YouTube channel Polyphonic (whose videos I’ve featuredbefore) has taken on an ambitious project: tracing the history of the electric guitar solo from its origins in blues and country music in the American South all the way up to the present day. The series is called Axe To Grind and the first three episodes are available on YouTube (the first two are embedded above). People are sharing their favorite early electric guitar players in the comments of the first video.
The series is also available on the subscription-only Nebula — episodes appear there first and the music excerpts are longer because Nebula doesn’t trample all over creators’ fair use rights like YT does. (via open culture)
Oh, this is a good one: disco, funk, and hip-hop pioneers Nile Rodgers & CHIC play some of the most rousing and joyful music ever witnessed on the Tiny Desk Concert stage / corner of the NPR office. Here’s what they played:
Just hit play on this one and watch it. Absolutely magical…it sent shivers down my spine. The organization that arranged this is called Choir! Choir! Choir! and they also did a version of this in Dublin with 1000 people singing in tribute:
What happens when one sings together with a lot of other people?
A couple of things I immediately noticed. There is a transcendent feeling in being subsumed and surrendering to a group. This applies to sports, military drills, dancing… and group singing. One becomes a part of something larger than oneself, and something in our makeup rewards us when that happens. We cling to our individuality, but we experience true ecstasy when we give it up.
This is wonderful: at the 1976 Grammys, Mel Tormé asked Ella Fitzgerald how she explains to people what jazz is and then the pair of them effortlessly launch into a scat duet that is just fantastic to listen to. Ella Fitzgerald, what a voice! Mel Tormé, what a voice! Here’s the pair performing together in the 60s:
Even if you haven’t seen Stop Making Sense, you are likely familiar with the herky jerky dance moves of Talking Heads’ frontman David Byrne. In this video, which has only recently been made public, you can see Byrne practicing his now-iconic moves.
40 years ago, David Byrne rehearsed dances for Talking Heads’ upcoming Speaking in Tongues tour by recording video of himself to determine which moves worked better than others, which developed into many of the iconic moves seen in the Stop Making Sense movie, filmed at the end of 1983 and released in 1984. It was recently rereleased by A24 in restored 4K. These videos, recorded in David Byrne’s loft, have been mentioned before in interviews and now after 40 years the footage is finally available!
If you don’t want to sit through the full 25-minute video, here’s an hors d’oeuvres version:
I loved the video for Sledgehammer. I was 12 years old the summer it came out. We didn’t have cable TV then, but I’d turn on MTV anywhere I could, hoping for a glimpse of it. My dad used to take my sister and me on roadtrips all over the country and I vividly remember the rare times we got to stay in a motel (they had to have a swimming pool with a diving board), turning on MTV, and catching that Sledgehammer video a few times every hour. It was only years later, after becoming a Wallace and Gromit fan, that I learned that — of course! — Aardman had done the animation for Sledgehammer.
You really have to applaud the effort here: YouTuber Todd in the Shadows made a 33-minutes supercut of every song he could find that stops, even momentarily, on the word “stop”. Here are the ground rules:
If there was even the briefest of stops, I counted it. It’s okay if the band holds the note rather than complete silence. But the entire band has to stop, not just a couple instruments; the singer can keep singing though.
I gotta say I did not watch the whole thing, but the very last clip is *kisses fingers*. (via @peterme)
These days, instead of writing down lyrics and bringing them to the studio to record, many rappers are using the improvisational “punch-in method” to craft songs during the recording session.
Is this good for the music? The jury is out, even within hip-hop. But in this behind-the-scenes video — the latest entry in our Diary of a Song series, which documents how popular music is created — we track the generational shift through exclusive studio footage of young rappers like Doechii, Veeze and Lil Gotit, plus interviews with genre veterans including the artist Killer Mike and the producer Just Blaze, to track this creative shift and its effects on the still-experimental genre of hip-hop, 50 years after its birth.
Interesting technique, but there is definitely some music in that video that is not for me.
There I Ruined It is fast becoming one of my favorite web delights — musician Dustin Ballard remixes and mashes beloved songs in an attempt to ruin them. The video embedded above features Eminem’s Lose Yourself sung to the tune of the Super Mario Bros theme song…and it makes me laugh every time I watch it.
P.S. My idea for a song to ruin: the Happy Days theme song, but it just keeps repeating the days of the week (“Sunday Monday happy days / Tuesday Wednesday happy days…”) in a loop, using the Shepard tone to (seemingly) keep the pitch ever-rising.
As a tribute to Brian Eno, visual artist Thomas Blanchard made this video of Emerald and Stone, a 2010 song that Eno collaborated on with Jon Hopkins & Leo Abrahams. According to Blanchard, he made the video with no digital visual effects — “the visual compositions have been created out of paint, oil and soap liquid.”
Eno himself is still working and mentoring younger artists…he and Fred Again released an ambient album back in May.
Every year at Burning Man (pandemic years aside), Tycho does a ~2hr DJ set around sunrise and then releases it on Soundcloud — here’s the 2023 version.
I’ve been listening to this for the past week and while I don’t like it quite as much as the sets from previous years, it’s definitely something to add to the rotation of chill work music.
