“I Wish” as put to vinyl by Stevie Wonder in 1976 contains your recommended daily minimum of joy. Yet the jazzy instrumental cover whipped up last year by Polish guitarist Marcin and Japanese pianist Hayato Sumino is so infectious, so irrepressible, that it almost renders the original tame in comparison. [3:17]
That’s among the more recent music links I’ve been sitting on for too long. I’ll round
out this post with another cover and another instrumental, both employed in a pivotal episode of Vince Gilligan’s brilliant Apple TV series Pluribus — a chapter loaded with songs, within and external to its narrative, as enumerated in a Decider article which you might not want to read if you get kitschy ’80s pop like Baltimora’s “Tarzan Boy” stuck in your head easily. (Oops! Sorry.)
Lake Street Dive is my latest jam. I’ve had their whole discography on repeat in anticipation of today’s release of their new album, Bad Self-Portraits.
The band, whose members met at Boston’s New England Conservatory of Music, consists of Rachael Price (lead vocals), Mike “McDuck” Olson (guitar, trumpet, backing vocals), Bridget Kearney (acoustic bass, backing vocals), and Mike Calabrese (drums, backing vocals).
Here we go with a good old link-blogging post for the first time in too long.
I know it’s been making the rounds at warp speed the past few days, but Zachary Quinto and Leonard Nimoy in Audi’s “The Challenge” has at least one moment too priceless not to keep sharing. It’s a commercial, obviously — so if you have a hard policy against watching such things, here’s your warning. [2:56]
You think you’re done with “Call Me Maybe”? You cringe when your car radio lands on it for even a moment? You swear that no cover, mashup, or parody could ever get you to listen to that song again?
I’m here to sympathize but also to tell you that you must hear it one more time, at least if you haven’t yet seen the Night of Too Many Stars duet between Harvey Keitel and Carly Rae Jepsen. Keitel pulls a William Shatner by doing his part as a spoken-word performance exactly as you’d imagine Harvey Keitel would.
Night of Too Many Stars is the biennial variety-show founded by Robert Smigel and hosted by Jon Stewart to benefit autism programs. This year’s edition aired last Sunday on Comedy Central as a live telethon with clips from a show held the previous Sunday at New York City’s Beacon Theatre. Other standout moments included Katy Perry singing “Firework” with 11-year-old Jodi DiPiazza and Louis CK auctioning off a holiday-card photo with Al Pacino.
[Update: My links have unfortunately all gone bad, although if you find and enjoy the material elsewhere online you can hopefully likewise find a way to donate.]
Related: Gift Rap • Muppet Monday • Crazy Talk
For my 40th birthday, I jotted down a list of some of my favorite things to prompt a series of occasional posts. My aim was to periodically knock out brief entries that cover a variety of subjects, as I’d been retreating from new content due to frustration with the constant gremlins.
That was two years ago. I had to switch the title from 40 Favorites to 41 Favorites in 2011 and I’ve only added three installments since then — including this one. Sunday,
I’ll need to renumber the series again.
Anyhoo; I’d prefer to talk about...
7. coffee
Oh, I loves me the coffee.
To many folks it’s merely a delivery system for a vital dose of caffeine, and I’m not above using it that way myself. While caffeine is a vasoconstrictor that’s often helpful in alleviating migraines, however, I’m among the minority for whom it’s a soporific rather than a stimulant; I could very well get a brief jolt from it neurologically, were you to look at a brain scan, but I’ll begin to get sleepy from a cup of strong coffee in short order. (I’ve gone off of caffeine entirely in the name of eliminating potential rebound or caffeine-withdrawal headaches from the picture, twice, and the tradeoff was not worth it. Migraines still abound. It’s way better to have caffeine in the arsenal even though going too long without caffeine after regular caffeine intake will probably trigger a headache.)
This post linking to a nifty Sara Bareilles performance holds the blog's record for having been republished the most times. After going up several times last year, keyed to more than one date as I kept trying, weird problems with Blogger and Google's image-hosting service Picasa kept afflicting it. Maybe the time is right to sneak the post back up.
