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Archive for the ‘Alanis Morissette’ Category

cpatain 10 SOUNDTRACK: “WEIRD AL” YANKOVIC-Bad Hair Day (1996).

bad hair dayBad Hair Day is an uninspired album title, especially given how great of an album it is.  As I posted last week, “Amish Paradise” is great, (I forget to mention the funny Gilligan’s Island verse in the middle.  “Everything You Know is Wrong” is just a magnificent They Might be Giants parody.  Now, TMBG and Weird Al are pretty kindred spirits (they both use accordions and sing silly songs).  In that respect, this song isn’t that different from a typical Al song, but there are so many great musical nods to TMBG that the song is just awesome.  And it’s very funny too.

“Cavity Search” is a parody of U2’s “Hold Me Touch Me Kiss Me Kill Me” and it works very well, both as a great soundalike (Al’s vocal tricks get better with each album) and the way he plays with the original (the drill solo is great) are really clever.  “Calling in Sick” is a kind of Nirvana parody, although I don’t hear it as well as other band parodies.  It’s certainly a grunge song and, as such it works.  But it was “The Alternative Polka” that proved to be my favorite of his medleys so far.  “Loser,” “Sex Type Thing” “All I Wanna Do” “Closer” (hearing him do Nine Inch Nails is hilarious–especially this song!), “Bang Bang Blame” (so much R.E.M. lately), “You Oughta Know,” “Bullet with Butterfly Wings” (Weezer’s song was supposed to be included here but they asked it to be removed and he did at the last minute–see the video below).  “I’ll Stick Around,” “Black Hole Sun” and “Basket Case”–a great mix of songs that I loved at the time and still do, this song is like reliving the mid 90s.

“Since You’ve Been Gone” is a fun a capella band version of a funny break up song.  He gets better and better at this kind of lyric (“a red hot cactus up my nose” is particularly wonderful).  “Gump” is a very funny parody of “Lump” by Presidents of the United States of America.  Evidently they liked his parody so much they used some of his lyrics in the final verse when they played it live.

“Sick of You” has a fun bass line (reminiscent of Elvis Costello) and a great chorus.  And “Syndicated, Inc.” is a very funny parody of that overplayed Soul Asylum song “Misery.”  It’s a very funny song about syndicated TV shows.  “I Remember Larry” is a pretty funny original about a prankster, although it’s the weakest song on the album.  “Phony Calls” is a parody of TLC’s “Waterfalls” and it’s pretty funny (especially hearing Al do TLC vocals).  The parody works pretty well, and it’s certainly helped by the sample of Bart and Moe on the Simpsons.  “The Night Santa Went Crazy” is a pretty funny twisted take on Santa.

This album is definitely one of his best.  Just about every song is a winner.  And it’s his best-selling album too.

[READ: February 22, 2013] Captain Underpants and the Revolting Revenge of the Radioactive Robo-Boxers

Clark was pretty excited when this book came out.  He had just finished up book #7 or 8 when the book was published.  And so it didn’t take too long for him to get caught up with the series.  I was also pretty lucky to have just finished book nine so this “last” book (although not really) was very well timed.

When we left off in Book Nine, Tippy Tinkletrousers had inadvertently destroyed the earth and the giant zombie George and Harold were stomping through the town.  And, shockingly, they had just crushed Tippy in his robo-pants.   But as this book opens, Pilkey gives us the truth about zombies.  They are really slow.  So slow that Tippy was able to get out of the way of the giant foot (and do lots of other things) and put a giant ketchup packet under the foot so it got squished instead of him.

The rest of the book is simply chock full of time travel, overlapping people and all kinds of paradoxes.  I have to wonder if Clark got it, but he just read it again and he did seem to have decent understanding of what happened. (more…)

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stringer SOUNDTRACK: HAIM-“Falling” (Live at SXSW, March 17, 2013).

haim

Haim are three sisters and a drummer.  The sisters play guitar and sing, play bass and percussion and play keyboards.  And yes, they look a lot alike (an a lot like Alanis Morrissette).  But they sound very classic rock–kind of like Heart, with a more modern, noisy twist.

I didn’t really care much for the sound of this song–it seems kind of anemic to me.  The sisters are all quite talented and when the lead singer/guitarist started wailing they were really good.  But the overall feel of the song seemed more high school than rock show–like they couldn’t get the mix right, like the keyboards (which were little bopping notes, rather than waves of music) were the main force behind the song–which I don’t think is true.

Maybe they’d sound better on record, or if they had a better mix on stage.

