One-Mind Tracks: Self-Referencing Songs

In the present day, many rappers tag a song as theirs by using their name during the intro. And you can barely listen to a Lady Gaga song without hearing "Gaga" somewhere in it. But the storied history of bands singing about themselves goes way back. I would like to share with you eight of my favorite examples of bands singing about themselves.

The Monkees by The Monkees
This one's probably the simplest to explain: The Monkees was a TV show. The theme song to the show doubled as a song on the band's first album. Luckily, it's a solid song (granted, it's easier to listen to if you haven't watched every episode of the series multiple times).

Welcome to Tally Hall by Tally Hall
Back to the old stand-by, I once again bring your attention to Tally Hall. This song not only references the band as a whole, it also introduces each member individually. In addition, it serves to introduce audiences to the whimsy and sometimes varying styles of the band.

Everybody Have Fun Tonight by Wang Chung
I assume it has something to do with the way the music market was set up in the 80s, but it seems it was very common for artists to create "self-titled" songs. I'm going to assume the MTV influx of new artists played a role: to make yourself memorable, it helps if you have a theme song. "Everybody Have Fun Tonight" was released somewhere in the middle of Wang Chung's career though, so draw from that what you will.

In a Big Country by Big Country
Big Country released quite a few albums. They had three songs that charted in the top 100 in the U.S. But if you've heard any of their songs apart from this one, I would be astounded. In the U.S., they are considered to be one of those "one-hit wonders." This song has a wonderful sound though, I can't imagine what would keep people away from their full discography.

Talk Talk by Talk Talk
Talk Talk are one of the most well-respected groups of the 80s (in the musical community that knows who they are). I'd always thought maybe this song was a concept pushed by the record label, but there is an early demo of this song (then titled "Talk Talk Talk Talk") from 1977 available on Within Without. So I guess the band name probably came from this song rather than the reverse.

They Might Be Giants by They Might Be Giants
Since They Might Be Giants have a great sense of humor about themselves, I can't really imagine this song not existing. Interestingly, They Might Be Giants also recorded "We're The Replacements," which some assume is a cover of a self-referencing song by The Replacements, but it's simply They Might Be Giants making a comment about being on the road in a band [Source].

Fistful of Mercy by Fistful of Mercy
I heard an interview with the band a while back (I can't remember where or I would cite it), in which they basically state that they decided to give themselves a self-titled song. It's a far cry from the humor of "They Might Be Giants," but "Fistful of Mercy" is a very flowing, soulful song, much like the rest of Fistful of Mercy's album.

Creeque Alley by The Mamas and the Papas
While the band's full name is never mentioned, "Creeque Alley" tells the tale of the genesis of The Mamas and the Papas and The Lovin' Spoonful (and a little bit of The Byrds'). It also references their hit "California Dreamin'."




KMFDM also sing about themselves a lot. It can be pretty amusing.

Album Review: Some Nights by fun.

Indie supergroup fun. hit the scene in 2009 with Aim and Ignite. Some Nights takes the pleasant pop qualities of Aim and Ignite and tries to expand on them with some new musical components. There are some hits and misses amongst the new effects, but you can't hate them for trying.

The album opens with "Some Nights (Intro)," a song which adequately introduces some of the new roads this album travels down, whilst still feeling very much at home in their repertoire. It also serves to introduce the album title "some nights" as a common phrase. The phrase "some nights" is used in four different songs on the album. It can also be assumed from "Some Nights (Intro)" that Some Nights will have a slightly darker tone than that of Aim and Ignite. The band attempted to capture the tone of the song in the video, but I'm not entirely sure that I don't get more out of the song on its own.

"Some Nights" strays back toward the power pop feel of Aim and Ignite, but it also introduces Auto-Tune to the album. "Some Nights" is very catchy, and is only overshadowed by the following song "We Are Young," which became a huge hit single after it was covered on Glee. "We Are Young" was also used in a Chevy Sonic commercial which premiered during the Super Bowl. Even without these sales tactics in mind, the song has incredible flow and power to it that should be able to sell it on its own.

