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  • Last.fm Countdown

    3 mai 2011, 23h07m

    It’s a race against time to achieve 200k scrobbles by the end of my birthday, May 7, for no particular reason. What else is there to do?

    Lengthy albums will assist in the final push of 800 scrobbles (Residents, Minutemen, etc). Even with the minor cheating, I’d bet against me.

    Place your bets here (when will I hit the 200k goal: date, time).

    Incentive to participate: if you’re right, and I don’t make this unreasonable goal, you choose the music-related penalty.

    For instance, if your guess is closest, you could suggest things such as:

    1) No listening to music for an entire day (no longer, be reasonable).
    2) Suggest an album that I MUST listen to before anything else (anything, even
    if it’s torturous like Justin Bieber, Nickelback or a kid’s soundtrack).
    3) Listen to a single song twenty times to screw with my last.fm stats, and
    make it appear that I REALLY like that one song.

    Naturally, you can choose one of these, or suggest your own idea.

    Lastly, to put your advantage into perspective: last.fm says I average 107 tracks per day. I’m aiming to reach 199,300 by bedtime. This means I would need to average 175 scrobbles for four straight days (68 tracks more than daily average).
  • A Vinyl Start (a modest list of what I own).

    12 mai 2008, 17h21m

    My collection on vinyl, in order of acquisition:

    Side note: Groupings of albums imply they were purchased or ordered at the same time.

    JFK Memorial Album (my grandpa's)

    Panda Bear- Person Pitch

    Radiohead- In Rainbows

    Born Ruffians- Red, Yellow and Blue

    Blitzen Trapper- Wild Mountain Nation

    Stars of the Lid- And Their Refinement of the Decline

    Talking Heads- Remain in Light
    The Shins- Chutes Too Narrow
    Spoon- Kill the Moonlight
    Junior Boys- So This Is Goodbye

    Built to Spill- Perfect from Now On
    Neutral Milk Hotel- In the Aeroplane Over the Sea
    Arcade Fire- Funeral, Cold Wind 7"
    Sufjan Stevens- Illinois
    Wolf Parade- Apologies to the Queen Mary
    Silver Jews- American Water
    The Mountain Goats- The Sunset Tree
    The National- Boxer

    Portishead- Third

    Fleet Foxes- Self-titled
    Wolf Parade- At Mount Zoomer
    Grizzly Bear- Yellow House
    Bob Dylan- The Freewheelin' Bob Dylan
    Silver Jews- Lookout Mountain, Lookout Sea

    The Fiery Furnaces- EP

    Dirty Projectors- Rise Above

    Wilco- Yankee Hotel Foxtrot

    Neutral Milk Hotel- On Avery Island
    The Strokes- Is This It

    Radiohead- Kid A, OK Computer, Hail to the Thief
    Why?- Alopecia
    The Walkmen- You & Me

    Radiohead- The Bends, Amnesiac
    Gang Gang Dance- Saint Dymphna
    Beach House- Used to Be 7"

    Deerhunter- Microcastle

    Q-Tip- The Renaissance
    Tom Waits- Mule Variations

    Neil Young- After the Gold Rush, Harvest
    Bruce Springsteen- Born to Run
    Joni Mitchell- Court and Spark

    Animal Collective- Merriweather Post Pavilion
    Fennesz- Black Sea

    The Velvet Underground- White Light, White Heat
    The Velvet Underground- Live at Max's Kansas City

    Department of Eagles- In Ear Park
    Department of Eagles- No One Does It Like You 7"

    Tom Waits- Blue Valentine

    Animal Collective- Hollinndagain (original LP, limited to 300 copies)

    The Pains of Being Pure At Heart- Self-titled

    Tom Waits- Alice, Blood Money
    Bob Dylan- Bringing It All Back Home, Highway 61 Revisited
    Talking Heads- More Songs About Buildings and Food

    Tom Waits- Rain Dogs

    Swan Lake- Enemy Mine
    Low- Things We Lost in the Fire

    Max Tundra- Parallax Error Beheads You

    Dark Was the Night
    Grizzly Bear- Live on KCRW 7"
    Godspeed You! Black Emperor- Lift Your Skinny Fists Like Antennas to Heaven
    The Microphones- The Glow, Pt. 2
    Sonic Youth- Murray Street

