Along with being a mouthful, Spoon’s Ga Ga Ga Ga Ga is a modern masterpiece. The oft-mislabeled as indie band from Austin, Texas managed to create an atmosphere on the album that unfolds much like its cover; unique little pieces for each arrangement culminating in a work more beautiful in the eyes of its beholders as a whole.
Spoon is headed up by the unique combination of songwriter/guitarist Britt Daniel and drummer/arranger Jim Eno and both play a distinctive part in the band’s sound. Spoon is no stranger to the headlines in the indie music scene, famously being dropped by their first major label, Spoon caught fire with their debut record A Series of Sneaks which contained two not so subtle digs at former Elektra A&R man Ron Laffitte “The Agony of Laffitte” and “Laffitte Don’t Fail Me Now”. Though they had previously echoed a sound made famous by groups like The Pixies and Wire, album by album Spoon whittled down their style bit by bit, making it into a modernist painting, an ode to the darkly tinged psychedelia that permeated The Beatles Revolver and The White Album. There’s a great argument to be made in how Spoon became more like The Beatlesthan their previous influences, there’s an equal, if not greater effort put into the song’s overall production rather than just the songwriting itself. Again like The Beatles, there are no flashy solos, no parts where the individual is recognized over the whole. This quality, most noticeable on this record, is perhaps what keeps Spoon going, there are no ego battles, just musicians focused on the music.
The original was a disco meets new wave stylized single, this cover breathes new life into the melody and arrangement with mandolins banjos upright bass and a sublime guitar solo. I’d never thought I’d hear a man cover Blondie so well.
I found this band by way of covers its lead singer (Eef Barzelay) had done. Yet this original shows they are capable of more than just cover band fare, like a less grating R.E.M. with some vintage Rolling Stones guitar thrown in, this song builds and builds, your enjoyment growing along with it.
Most of you might recognize this song as being in the Fender myTouch commercial, and its a sweet song. Clapton made a career of sunny eyed blues numbers like this, the hook is undeniable and the lyrics are heartfelt.
This song starts like a behemoth, the harmonies and organ and guitar providing an airy landscape, one of those songs meant for headphones, where you can be in your own world.
It’s a cover of a Ritchie Valens song, but this reading is so beautiful that it goes far beyond the label, the arrangement conveys heartbreak and the lyrics break your heart.
Both are masters of the laid back acoustic vibe, so its no surprise how the arrangement plays out, whats special is their harmony, tight and organic, you can tell these guys really respect each other and they play off each other really well.
I’m not one to give DMB credit where they’re not due but this song is great. The melody is classic, its sung beautifully, soft and understated with lyrics to match.
Phoenix covering one of the greatest songs Bob Dylan ever laid to tape, a late night brood of a song, they stay faithful to the original but its nice to hear someone else take it on.
Swagger, this band has it, from the arrangement to the singing down to the lyrics. Think of an updated version of Some Girls era Rolling Stones, except straight from the heart of NYC.
The Kooks had so much energy on their debut that it was no surprise success caught on quickly, but the Kooks aren’t a flash in the pan, their melodies are tight their dynamics are perfect and they single-handedly carry guitar rock on their backs with the riffs in this song.
Culled from the Curtis/Live album, MM S &W is a lesson in band dynamics with the drummer so deep in the pocket of the groove he makes Mitch Mitchell seem like an amateur, the harmonies are wonderfully placed with the guitar and this whole track just moves. The beauty of Mayfield isn’t that his melodys go to crazy places, its the movement and inspiration within them, and on those terms theres no one better.
Why this one in particular? In terms of its dreamy psychedelics and melodic fluidity, this song was the Holy Grail Pink Floyd chased their entire careers.
Why this song? Well Martin Luther King Jr. using it as inspiration for his civil rights goals is a sure good reason, and Curtis Mayfield greatly inspired Jimi Hendrix’s playing style on guitar, if you even needed another one.
Before Kanye West released Touch The Sky, there was the original song, the horns bright, the rhythm breakneck and the melody unstoppable. Pure inspiration at its finest.
