Listen to this track by Stockholm-based indie trio with a self-explanatory and comma-free name, Peter (Morén) Bjorn (Yttling) and John (Eriksson). It’s “Young Folks”, a single as taken from their 2006 record Writer’s Block, a record that served as something of a breakthrough for the band after forming in 1999.
The album title is not in reference to the lack of ideas that often plagues writers.
Rather, it’s a nod to the neighbourhood, Hornstull, in which the band was based at the time, known for a high concentration of writers and artists and for being a hip part of Stockholm. As a result, the sound they reached for on this song and on the whole record was a cooler and slightly detached approach to production and arrangement that brought forward a few more sonic idiosyncrasies than most, like whistling the key hook on this song. That’s a sound a listener might make reproducing it on their way to work. That approach helped to distinguish them, with this song being a standout in various forms on radio, streaming sites, TV shows, movie soundtracks, and beyond.
The song features the guest vocals of Victoria Bergsman of fellow Stockholmers The Concretes playing the role of the would-be lover to which the forthright narrator asks a very direct question. Read more
Listen to this track by jam-oriented power trio supergroup Oysterhead. It’s “Oz Is Ever Floating”, a cut off of their sole (to date!) album The Grand Pecking Order from 2001. The song was a highlight on their associated tour around that time, having played it on their Late Night with Conan O’Brien appearance, among other musical locales.
The band was comprised of some very heavy hitters, instrumentally speaking. On guitar and other (sometimes very bizarre) stringed instruments was Phish head boy Trey Anastasio. On bass was Primus main mover Les Claypool. On drums was Stewart Copeland, sticksman for The Police and well-known film and soundtrack composer by the beginning of the century. His film and TV work was his day job, involving very meticulous processes and meetings with directors in order to satisfy its demands. Not very rock ‘n’ roll.
It would take a brash proposal to get Copeland out of film-and-TV-score land, and to get him behind the kit again, a role he’d virtually ignored for almost a decade.
Listen to this track by New York-based, twenty-first century funk-soul standard-bearers The Dap Kings as led by vocal powerhouse Sharon Jones. It’s “This Land Is Your Land”, an American folk anthem as written by fascism-fighting songwriter Woody Guthrie, re-positioned here as a sweaty soul jam in a minor key. The track is featured on their 2005 album Naturally, their second.
Guthrie wrote this song in 1940 in response to a certain strain of American jingoism that papered over the disenfranchisement experienced by many during the years of the Great Depression. Despite it’s jaunty feel and kid-friendly reputation, by the late forties and early 1950s in the McCarthy era, Guthrie’s song was considered dangerous due to some redacted verses that criticized American life directly. This song was about claiming a birthright, and being blocked while trying to do so. It revealed cracks in the facade.
When multi-racial soul band Sharon Jones & The Dap Kings recorded it in the mid-2000s, their version wasn’t entirely removed from the intent of its author during an era of ever-widening gaps between rich and poor, and a second term for George W. Bush. How has the politically charged relevance of this song changed since then, stylistic textures aside? Given that it was written by one who stood openly opposed to fascism, the answer is a very discouraging “not very much”. Read more
Listen to this track by Los Angeles-based indie rock auteurs Rilo Kiley. It’s “Does He Love You?”, a cut as taken from their 2004 breakthrough album More Adventurous, their third. The record’s title reflected their approach, which was one that certainly paid off in terms of critical dividends and by the presence of many of its songs on soundtracks at the time.
The band featured singer and multi-instrumentalist Jenny Lewis and guitarist and singer Blake Sennett, who also served as a writing duo from their formation of the group by the end of the 1990s. Both musicians came from acting backgrounds, with credits in film and television. Maybe that’s why they were able to craft such a sense of character and cinematic spirit into their songs. This one is surely one of their best on that front, and on many other fronts to boot.
This is a tale that starts off as a simple conversation between two friends who live long-distance, both ruminating on the state of their love lives. That is, until a shocking revelation is dropped into their laps, and into those of us who are the listeners, too. Read more
Listen to this track by first-tier neo-soul proponent Erykah Badu. It’s “Bag Lady”, a single as taken from her second album Mama’s Gun from 2000. The album scored critical praise across the map, continuing Badu’s synthesis of R&B with jazz overtones and all with a foot in hip hop sensibilities with the most minimal of brushstrokes. The most important fixture in place of course is her voice that evoked comparisons to Billie Holiday when her debut came out, which Badu somehow survived and went beyond.
A part of the effort to gain creative traction for this record was her close ties to her contemporaries, including D’Angelo and Questlove, both of whom joined her as members of the Soulquarians musical collective centering their activities around recordings made at Electric Lady studios in New York at the end of the nineties and into 2000. It was during this period that they were all intent on creating a contemporary sound fashioned from this same soul, jazz, and hip hop combination that would be featured on several releases by its members around this time. This song, which garnered two Grammy nominations in 2000, is a product of that creative outpouring and the last single to reach number one on the original Motown label before that label was sold to Universal music.
The song is multifaceted even if it seems to be pretty straightforward on every level at the same time. It certainly has something to say about relationships and the investments that women in particular put into them. But there is another aspect to this tune that goes even further beyond that still. Read more
Listen to this track by producer, rapper, and genre-crossing hip hop auteur Missy Elliott. It’s “Get Ur Freak On”, a monster hit single as taken from her third album, Miss E … So Addictive from 2001. The song is a bona fide classic by now, and covered by many from Eels who made this song a staple during their 2003 tour, to Britney Spears during her Vegas residency, to FLOTUS Michelle Obama featured in her recent appearance on James Corden’s Carpool Karaoke, with Missy Elliott herself joining in while riding in the backseat. Talk about cultural reach!