    Pains of Being Pure at Heart- Young Adult Friction 7"

    Kraftwerk- The Man-Machine

    Bonnie 'Prince' Billy- The Letting Go

    Animal Collective- Water Curses EP

    Animal Collective- Animal Crack Box (Limited to 1000 copies)

    R.E.M.- Document
    A Silver Mt. Zion- He Has Left Us Alone But Shafts of Light Sometimes Grace the Corner of Our Rooms

    Grizzly Bear- Veckatimest
    Beastie Boys- Paul's Boutique
    Phoenix- Wolfgang Amadeus Phoenix
    Doom- Born Like This

    Dirty Projectors- Bitte Orca

    Sonic Youth- The Eternal, Battery Park NYC (July 4th 2008)
    Yo La Tengo- I Can Hear the Heart Beating As One

    St. Vincent- Actor

    The Replacements- I'll Be You 7"

    LCD Soundsystem- Sound of Silver

    Fugazi- The Argument
    Bill Callahan- Sometimes I Wish We Were an Eagle
    Animal Collective- Strawberry Jam

    Woods- Songs of Shame
    Real Estate- Fake Blues 7"

    Cass McCombs- Catacombs

    Tom Waits- Swordfishtrombones

    The Beets- Spit on the Face of People Who Don't Want to Be Cool

    Air France- No Way Down / On Trade Winds

    Tom Waits- Small Change

    Jens Lekman- Night Falls Over Kortedala

    Big Black- Songs About Fucking
    Sufjan Stevens- Greetings from Michigan: The Great Lake State

    Why?- Elephant Eyelash

    The xx- xx

    Atlas Sound- Logos
    Bonnie 'Prince' Billy- I See a Darkness

    The Mountain Goats- The Life of the World to Come

    Mount Eerie- Wind's Poem

    White Denim- Fits (w/ Exposion as bonus)

    The Clientele- Bonfires on the Heath
    Girls- Album
    Leonard Cohen- Songs of Leonard Cohen, Songs from a Room, Songs of Love and Hate
    Cowboy Junkies- The Trinity Session
    Simon and Garfunkel- Bridge Over Troubled Water
    The Beach Boys- Sessions (two-record collection)

    A Sunny Day In Glasgow- Ashes Grammar + two 7" compilation

    Circulatory System- Signal Morning

    Tom Waits- Glitter and Doom Live

    Animal Collective- Fall Be Kind EP

    Tom Waits- Orphans: Brawlers, Bawlers & Bastards
    Tom Waits- Real Gone

    Spoon- Transference

    Beach House- Teen Dream

    Joanna Newsom- Have One on Me

    Surfer Blood- Astro Coast

    Joanna Newsom- The Milk-Eyed Mender

    David Bowie- Low
    Kraftwerk- Computer World
    Tom Waits- The Heart of Saturday Night

    Casiotone for the Painfully Alone- Vs. Children

    Galaxie 500- On Fire

    Tom Waits- Foreign Affairs
    XTC- Skylarking

    The Pains of Being Pure At Heart- Say No to Love 7"

    Beach House- Beach House

    Miles Davis- In a Silent Way

    The Walkmen- Lisbon & Weight on My Shoulders/Good Days Carry On 7"

    Women- Public Strain

    Deerhunter- Halcyon Digest

    Tom Waits- Closing Time
    Tom Waits- Nighthawks at the Diner

    The Hive Dwellers- Get In

    The Elephant Six Orchestra- "Welcome to Our Story" 7"

    The Dismemberment Plan- Emergency & I (reissue)

    Destroyer- Kaputt

    The Books- The Lemon of Pink

    The Mountain Goats- All Eternals Deck

    Harry Nilsson- The Point!

    Chad VanGaalen- Diaper Island

    Bill Callahan- Apocalypse

    Moonface- Organ Music Not Vibraphone Like I'd Hoped

    Elvis Costello- My Aim Is True

    Fugazi- Fugazi EP

    Shearwater- The Golden Archipelago

    Tom Waits- Bad as Me

    Sam Goodwill- History

    Destroyer- Destroyer's Rubies

    Dirty Projectors- Swing Lo Magellan

    Jens Lekman- I Know What Love Isn't
  • No alarms and no surprises in this Pitchfork 2007 review.

