25 March 2006

let's go karaoke!

Been really busy this month so I'm just gonna let the songs speak for themselves...or not. Here are a couple of instrumental versions of popular songs by The Smiths and Chris Isaak, two all-time favorites of mine. See if you can find your way around them. This Charming Man is tricky, but you'll catch up. Lyrics below.

this charming man : new york instrumental : the smiths
click here or on the album art below to listen.


This Charming Man

Punctured bicycle
On a hillside desolate
Will nature make a man of me yet ?
When in this charming car
This charming man

Why pamper life's complexities
When the leather runs smooth
On the passenger seat ?

I would go out tonight
But I haven't got a stitch to wear
This man said "It's gruesome
That someone so handsome should care"

A jumped-up pantry boy
Who never knew his place
He said "return the ring"
He knows so much about these things
He knows so much about these things

I would go out tonight
But I haven't got a stitch to wear
This man said "It's gruesome
That someone so handsome should care"
Na, na-na, na-na, na-na, this charming man
Oh, na-na, na-na, na-na, this charming man

A jumped-up pantry boy
Who never knew his place
He said "return the ring"
He knows so much about these things
He knows so much about these things
He knows so much about these things

wicked game : instrumental : chris isaak
click here or on the album art below to listen.


Wicked Game

The world was on fire
No one could save me but you.
Strange what desire will make foolish people do
I never dreamed that I'd meet somebody like you
And I never dreamed that I'd lose somebody like you

No, I don't want to fall in love
(This love is only gonna break your heart)
No, I don't want to fall in love
(This love is only gonna break your heart)
With you
With you

What a wicked game you play
To make me feel this way
What a wicked thing to do
To let me dream of you
What a wicked thing to say
You never felt this way
What a wicked thing to do
To make me dream of you
And I don't wanna fall in love
(This love is only gonna break your heart)
And I don't want to fall in love
(This love is only gonna break your heart)

Nobody loves no one

17 March 2006

i hope this doesn't become a habit

I'm posting a couple of songs again sans commentary. I'm flying tonight to read at a wedding on Sunday, and then on Monday for business. See you all when I recover from this torture. Have a great weekend.

when finally set free : copeland
click here or on the band image below to listen. 3m 55s

A near perfect ambient/alternative rock song. I don't like the effete Death Cab For Cutie-sounding vocals. Other than that, it's a great one. Brave, kick-ass, start-up-the-engine intro.


a single wish : this mortal coil
click here or on the album art below to listen. 2m 27s

A song from 1984. Speaking of weddings, with its title and the way it sounds, this song could be a good background music for a wedding toast. Except that the lyrics toward the end says "It will all end in tears." Ha!

12 March 2006

my soundtrack to sydney

ibi dreams of pavement : broken social scene
click on the image below to listen

I'm posting this song as my soundtrack to my visit to this great Australian city because I saw these guys live at The Metro on March 4th, right after the famous Gay and Lesbian Mardi Gras parade. I didn't know they were playing; I was just walking down George St earlier that day when I saw their gig poster. I don't particularly like the band, which is actually an ever-changing collective of Toronto musicians led by vocalist Kevin Drew. I thought their only album that I have, the eponymous Broken Social Scene, is so technically contrived that it rendered the vocals – which are weak to begin with – nearly incomprehensible. It seems to me that each instrumentalist was playing so self-consciously that they completely lost coherence – and you can sense this immediately in Ibi Dreams of Pavement (A Better Day). Whether or not all that is deliberate, the album makes for a cacophonous listening experience, which is a shame because each song is rhythmically promising.

The concert – check out someone's flickr pictures of it here – did not change my mind; it was just as I described the album above. That didn't stop me from enjoying the live performance, though. There must have been 12 or 13 musicians that night, 10 of them on stage at any given time – two drummers, three guitarists who also play the trumpet, one bassist, one violinist, Kevin who also does guitar and keyboards, a saxophonist and a trumpeteer, plus two or three females doing the occasional lead and harmony vocals. For a group that has a very short discography, they basked in the warm welcome of the mostly teen-aged Sydneysiders and played for two-and-a-half hours, with Kevin jokingly telling the crowd not to leave yet because they had more songs in store. It was the last of their Australia tour and they were intent on having a good time, which they and everyone in the audience sure did. A few songs stretched beyond 10 minutes, including the rousing finale It's All Gonna Break. That to me was the highlight, as well as the Joplinesque Anthems for a Seventeen-Year-Old Girl and the crusty Superconnected. I played the album on my iPod for practically all of the next day.

11 March 2006

a visual impression of sydney

Click here to listen to my Sydney soundtrack and here to read my post about it.