My favorite track on the album though, is probably "Carry On." "Carry On" seems as though it could be the theme for an Oscar-nominated movie. The Irish-influenced strings give it both strength and a sense of culture. "It Gets Better" took me a couple of listens to enjoy. At first, it sounds only a few inches away from an early 2000s alt. rock song, but it is more complicated and melodic, thus saving itself. "It Gets Better" also uses noticeable Auto-Tune. "Why Am I The One" seems like a throwback to lead singer Nate Ruess's days in The Format until it shifts into the chorus, which might be the most flowing of any chorus on the album. The chorus of "Why Am I The One" also features great harmonies borrowed from early 70s folk music.

"All Alone" is my favorite story song of the album. Ruess has a tendency to create amazing stories in his lyrics, and "All Alone" is a perfect example, even if I can hear late 90s boy bands in the melody of the chorus. One of the weaker songs on the album is "All Alright," which seems to have very little energy and an only vaguely interesting chorus. "One Foot" has a great, bouncy beat and a consistently interesting melody.

The only track on Some Nights that I truly dislike is "Stars." "Stars" starts out well enough, with references to the band's origins and dealing with new-found fame. The horns so prevalent on Aim and Ignite are brought to the forefront, and it seems that all will go well. Then, about halfway into the song, Ruess suddenly becomes some demented Kanye West clone, with all of the Auto-Tune they didn't use on other tracks splashed on in not-so-glorious technicolor. Generally, Nate Ruess has a good voice that lends itself well to the songs he sings. The Auto-Tune makes "Stars" sound dead and terrible. It's a pity that "Stars" is the official closer for the album.

I'm not sure how "Out on the Town" counts as a bonus track, since it seems to be on every copy of the album from what I can tell. Either way, "Out on the Town" is a much more pleasant and fitting closer for Some Nights than the artificial "Stars."

If Auto-Tune can't be counted as a fault in this album, I feel fun. should at least take note to use it in moderation. Apart from the use of computerized vocal enhancement, the production of this album is smooth and thoughtful. fun. bring in a lot of strings and instruments that some people forget have as much place on a pop album as anything else. It's nice to see the experiments performed on Some Nights, and I can't wait to hear the smoothed-out sound I'm sure their third album will have.

fun. are a group consisting of (left to right): Andrew Dost (of Anthallo), Nate Ruess (formerly of 
The Format), and Jack Antonoff (of Steel Train).

Some Nights can be previewed and purchased at the band's website.

A Brief History: Music in Political Campaigns

For almost 200 years, politicians have been using recognized songs as campaign "hooks." Andrew Jackson used "The Hunters of Kentucky" for his presidential campaigns in 1824 and 1828. As far as we know, Jackson started a trend that continues to this day.

The problem occurs when politicians decide to use songs without gaining permission from the artists first.

Such a situation has only recently come to light with Republican presidential candidate Newt Gingrich, who has been using "Eye of the Tiger" as his campaign entrance song since 2009 without permission from Survivor. Gingrich is being sued for "damages" and Rude Music Inc. is requesting that he be banned from using the song [Source].

But Gingrich is certainly not the first politician to get in trouble for using a song they were not authorized to use:

• Bruce Springsteen was displeased when Ronald Regan tried to use "Born in the U.S.A." in 1984.
• Sam Moore re-recorded "Soul Man" for Bob Dole's campaign, changing the lyrics to "Dole Man." The problem was, Moore was not the copyright holder for the song, and the actual copyright holders at Rondor Music threatened to sue if Dole continued to use even the "parodied" version of the song. Issac Hayes, the real writer of "Soul Man" told The New York Daily News: "As a U.S. Senator, he ought to know that you can’t do that." Dole discontinued use of the song [Source].
• Michele Bachmann and George W. Bush each received cease and desist letters from Tom Petty for use of "American Girl" (Bachmann) and "I Won't Back Down" (Bush). 
• Bachmann was also asked to stop using "Walking on Sunshine" by Katrina and the Waves.
• Former Florida governor Charlie Crist was sued by David Byrne (Talking Heads) for using "Road to Nowhere" (which, really, is that something you want associated with your political trail? Isn't that what got Sarah Palin in trouble back in '08?).
• Speaking of which, Heart were very annoyed when Sarah Palin used "Barracuda" without permission. The Wilson sisters said: "Sarah Palin's views and values in NO WAY represent us as American women. We ask that our song 'Barracuda' no longer be used to promote her image" [Source].