    20 jui. 2007, 22h07m

    Fri 13 Jul – Pitchfork Music Festival

    My most recent adventure included a healthy seven and one-half hour drive to Dekalb, Illinois to visit a friend and ultimately frequent Chicago for a weekend music festival they were throwing. By my calculations, the tolls alone ran me $17.70 one-way. So where was this money spent? Well, I felt comfortable accelerating at a breakneck speed of 80mph most of the way (apart from work zones and heavy traffic). One last note before I begin the musical assessments: Chicago is the antithesis of ultra-clean Denver, Colorado. I guess I'd live there if I had to since it is a booming center of the States, but I prefer Colorado.

    Why You Should or Should Have Went to Pitchfork Music Festival:

    1) Cheap water and Fuze (one dollar each). Average priced food vendors. Good beer and several shows would hand out water bottles before an act went on.

    2) Friendly fellows everywhere you go. I even engaged in what turned out to be one of the nerdiest conversations prior to Junior Boys hitting the stage. Oh, we touched on all the topics: Harry Potter (one girl was reading it), Lord of the Rings and Star Wars. Of course, there are always ignorant blokes at shows. Sure, we're all tiresome of the "I'm a small girl and should be escorted straight to the front of the stage" bit, but one guy was actually shoving and yelling at anyone who stormed the Girl Talk stage. Give it a break. It's just a guy and a laptop. Oh, and a dance party extravaganza.

    3) Small park. Distance-wise, the stages aren't far from each other. So, if you've decided to sacrifice one show to catch the next on the opposing stage, you can still enjoy the other act from afar. So, the two main stages are expertly positioned.

    4) The Twilight Sad was a great Saturday opening band. Sure, I missed the great Sonic Youth goodness that was to be seen the previous night. But you can't complain with the caliber of Saturday/Sunday acts. And the Twilight Sad was a great opener.

    5) Grizzly Bear have a knack for re-envisioning and reconstructing their songs while still retaining the harmonies we've all come to love. Sure, they aren't Mastodon, who managed to dominate the entire festival with their aggressive attack on our ears, but Grizzly Bear did masterfully branch out of the small, yet spacious, Yellow House recording to launch a massive outdoor attack. I would've liked to see Beach House, who were on the side stage, and it's quite odd that they'd schedule two bands similar in aesthetic within the same time slot. But, I had to hear my second favorite LP of last year in a live setting. I've heard many live or acoustic sets of Grizzly Bear's and they still managed to put a fun spin on some of their new songs as well as revitalize their older catalogue. "Little Brother" faired the best in its new shape and form. Also, even though it was expected, I did enjoy the "Deep Blue Sea" cover.

    6) I saw Battles from afar, but they were quite the act too. I'd definitely try to see them again. This bunch of sharp dressers is more than capable of replicating the complicated math rock stylings of their recordings.

    7) Iron & Wine reminded me of how much I enjoy their upcoming album, which finds some slight experimentation into electro-folk/folktronica at times. And, I must give it them the award for delivering the most surprising and the best cover of the weekend: "No Surprises" by the greatest band alive. I'm also happy to have heard one of my favorite songs by Iron & Wine, "Woman King".

    8) Clipse was my first hip-hop show, and I'm happy to report that. They greatly impressed me and seemed quite into being lumped in the Pitchfork lineup. I may have just joked around recently that nearly every hip-hop/rap act claims to be the best ever. You can't be a rapper without an ego. But when Clipse boisted that Hell Hath No Fury was the greatest album of 2006 despite what Pitchfork or anybody says, I had to smile at the obvious self-touting irony. I almost wanted to believe them for a moment.

    9) Girl Talk's show, along with Grizzly Bear (who made an appearance on stage for Girl Talk's remix of "Knife"), was certainly a Pitchfork highlight. Greg Gillis' exhibitionist antics were just the kick in the ass that the festival needed to end Saturday night on a good note. Unfortunately, Yoko Ono was the closing act and I sacrificed seeing Cat Power again (she was a highlight at Bonnaroo along with Andrew Bird, Radiohead and others). The supporting musicians were great, but I couldn't endure more than a few songs. You bet I wanted to, though, because of the .0028% chance that the special guest/s would be Paul McCartney. He'd then proceed to whip out his mandolin and proclaim, "Everybody gonna dance tonight." This, of course, didn't happen. And I didn't stay to see it not happen.