Maxwell dominates the song with a Marvin Gaye like croon and the backing is excellent, soft but not too soft (a problem that most neo soul suffers from) and well crafted and placed vocal harmonies. Some nice Curtis Mayfield styled horn work on this one too.
In prior days, I wouldn’t have listened to the song on the assumption from the name alone that it was some average metal band but whether it was out of ironic intention or not this band sells itself short by its name. Take Marc Bolan’s singing (from T-Rex…Bang a Gong) with a little of David Bowie and song structure and back it with absolutely beautiful (Pink Floydesque) instrumentation and you might have an idea what these guys are like. Best use of a pitch bender i’ve ever heard.
In this day and age instrumental, or in this case mostly instrumental songs are few and far between in rock bands, whether its because everyone’s focused on producing a hit single or they don’t have the instrumental ability its hard to say, however this song is nothing short of masterful. Pastoral and vast and never predictable.
A band that should be recognized more than the fan base it has, cohesive arrangements and a good dynamic lead singer, they’re a band you can put on at anytime.
The Dead as much as they have their rabid following, also have their numerous detractors saying they often weren’t cohesive as a live band, noodling on drug fueled jams that didn’t always work, however all parts are in fine form here, taken from the Europe ’72 Double LP and Jerry Garcia contributes a fine succinct guitar solo along with it.
Spoon already has that night atmosphere to them, their arrangements always hiding their surprises in the shadows and Britt Daniel just has enough grit in his voice to make things more interesting.
Once in a great while there comes a cover that breathes a new life into the song, an interpretation that makes you think about the song in ways you hadn’t before, this is one of those.
Country is so often overdone in lyrical themes, drinking and heartbreak, but this organic production brings a new interest to this listener, the lyrics are understated, not overwrought and its one of those melodies that will keep with you for weeks.
The original was perfect, and yet Spoon still breathes new life into it, the bass plays the melody now, the guitar and piano the rhythm, and Britt Daniel brings along his cynical touch to the lyrics.
The lyrics cry longing, the instruments dance and the band grooves pay attention to that little guitar lick (you’ll see what I mean) Sharon Jones’s performance, it wouldn’t be a stretch to call her the female James Brown, and sax solo is worth the download alone.
Ah, The Beatles in their youth, a whole different polished animals, the guitars and drums burst with energy, the harmonies are tight and John Lennon proves himself as one of rocks greatest vocalists.
Take Sharon Jones earlier song, dip into a Southern Gospel groove and this is what will come out, Susan Tedeschi’s vocals blur the color line on this one and the guitar work is flawless.
From the soft pitter patter of the snare drum to the golden acoustic guitar and the warm vocal harmonies this song just breathes beauty at its most effortless.
That squeak at the beginning is the opening of a door into a club where both the voice and piano shine and dance, and all anybody else can do is watch.
she’s swinging from my heartstrings
singing that she’s climbing up.
she drinks bourbon from her daddy’s favorite coffee cup.
and she’s flying down the highway
crying that she won’t confess.
she’ll walk to charlotte like a princess
in her mama’s wedding dress.
and i watch her break away
more and more every day.
thats just the opening verse, some people have a way with words, and heck he’s gotta thing for melody and arranging too.
J. Geils was the ultimate bar band, they had fun, they didn’t get bogged down by ambition, they rocked a dirty gritty sound anchored by Peter Wolf’s gruff vocals, you can tell they’re just having fun here, and the slide solo in the middle is absolutely euphoric.
If for just one reason, get the song for its beat, because shit it is heavy. Another? Beck is a hell of a producer and arranger, this one plays out like an updated Bill Withers song, funky, soulful and full of power.
Its hard to figure this guy was an actor before a musician, add the fact he plays all the instruments as well, the natural feel of the song goes even more to prove his talent, great songwriting.
I wish this band existed on iTunes because this song actually makes me want to buy more of their stuff, and buy isn’t a word i like to throw around alot.
The Art of the Mixtape 