• John McCain managed to stir up several well-known musicians. Jackson Browne sued him for his use of "Running on Empty" and John Mellencamp issued a cease and desist letter for McCain's use of "Pink Houses" and "Our Country" during the presidential run. McCain stopped using all three songs and issued an apology to Browne for using "Running on Empty" in an attack ad directed at Barack Obama. Bon Jovi ("Who Says You Can't Go Home") and The Foo Fighters ("My Hero") also both requested that McCain stop using their songs in the 2008 presidential campaign.
• "Pink Houses" was also questioned for its use in a NOM (National Organization of Marriage) event. Mellencamp sent a letter to NOM, telling them his views were at odds with theirs and requesting that they "find music from a source more in harmony with your views than Mr. Mellencamp in the future."
• Mike Huckabee was asked by Tom Scholz of Boston to stop using "More Than a Feeling." 
• Barack Obama got into trouble for using "Hold On, I'm Comin'" by Sam and Dave at his rallies.

The funny part to me is that most of these politicians then support things like SOPA when they come up in legislation, yet they break similar rules with complete disregard.

Musicians are not always at odds with politicians though. When candidates request permission or at least have similar political ideology, things tend to go more smoothly:

• "Pink Houses" was used in for the presidential campaigns of John Edwards in 2004 and 2008 and Mellencamp played "Pink Houses" at Obama's inaugural celebration in 2009.
• Hilary Clinton did receive permission to use Tom Petty's "American Girl."
• Eddie Rabbit authorized use of "American Boy" for Bob Dole's campaign.
• Bill Clinton's official campaign song in 1992 was Fleetwood Mac's "Don't Stop."
• "You Ain't Seen Nothin' Yet" by Bachman-Turner Overdrive was the theme song for Al Gore's 2000 campaign as well as being the theme song for the Democratic party in 2006.
• "Beautiful Day" by U2 was also used by the Democratic party in 2006 and by John Kerry in 2004.
• will.i.am. and other various artists composed "Yes We Can" around one of Barack Obama's speeches.
  

Now, whether the songs used for political campaigns are lyrically suited is another matter entirely (and one I'm sure I will cover).

Bottom line? Just like any other arena in life, it's best to get permission before using an artist's song. Because it's far more embarrassing and expensive to have to clean up later.

Emma Hath a Song: "Wedding Bell Blues"

In my high-school days, I was part of a student-run radio show that aired once a week. We were encouraged to develop our own recurring segments in the show, and mine was a segment mostly relating to the secret histories or stories behind songs. Something about my love of Shakespeare and my pretentious high-school personality made me name the segment "Emma Hath a Song" (which I realize is not necessarily grammatically correct for any stage in the English language, but bear with me). Once I exited high school and moved on to college, I decided I wanted to be a famous Youtube personality. One attempt to meet such an end was to turn my radio show into a Youtube show. Emma Hath a Song on Youtube lasted five episodes before I got slightly bored with it/realized I was never going to be a famous Youtube personality/got too busy with work and college. However, I would now like to bring Emma Hath a Song back for a third (and hopefully final) format.

A common tall tale about "Wedding Bell Blues" is that it was written by Marilyn McCoo and recorded as a means of proposing to Billy Davis, Jr. While this makes for a great story, the real story is equally fascinating (as well as being, you know, true).

Have you ever heard of singer/songwriter Laura Nyro? Nyro was one of the foremost songwriters of the late 60s and early 70s. At various times in her career, Nyro had three or four songs at a time in the Billboard Top 10. Her own recordings weren't usually commercially successful, but groups like Blood, Sweat & Tears, Three Dog Night, and The 5th Dimension saw a great deal of success with her songs. She has been cited as an influence by artists like Jenny Lewis, Elvis Costello, Elton John, and Alice Cooper.

Nyro wrote "Wedding Bell Blues" at 18, and recorded it for her 1967 album More Than a New Discovery. According to Alan Merrill, Nyro wrote the song about his mother's scandalous relationship with Bill Carter, a man married to Trink Wiman, the heiress to the John Deere fortune. Merrill's mother was never able to marry Bill because of his marriage [Source].