That was fun! It was my first visit to Sydney, in fact to Australia. It was only when a work-related trip was confirmed that I realized I had no idea what the city was like. Unlike other major world cities, I had absolutely no mental picture of it other than the famous harbor with its Opera House and the Harbour Bridge. In many ways, it was a good thing because I had no expectations, and when you have no expectations, you can be easily pleased. But I was more than pleased with Sydney, in fact I was blown away. Beyond the harbor, it has a mixture of 1) understated charm in its tree-lined streets with al fresco dining, hidden gardens with lazy sunbathers, and characterful suburbs with interesting subcultures; and 2) a big-city vibe with its outrageous gay and red-light districts and dizzying shopping streets, populated by an ethnically diverse population that rivals anywhere in the world. Not to mention the beaches – take a short bus ride from the city center and you can spend an entire afternoon people-watching at Bondi Beach, or catching the waves at any of the breathtaking Northern Beaches. For these reasons, Sydney struck me as being homey – the city has a very high livability factor for me. I was there for five days, two of them on business, and this is my impression of it in three plus plus days.


sinfully red in goulburn st
No, I didn't go inside, but I saw an old tourist couple, each about 75 years old, step out of this shop and it turned out that they were staying in the same hotel in Darling Harbour as I was.


feeling the love in hyde park
I got to Sydney on the day of the Gay and Lesbian Mardi Gras parade. (It was actually a Saturday, but Samedi Gras doesn't sound right, does it?) To void having to crane my neck amid the 700,000 other tourists who went to see the event, I got a reserved seat (a A$103 damage to my wallet) at the southern end of Hyde Park. We had our own mini concert before the event, when this picture was taken. The paraders and the floats were unsurprisingly fabulous, but my favorite was the mostly middle-aged Federal Police who paraded in their pale blue uniform, holding hands with their equally butch-looking partners.


bondi dude
Bondi is not the place to go if you want to read a book by the beach – it can be crowded and the vibe of surfers and sunbathers is too infectious. It's a place to see and be seen.


i wanna be jack johnson
Taken from the northern end of Bondi Beach. To the south is the short but wide Tamarama Beach, and further down, the more family-friendly Bronte Beach. It's a good four-kilometer walk from end to end – very rewarding especially if you do it late in the afternoon when you can enjoy moments of solitude with an arresting view of the Pacific Ocean.


love to love you baby
A couple, probably still in dating phase, enjoying the sunset over Tamarama Beach. I finished my Bondi-to-Bronte coastal walk with a beautiful dinner at Brio, a seafood-and-vegetarian Mod Oz restaurant along Bronte. I had a red-beet salad, green-peas-and-mushroom risotto, and a very generous glass of Pinot. The salad was huge and the risotto this close to perfect. The staff was fun too – the waitress was a chatty Eastern European (I can't remember which country, but "not Russia," she said) hopping from table to table, constantly interrupted by a broken Billie Holiday CD. At the table across from me was a young googly-eyed Italian couple who each ate with one hand because they were holding hands the whole time. I bet the rest of their evening was more exciting than mine – I went back to the hotel with a throbbing head, thanks to the strong wine.


a diva of a building
I saw my first opera at the Sydney Opera House. It was Madama Butterfly by Puccini, presented by Opera Australia. I was a bit underwhelmed by the performance of the singer who played Pinkerton, and I was thinking maybe I just didn't know how to appreciate the art yet. During curtain call, however, the old man right behind me, and a few others at the back, booed the male lead. I felt sorry for him because the rest of the cast was very well received. I got in out of luck – the opera was almost completely booked for its entire run, and mine was the last seat available for that day. It cost me A$177, but I can't complain.


a looming presence
Taken from the observation deck above the row of quayside restaurants at The Rocks. I promised myself to do the three-hour Bridge Climb or the shorter Pylon Lookout climb, but I just didn't have the time. I caught the Saturday market at The Rocks, and it didn't give me a very good impression of the oldest, colonial-era part of the city. It's all tourist fare – the shops, the pubs, and the market itself. I guess had I walked beyond I would've seen the more authentic parts of this cobbled neighborhood where the Europeans first settled.


dream of the humping turtles
Taken from the same observation deck. It's above a fancy Mod Oz restaurant in The Rocks called Quay, where I had the priciest vegetarian dinner ever: A$102 for a fig salad, a polenta with zucchini, and a glass of Riesling. I was having a quiet dinner by myself with a view of the Opera House right in front of me and the bridge to my left, until a group of five young MBA types sat at the table next to mine. Dominating the conversation with his loud voice was an American who I guess studied in the UK because he kept referring to university as "uni." A Bostonian, he was recently married to a New Yorker from Ellis Island named Ellen, and has a brother Scott who works at PwC, apparently in Sydney because Scott flew all the way from Sydney to attend his wedding. At one point, our hero asks the sheila, "Do you use the word lettuce in Australia?" To which she replies, "Yeah, although when I hear lettuce I don't normally think of, you know, rocket, just the normal one," with her palm up and slightly curled, as if holding a cabbage. Moving on...