    10) Deerhunter was another great opener, being that they began sometime after 1pm on Sunday afternoon. They were even humorously and intentionally announced as Deerhoof instead. They Ponys were a fun post-grunge band that I don't care to listen to at home. Yet, they did score some cute points for the little kid with headphones, to protect his fragile ears, in the background playing the drums. I watched Menomena wow the audience for the second time this year, but this time far away at the front line of the opposing stage as I awaited Junior Boys.

    11) Junior Boys morphed slinky bedroom electro-pop into danceable, afternoon delight. Their forty-minute set floated by fast, but it was a welcome set from the band tha composed my third favorite album of 2006.

    12) Jamie Lidell was more bizarre than any of us that haven't seen his show could ever imagine. And, his music was much more adventurous than the pop incarnations on his album.

    13) Stephen Malkmus played Pavement tunes. I really wish I wasn't waiting in line for the port-o-potty and then in the food line. We all have basic body needs. But his solo set seemed that it would've been much more interesting than his Bonnaroo set with the Jicks last year. Damn me.

    14) of Montreal was up to their usual shenanigans. I still despise some of the extremely young crowd that this band seems to attract. But you can't argue with a new song, a fan-fave in "The Past Is a Grotesque Animal", a woman in gold, outrageous outfits, obscurity and a Kinks cover for an encore. I'm not much for gimmicks and the glittery glam rock, but the announcer was right about one thing: they did bring to the stage things we've never seen before at this music festival.

    15) The New Pornographers and De La Soul provided a fine close to a weekend of great acts. I may even find myself warming up to the new material of the Pornos. And, judging by the crowd's reaction, when they segued into "We Will Rock You", they probably should have won the award for most surprising cover song. Oh, and De La Soul reminded me of how much fun they can be. I seem to have forgotten that since I've aged and no longer listen to the Men in Black soundtrack or 3 Feet High and Rising. Oh, Pitchfork, you always leave me satisfied and smiling. Or, is that what she said?

    Maybe, because...

    What Pitchfork Needs to Improve Upon or They Will Remain Faults:

    1) Synaesthesia ran rampant among announcers and fans beginning with the pamphlet cover that read: Pour on the Music / Turn up the Beer. Crowd members even seemed to engage in the simple retooling of the senses. This is a petty nitpick, but I didn't enjoy it, damnit!

    2) We were in the shadow of the 1st Baptist Church, as one announcer so put it. And who wants to see that towering over them all day? By the way, the two announcers were both fantastic.

    3) Too few food vendors and port-o-potties led to extensive lines. I understand that this festival isn't even one-fourth the size of Bonnaroo, but even a couple more food vendors and maybe some expertly placed port-o-potties would quicken the pace. I'm not patient and I missed some of Stephen Malkmus because of you!

    4) The sound quality at some sets left some to be desired. Iron & Wine's set, for instance, was drenched in feedback while the rest of us endured it under the warm Illinois sun.

    5) The Balance stage was difficult to reach, not to mention countless threats of it being shut down before Girl Talk began. Apparently, they were concerned the fence would be knocked down and helpless hipsters would collapse into the busy street.

    6) Voxtrot was a disappointment, just like their first full-length. Sorry, guys. Even the announcer jokes were at their weakest when we were told to pick up after ourselves because we weren't raised by wolves. Get it? I'll be the encouraging parent that Pitchfork plays in their review of the self-titled album: better luck next time!

    Overall, the music festival was as warm and cuddly as the truck filled with stuffed animals that was leaking them all over the highway on our way back from Chicago. Sure, the festival wasn't as epic as 2006's Bonnaroo, but this is an impossible task- they didn't have a two and one-half hour Radiohead set. Better luck next time, Pitchfork! You know I'll try to be there. I'm still mad at myself for missing last year.

    Pitch-fork, top of the pops!
  • A synthesis of the three concerts of March.

