mood, few songs have succeeded in the manner that the eight-note vibraphone line does on "Mr. Sandman," and it has become as iconic as the song itself.
However, due to the nature of the song, as well as the direction of the arrangement, it goes without saying that it is the vocals from The Chordettes that truly vault "Mr. Sandman" to such heights. The way that the voices of Jinny Osborn, Nancy Overton, Lynn Evans and Carol Buschmann compliment and contrast one another is the epitome of sonic beauty, and one can only listen in awe of the phenomenal vocal control they display all across "Mr. Sandman." The harmonies found across every line they sing is something beyond the term "gorgeous," and you can hear the influence of this vocal arrangement across pop music to this day. The ease with which the quartet slides between the notes is second to none, and there is also a certain sense of fun that one can detect within their singing. Yet along with their blissful vocal performance, it is the way that The Chordettes manage to capture the soft, almost sleepy undertones of the lyrics, and it is the subtle, almost grinning thoughts of exactly "what" they were hoping "Mr. Sandman" would deliver that turns this track into such a timeless classic. The combination of the purity of their singing, along with the outright strength and skill that all four vocalists show remains unparalleled to this day, and one can argue that modern singers could learn quite a bit from their work.
It almost goes without saying that over the decades, "Mr. Sandman" has become one of the most well-known and heavily covered songs in history. Everyone from The Supremes and The Andrews Sisters to Emmylou Harris and Marvin Gaye have recorded versions of the song, yet none come close to the sheer perfection of The Chordettes recording. But the fact of the matter is that this take actually set the standard for a number of different elements of music, from the soft, almost seductive sound of the "female vocal group" to the reminder that even with changes in mainstream appeal and technology, nothing can replace sheer talent. It is largely due to the latter of these facts that the original recording by The Chordettes continues to be used all across popular culture more than half a century after it was first released, as the mood and sound is simply unbeatable, and though the group would go through lineup changes over the years, it is this combination of voices that remains without question their finest. While other groups would record more commercially successful songs under the title of "do wop" and a capella, there remains an intangible appeal and allure behind The Chordettes' absolutely flawless 1954 recording of "Mr. Sandman."
Saturday, August 18, 2012
August 18: Daily Guru, "Saturday Smorgasbord: If...Then..."
In today's video, I look at some current acts and suggest some other bands you might like. Share and enjoy.
August 18: Massive Attack, "Blue Lines"
Artist: Massive Attack
Album: Blue Lines
Year: 1991
Label: Virgin
Though many try and lump all of the variations on the core style together as a single genre, much like any other type of music, once one explores electronic music, the differences become quite obvious. While they all have a common link, much like the patterns or instrumentation of jazz and rock music, it is the way in which different artists re-interpret this core sound that makes the genre so intriguing. Furthermore, each of the sub-genres has its own origins, and while some of the styles can be attributed to a number of artists, one can give nearly all of the credit for the development of the "trip-hop" genre to one of the longest-running acts in the history of electronic music: Massive Attack. In modern times, their name is almost synonymous with electronic music in general, as the inroads and innovations they have brought over the past three decades remain unrivaled, and their 1991 album, Blue Lines, remains one of the most perfect and absolutely mind-blowing records ever recorded. Sounding nothing like anything else being recorded at the time, the album completed shifted the mindset on what was possible within the electronic genre, and even more than twenty years after its release, it remains the blueprint for the style, and there is simply nothing in history that can compare to Massive Attack's 1991 debut.