Where it leads is a Vevo clip of Bareilles and band doing a largely unexpurgated albeit truncated cover of the Cee-Lo Green sensation "F--- You", live at The Warfield in San Francisco. It serves here as a prologue to the single "Gonna Get Over You" from her excellent 2010 disc Kaleidoscope Heart, which the first time this post saw the light was relevant since Bareilles had performed said single with Urban Method on the Sing-Off finale in November. At this writing you can listen to the album in full on Bareilles's website.
Related: What the F---? • 41 Favorites: #5 • Look and Listen
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Screencap © 2011 The Muppets Studio LLC.
This post is currently down for maintenance.
Still of Pentatonix from The Sing-Off 3.11 © 2011 NBCUniversal. Photo: Lewis Jacobs.
Well, America got it right in voting Pentatonix winners of this year’s edition of
NBC’s The Sing-Off. I was a bit bummed that just about everybody turned in sub-standard performances on Monday night’s live finale, when presumably viewership would get a bump from Dancing with the Stars’ absence; maybe it was the lack of pressure, since voting was already closed, but more likely the crazy rehearsal schedule and holiday weekend are to blame. Friends who finally tuned in after hearing me rhapsodize about Pentatonix, Afro-Blue, and Urban Method have my apologies.
I complained in a post last month about the judges’ surprising (to me) preference for certain groups over others — on the whole, traditional large university-based ensembles beating out more inventive, idiosyncratic but clearly cooler combos. Not that a cappella is all about being “cool”, nor that I have an inherent dislike of the collegiate model; quite the opposite, in fact.
Still from The Sing-Off 3.02 group open © 2011 NBCUniversal. Photo: Lewis Jacobs.
I’ve had to restrain myself from blogging on NBC’s The Sing-Off each week. As I proved last year, I’m capable of going on at ridiculous length about the show, given my love for a cappella music and creative arrangements of pop songs in general. Until now I’d been successful, but my resolve finally broke last night after the latest in a string of confounding eliminations.
The Sing-Off upped its roster this year to an impressive sixteen groups, starting with two brackets of eight groups each. My early favorites in the first bracket were Afro-Blue, Delilah, and Urban Method, although Delilah soon proved uneven; second-bracket standouts were The Collective, Pentatonix, Sonos, and North Shore. It’s curious to me that of these groups all but North Shore, a traditional male doo-wop quintet, and Delilah, an all-women’s outfit based on the collegiate a cappella model, are smaller
and more experimental.
Glee last week was in many ways not at its best but at its most — at its most plot-oriented, at its most gimmicky, at its most disposable, at its most thematic, at its most randy, at its most heartfelt, and as the previous contradictions indicate at its most all-over-the-place. Case in point: John Stamos on drums while the unlikely members of McKinkley High’s celibacy club — Rachel, Quinn, Puck(!) — joined their literally virginal, newlywed guidance counselor Miss Pillsbury to perform one of my favorite tunes, Starland Vocal Band’s “Afternoon Delight” [3:02].
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I’m a sucker for mash-ups, inventive arrangements, and the Mad Men theme. So
yay for the self-proclaimed “bunch of film/music nerds” behind Live Music Videos who’ve performed said theme (actually just an excerpt of the RJD2 track “A Beautiful Mine”) “with a twist” [2:18] — namely, by using it as instrumental backing for the pop standard “Nature Boy”. I don’t know if it ranks up there with Eminem’s appropriation of Dido’s “Thank You” for “Stan” or David Bowie and Bing Crosby’s legendary “Little Drummer Boy / Peace on Earth” medley; at the very least, though, it’s a thrill to hear the theme performed acoustically, and I look forward to more from this ensemble.
Related: Sounds Great • L Is for... • Sisters Go Bangles
I may be duty-bound simply by virtue of having a blog that covers pop culture — however idiosyncratic it might be — to mention the Muppets’ take on Queen’s “Bohemian Rhapsody”. [4:45]
Screencap © 2009 The Muppets Studio LLC.
The clip, which debuted a few days ago on the Muppets Studio YouTube channel
and has gone seriously viral, isn’t a straight-up cover; Animal’s spotlight is an early, hilarious indication of that. Rowlf takes the piano part, Dr. Teeth & the Electric Mayhem join in (Janice can shred!), and everyone from the “Mahna Mahna” Muppet
to Fozzie Bear joins the fun. The unofficial, astoundingly informative Muppet Wiki provides a complete rundown of who’s who in the video.