The 5th Dimension, who had already had success with Nyro's "Stoned Soul Picnic," were convinced by their producer to do a cover of the song for their 1969 album The Age of Aquarius. They decided it would be perfect for Marilyn McCoo to sing, since she and Billy Davis, Jr. had been engaged for quite some time without setting a wedding date. The 5th Dimension's cover of "Wedding Bell Blues" became a number one single. They played up the McCoo/Davis aspect of the song during live performances. McCoo and Davis did indeed marry in 1969.

Leslie Gore also recorded a cover of the song in 1969, but it failed to chart.

The phrase "Wedding Bell Blues" has since become an expression referring to those worried about being unmarried. It has been used as the title for several books and episodes of TV shows and a 1996 film.

Although Laura Nyro died of cancer in 1997, she was posthumously inducted into the Rock and Roll Hall of Fame this year.

And to close this post off in the style of my radio shows (because I was never sure of how to end a segment): That's all that I hath for now!

Comparing and Contrasting: "A Lady Loves" vs. "Diamonds Are a Girl's Best Friend"

I know that this post is going to be a bit strange amongst all the hipster music, but I am a huge fan of old-school musicals.

Right! So in 1953, there were tons of new musicals released. There were a lot of classic musicals, like Peter Pan and The 5,000 Fingers of Dr. T and The Band Wagon and Kiss Me, Kate (which, interestingly enough, was originally released in 2-d and 3-d). And another classic that came out in 1953 was Gentlemen Prefer Blondes, what is arguably the best and most iconic Marilyn Monroe film. It features the musical number "Diamonds Are a Girl's Best Friend," which has been parodied and mocked more than almost any other musical number in history ("We're Off to See the Wizard," "The Sound of Music," and "Singin' in the Rain" are the only things that even come close).

I Love Melvin was also released in 1953, four months prior to Gentlemen Prefer Blondes. I Love Melvin is an early romantic comedy musical about Judy (Debbie Reynolds) and Melvin (Donald O'Connor). Judy has dreams of becoming a Broadway starlet when she meets Melvin, an aspiring photographer for Look! Magazine. Melvin insists that he can make her a cover girl, which is lucky, because it's the only way Judy's father will let her pick Melvin over Harry (Richard Anderson). The catch is of course, that Melvin can't make Judy a cover girl. I Love Melvin is a very cute and comical film with songwriting by Mack Gordon ("Chattanooga Choo-Choo") and Josef Myrow ("Autumn Nocturne"), known for their collaboration on "You Make Me Feel So Young." Melvin is, for the most part, an ignored film.

So why bring it up? What's the connection? Well, apart from the fact that I absolutely love I Love Melvin, there are some incredible similarities between the musical numbers "A Lady Loves" from Melvin and "Diamonds Are a Girl's Best Friend" from Gentlemen Prefer Blondes. I find this intriguing seeing as the more iconic number was actually released after Melvin.

"A Lady Loves" from I Love Melvin Featuring Debbie Reynolds.

"Diamonds Are a Girl's Best Friend" from Gentlemen Prefer Blondes Featuring Marilyn Monroe.

So let's look at what we've got here: I Love Melvin was released March 20th, 1953 by MGM, Gentlemen Prefer Blondes was released July 18th, 1953 by 20th Century Fox. The films have different composers, directors, set designers and art directors. The film plots in general have nothing to do with one another. Yet there is an undeniable correlation between the two musical numbers. Both songs center around what "girls/ladies" really like, and portray women as at least a little bit materialistic. The sets are both adorned with swooping fabrics and chandeliers. Monroe and Reynolds both wear pink dresses with a bit of a bustle and no straps, pink gloves, and "diamond" bracelets and chokers (two bracelets each). The dances both rely heavily on arm gestures and male back-up dancers with flares of red in their costumes. "A Lady Loves" closes with the men freezing with their hats around Reynolds' face, while "Diamonds" ends with the men holding swatches of diamonds around Monroe's face.

What can we draw from this? My research indicates that the stage version of "Diamonds Are a Girl's Best Friend" was not staged or decorated the same as the film version. Did Gentlemen Prefer Blondes decide to copy their musical number from the far less successful I Love Melvin? Or is it just a coincidence? I am reminded of the wonderfully informative video series "Everything is a Remix." If it was a rip-off do we really have I Love Melvin to thank for the incredibly iconic Monroe scene? For every single parody and for Madonna's "Material Girl" video and for that scene in Hey Arnold! when Miriam stars in a beeper commercial?