See Tycho’s BM sets from 2022, 2019, 2018, 2017, 2016, 2015, and 2014. Pretty much the only reason I’d ever want to go to Burning Man (esp after this year) is to catch this set in person sometime.
On their current US tour commemorating the 20th anniversaries of their two seminal albums (Give Up and Transatlanticism), The Postal Service and Death Cab For Cutie have been coming together to perform an encore rendition of Depeche Mode’s Enjoy the Silence. The video above is their version of it from last weekend’s show in New Haven, which I attended and very much enjoyed, but there are several other versions to choose from on YouTube: Boston, Wash DC, Portland, Rhode Island, etc.
The other day when I posted about iconic hip-hop samples from the past 50 years, I noticed a name that featured prominently in the early years: Sylvia Robinson. Robinson was the CEO and co-founder of the very first rap record label, Sugar Hill Records. She produced the first rap record, Rapper’s Delight, and the seminal The Message, widely regarded as one of the best and most influential rap and hip-hop tracks ever.
Sylvia Robinson played many roles in the music world — artist, producer, and, most notably, record executive. But as the founder and leader of the pioneering Sugar Hill label, she revealed herself to be something even rarer. She was a visionary.
In 1979, “Rapper’s Delight” by the Sugarhill Gang introduced hip-hop to the global mainstream, illustrating the genre’s commercial and creative potential. Robinson had overseen the record’s backing track, assembled the group members, and arranged their vocals — but fundamentally, it was her idea that rap was even viable as recorded music. Her place in history would be secured by that track alone, though it was far from her only impact on the direction of pop.
Here’s a short video that covers the high points of her career:
It’s sad that Robinson and her achievements haven’t been more widely known — this seems like another case (as in computing and other industries) where women played an early vital role and were then forgotten.
This started off a little slow for me but once it hit the early-to-mid 80s, I was hooked — and bobbing my head uncontrollably throughout. The visualizations really help you see how the various samples were modified, repeated, and layered to achieve the desired sounds — geniuses at work. Man, watching stuff like this makes me want to learn how to do this. (via waxy
The music for Sinéad O’Connor’s 1990 smash hit Nothing Compares 2 U is already pretty stripped down to emphasize the vocals, but in this video, the vocals are almost fully isolated so you can really hear the clarity and emotion in that wonderful voice of hers.
“I actually think the intensity of Sinéad’s performance came from the breakup of her latest relationship,” opines Chris Birkett, who co-produced and engineered the track as well as the accompanying, Grammy Award-winning album, I Do Not Want What I Haven’t Got, which topped the Billboard 200 for six weeks and sold seven million copies worldwide. “She had been dating her manager, Fachtna O’Ceallaigh, who’s a really good guy and had been instrumental in getting her deal with Ensign Records. However, their relationship had gone pear-shaped and they were in the process of breaking up when we recorded ‘Nothing Compares 2 U’, so that’s probably why she did such a good vocal. She came into the studio, did it in one take, double-tracked it straight away and it was perfect because she was totally into the song. It mirrored her situation.”
The roots of hip-hop and rap are various and stretch back in time to the antebellum South and from there to Africa. But by some accounts, a song called Noah by gospel group The Jubalaires was the first instance of recorded music that sounded like rap. Listen for yourself…the relevant bit is right around the 35-second mark:
I’m not a music historian by any stretch, but that sounds 30 years ahead of its time. There are several bad remixes of Noah on YouTube…this one is maybe the best at pairing their singing with a rap beat.
This is fun: Aqua’s pop hit Barbie Girl, redone in the style of six classical composers: Mozart, Beethoven, Schumann, Schubert, Chopin, and Ravel. (via @Erikmitk)
To help celebrate 50 years of hip-hop, Cypress Hill visited NPR’s studios to perform a Tiny Desk Concert.
While the term “pioneer” is used loosely in pop culture today, few terms describe Cypress Hill’s impact over the past three decades more adequately. They are the first Latino hip-hop group to achieve platinum and multi-platinum status. B Real, Sen and producer DJ Muggs crafted a sound in the ’90s that stretched beyond regional boundaries. It was dark, psychedelic and at times directly addressed mental health before the topic was commonplace. Many dismissed the group as “stoner rappers,” yet the members were fervent advocates for the legalization of weed long before it came to fruition.
Really enjoyed this one…I’m not a particular fan of Cypress Hill but after this, maybe I am?
Craig Mod recently finished a 16-day tour of jazz kissas in northern Japan. Jazz kissas are bar/cafes where one goes to listen to jazz, mostly on records and not live. Mod loosely defies them thusly:
Mostly defined as: Mid-20th century “listening cafes” for jazz music. But there is a lot of variance in this definition. Lots are coffee-focused cafes, fitting into the broader “kissaten” universe. But some are more bar-like, and some even jazz clubs (but for the most part, live music is rare). You can tie yourself in knots splitting hairs over this stuff. Though they’re traditionally known as “jazz kissa” — the shortened version of “kissaten” (fear not: even if you call them “jazz kissaten” you won’t suddenly turn into a pillar of salt). Some are seventy years old. Some forty. Some are five years old. The important defining element is simply: A presiding and effusive ever-abiding love for jazz, jazz, and more jazz.