When compared to the more modern interpretations of the trip-hop style, Blue Lines may appear to be more mellow at times, as it is not overflowing with speedy drum loops or overly distracting sound effects. It is in this more refined approach where one can find the true beauty that "is" the style at its finest, and the trio of Robert "3D" Naja, Grant "Daddy G" Marshall, and Andy "Mushroom" Vowles do not waste a second anywhere within the albums ' arrangements. Each element of found throughout the entire record is perfectly crafted; and each piece plays an essential role within that particular song, and even with the varied sounds, it never even comes close to sounding chaotic or over-done. It is this balance that is achieved all across Blue Lines that sets the record so far apart from its peers, as there is a clear musicality, as opposed to too much reliance on artificial elements. The way in which these sounds are able to so seamlessly blend with the delicate string arrangements and other more traditional instrumentation is the combination that paved the way for countless other artists, as well as serving as the link to the down-tempo and ambient styles, and with this in mind, one can easily make the case that Blue Lines is one of, if not the most important album in the entire history of the electronic genre. There is a sophistication and complexity within the arrangements on Blue Lines and yet it is so direct that one cannot help but be completely captivated by the sound, and it is this fact that enables it to endure just as strong after so many years since its initial release.
However, the other element that sets Blue Lines far apart from other electronic recordings is the absolutely beautiful vocal on many of the tracks, most often provided by Shara Nelson, Horace Andy, and none other than Tricky. While other electronic groups had dabbled in this approach, it was particularly Nelson's performance that turned the delicate, almost ethereal vocal sound into the standard for the genre, and in many ways, her showing here has yet to be matched. The amount of emotion that she is able to convey within her vocals, as well as the more "cool" feeling of Tricky, helps to bring out the similar elements within the music over which they sing, and it cements the idea that there is absolutely a great deal of "music" within "electronic music." There is also a swinging, almost carefree feeling within her singing, and it is this fact that enabled "Unfinished Sympathy" to dominate the dance club scene, and the song remains a staple to this day. The fact that Nelson and the other vocalists deliver such moving performances is also due to the rather straightforward, universal theme within the lyrics across the record, as the group is able to approach a wide range of ideas in a wonderfully unique way. Regardless of who is bringing the vocals to these tracks, it is this extension of the music that vaults the overall album far beyond anything else the genre has ever produced.
Truth be told, as the years have passed, Blue Lines has seemed to move beyond the electronic genre, as it is quite regularly cited as one of the finest and most important albums ever recorded. Across the globe, it has been given such accolades, and when one looks at the other records with which it is grouped, it provides a basis for the argument that it is the most significant and influential album in the history of electronic music. There are virtually no other recordings from the long history of the genre that have ever even been considered for such praise, and it is likely due to the perfect balance of sounds that one finds in every element of Blue Lines that makes it impossible to write it off as "just another" electronic record. Furthermore, the fact that even so many years after its release, the sound and production remains fresh is a testament to how forward-thinking and truly pioneering a style there was within Massive Attack, and it is much the reason they continue to be a dominant force within the genre. From the smooth string arrangement to the multiple rhythms, the groove and moods set across the record shows the true beauty which can only be achieved through electronic music, and it proves that one can find just as much emotion and bliss within this style as any other type of music. As they progressed, the group released a number of other fantastic songs, yet none continue to have the wide-reaching impact as one can experience within Massive Attack's phenomenal 1991 album, Blue Lines.
Album: Blue Lines
Year: 1991
Label: Virgin
Though many try and lump all of the variations on the core style together as a single genre, much like any other type of music, once one explores electronic music, the differences become quite obvious. While they all have a common link, much like the patterns or instrumentation of jazz and rock music, it is the way in which different artists re-interpret this core sound that makes the genre so intriguing. Furthermore, each of the sub-genres has its own origins, and while some of the styles can be attributed to a number of artists, one can give nearly all of the credit for the development of the "trip-hop" genre to one of the longest-running acts in the history of electronic music: Massive Attack. In modern times, their name is almost synonymous with electronic music in general, as the inroads and innovations they have brought over the past three decades remain unrivaled, and their 1991 album, Blue Lines, remains one of the most perfect and absolutely mind-blowing records ever recorded. Sounding nothing like anything else being recorded at the time, the album completed shifted the mindset on what was possible within the electronic genre, and even more than twenty years after its release, it remains the blueprint for the style, and there is simply nothing in history that can compare to Massive Attack's 1991 debut.