whoosh
Skateboarders breeze past a relaxing tourist in front of St. Mary's Cathedral next to Hyde Park. There is an overrated Chinese vegetarian restaurant at the Cook and Phillip Park across the church, called Bodhi. I had spring rolls and a mock Peking duck for dinner, and it was nothing more special than the mom-and-pop lunchbox corner shops selling similar fare in Chinatown. Maybe I just didn't order the right food. The cool decor and outdoor seating, however, were really nice.


smooth sailing
A perfect day for a quiet sail in the Northern Beaches. A drive around this part of Sydney was the highlight of my trip, thanks in large part to an Internet friend whom I hadn't met before, but who had the kindness to spend a good part of his day to take me to its best parts. Sydneysiders are so blessed to have such natural beauty at their doorstep – and there are 14 of them!


palm calm
This is Palm Beach, the northernmost of the beaches, and I think one of the longest too. One great thing about Sydney's beaches is that they're not just long, but most of them seem to slope very gradually too. Also, the beaches usually have a pool with seawater where families can introduce kids to swimming, and where the elderly can still enjoy the beach atmosphere without losing their dentures getting overwhelmed by the waves. Very thoughtful.


birds beach buddies
You got your friends, you got the beach, you got fish, you got all you need. This one's from Whale Beach. With its prime views, owning property in the Northern Beaches is apparently a very expensive proposition.


room with a view
A couple enjoying the view of the city skyline from Sydney Harbour National Park, north of the Harbour Bridge. Apart from its huge parks like Hyde and the Botanical Gardens, the city has lots of green spaces and plazas you could just stumble into to find sunbathing locals sharing the space with map-reading low-class backpacking loooooosers.


work those abs
Crunch time at Hyde Park.


hop on hop off
Like every major city, Sydney has tourist buses that take you to the top attractions in about a couple of hours.


just two final beach shots
The tucked-away Turimetta Beach, a short downhill walk off the main road. The most popular of the Northern Beaches is no doubt Manly, the southernmost, and having a drink at the wharf is probably the best way to end a trip in this part of Sydney, just before catching the half-hour ferry ride back to Circular Quay which gives you an unbeatable view of the Opera House and the Harbour Bridge.


can't wait to go back
With proper swimming attire.

03 March 2006

off to sydney i am i am

I'm flying to Sydney in four hours. I haven't packed yet, so I'll just leave you with a song from my favorite Aussie band, The Go-Betweens. This song is especially for those who visit regularly – you rock! Oh and also here's a Spanish pop ballad I'd been meaning to post but keep forgetting to. It's by Laura Pausini, an Italian singer who won this year's Grammy for best Latin pop album. Other than having a powerful voice, she's also quite yummy.

rock and roll friend : the go-betweens
click on the band pic below to listen. 3m 33s


como si no nos hubieramos amado : laura pausini
click on her pic below to listen. 4m
the title translates to as if we never loved each other

25 February 2006

coldplay and immy for a saturday night

white shadows : morgan page bootleg remix : coldplay
click on the image below to listen. 8m 24s

My first and probably last Coldplay post. The anti-Chris Martin campaign has infiltrated my brain. I think Mr. Paltrow has a really annoying face and can't shave to save his life. Besides that, I really have no strong feelings about the band. I liked the first album, listened to the second a few times, and couldn't get myself to pick up the third. It was only the completist in me that finally made me buy X&Y a couple of weeks ago. Blah, tired and tiresome. Which is why I'm excited to share this remix with all you wonderful people. Morgan Page is a brilliant young DJ from Los Angeles, and Cease & Desist is his latest work of bootleg remixes of big-name acts, from Coldplay and The Kills to David Bowie and Morcheeba. Morgan's claim to fame is the remix of the song Angel by Wax Poetic, featuring the vocals of Norah Jones. The band and the singer loved the mix and put in a good word for him with Atlantic Records. Morgan has since recorded legitimate mixes – he has a few EPs on sale on iTunes – but still does bootlegs, and with White Shadows, he makes Coldplay listenable again.

hide and seek : morgan page bootleg remix : imogen heap
click on the hiawatha headdress below to listen. 6m 04s

At 24, Morgan has only a good future ahead of him. His mixes ooze with confidence. Every song in Cease & Desist is so polished and fluid that it's impossible to tell it's not the work of an industry veteran. Where Morgan excels is in his unpredictable choice of materials. The Kills! Tegan and Sara! Sam Phillips! I like what he does with Hide And Seek, an electroacappella – yeah, I made that word up – by British artist Imogen Heap, because like all of Cease & Desist, it's innovative, fresh, and original, which is kind of an odd thing to say about a bootleg remix. And what does Morgan have to say about it? “Actually, looking for permission to remix other people’s music is usually the worst thing you can do,” he tells The Boston Herald. “I admit I was concerned about a legal backlash at first, but I got so much positive feedback about these mixes – which were basically just taking up a lot of space on my hard drive – I felt like I had to release them. Nowadays, remixes are more of a marketing crossover tool than anything else.” Damn right. Tracks from Cease & Desist are playing on a number of radio stations, including KCRW.