By the way, no matter how you feel about Madonna, you must admit, they recreated that scene pretty well:

I find it intriguing that two movies released so close together could have a scene so similar. Had Melvin come first, it would make sense that the comedy was mocking another successful scene, but seeing as that's not the case, I find it perplexing. If you know anything about these two scenes, please drop me a line.

Concert Review: Peter Noone in Marion, Ohio

I don't hold classic pop concerts to the same standards I hold modern concerts to. Nothing is going to sound the same as it did forty years ago, even if the audience of primarily 50-60+ patrons had the same kind of energy that they did in the hey-day.

That being said, Peter Noone always puts on an energetic, entertaining show. He doesn't seem his full age in appearance or in the way he moves around physically. The show started off with "I'm Into Something Good," a song modern audiences may have heard covered by The Bird and the Bee for the film Valentine's Day. Personally, I remember listening to the Hermits' version while I cleaned my room as a kid, as well as thinking of it as a constant mantra the day after I met my boyfriend. Things like that give you a much more invested experience at a concert. 

They rolled through a couple more Hermits tunes before Peter Noone began to chat to the audience in the manner I had expected from the last show I went to. After a little talking, the audience seemed much more revved up for the show. I've noticed at several concerts that sometimes it just takes a little push by the artist to get the audience to feel connected. The show continued with a few covers and piss-takes, including an amusing mockery of Davy Jones. Forty-five minutes in, they broke for a short intermission, which I found slightly unusual, but not insane.

After the intermission, Noone and the band returned for the bigger hits of the Hermits' repertoire. The crowd was surprisingly good at singing along and knowing all the lyrics. Peter Noone stayed after the show to sign autographs.

All in all, I've been to better shows by 60s artists, including the first Peter Noone show I went to. I'm not sure he can be blamed for this entirely though, as I think my seating arrangement was not the most conducive to the sound. However, it was a good, fun show. Noone's sense of humor and energy made the show worth seeing no matter how hollow I feel some of the songs sounded. And it was great to hear the old tunes again. They're always catchy and fun. The 60s were a great time for music, and even I sometimes forget that when I don't have enough reminders such as this show.

Top 10: Albums of 2011

2011 was a strange year, musically. As usual, many long-standing bands broke up and some great musicians passed away. But amongst the sea of radio-catering, tweenie-pop, and simply bad albums, there were quite a few brilliant albums released last year. I think it's slightly telling that some of the best albums last year came from fresh faces. Bands like Cults and Foster the People took the world by storm with their first albums, following them up with a tour full of sold-out shows. 2011 also saw the incredible rise of the wonderful Adele, whose second album stayed in the U.S. top five for 39 weeks, also bringing her first album back into the top forty.

What did I listen to in 2011? Many of my favorite bands and artists finally released new albums around the same time, some better than others. While I found Metals by Feist to be a little less impressive than I'd expected, many new albums dominated my year.

10. Join Us by They Might Be Giants
Join Us has all the elements one should expect from a They Might Be Giants album, with added values like great production. "Never Knew Love" may very well be the most beautifully composed They Might Be Giants song of their career.

Key Tracks:

"Never Knew Love"

"You Probably Get That a Lot"

"Old Pine Box" 

9. Angles by The Strokes
This album's undoing was the fact that it was composed of 50% really strong songs and 50% mediocre songs. I liked it, it sounded great blaring out of my truck speakers while I drove around in the heat of the summer. But I'm not convinced it was as solid as an album as some of the competition.

Key Tracks:

"Taken For a Fool"

"Under Cover of Darkness"

"Machu Picchu"

8. Born This Way by Lady Gaga
Lady Gaga finally followed up The Fame with this year's Born This Way. Born This Way is filled with catchy radio hits, dance beats, and just a touch of meaningful lyrics. I'm not into radio hits or dance beats, but Lady Gaga usually manages to make them work, as is the case with this album.

Key Tracks:

"Scheiße"

"Marry the Night"

"Bloody Mary" 

7. It's a Corporate World by Dale Earnhardt Jr. Jr.
I was introduced to this duo through their cover of The Beach Boys' "God Only Knows." For their debut album, Dale Earnhardt Jr. Jr. put together a series of catchy, well-written tracks. The use of instruments and sounds is beautiful.