    25 mars 2007, 4h28m

    Tue 6 Mar – TV on the Radio, Subtle

    So it has been a couple weeks since I saw TV on the Radio, and since then I've had my wisdoms plucked and I'm now regularly taking ibuprofin (800 mg) along with an anti-inflammatory medicine and sleeping potion at night. I assume these are to prohibit me from rising to action or rebellion as I am currently emotional. As to the reason why, I cannot say. It could be musing over me three missing teeth. But, I'd argue it's these tablets. It's always good to counter-attack pain with over-the-counter medicine. That's not to say these are hard drugs, I could've managed some of the same affect by means of consuming a bag of your standard 200 mg ibuprofin.

    Whatever, lets go back to TV on the Tuesday (March 6th). Not only was this Tuesday notable for an outstanding concert experience, but it may've also been the last time I'll see my Pennsylvania neighbor, Amy. After annoying her by following up Neon Bible with Battles' Mirrored, we couldn't have reached Agora in Cleveland any sooner. Subtle was the opening act and out of all the bands I've seen live this month, they are certainly win the most-bizarre award. Don't take this award lightly, you've bested of Montreal, friends. After speeding through some of their album fare, the lead-whatever-he-does (sing? rap?) interjects to supposedly clear up some of our curiosities; "If you're wondering what genre this is, I don't rap! I eat pussy and I kill people, and I'm all out of people." This is assuring. Fortunately for the audience, he gives us our fortunes, spouts advice, tells facts and asserts the world is full of interesting shit, namedrops Pitchfork and pretends to kill things.

    He claimed to have brought something he has killed recently, and I begin to cringe as he opens a box containing his kill. Instead of some grotesque road kill, we are treated to an hour glass. Great. We get it. You kill time. And so am I (on a shod review of your band). But you must commend them for their energy and originality. And, most honorably, they weren't completely overshadowed by the spectacular TV on the Radio performance that was to follow.

    Opening with "Young Liars" and eventually playing all four original EP songs, they consistently provided what seemed to be a fresh perspective on their studio output. Considering they played nine songs from the recent LP and only three from the previous LP (counting "Staring at the Sun"), they handled the new material with great vitality. Each song began with a smile of recognition on my behalf and although the singing wasn't as powerful as I thought it may be, it worked. Sure, it wasn't trip over myself incredible, but they succeeded in execution and by injecting the songs with an animosity not always prevalent in their albums.

    Their inevitable encore began with "Dirtywhirl", which was the closest they ever came to a'capella with its sweeping harmonies. The guitarist that resembles a beefed up member of Weezer would also add the windchimes that dangled from the head of his guitar into the mix. The two songs that benefited the most from live treatment were, in fact, "Dirtywhirl" and "Let the Devil In". The latter included the obligatory megaphone. And, I also must commend TV on the Radio for allowing "Staring at the Sun" to finally win me over as I had been previously skeptical of calling it one of their finest songs. I'm still not certain about the studio version, but live, it feels five times faster and twice as effective. Neglect the ill-advised math, I'm an english major that is speeding through this review so I can relax or catch up on classes.

    Mon 19 Mar – Of Montreal, Loney, Dear, Lonely, dear

    of Montreal Monday (March 19th) was memorable for being a brief reunion between my high school friend and fellow McDonald's coworker, Danny. Also, because Amy opted against attending this concert with me due to weather conditions and other matters, I spent the hour or show before departing for Cleveland searching for a replacement. Unsuccessful, I went to the show regardless with an extra ticket waiting at will-call. In a moment of impatience, I didn't even bother to try to sell the other ticket as I checked into the show at Beachland Ballroom and caught up with Danny and (his but not his) Amy. The end result is that I payed twice as much for a concert that contained twice as many young girls as both of the other concerts I attended this month combined. Loney, dear were the openers and they played a straightforward and ultimately wearisome set. Instead of solidifying their album as one I should return to, it only served to distance me from them and even pity them to a degree. In case you're unclear, this is not the response you hope to elicit as a band trying desperately to 'make it'.