Obviously, the album isn't available for sale, and you can no longer download it from Morgan's website. (It was such a hit that the downloads exceeded his bandwidth.) But you can sign up on his website and he'll e-mail you the whole album. I think. I actually found out about it when Morgan e-mailed me a link to the downloads. (So apparently he had visited this site...which shows how much good taste this guy has.)

19 February 2006

sinéad and matisyahu : two white takes on marley

war : sinéad o'connor
click on the image below to listen. 4m 06s

It wasn't a surprise to me when Irish singer SinĂ©ad O'Connor came up with a reggae album late last year. In one of the earliest interviews of hers that I read – and this was way back in 1990 when she burst into the charts, thanks to her cover of Prince's Nothing Compares 2U in all her glorious baldness – she said that Bob Marley was one of the people that made her want to be a musician. For a woman known for being daring, there was never any doubt she could and would do something reggae, and SinĂ©ad hinted at it around 1995 when she lent her vocals to the song Empire, written by Rastafarian dub poet Benjamin Zephaniah and produced by Bomb The Bass, a.k.a. Tim Simenon. And let's not forget when she sang War by Marley a cappella on Saturday Night Live in 1992 – a performance more remembered for her tearing a picture of Pope John Paul II and delivering the infamous line, "Fight the real enemy."


Sinéad has regeretted the act, so don't count on Pope Benedict being given the same honor should Sinéad ever perform the song in public again. In Throw Down Your Arms, her first album since her second retirement, Sinéad finally makes a proper tribute to reggae, and she fittingly caps the 12-song cover album with a new version of War. It's a faithful tribute, with near identical instrumentation flawlessly swirling around her never-do-wrong vocals. She changes the lyrics a bit, substituting "sisters in Africa" for "brothers in Angola" in the third verse. A feminist and human-rights advocate, Sinéad probably did that to stress not just the usual abuse that women everywhere suffer, but also to address female circumcision in some African societies, a practice done to suppress a woman's sexual desires and perhaps to also symbolize a woman's faithfulness to her husband. That slight change gave to me a new meaning to the phrase "sub-human bondage" in the same verse. Mad props to Sinéad for this work. I'm forever a fan.

chop 'em down : matisyahu
click on the image below to listen. 4m 03s

When you hear a lanky 26-year-old Hasidic Jew from New York singing reggae with beat-boxing and hip-hop twists, you can probably say you've heard it all. Matisyahu is Matthew Miller, who had had a non-Orthodox upbringing until he went on a school-sponsored trip to Israel. A big fan of Bob Marley with dreadlocks to prove it, Miller ended up staying for two years to deeply immerse himself in Judaism. He returned to New York at 19 with a big idea: to marry the sound of reggae with rhymes from his faith. It sounds like a joke, but Miller mastered it in a few years, and last year he announced his arrival with a new name and a debut ablum, Live at Stubb's, which received rave reviews. His new album, Youth, will probably take him mainstream. Look beyond the idea of a white man effecting a Jamaican accent (thanks to Sting, the association hasn't been positive) and you will find that his voice is not only powerful but also soulful. Like his onstage performances infused with madman vigor, Matisyahu's singing is compelling. Reggae has always been associated with resistance and dissent, but neither seems to be the subject of Matisyahu's music. In Chop 'Em Down, from the live album, he tells the story of Moses and Joseph, two unlikely people – both strangers in their kingdoms – who cleared their own paths to become leader or savior of their people. I love this line: Strange ways running through the maze, strange ways always lost in the desert trying to find your place. Matisyahu flies straight in the face of today's reggae artists, and that's a good thing. Watch an 11-minute short film on Matisyahu here, and an appearance on Jimmy Kimmel Live here.