At each stop, he recorded the ambient sounds of each kissa so that you can experience a little bit of the atmosphere at these places — here’s the full playlist. The recordings were done with a pair of microphones so that the audio is in stereo. This sounds great with a good pair of headphones!
I’m good at making things, but not talking about why. I made them because I don’t know how to talk about why. The explanation is the thing I made.
This too is something I try to hold myself to:
I also just do it, you know what I mean? I just make shit. 90% of doing anything is doing it. Not to sound self-help-y, but when people are asking me for advice, my first thought is, you should just do it. You beat so many people already if you just actually make a finished thing.
I am still a perfectionist sort of person, but when your work entails publishing 10-20 things in public every single day, you have to let go of that. Good enough is better than nothing at all.
Embrace your inner little baby (with really good taste):
I essentially have to get back to feeling like I’m a little baby to make things that are good. A baby with really good taste.
I was totally fascinated by this look at the absurd logistics of concert tours and now have a newfound appreciation for all the people involved who collaborate to make the magic happen (and perhaps also a little bit more forgiving about the high price of tickets (but Ticketmaster can still go to hell)).
Now, to an outsider, the load out process might look chaotic, and the pace of the tour may seem unsustainable or unmanageable. But though grueling and exhaustingly complicated, these massive, nation-wide tours function remarkably smoothly considering the variety of variables.
In 1979, just a few short years before she hit it big as a pop artist, Madonna was in a post-punk rock band called The Breakfast Club — she sang and played the drums. In the video above, the band rips through four demo songs in just over 8 minutes. From Dangerous Minds, some context:
Hardcore fans will also know Madonna has been known to perform versions of these songs (and other early material) live. Here’s the thing — much like the early days of the Go-Go’s, Madonna is definitely flexing her affinity for punk rock while mixing it with her own brand of spirited pop which the entire world would soon embrace and others would emulate. Now, if you’ve never heard this version of Madonna, and dig your punk with a side of pop, you are going to love these raw jams. It’s also quite compelling to hear them, knowing what was to come from Madonna in a few short years.
Polyphonic’s videos on music are always worth a watch and in this latest one, they explore the history of the concept album, from its proto-origins in the Romantic era to the 70s rock opera heyday to the modern era, where a large percentage of all album releases are conceptual in nature. Along the way, they namecheck a variety of artists from many genres, including Woody Guthrie, Johnny Cash, The Beatles, The Who, Pink Floyd, Stevie Wonder, Kraftwerk, Iron Maiden, De La Soul, Arcade Fire, Daft Punk, Janelle Monáe, Kendrick Lamar, and Taylor Swift. (via open culture)
Earlier this week, the retired electronic duo Daft Punk released the 10th anniversary edition of Random Access Memories, their last studio album. The anniversary album includes 35 minutes of previously unreleased music.
Among the tracks is a demo of Infinity Repeating, featuring Julian Casablancas and The Voidz, which a recent interview w/ Casablancas on Daft Punk’s YouTube channel called “the last Daft Punk song, ever”. The music video for Infinity Repeating, embedded above, features a cool evolution-of-humanity animation (with robots!) and is highly re-watchable.
Leave it to the Auralnauts to take The Mandalorian’s solemn catchphrase “This is the way”, back it with a pulsing beat, and turn it into the banger of the summer. Ok, maybe not. But in the process, they counted 222 uses of the phrase over the three seasons of the show (and also during The Book of Boba Fett, I think).
First up is DJ Shortkut explaining the 15 levels of turntable scratching. DJing is one of those things that I enjoy the output of but don’t know much about, so it was fun to have it broken down like that. Beat juggling is incredibly cool and looks super difficult to master. 🤯
Charles Brooks takes photographs of the insides of musical instruments like pianos, clarinets, violins, and organs and makes them look like massive building interiors, enormous tunnels, and other megastructures. So damn cool. Some of the instruments he photographs are decades and centuries old, and you can see the patina of age & use alongside the tool marks of the original makers. Prints are available if you’d like to hang one of these on your wall.
Hahaha you thought I was kidding about this being a Larnell Lewis fan site today, but I’ve got one more video for you. This is a live recording of a song by the jazz fusion band Snarky Puppy and — hold on, before you wander off having heard that collection of words, let me preface this by saying that I am not really a jam band person or a jazz fusion person and I thought this was pretty amazing.
So anyway, legend has it that Snarky Puppy were all set to record a live record in Holland and their regular drummer couldn’t make it, so they called Lewis to fill in. He learns the music on the plane ride over to Europe and — what? yeah, he learned the music on the plane ride over and then when he gets there…just watch the video above to see what happens.
I admit I didn’t quite get what was so special about this at first, but around the 4:20 mark things really start to get interesting and by the end I was grinning like an idiot. Cory Henry does the keyboard solo and Lewis backs him on it like they’ve been playing together for three lifetimes. As one of the YouTube commenters put it:
I just discovered this about 2 hours ago… I’ve been a musician for 20+ years… After watching this performance, I’ve now been a musician for about 2 hours.
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