    And after over an hour of talking before, during and after the opening act, of Montreal took the stage and the decidedly younger crowd took their positions. Staying just beyond or only slightly within the border of the mosh pit, or whatever it was, I enjoyed the show despite my displeasure with the crowd. Kevin Barnes easily won their affections in a set that largely consisted of Hissing Fauna hits, minus "The Past Is a Grotesque Animal" which I had bet a chocolate shake with Danny that they'd play. So, I payed twice the ticket price and twice the chocolate shake order to see one of my favorite releases of the young 2007 performed live. Ignoring pleas to 'get naked', Kevin Barnes and crew milked attention and adoration from the teats of the kiddies. But, the glam-fest wasn't put into proper context until their encore which began with a few more Hissing Fauna fare before developing into three final songs covering favorites from The Rise and Fall of Ziggy Stardust and the Spiders From Mars. Whether or not the young girls and boys considered them classic glam-rock or Hissing Fauna b-sides, it wasn't until this finale that I was won over. I had forgotten about the price tag, which is still considerably lower than any high-profile band, and the sold out venue. I left shaking my head, "Yes, that was still worth it." The night concluded with a search for McDonald's and a lonely, but steady drive home.

    Wed 21 Mar – Menomena, Field Music, Holly Golightly

    Two days later, I found myself back in Beachland Ballroom for yet another show: Menomena and Field Music (oh, and Land of Talk). And yes, this time I do not have a not-so-clever title, but this would've been a Wednesday (March 21st). Although I knew the show wouldn't sell out as of Montreal had, I was careful to arrive early with Nancy so we could both score tickets. Land of Talk's songstress shaked and quivered in place through their EP. Judging by their ages, this doesn't seem to be a band growing, but one seasoned and systematically failing to garner much attention. I'd argue that they'll continue this impression over the years as a band that can play a solid, if forgettable, show. Next up was the midget/British band Field of Music. Despite their overexaggerated physical shortcomings, they harmonized good times and efficiently replicated a collection of songs from both of their albums. It might've been due to my familiarity, but I enjoyed their show better than Land of Talk, yet Nancy wasn't nearly as impressed. I can understand her position, beyond the accents and the close proximity of their instruments (even including the drums being in the forefront instead of pushed to the back), there wasn't much to distinguish their performance from their studio efforts. And, by contrast, even though I listen to them more than Subtle, their show was overshadowed by the main act (Subtle wasn't overshadowed if you recall). After nary a dull or exhilerating moment, Field Music left the stage.

    Somewhat after eleven, Menomena take the stage and completely dominate everything on stage. I was careful so as to avoid touching the stage, although I could, for fear that I'd also become a mere tool for their musical domination. Being as all three are multi-instrumentalists and vocalists (a slight stretch for the drummer, but still applicable), they utilized every bell and whistle to its fullest extent. Keyboards, guitars and bass guitars, saxophones, drums and anything else laying around was capitolized to recreate the looping and layered sound of their two pop albums. Despite my surprise as they opened with "Wet and Rusting", it made sense. Each song thereafter worked to build on the tension from the crowd and strange, yet loveable, members of the crowd issuing odd requests such as, "Show us your dick!". The reply the man received was a reversal of the request. No, friend, show us your dick. This was a band that clearly enjoy their "jobs". The guy on keyboards constantly looked over to his bandmates impressed and amused. After playing a sold-out show in Chicago the day before, they were still overwhelmed by the gaining interest in their band. The Chicago show had opened with "The Pelican", which seems like a call to grab the crowd's attention from the start. In Cleveland, they seemed confident in their ability to build upon each song until their encore. After playing through nearly their entire catalogue of songs, the encore consisted of "The Monkey's Back".

    They neglected one of my favorites from the latest album, "Air Aid", but I was so amused during the show that I didn't even notice until the drive home. And during the drive home, I was so exhausted from my lack of sleep that I didn't notice the cop until his lights flashed. Yes, I had went left of center. And, yes, he let me go. I wasn't drunk, I was tired. It would seem that music takes a lot out of you.

    The best show might've been TV on the Radio, the best crowd might've been the one at Menomena, and of Montreal might've had the best encore ever, but this was one of the best musical months of my life. The only competition could come from last summer's Bonnaroo. I still resent the contrived nature of the 'encore', yet it's hard to argue that any of these shows weren't surprising and enjoyable ventures. So, what's next? Well, Battles is an option, but realistically it may be Yo La Tengo next month or maybe nothing much until Bonnaroo, which I had tickets for before the intial lineup. And during the time it took me to sprint through these reviews, I have gained some swelling. This I am not a fan of.
  • My Favourite Cover Songs (as I can recall them).