16 February 2006

the evolution of david gray

lately : david gray
click on the image on the left to listen. 4m 13s
january rain : david gray
2m 44s

It took a while for me to fully appreciate David Gray's latest album, Life in Slow Motion. I bought it last October and had not listened to it again until about a week ago. Here, Gray eschewed recording in his basement as he had done for his six albums prior, and hired producer Marcus deVries, who has worked with Björk and Rufus Wainwright, to deliver this wannabe epic. The result is 45 minutes of music to scratch your head with and wonder what the hell happened. His formula of unadorned acoustics rolling with a drum machine worked for him very well. But probably because the air space for guitar-hugging singer-songwriters is getting crowded, Gray decided to go for the antithesis: a highly dramatic orchestral arrangement where his voice could soar higher than before. He drives this point with the funereal opening song, Alibi, which makes me draw some parallels with Agnus Dei, the opener of Wainwright's Want Two. Lately is probably the only song in Slow Motion that harks back to the old formula, which also makes it my favorite track. And just for good measure, I'm also posting the heart-tugging instrumental January Rain from his Lost Songs album. I think it was also used in Serendipity, the movie that helped popularize Babylon, from White Ladder.

07 February 2006

cover your head

every little thing he does is magic : shawn colvin
click on the couple below to listen

Okay, so we are still in the covers phase. Listen to this one by Shawn Colvin from her 1994 album Cover Girl, which came two years before she hit the big time with A Few Small Repairs. The original by The Police is still eminently better, but I like the simple, unpretentious arrangement of this version. In fact, it would take a major fuck-up for me not to like a professional cover of this song, which I love for its lyrics. I can even specify which line is my favorite: It's a big enough umbrella, but it's always me that ends up getting wet.

I find that line very graphic, and I take it almost in isolation from the rest of the lyrics. This may not be the intended meaning when Sting wrote it, but I think that line is a great analogy for someone who gives so much in a relationship but still ends up getting the raw end of the deal. And yet there he is, devoted as a dog. Another line I like from this song: I resolve to call her up a thousand times a day, And ask her if she'll marry me in some old fashioned way. I thought that was maddeningly obsessive, and I thought I was the only one who thought so, so imagine my surprise when that line was actually uttered by a stalker in a movie. Remember Conspiracy Theory? The paranoid Mel Gibson character recited that line to Julia Roberts in a train station, if I remember it right. And yet, it's Every Breath You Take that came to be known as "the stalker song."

02 February 2006

'tis the month of luuurve

Someone said in a comment here many months ago that most of the songs I post are full of depression and anger and I don't necessarily disagree. So for this month (um...maybe until the 14th) the theme of this blog is love: music for moments when your heart skips a beat. Starting with:

thinking of you : paul weller
click on the teddy to listen

It's a bit surprising to me that the prolific former singer and songwriter for punk-rock legends The Jam would turn to a Sister Sledge song for a pop ballad he could easily have penned himself. It's a good complement to You're the Best Thing which was a big hit for Weller's 80s band, The Style Council. Like any Top 40 cheeseball, this song is laden with clichĂ©s and cookie-cutter platitudes and promises – the part about his love being "fully equipped with a lifetime guarantee" always makes me laugh. But I like it. It actually makes for a good wedding song, which is sort of why I rediscovered it – a friend who got married last month asked me for song suggestions to play at his wedding. Enjoy the song.

30 January 2006

this is how he do it

tiny cities made of ashes : sun kil moon
click below left to listen. 3m 41s
tiny cities made of ashes : modest mouse
click below right to listen. 3m 13s

It's not often that you find a cover version of a song that's practically unrecognizable from the original. In most cases, what differentiates one from the other is the genre of the respective artists, like the White Stripes doing a demented rock version of Dolly Parton's country classic Jolene, or Skinny Puppy transforming Borderline by Madonna into an electro-rock travesty. Still, the rhythm, the pace, or sometimes both are usually the same, and anyone who knows the words would be able to follow. That's not the case with Mark Kozelek's cover of 11 Modest Mouse songs in Tiny Cities, his latest album under his band Sun Kil Moon.

Kozelek is not new to covers; he's done tributes to musicians as varied as John Denver, AC/DC, and Simon and Garfunkel. But this is the first time he took only one element of the songs – the lyrics – to create his own versions of them. In each song from Tiny Cities, gone are the electric guitars and Modest Mouse vocalist Isaac Brock's verbal vomit of philosophical thought. Kozelek placates them with his own brand of acoustic-guitar wistfulness and tempered, if slurred, singing. In some, he cuts the length of the songs down to a third. "If you listen to a song like Exit Does Not Exist, those words are coming out like an automatic weapon. It's really, really fast," he tells Pitchfork. "It's beautiful, but it's something that, if you're not into Modest Mouse, it's just going to go right by. I've slowed them down, and there's enough space in there that you can really hear what's going on. It becomes my own colors, you know?"

In Tiny Cities Made of Ashes – click here for the lyrics – what was menacing and foreboding has become a mixture of irony and resignation. It made me wonder, how many ways can the same set of words be expressed differently? If three different people sang Shakespeare's Sonnet 18 in three different ways, the outcome would probably be the same: they would all be sentimental and overflowing with love. With musicians like Kozelek, that may not be the case.