“Get Ur Freak On” borrows heavily from bhangra in terms of its rhythmic make-up and with music of the Asian continent generally in terms of its texture. That latter aspect is particularly reflected in its use of the very sticky six-note riff sampling what sounds like a koto, that being a 13-stringed instrument used in traditional Japanese music. Other sources say it’s a tumbi, which is something akin to a Punjabi one-string banjo. Either way, that’s pretty far from just an 808 programmable drum machine and a microphone.
In that regard alone, “Get Ur Freak On” represents an evolutionary jump for hip hop in general, going beyond urban America and into whole new geographical and cultural territories by the early two-thousands. It opened the gates culturally speaking, and it has wider implications thematically, too; that of empowerment, and on all kinds of levels. Read more
Listen to this track by one-time Elephant 6-affiliated power pop psych trio The Essex Green. It’s “Don’t Know Why (You Stay)”, a crackling power pop tune as taken from the band’s third album, 2006’s Cannibal Sea. The group is connected to a web of many indie bands, most notably Guppyboy, once based in Burlington, Vermont. Upon the dissolution of that band, members Jeff Baron, Sasha Bell and Chris Ziter moved to New York to start anew and with a fresh moniker to define them; The Essex Green.
Their sound is clearly based in sixties and seventies jangle pop, power pop, and folk pop. That’s a lot of pop! On this third album and on this song, those influences are apparent, although much more integrated than they are on earlier releases. A big part of this is down to producer Britt Meyers and his more elaborate studio set up and mixing skills. Another part of course is a step up in the songwriting and performance department, as good as the previous album, The Long Goodbye, was. Perhaps this was because the band had recently come off of a big tour by then. It could also be that each member was concurrently involved in making music with other bands (Ladybug Transistor, The Sixth Great Lake) allowing new ideas to flow from one project to another.
Overall, The Essex Green provided an example of what it is to be indie in a post-major label era. In this new paradigm musicians have to be constantly on the move to cover their bases in various side projects, holding down day jobs while honing their craft, and knowing where to find their audience in the absence of big label budgets and in the light of fragmented media. Read more
Listen to this track by pure pop singer from Victoria BC with diverse musical interests Nelly Furtado. It’s “Powerless”, a hit single as taken from her 2003 record Folklore. This was the follow up to her 2000 debut Whoa! Nelly , and Furtado had quite a job to do to follow up her ubiquitous “I’m Like A Bird” single, which was an international hit. Like that song, “Powerless (Say What You Want)” was a personal statement to frame the identity of the artist, this time in an even more overt way.
This song was one of three hit singles on Folklore that offers a pan-cultural smorgasbord of sound, matching breakbeats with a sterling contribution by famed banjoist Béla Fleck. This emphasis on diversity and tonal variation on multiple levels was a mandate from the artist who viewed a lot of the pop music on her level at the time as becoming too synthesized and culturally homogeneous.
This isn’t just about the music and how it was made, though. It’s about the subject of identity and about how the mainstream (mis)treats the concept of cultural diversity. Read more
Listen to this track by Pacific Northwest rainy day indie-rock heroes Death Cab For Cutie. It’s “Title And Registration”, a single as taken from their 2003 landmark record Transatlanticism, their fourth LP released toward the latter half of that year. This tune was released in early 2004, initially as an Internet-only offering, and represented their third and final single from the record.
At the time, this record was almost universally praised. Perhaps one reason this song and the record off of which it comes had such impact is because for all of its freshness at the time, it deals with a very pressing issue that has been a part of pop music for over a century and longer; the bad, old-fashioned break up. Head writer Ben Gibbard demonstrates his a knack for positioning this well-trodden thematic path in an interesting and unassuming way that makes it a song that’s more relatable than most in the “breaking up is hard to do” stakes.
And how does he do that? He starts this song with an everyday task. Looking to find the titular documents, the song’s narrator takes a trip to the car and to the humble glove box, which turns out to hold a whole Pandora’s worth of trouble for him.
Listen to this track by soft-spoken singer-songwriter from Louisiana and then Memphis, Tennessee who made Montréal his home for many years, Jesse Winchester. It’s “Sham-A-Ling-Dong-Ding”, a track taken off of his latter day album Love Filling Station in 2009.
The reasons for his stay in Canada from 1967 onward were less than ideal. The Vietnam war was ramping up, and Winchester was a pacifist. This meant taking refuge in Canada to avoid the draft like so many of his generation. But what it also meant was meeting with The Band’s Robbie Robertson, who would produce his self-titled first album in 1970, complete with the sepia-toned cover shot that made Winchester look like an outlaw on the lam, which in some respects I guess he actually was before President Jimmy Carter pardoned him in 1977, along with all other American conscientious objectors, after which he could finally tour the States. He stayed in Canada anyway until 2002.
Since that period, he recorded his own albums and penned songs for other artists as well. By 2009, he was not exactly a household name, and his output had slowed considerably. But this tune demonstrates the depths of his talent that remained undiminished, and reveals something about the passage of time and the ways we perceive things as we get older. Read more