Key Tracks:

"Simple Girl"

"Morning Thought"

"It's a Corporate World"

6. Ceremonials by Florence & the Machine
This is one of those albums that improve in complexity with each listen, as you dig deeper and hear the layers of talent put into it.

Key Tracks:

"Breaking Down"

"Shake it Out"

"All This and Heaven Too"

5. I Believe in Everything by Speak
I reviewed this album earlier this year. Speak put together a great, poppy forty-odd minutes of music, with a lot of maturity for a first album.

Key Tracks:

"Stand By Us"

"Carrie"

"You Know as Well as I"

4. Wanderlust by Everybody Else
Everybody Else fueled this album with Kickstarter contributions. The finished product fell only slightly short of their first album- and only in places. There are many tracks that are much more complex than the first album, but I'm just a sucker for Carrick Moore Gerety's flowing vocals, which aren't featured as heavily on this album. It's a really great album. Were it just a notch better, it would have been higher than #4 on my list.

Key Tracks:

"Out All Night"

"Soldiers Without an Army"

"Photograph"

3. Double Capricorn by Robert Schwartzman
I feel like I gave this album a half-hearted review, when really, it's brilliant. I really only had one complaint apart from the length, and that's uncommon. Schwartzman's near one-man album is beautifully composed and preformed.

Key Tracks:

"Out of My Mind"
"Love is All Around"
"All My Life"

2. Codes and Keys by Death Cab For Cutie
When your favorite modern band releases a new album, you have no contractual obligation to like it. But I really do like Codes & Keys. It's nothing to compare with Narrow Stairs, which is one of my favorite albums of all time, but it's still a really good album. Some Death Cab fans were dissatisfied with this album, saying it was much too happy. Not only would I argue that that is not true, but I would also like to point out that it's okay to be happy once in a while. This album is solid, with lots of beautiful lyricism, gorgeous instrumentals, and several catchy tunes. I liked it from the first listen.

Key Tracks:

"You Are a Tourist"

"Unobstructed Views"

"St. Peter's Cathedral"

1. Good & Evil by Tally Hall
Six years after Marvin's Marvelous Mechanical Museum, Tally Hall finally released their sophomore album. Some fans seemed to give it one listen only before giving up and proclaiming it as "missing the fun of Marvin's." But the key to Good & Evil is that it improves exponentially on the second and third listens. Tally Hall achieved so much with this album, creating a cohesive, beautiful masterpiece that doesn't stray from the feel of their first album apart from having more constant themes and lacking a rap element. Furthermore, you can hear the advanced musicality of this album. As far as my personal feelings toward this album go, I lived and breathed this album for a good portion of the summer. Some of the songs on it have taken me near to tears, while others make me smile brightly as I recall how I spent some of the best moments of my summer. I'm sure I will continue to listen to this album as long as I can hear.

Key Tracks:

"Who You Are"
"Misery Fell"
"Out in the Twilight" 

A Personal History: The Long Blondes

At some point during high school, I took up the hobby of Google image-searching my favorite celebrities. During a routine "Chrissie Hynde" search one evening, I came across a photo of The Long Blondes. I would be lying if I said I was not at all attracted to the aesthetic of the band. As a matter of fact, that was what made me look into them, despite the fact that they were not the droids I was looking for. They had shown up in my search because someone had suggested a similarity between the vocals of lead singer Kate Jackson and Chrissie Hynde. The comparison is quite reasonable. I watched the video for "Once and Never Again" and was instantly hooked. I loved the guitar parts and the general rock sound of their songs, along with the killer vocals and the catchy tunes. My love for the clever lyrics came only slightly later.

Not only did I rewatch the few official videos quite often in the coming weeks, but I purchased both albums as soon as humanly possible. I researched the band, and was very disappointed to learn that they had broken up only a month or two prior to my discovery (due to health-related issues of guitarist Dorian Cox). I continued to listen to the group in excess. Years later, I am still very fond of them. And I still draw fashion inspiration (and envy) from Kate Jackson.

The Long Blondes left to right: Dorian Cox, Screech Louder, Kate Jackson, Emma Chaplin, and 

Reenie Hollis.

Where are they now? 