12 January 2006

she whose name must not be spoken

Been busy and lazy this past coupla weeks, though I've been listening to a lot of good new(ish) music lately, like the four songs below. Not much to say, really, but I thought posting songs with little or nothing to say about them is better than not posting at all. So here you go.

unsingable name : mike doughty
click on the image below to listen. 4m 17s



complicated situation : black rebel motorcycle club
click on the image below to listen. 2m 37s



over and over again : clap your hands say yeah
click on the image below to listen. 3m 09s



no woman no cry : jonathan butler
click on the image below to listen. 6m 05s

04 January 2006

happy new year all, and wish us well.

pocketful of rainbows : elvis presley
click on the image below to listen

For the reason I'll say in a while, I'm starting the year with a comfort song. With a title that suggests of childlike cheer, complete with pre-recording banter between Elvis and his producer, this song is so blissfully infectious it makes you want to reach into your pocket and hope to find something candy-colored. You also gotta love the man's voice here, playfully alternating three or more vocal ranges, which is so unlike the crooning Elvis we know from his more popular ballads. It's a comfort song for me because (much like comfort food) it's something I know by heart and that lightens up my mood. R, my significant other, and I could wrap ourselves with the warmth of this song for what we have before us. No, scratch that. We choose to be as optimistic as this song because of what lies ahead. Of her, especially.

Just days before Christmas, R was diagnosed to have breast cancer, and was told that surgery was need within about a month, which today means some time in the next couple of weeks. We're being very positive about it. R is very strong emotionally, more so than I am, I must say. Naturally, she was devastated at first, but my love and admiration for her grow everyday as I see how she deals with it with unflinching spirit, never losing her humor and grace, never shedding a tear or breaking her voice even as we speak about what she will go through in the next few days, and the weeks that will follow. Lumpectomy, radiotherapy, possible chemotherapy are words we never thought she would have to deal with. But we have accepted the fact and we're together in all respects in getting through this. This is just another trial which we have the strength and faith to bear. Our pockets are filled with rainbows, and our hearts are full of love.

16 December 2005

my last post for the year. maybe.

thank you : china crisis
click on mona below to listen

I’m blogging from the airport, waiting for my flight for a two-week break. I had planned a proper year-end post with my own list of the best songs of 2005 (everybody else does albums) but it looks like that will have to wait. The past couple of weeks have been quite hectic.

Looking back on the past year, this blog has been one of the highlights for me. I started it primarily as a very personal project – I just wanted to have a creative outlet. I write for a living and this is a good counterbalance to the kind of material I deal with every day. I enjoy sharing the songs I like, I enjoy writing about them (most of the time), and I’m overjoyed that nearly every visitor who sends feedback through comments or e-mails appreciates my posts. Hence, this song, by China Crisis. Best known for their 80s hits Wishful Thinking and African and White, China Crisis continued to produce songs through the 90s, albeit in obscurity. Thank You comes from their mid-90s album Warped by Success, which is an excellent adult-alternative effort that’s very different from their New Wave days. Enjoy the smooth vocals and soothing melody of the song, which is just the kind of sound we need for the holidays.

Have fun and enjoy the season, whatever it is you're celebrating. And have a great new year, too.

08 December 2005

this title will change

I wish I had the time to write more about the following songs. But I've wasted enough time surfing already and it's time to go to bed. Oh well. Enjoy.

burn that broken bed : calexico | iron and wine
listening time : 5m 06s

Listen to this song with noise-cancelling earphones. Burn That Broken Bed – and in fact all songs in In The Reins, a collaborative project of Joey Burns of Calexico and Sam Beam of Iron and Wine – is such an interplay of hushed vocals and instrumentations that the best way to appreciate it is in isolation in a dark corner of a room. Every lilt, pluck, beat and hum brushes like a young feather against your skin. This seven-song, 27-minute EP has been on repeat in my iPod for a few days now, and it only gets better each listen. Beam and Burns are (often wrongly) labeled as sadcore, but In the Reins is celebratory. A review from Pitchfork.

homesick : the finn brothers
listening time : 3m 48s

This is my anthem for the month. I'm flying home! I'll be reading at my best female friend's wedding on the 17th in a chilly mountain resort, and I will have the chance to go around before I see my family for Christmas and New Year. So I'm using the occasion to post this song by The Finn Brothers, the guys responsible for the great Crowded House. Whether solo, part of a group, or working with brother Tim, New Zealand-born vocalist Neil Finn has always written songs about journeys and coming home, no doubt because he has been in exile most of his life, in Australia where Crowded House hit the big time in the 80s, and then touring and recording everywhere since. Everyone is Here, for example, was recorded last year in LA. A review from The Guardian.

winter in the hamptons : josh rouse
listening time : 3m 08s

I like Josh Rouse. He's filled with goodwill. Winter in the Hamptons is probably the least country of all the songs in his album Nashville, which seemingly is a departure from his alt-country roots, but I love its mixture of energy and lethargy. Probably half the songs in the album show that Rouse doesn't always write the most interesting melodies, but he more than makes up for it with witty songwriting. My favorite line from my other favorite song, It's the Nighttime: And maybe later on/After the late Late Show/We can go to your room/I can try on your clothes. How fun is that? A review from Stylus magazine.