    19 août 2006, 18h47m

    Mostly alphabetical. No further explanation necessary. If you want to experience more of my usual insanity, stick to my myspace page. This is music, this is serious. Okay, not always. Nothing is serious with me. Seriously. Name the original artists and I'll love you. Really.

    Name the original artists without looking it up, if possible.

    1) Alien Ant Farm- "Smooth Criminal"
    2) Ben Folds- "Bitches Ain't Shit"
    3) Ben Folds- "Them That Got"
    4) Ben Folds Five- "She Don't Use Jelly"
    5) The Boy Least Likely To- "Faith"
    6) Cat Power- "I Found a Reason"
    7) The Decemberists- "Clementine"
    8) Fiona Apple- "Across the Universe"
    9) Rufus Wainwright- "Across the Universe"
    10) Gary Jules- "Mad World"
    11) Green Day- "I Fought the Law"
    12) Incubus (brandon boyd)- "Like a Virgin"
    13) Iron And Wine- "Such Great Heights"
    14) Iron And Wine- "Waiting for a Superman"
    15) John Mayer- "Kid A"
    16) Jeff Buckley- "Hallelujah"
    17) Rufus Wainwright- "Hallelujah"
    18) Johnny Cash- "Hurt"
    19) Junior Boys- "When No One Cares"
    20) Man Man- "I'd Rather Be Blind"
    21) Nirvana- "Lake of Fire"
    22) Nirvana- "The Man Who Sold the World"
    23) The Vines- "Ms. Jackson"
    24) Alex Greenwald from Phantom Planet and Mark Ronson- "Just"
    25) Phantom Planet- "Waiting Room"
    26) Rage Against the Machine- "How I Could Just Kill a Man"
    27) Reel Big Fish- "New York, New York"
    28) Rufus Wainwright- "King of the Road"
    29) The Shins- "We Will Become Silhouettes"
    30) Ted Leo- "Since U Been Gone"
    31) Ted Leo- "I'm Looking Through You"
    32) Third Eye Blind- "Train in Vain"
    33) Thom Yorke- "After the Gold Rush"
    34) TV on the Radio- "Mr. Grieves"
    35) Sufjan Stevens- "What Goes On"
    36) William Shatner- "Common People"

    and finally, one that's now out of place but i thought of it:

    37) Ben Folds& Rufus Wainwright(live)- "Careless Whispers"
  • The Strokes Questions (confusion).

    17 août 2006, 17h13m

    So, in 2003, I bought The Strokes ' album Is This Itfrom my local Circuit City store (also where I work). I didn't know this at the time, but technically the US version of this album is supposed to include When It Started as opposed to New York City Cops due to 9/11. So, I have the different artwork, granted. The back of the CD claims it's "When It Started" and itunes even recognizes it as this. So, why have I been listening to "New York City Cops" all of this time? I'm positive it's this song, instead. I just downloaded "When It Started", I hadn't heard it ever until today. It's not bad and I'm definitely glad I have "NYC Cops" instead. But, is this supposed to happen? Was this common? Did they start pressing copies that tagged the song as "When It Started" to avoid further troubles due to the line, "New York City Cops / they ain't too smart"?

    I wonder about the little things.

    As my dad always says, "Little things amuse little minds."

    Well, call me petty then. Just don't confuse me with Tom Petty. That's a crime, for sure.
  • Bonnaroo will be fun for me & you.

    12 juin 2006, 21h26m

    I write better blogs than I do journals (especially considering this is my first). But, I figure for anyone visiting Tennessee for the Bonnaroo festivus, you may be interested to note the killer bands I'm planning on scoping out (minus the sniper rifle). Here they are, the women of Tennessee. Erm, the bands...

    A Definite:

    Andrew Bird
    Ben Folds
    Devendra Banhart
    Death Cab for Cutie
    Cat Power
    My Morning Jacket
    Clap Your Hands Say Yeah
    Beck
    Radiohead
    be your own PET
    Stephen Malkmus
    Sonic Youth

    A Nice Second Place:

    Bright Eyes
    Tom Petty
    The Magic Numbers
    G. Love
    Lewis Black/ Patton Oswalt
    Elvis Costello
    Blues Traveler
    Gomez
    Mike Doughty's Band
    The Streets

    Cannot be DRAGGED to see/ will close my eyes, plug my ears and sing "la la
    la, i'm not listening":

    Matisyahu