Since the break-up, Dorian Cox underwent treatment for his paralysis and has joined a new band called Milkteeth. Reenie Hollis and Screech Louder have formed The Bon Bon Club. Kate Jackson is reportedly working on a solo album under the name "Madame Ray."

Other Recommended Tracks:

Swallow Tattoo 

My Heart is Out of Bounds

The Couples 

Weekend Without Makeup

I'm Going to Hell

Seasonal Music Roundup: A Christmas Playlist

Christmas music doesn't have to be good to be enjoyable. It's something about the dorky gushy feelings we can get inside just because of all the lights we use to run up our holiday electricity bills and the snow that makes it harder to drive and the biting cold. I can't imagine living a life in which I don't romanticize these things even just a tiny bit. And the Christmas songs that play on the radio and in department stores every year around this time are yet another cliched staple that I wouldn't live without.

So, needless to say, I have quite a few personal favorites when it comes to "holiday" songs. Here are some non-traditional or revamped traditional "Christmas" songs that I enjoy. For once, I am allowing this playlist to include the goofiest, most childish songs I enjoy. Because...hey, it's Christmas! You only have to worry about these things for like a month, why not listen to whatever you want?

"Sleigh Ride" by KT Tunstall
This is a nice, poppy Christmas cover. Tunstall manages to cover the song without destroying the original piece and without destroying her own artistic style. 


"Snowflake" by Everybody Else
A couple of years ago, Everybody Else released a holiday-themed song and video just a few short days before Christmas. I fell in love with it instantly and was quite disappointed when it was taken down only days later. Luckily, this track did surface again as a Kickstarter prize but the video has yet to return. Personally, I think it's a very cute, heartfelt Christmas tune.
 
"Riu Chiu" by The Monkees
The Monkees performed this old Spanish carol for their Christmas special. The vocal parts are really beautiful.

"December Will Be Magic Again" by Kate Bush
For the young at heart. Not specifically a Christmas song, more just about the joy and wonder of winter and the Christmas season. A very cool song.

"Christmas Wrapping" by The Waitresses
You know how some people have a soft spot for things? I have a soft gaping hole for The Waitresses. This song is just...really sweet? It's one of those early rap songs like Blondie's "Rapture" that is just special. I also think the swear word in this song may be the most commonly overlooked in radio history.

"2000 Miles" by The Pretenders
One of my favorite bands performing an original Christmas song. It's a very lovely song, and it can make me a little emotional. There's also a more strings-oriented live version from Isle of View. KT Tunstall and Coldplay have both covered it as well.

"Little Saint Nick" by Doctor Teeth and the Electric Mayhem
This might be the best cover of any song ever. I do have a tendency to hyperbolize though. But seriously, Animal alone makes this song amazing.

"Christmas All Over Again" by Tom Petty and the Heartbreakers
This song is frequently overlooked, which is a pity. It's poppier than most Tom Petty stuff, but it's very catchy.

"Carol of the Bells" by The Bird and the Bee
Another example of a great cover of a classic holiday song. This sounds just like a Bird and the Bee song, even though it's clearly a classic Christmas tune.

"Oh Holy Night" by Weezer
Out of an entire album of Weezer Christmas songs, this is by far my favorite.

"Christmas (Baby Please Come Home)" by Death Cab For Cutie
I will listen to almost anything Ben Gibbard sings. Other versions of this song now sound strange.

"One More Sleep 'Till Christmas" by Kermit the Frog
From The Muppets' 1992 film The Muppet Christmas Carol, this is one of the cutest Christmas songs in recent history. I fondly remember singing this song (amended to suit the day) weeks before Christmas.

"Let It Snow" by A Fine Frenzy
This is a beautiful Christmas song, only helped by Alison Sudol's beautiful voice.

"Do They Know It's Christmas" by Band Aid
However you may feel about any of the artists that participated in Band-Aid, this is in-arguably a quintessential Christmas song, as well as being an important historical song.

"Rockin' Around the Christmas Tree" by Brenda Lee
Yet another classic. I enjoy this song greatly, no matter how many times I hear it.

"Merry Xmas Everybody" by Slade

Fans of Doctor Who may recognize this song without knowing why. Apart from being a classic 70s Christmas song, "Merry Xmas Everybody" was featured in the 2005 and 2006 Doctor Who Christmas specials. I thought it was a tradition they'd stick with, but no such luck. Rooney also did a brilliant cover.