04 December 2005

sub-one minute stuff : interludes and fillers

click on the corresponding number for instant gratification!




1 : are you coming down this weekend? : his name is alive : 18s
2 : roi (reprise) : the breeders : 42s
3 : pantala naga pampa : dave matthews band : 40s
4 : germaine : sinéad o'connor : 38s
5 : go free : moby : 38s
6 : enormously wealthy : utah phillips : 43s
7 : country mike's theme : the beastie boys : 35s
8 : rollercoaster : shoestrings : 49s
9 : i'll kill ya : dialogue from lock stock & two smoking barrels : 42s
10 : parachutes : coldplay : 46s
11 : let's hear that string part again, because i don't think they heard it all the way out in bushnell : sufjan stevens : 40s
12 : like a virgin : dialogue from reservoir dogs : 58s
13 : dead duck : badly drawn boy : 46s

27 November 2005

three songs this weekend!

Click on the image below each title to listen.

aerial : kate bush
listening time: 7m 52s but well worth it

This is the title track from Kate Bush's first album in 12 years, and the one I love the most. Nothing should stop me from calling it a perfect album. It deserves all the praise it has so far received. Aerial is a deliberate work of sophisticated art. Every note, instrument and pause is arranged to fulfil both contrast and complementarity, and Ms. Bush at 47 has only matured with age, sounding more in control of her style and being more compelling in her songwriting than she has ever been. I can't think of any other artist who can sing the words "washing machine" repeatedly and convey the little tragedies of domestic life. Her greatest asset of course is her voice, which she uses in great variety in Aerial – from the anthemic highs and lows of A Coral Room, a solo piano number reminiscent of This Woman's Work, to the soft sensual warbling of Somewhere in Between. There is no dull moment in this album; just when you think a song has hit that point, as what happens halfway through Sunset, she picks up the pace and injects a dose of flamenco. In Aerial, the final song in the two-CD set, Ms. Bush pushes her talent for dance tracks that she has long demonstrated in songs like Heads We’re Dancing from the album This Sensual World. Here, she morphs into queen of trance, and closing your eyes while listening to its beat, you can imagine yourself being slowly lifted off the ground, shutting off external noise that when she sings "I can't hear a word you're saying," you can feel exactly what she means. The original is great in itself, but Aerial is just begging to be remixed...

vox : extended version : sarah mclachlan
listening time: 6m 50s

...which reminds me of Sarah McLachlan, who isn't new to remixes. In fact, her last album of originals, Afterglow, is now sandwiched between two albums of remixes: Remixed from 2003 and this year's Bloom, which digs deeper into her short but distinguished discography. The former is tolerable; the latter is just awful, especially because it butchers some of her best songs, like Vox. With the exception of Dirty Little Secret done by Thievery Corporation, Bloom reduces her songs to nothing more than the babbling of a woman with a fine voice, then muffling them with relentlessly pounding beats or pointlessly looping them with pointless echoes. Did I just say pointless twice? I guess I can't stress that enough, and that is why I'm posting this early remix of Vox, coming from her album Rarities, B-Sides and Other Stuff. It is invigorating, as opposed to numbing, which is what Bloom is.

bedtime story : madonna
listening time: 4m 53s

Now I'm posting Bedtime Story because for some reason Aerial also reminded me of this song. Well, I guess not just for some reason. It's also a beautiful trance/electronica track, done to perfection with production by Bjork. This is how it should sound if Kate Bush's song were to be remixed. Bedtime Story comes from Madonna's underrated album, Bedtime Stories, which is her transition from I'm-here-to-shock-you (Erotica) to take-me-seriously (Ray of Light) diva. Unfortunately, everything after Ray of Light has been downhill, and even her fine physical form in the video of Hung Up can't mask the fact that she's past her prime. As I've said somewhere here before, Madonna can't hold it on her own anymore, and her sampling of ABBA is just a more creative variation of her onscreen liplocking with Christina Aguilera and Britney Spears. And to think she's the same age as Kate Bush.

Feel free to agree.

Artwork for Kate Bush and Madonna came from New York Magazine. I normally use publicity shots for this blog, but this one seemed convenient.