[READ: March 26, 2013] Like Shaking Hands with God

I had been reading a lot of Vonnegut, but I got a little burnt out by him.  However, when I was checking his bibliography all those months ago, I found that Princeton University had a book that I couldn’t find anywhere else.  Well, given my new employment situation, it was time to take advantage of that connection.  So I went to the Firestone library and grabbed this book (and a few others that I didn’t see elsewhere).

It’s a lot of fuss over an 80 page book, but I’m glad I read it and it did get me back in the mood to read more Vonnegut (I have five books of his left to read, although I believe more posthumous stuff seems to come out all the time).

This book is essentially a transcription of two conversations that Vonnegut had (one public and one private) with the author Lee Stringer and the moderator Ross Klavan.  The first conversation occurred on October 1, 1998 at a bookstore in Manhattan.  The second was a private affair in January 1999  (which was of course, recorded), in which they followed up on some of the same ideas.

Stringer had written one book (Grand Central Winter) when the first conversation took place (he has written two more since).  Stringer says he always admired Vonnegut and Vonnegut talks about how much he liked Grand Central Winter (which Vonnegut wrote a forward to).  GCW is nothing like Vonnegut’s books, it is a serious book about being homeless (Stringer himself was homeless for a long time) and it is real and gritty.  It sounds good, although maybe a little too gritty and real for me. (more…)

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SOUNDTRACK: ALANIS MORISETTE-Jagged Little Pill (1995).

In this book, DFW considers himself to be absolutely useless when it comes to music.  He doesn’t know anything at all.  He says he listens to Bloomington country radio stations until he can’t take it anymore and then he switches over to the alt rock station.  He’d never even heard of Nirvana until after Cobain’s suicide.

And so, the soundtrack for the book is R.E.M., Bush (two songs) and Alanis.  In fact, there’s a surprisingly long section devoted to Alanis in the book, including DFW’s admittance that he would love to have a date with her for tea.  He admits that she is pretty much manufactured angst and yet there’s something about her that he finds irresistible.

At this stage (2010), the whole Alanis thing seems almost adorable in it’s “controversy” or “hype” or whatever.  It’s still hard for me to be objective about the quality of Jagged Little Pill (I mean, Flea plays bass on it so it must be good, right?).  I really enjoyed it at the time, perhaps because of its rawness or its honesty (which was pretty novel at the time, especially from a woman), all packed in a clean production of course.  There’s also something weirdly appealing to me about her (really not very good) voice.  She seems just off enough for all of this to be really sincere.

And of course, the nastiness of “You Oughta Know” was pretty astonishing for pop radio at the time.  True, there’s songs on here that make me cringe now (there’s a lot about her that makes me cringe) and yet there’s still some really enjoyable stuff here.  Even the perennially mocked “Ironic” for all of its flaws has a stellar chorus.

Now that the “women in rock” phase of alternative music has passed, there’s very little music like this being made anymore.  So it’s kind of fun to reminisce about this stage of my musical life, warts and all.

Oh, and by the way, I also grew up watching Alanis on “You Can’t Do That on Television,” so it was pretty exciting to see a child star that I knew make it big.

I never liked Bush though.

[READ:April 21, 2010] Although of Course You End Up Becoming Yourself

As I mentioned, I was super excited to get this book and I treated it like the artifact it is: trying to read it in one sitting (impossible) or at least in as compressed a time as possible to preserve the stream of consciousness attitude of the book.

For, as the subtitle doesn’t quite state, this is five-day conversation between David Lipsky and David Foster Wallace.  The tape recorder was running for most of these five days and what we get is a literal transcript of the conversation (with much of Lipsky’s parts excised).  It is an all-access pass to the mind of the man who wrote Infinite Jest as the hype of the book was really taking off and as his brief promotional tour for the book was winding down.

Lipsky was (is) a reporter for Rolling Stone. DFW’s Infinite Jest was the huge media hit (#15 on the bestseller list) and the hype was outrageous.  DFW had begun a (sold out) reading tour which actually began the day before the book came out, so he rightfully notes that no one could have actually read the book by then, they were just there because of the hype.  And Lipsky himself is part of this hype.

Lipsky was sent to do a profile of the wunderkind, literature’s next great hope (RS hadn’t (hasn’t?) covered a young author like this in a decade at least).  The idea was that Lipsky would tag along with DFW, go to the last readings on the tour, an NPR interview, and spend most of their time together: planes, rental cars, hotel rooms, etc generally just hanging out with tape recorder running. (more…)

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