SOUNDTRACK: THE FLAMING LIPS & STARDEATH AND WHITE DWARFS featuring HENRY ROLLINS and PEACHES doing The Dark Side of the Moon (2010).
You’ve got to have balls to cover the most popular album of all time. Everyone knows Dark Side of the Moon, according to Billboard charts everyone probably owns a copy of Dark Side of the Moon. So, you’re taking on a pretty big task here. But the Flaming Lips aren’t called The Fearless Freaks for nothing.
What delights me about this album is that it is utterly unfaithful to the original. There’s nothing worse than a cover song that just apes the original version. With that in mind, the Lips have put their bizarro stamp on the classic album, oftentimes rendering the songs almost unrecognizable–but more on that in a moment.
The two guest stars on the disc are Henry Rollins and Peaches. Rollins recites all the spoken word bits from the original. He actually makes a lot of those weird ramblings clear for me for the firs time. The originals were spoken by a (presumably) high Englishman. Rollins’ delivery is much more abrasive (but then so is the music). It works pretty well, especially since Rollins’ laugh is maniacal, although if he sounded a bit more drunken I think it would work even better. Peaches sings a few of the female vocal bits. I’ve never been much of a fan of hers but, man, she does an awesome job in covering “The Great Gig in the Sky,” the track from the disc that features a wondrous diva singing and screaming her heart out. Peaches really lets loose and showcases the power of her voice.
The Lips play on 7 songs and StarDeath play on 6. They work together on 2 tracks.
StarDeath is fronted by Wayne Coyne’s nephew, Dennis. I’d only heard one track from them before, and I liked it. Dennis’ voice is a higher register, like Wayne, but he’s also a bit more subtle. Musically they are less noisy as well, and it’s a good counterpoint to the static of the Lips’ tracks.
So the opener, “Breathe” (Lips) is distinct right away, because the main focus of this version is a loud throbbing bassline. “On the Run” (Stardeath) is completely indistinguishable from the original. You would never suspect it was a cover. It’s a bass-propelled, very cool song, but there’s almost no similarity.
“Money” (Lips) stays fairly faithful to the original, except that the vocals are totally auto-tuned. It makes the song sound really alien, as if coming, yes, from the other side of the moon.
“Time” (Stardeath) on the other hand, is a very delicate, acoustic track, (sounding somewhat like Mercury Rev, actually). It is something of a counter to the rocking version on the original.
“Us and Them” (Lips) is probably the closest sounding to the original. It has simple washes of sound and Wayne’s delicate voice. But, once again, the louder sections of this song are left out. “Any Colour You Like” (Stardeath) is a much closer instrumental to the original than “On the Run” was. And “Brain Damage” (Stardeath) is really quite spot on (and may be even creepier than the original).
The ender, “Eclipse” is like a distorted indie rock version of the original. It works pretty well.
There’s surprisingly little in the way of sound effects (which are all over the original). I’d have thought they’d populate the disc with all kinds of fun things, but no, they actually play it pretty straight.
My one real complaint about the disc (and actually about Embryonic as well). The Lips have always pushed the envelope of music. But lately, they seem to be redlining a lot of their sounds, making them distort and crackle. Now, I love distortion when it’s used well, but this “too loud” distortion actually hurts my ears, even if the volume is low. I find the sound to be unpleasant, and not in a good way. And I think it’s a shame because the Lips write such great music, that I hate to have it obscured by clouds of noise.
So, yeah, this will never replace the original for anyone. But it’s a fun experiment and actually sounds a bit like a rough demo for the final release. In fact, in many ways it sounds like it’s coming from outer space and may be conceptually more accurate for the title.
I saw The Lips and Star Death on Jimmy Fallon. They played “Breathe” and all eight (or more) guys were on stage. It was a big wonderful mess. And they sounded really good together.
[READ: May 11, 2010] ; or The Whale
In 2007, a book was published called Moby Dick in Half the Time. And, as the title implies, it took Herman Melville’s Moby Dick; or The Whale and truncated it. The editors basically kept in all of the “plot” and excised most of the “wandering” parts of the story.
So, in 2009, Damion Searls decided to print all of the excised material as a book itself. This exercise was published in The Review of Contemporary Fiction, Summer 2009 | Vol. XXIX. So, this “book” is Moby Dick without the “plot” or as the introduction puts it, “all Moby, no Dick.”
This book includes “every chapter, sentence, word, and punctuation mark that Anonymous removed to produce [Moby Dick in Half the Time]” (10).
And so what we get is a very surreal story indeed. It comes across as a fascinating look into the mind of the (in this version) not named until Chapter 11 or so narrator (since we’ve obviously lost “Call me Ishmael”). It also comes across in many sections as bizarre poetry.
; or the Whale’s opening line is:
“methodically.” (31). (more…)
SOUNDTRACK: MEATLOAF with JACK BLACK-“Like A Rose” (2010).
My friend Matt is the biggest Meat Loaf fan I know. He may be the only person in the United States who owns all of Meat Loaf’s CDs (yes, he has ones other than those two Bat Out of Hell discs). So it came as no surprise to me when he sent me a link to a new Meat Loaf song. What surprised me was that Jack Black is singing a duet with him!
SOUNDTRACK: THERAPY?-Never Apologise Never Explain (2004).
This album is the prior release to One Cure Fits All. It’s not true that Therapy? works on a harsh release/melodic release kind of schedule, although judging by these two discs it sure seems that way. Never Apologise begins with a blistering, noisy “Rise Up.” The really notable difference with this disc and other Therapy? releases is the amount of noise in the track. One of Therapy?’s most notable sounds has been a guitar that is so clean it sounds almost unreal.
SOUNDTRACK: BEN FOLDS-University A Capella (2009).
The story goes that Ben Folds heard some a capella bands and decided to give them some airtime. So he had them record a bunch of his songs.
SOUNDTRACK: FUGAZI-13 Songs (1990).
I was so blown away by that first Fugazi disc that I immediately ran out and got this collection of their first two EPs.
SOUNDTRACK: New Moon Original Motion Picture Soundtrack (2010).
Back in the 90s, it seemed like every week there was a new soundtrack featuring an unreleased song from some great alt rock band. This meant huge sales for soundtracks, even if for the most part they weren’t solid start to finish. In fact, mostly you got three great new songs, three pieces of rubbish, one great song by a band you’d never heard before and two or three okay tracks.
I don’t often write about one TV show at a time, but I’m on vacation this week, so I’m taking it easy.
SOUNDTRACK: THE DEAD MILKMEN-Metaphysical Graffiti (1990).
You know that it would be untrue, you know that I would be a liar if I were to say to you I didn’t set your house on fire.
SOUNDTRACK: Philadelphia Radio Stations (circa 1990 and 2010)
There’s a Dead Milkmen song called “The Big Sleazy” in which the chorus is
I’ve always been amused by the song, especially when I travel to Philly and hear these stations. That song is from 1990, so 20 years later I’m not sure what the band would think of their new playlists.
Now, I have no idea what XPN was like before, but, yea, I can see that he folk Nazis are in charge. Of course, I rather like that. However, XPN also plays a bunch of artists who are broader than the folk label, so I wonder if they have changed even more since 1990.
Sarah and I watched a bit of the third or fourth episode of this show when it aired on CBC. But jumping into the middle of this show is difficult. The characters are established pretty quickly, their quirks are all explained in the first episode, and it’s a bit hard to care about them without knowing their whole story.
And it has now given me a new favorite actor of the month: Sherry Miller who plays Mrs Jarlewski is just fantastic. She’s like an older, subtler version of perennial favorite Portia de Rossi.
I Just Read About That... 