When compared to the more modern interpretations of the trip-hop style, Blue Lines may appear to be more mellow at times, as it is not overflowing with speedy drum loops or overly distracting sound effects. It is in this more refined approach where one can find the true beauty that "is" the style at its finest, and the trio of Robert "3D" Naja, Grant "Daddy G" Marshall, and Andy "Mushroom" Vowles do not waste a second anywhere within the albums ' arrangements. Each element of found throughout the entire record is perfectly crafted; and each piece plays an essential role within that particular song, and even with the varied sounds, it never even comes close to sounding chaotic or over-done. It is this balance that is achieved all across Blue Lines that sets the record so far apart from its peers, as there is a clear musicality, as opposed to too much reliance on artificial elements. The way in which these sounds are able to so seamlessly blend with the delicate string arrangements and other more traditional instrumentation is the combination that paved the way for countless other artists, as well as serving as the link to the down-tempo and ambient styles, and with this in mind, one can easily make the case that Blue Lines is one of, if not the most important album in the entire history of the electronic genre. There is a sophistication and complexity within the arrangements on Blue Lines and yet it is so direct that one cannot help but be completely captivated by the sound, and it is this fact that enables it to endure just as strong after so many years since its initial release.
However, the other element that sets Blue Lines far apart from other electronic recordings is the absolutely beautiful vocal on many of the tracks, most often provided by Shara Nelson, Horace Andy, and none other than Tricky. While other electronic groups had dabbled in this approach, it was particularly Nelson's performance that turned the delicate, almost ethereal vocal sound into the standard for the genre, and in many ways, her showing here has yet to be matched. The amount of emotion that she is able to convey within her vocals, as well as the more "cool" feeling of Tricky, helps to bring out the similar elements within the music over which they sing, and it cements the idea that there is absolutely a great deal of "music" within "electronic music." There is also a swinging, almost carefree feeling within her singing, and it is this fact that enabled "Unfinished Sympathy" to dominate the dance club scene, and the song remains a staple to this day. The fact that Nelson and the other vocalists deliver such moving performances is also due to the rather straightforward, universal theme within the lyrics across the record, as the group is able to approach a wide range of ideas in a wonderfully unique way. Regardless of who is bringing the vocals to these tracks, it is this extension of the music that vaults the overall album far beyond anything else the genre has ever produced.
Truth be told, as the years have passed, Blue Lines has seemed to move beyond the electronic genre, as it is quite regularly cited as one of the finest and most important albums ever recorded. Across the globe, it has been given such accolades, and when one looks at the other records with which it is grouped, it provides a basis for the argument that it is the most significant and influential album in the history of electronic music. There are virtually no other recordings from the long history of the genre that have ever even been considered for such praise, and it is likely due to the perfect balance of sounds that one finds in every element of Blue Lines that makes it impossible to write it off as "just another" electronic record. Furthermore, the fact that even so many years after its release, the sound and production remains fresh is a testament to how forward-thinking and truly pioneering a style there was within Massive Attack, and it is much the reason they continue to be a dominant force within the genre. From the smooth string arrangement to the multiple rhythms, the groove and moods set across the record shows the true beauty which can only be achieved through electronic music, and it proves that one can find just as much emotion and bliss within this style as any other type of music. As they progressed, the group released a number of other fantastic songs, yet none continue to have the wide-reaching impact as one can experience within Massive Attack's phenomenal 1991 album, Blue Lines.
Friday, August 17, 2012
August 17: Daily Guru, "Music News (August 12 - 19): Pussy Riot Verdict, Bus Crashes, And Missing Persons"
In today's news, I cover the Pussy Riot verdict, a bus crash, a missing person, and other stories. Share and enjoy.
Thursday, August 16, 2012
August 16: Daily Guru, "Music Myths #21"
In today's video, I explore myths about a casket, a hyperbolic chamber, and a rather annoying anthem. Share and enjoy.
Subscribe to:
Comments (Atom)