Related: Muppet Monday (Oct. 17th) • Mad Mix • Muppet Monday (Nov. 28th)
I keep neglecting this post on The Puppini Sisters, and the universe keeps reminding me to write it up.
Back in March, during an episode of NBC’s Chuck, I heard a rendition of The Bangles’ “Walk Like an Egyptian” in the close-harmony swing style of The Andrews Sisters piped into the background and was smitten. I’d just been introduced to The Puppini Sisters — a trio formed in the UK in 2004 that actually consists of one Puppini and two friends, I learn from their Wikipedia entry and a short interview with Marcella Puppini [bad link] that’s cited therein. Marcella’s catalyst was the great French animated film Les Triplettes de Belleville; further inspiration came from those Andrews gals, their antecedents The Boswell Sisters, and Marlene Dietrich.
Marcella, Stephanie O’Brien, & Kate Mullins’ two full-length CDs together, 2006’s Betcha Bottom Dollar and 2007’s The Rise and Fall of Ruby Woo, mix renditions of such vintage material as The Chordettes’ staple “Mr. Sandman” and the Andrews Sisters classic “Boogie-Woogie Bugle Boy” with covers of more contemporary pop like “Egyptian”; Woo also includes a few choice originals. Only a handful of songs are currently streamable at the Sisters’ MySpace page, but clipped versions of many run continuously at their eponymous website. Sadly, I can’t find a complete album version of “Walk Like an Egyptian” to share at this writing, and I don’t link to illegally uploaded material as a general rule, but you’ll get snippets at Amazon or the iTunes store. If you really want to hear the whole track before buying it you won’t have to search very hard.
I saw the, um, original repeat of Glee’s first episode the other day and wish I’d been able to post a review before the encore encore tonight. Was it music to my ears? Not entirely, but I’m rooting for it.
Glee photos © 2009 and logo TM 20th Century Television.
Uneven but interesting, that pilot is certainly worth sampling before the series
finally continues next Wednesday, Sept. 9th, at 9 p.m. ET. It was previewed last spring — in prime real estate after American Idol — even though the show’s actual debut was always scheduled for this fall. Fox must have felt it had an offbeat winner and hoped
to stoke buzz throughout the summer; indeed, reception was generally favorable and songs from the series have been popular downloads on iTunes.
... Links — about The Late Late Show and Lily Allen.
As soon as The Late Show wraps up each night, Craig Ferguson pops in with a cold open of The Late Late Show. He might ramble a bit, address the “People… of… Earth!” via hand puppet, bring on a special non sequitur guest, or launch into a lip-synched musical number. It’s fun largely because of the shoestring budget, going to the heart of the host’s sense of “I have a TV show! Yeah, it’s on CBS at 12:30 a.m., but still!” glee, enticing viewers to stick around.
Well, Monday night had a little of almost all of that. Ferguson, a couple of costumed dancers, and a chorus of puppets performed Britney Spears’ “Oops… I Did It Again” [bad link].
The skit reminded me that if you find Spears’ “Womanizer” hella catchy yet kind-of annoyingly overproduced there’s a virtual cottage industry of cover versions to sample. Franz Ferdinand’s [bad link] has strangely off-key vocals but proves that the song can work unironically as rock. The All-American Rejects [bad link] slowed it down and set it to acoustic guitar, beer-bottle percussion, and concertina, yet despite some winkingly substituted lyrics and a smart segue into the Turtles’ “Happy Together” it doesn’t quite transcend the sum of its parts for me.
My favorite take on “Womanizer” is Lily Allen’s. Although her studio output is heavily electronic, here she’s backed mostly by piano, acoustic guitar, and timpani evocative of Brian Wilson or Phil Spector. Even if it’s not as boldly different as the renditions linked above, it changes things up and stands on its own, which is what I look for in a cover.
Related: Mad Mix • 41 Favorites: #7-9 • Sisters
Go Bangles • Double “You” • Muppet Monday