"Run, Rudolph Run" by Chuck Berry
Particularly memorable from Home Alone, this song sounds like every other Chuck Berry song, but I still love it.

"Happy Xmas (War is Over)" by John Lennon
You know how sometimes you just like that song because it's embedded in your personal history? But I'm also not going to argue with the message of this song.

"Holly Jolly Christmas" by The Format
When I heard about this cover, I assumed it would be horrible. But Nate Ruess actually makes it sound cute and genuine.

"Christmas is Cancelled" by The Long Blondes
Bearing much similarity to an Elvis Costello song (circa Armed Forces), this is a catchy original Christmas song by one of my favorite bands.

Top 5: Modern Male Vocalists

Today I would like to talk about five modern male vocalists that I think have a certain something special. There are a lot of really great vocalists in this modern era, ones that stand out for many different reasons. I'm not going to pretend to be the ultimate judge of vocal talent, or to have heard every single singer ever. All I wish to do is to relate to you some of my favorite male singers who are currently active in the music world. This list isn't in an incredibly specific order, but it will be counting down, as most great lists do.

#5 Julian Casablancas

Julian Casablancas has a rock voice. It’s smooth and coarse at the same time. Not only is his voice perfect for The Strokes, but it’s also beautiful when he uses it on his own (Phrases For the Youth). His vocals make the band recognizable amongst the sea of artists, as well as giving The Strokes, (or anything Casablancas puts his vocals to) a definite edge.

 #4 Ben Gibbard

Ben Gibbard doesn’t have a perfect voice. What he does have is an honest voice. When Gibbard sings, his voice gives you the impression that he’s singing to you, making his emotional and heartfelt lyrics all the more special. Whether he's playing an acoustic solo song, singing along with the digital beeps of The Postal Service, or rocking out with Death Cab For Cutie, Gibbard's voice supplies exactly what the songs need.

#3 Eric Hutchinson

Eric Hutchinson almost sounds like he should be a 60s Motown artist. He has a very powerful voice that suits his piano-heavy songs perfectly. He also does a killer Cher impression.

#2 Nate Ruess

Nate Ruess has taken his voice from The Format to fun., giving each band what they need to make the music wonderful. Like Gibbard, Ruess has a kind of honesty to his voice that allows us to empathize with his tender lyrics.

#1 Carrick Moore Gerety 

Carrick Moore Gerety has to be my favorite modern male vocalist. He can sing almost anything (including "Birthday Sex") and make it sound like a beautiful melody. It helps that his songwriting for Everybody Else actually provides beautiful melodies.

I picked these gentlemen because I think their voices are outstanding amongst the artists that I listen to. There are other great vocalists (like Daniel Merriweather for example) that I know have really great voices, but I just don't listen to them. There are also other men whose music I listen to, but whose voices are not overly outstanding.

 Recommended Tracks: 

Julian Casablancas Vocals:
You Only Live Once by The Strokes
11th Dimension by Julian Casablancas
Boombox by The Lonely Island Featuring Julian Casablancas
Reptilia by The Strokes
Machu Picchu by The Strokes

Ben Gibbard Vocals:
You Remind Me of Home by Ben Gibbard
Little Bribes by Death Cab For Cutie
Handle With Care by Jenny Lewis and the Watson Twins (featuring Ben Gibbard and Coner Oberst) 
Soul Meets Body by Death Cab For Cutie
Clark Gable by The Postal Service

Eric Hutchinson Vocals:
It Hasn't Been Long Enough by Eric Hutchinson
Rock & Roll by Eric Hutchinson
OK, It's Alright With Me by Eric Hutchinson
Back to Where I Was by Eric Hutchinson
Watching You Watch Him by Eric Hutchinson

Nate Ruess Vocals:
Dog Problems by The Format
Light a Roman Candle With Me by fun.
Snails by The Format
We Are Young by fun. 
The Compromise by The Format 

Carrick Moore Gerety Vocals:
Say Goodbye by Everybody Else
Helter Skelter by Rooney featuring Carrick Moore Gerety
Button for Punishment by Everybody Else
Nine Straight Lines by Push Kings
Soldiers Without an Army by Everybody Else