24 November 2005

i would like to thank the academy

be thankful for what you've got : massive attack
click on the slogan below to listen

Not being American, I don't celebrate Thanksgiving, but let me use the occasion to post this song anyway. This is Massive Attack's cover of the 1974 R&B hit by William DeVaughn. The song appears on their 1991 debut album Blue Lines, which is widely acknowledged to be one of the first manifestations of the trip-hop genre. I've never heard the original, but this version suits me just fine. There's nothing trip-hop about it if you came to know the genre from mid-90s Portishead or Morcheeba. In fact, vocalist Tony Bryan is sounding very Marvin Gaye-ish here, singing in falsetto almost all througout while remaining assuredly masculine. It's sincerely soulful and lavishly luscious, which is kind of weird considering there is nothing sensual about the lyrics. Then again, Marvin Gaye does the same with What's Going On. Anyway, as the title suggests, the song is about letting go of material desires when what you have in your hands should suffice. Although it's really just about DeVaughn sourgraping over a car he couldn't afford. On a more serious note, it may not be entirely true that I don't celebrate Thanksgiving. Although there are no turkeys involved, it does make me aware that perhaps I should spare more than just a moment to take stock of the good things that have happened to me in the past year, and here are five that top the list, which aren't all this-year specific:
  • Staying healthy. I've never been hospitalized in my life, and I plan to keep it that way.
  • A family I can always turn to, even though I don't call them often enough.
  • A job that I like and where my work is appreciated. I think.
  • The opportunity to travel and see places that awed me as a child. This year, they were the Taj Mahal and the Leaning Tower of Pisa.
  • Just being here in Hong Kong, where I find something stunning everyday despite having lived here for over five years now.
And what are you thankful for?

16 November 2005

jai guru deva om

across the universe : the beatles
click on the guitar man to listen

This is for my dad, who would have turned 55 today. He was a huge fan. I can't listen to a Beatles song without being reminded of him. Growing up, it seemed to me as if every sober moment of his life was spent listening to them or playing their songs on his guitar. He loved Abbey Road more than Revolver. He would criticize anyone who ever covered Help! He would carry my little sister and sing And I Love Her. And I would be jealous.

13 November 2005

photodump!

pictures of you : the cure
click on the icon below to listen while browsing my pics!

I'm dumping pictures I've stored in my cell phone since I bought it about two years ago. It's an old SonyEricsson T610, so the resolution isn't great. Save for the two Hong Kong pictures, these are mostly from my travels, which is about the only time I remember to use the phone's camera feature. Meanwhile, enjoy the song, one of my favorites from The Cure, definitely one of the best bands to ever walk the earth.


This is the door to Casa Mila, or La Pedrera, Antoni Gaudi's last civil work prior to dedicating his life to La Sagrada Famiglia in Barcelona. During his golden period (1892-1914), Gaudi drew inspiration from natural elements, which is why you will hardly see any straight line in most of his work. This main door, for example, is supposed to resemble a spider's web. Taken in December 2003.


Obscene, immoral, depraved stuffed toys waiting to be won in Ocean Park, Hong Kong. Taken probably around this time in 2004.


My favorite dish at Restaurant 369 along O'Brien Road in Wan Chai, Hong Kong. The first time significant other and I ate there, I frowned upon seeing not too many vegetarian options. The waiter probably saw the knot in my eyebrows, and said the kitchen could prepare this off-menu item for me. It's diced tofu fried with noodles, chili, and salt and pepper. Taken some time early this year.


Chastity: I know you can be underwhelmed, and you can be overwhelmed, but can you ever just be, like, whelmed?
Bianca: I think you can in Europe.
-- From the movie 10 Things I Hate About You
The Leaning Tower of Pisa, Easter 2005. I was whelmed.


The first picture I took with the T610. Need I say more?


This fish has a story. It was significant other's dinner in Phuket three nights before the tsunami. We were there when it happened. I have pictures online, but I can't find the link.


My dinner on the same evening in Phuket. They do all sorts of crazy stuff with fried rice in Thailand; sadly they lack creativity with the vegetarian kind. So I asked them to put lots and lots of cashew in it. And cashews were given unto me. Yum.


Taken at the beachfront of our hotel in Koh Samui, Thailand, Easter 2004. We stayed at a nice botique hotel called Muang Kulaypan, which has a minimalist landscape, the highlight of which is a striking black-tiled pool.


Cable car along Powell Street in San Francisco. This, along with the ones that follow, was taken in September 2003.


You can't see it properly, but this is the world's crookedest street.


Houses photographed from a street corner in the Haight-Ashbury district. I love that place, especially because there's an Amoeba there. And lots of Mexican restaurants. And vintage clothes. And bookstores, including an anarchist one.


From a mural of rock stars along Haight Street.


One dreary afternoon at Fisherman's Wharf.


Cafe Tacuba in concert at The Fillmore. I've already written about it here, where you can also listen to a couple of their songs.

What have you taken with your camera phone?