Episode 111: Something Like That

Guided By Voices at The Granada in Lawrence, Kansas (9/28/2012)

Sometimes you’ve listened to a band for so long that you forget others may have never heard it.  Sometimes when you dive into a band’s catalog, the plunge is so gradual that you wake up one morning and wonder where this stack of 30+ CDs came from.  Both are true with the work of Robert Pollard, primary songwriter for Guided By Voices.

I don’t remember when I first heard Pollard’s work, but I do remember it was the Guided By Voices album, Bee Thousand.  I was ecstatic to find a band making the kinds of records that my step-brother and I had attempted.  We recorded our tapes in his mom’s basement, so the rough, lo-fi sound of Bee Thousand immediately appealed to me.  There was also something familiar to Pollard’s songs, as well.  Immediately, I felt like this guy had listened to a lot of my favorite records by The Who, (Gabriel-era) Genesis and a band I had just discovered, R.E.M.

Pollard’s work, albeit wildly inconsistent, still seems relevant to me.  These days, I feel like the most punk thing you can do is release music how and when you want.  With labels demanding returns on their increasingly astronomical investments, it’s not unusual to expect a three-year gap between albums for many bands.  As a fan, the wait can be maddening.  Maybe the returns are there, who knows.  That’s why I still like Pollard, who put it best, “If we’re paying for it and no one’s listening to these records anyway, if we’re only making them for ourselves, then I’m going to put exactly what I want on them.”

Enjoy..

1. “Substitute” by The Who (Meaty Beaty Big and Bouncy/Decca/1971)
2. “The Great Deceiver” by King Crimson (Starless and Bible Black/Island/1974)
3. “London Girl” by The Jam (This is the Modern World/Polydor/1977)
4. “London Girls” by The Vibrators (Pure Mania/Epic/1977)
5. “Teenage Kicks” by The Undertones (True Confessions (Singles = A+B’s)/Rhino/2000)
6. “Fall on Me” by R.E.M. (Lifes Rich Pageant/I.R.S./1986)
7. “Echos Myron” by Guided by Voices (Bee Thousand/Scat/1994)

https://dl.dropboxusercontent.com/u/1415312/111radiofreeraytown.mp3″

Radio Free Raytown – Episode #111 (4/8/14)

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Top Ten Favorites Albums of 2013

Album release gimmicks were the thing in 2013. While I like the idea of making a release more of an event than just a drop date on iTunes, few of those hyped-up records interested me. (The most notable exception being The Next Day.) I like the personal interaction and support my wife and I have given artists this year. I’ve found that commitment to their music through Kickstarter campaigns and concert attendance endear these records to me more than any publicity stunt ever could.

Obviously, I didn’t listen to every record released in 2013, but I tried. Sure, other great albums were released this year, but whatever. People always want me to generate lists, of course these lists are always flawed, people invariably ridicule me for music I admit to enjoying, I hate committing to lists, but whatever, you get the picture. I have once again acquiesced. I love these albums, and so should you.

Here are my ten favorite albums from 2013, in no particular order:

1. Black Hearted Brother – Stars Are Our Home
2. Bowie, David – The Next Day
3. Crocodiles – Crimes of Passion
4. Daniel Amos – Dig Here, Said the Angel
5. Deafheaven – Sunbather
6. Flaming Lips, The – The Terror
7. Holograms – Forever
8. Hopkins, Jon – Immunity
9. Iceage – You’re Nothing
10. Laner, Brad – Nearest Suns
11. Mary Onettes, The – Hit the Waves
12. Medicine – To the Happy Few
13. My Bloody Valentine – mbv
14. Phillips, Sam – Push Any Button
15. Shorter, Wayne – Without a Net
16. Starflyer 59 – IAMACEO
17. True Widow – Circumambulation
18. Veronica Falls – Waiting for Something to Happen
19. Witmer, Denison – Denison Witmer
20. Yo La Tengo – Fade

 

The most important Miles Davis record (for me).

During my last few years in college, I’d occasionally housesit for a professor and his wife. These jobs provided opportunities to escape my stressful home life and for me to catch up on reading and cable television. During one of my stays at their River Market loft, I watched a documentary on sixties’ psychedelia. I don’t remember much about that VH1 show, except a closing montage of classic psychedelic albums. Taking its place among the famous British invasion albums was Miles in the Sky. At that point, I knew nothing about Miles Davis, except that he played trumpet. But the cover was so cool that I knew I needed to locate it right away.

When I found the CD, I was shocked by what I encountered. The drums in stereo sounded like nothing I’d ever heard before. Perhaps, more precisely, Tony Williams’ cymbal playing was unlike anything I had heard before. At times, it almost sounded like the band had two drummers.

While not my favorite Davis record, it’s certainly the most important for me. It propelled me into his and his bandmates’ catalogs. It also introduced me to long songs; this was at least two years before I discovered progressive rock. Unlike most albums, the surprising thing about Miles in the Sky is that I can listen to it today and have some of the same impressions as when I first played it.

The first track, “Stuff,” was my first encounter with jazz fusion. It was also Miles’ first real foray into fusion, with electric keyboard and bass. Wayne Shorter’s tenor saxophone sounds so distant, so cold and harsh. (Later, I’d learn he was playing through an amp.) Ron Carter’s bass playing on this track still blows my mind. Playing more in the mid-range of the instrument, he often implies the groove instead of explicitly stating it.

“Paraphernalia” was my first dive into the deep pool of Wayne Shorter compositions. Now, it sounds to me like so many of his other great compositions. Back then, however, its floating, esoteric melody just seemed weird. Inviting, but still weird. I believe too much ink has been spilled debating whether he’s a better writer or improviser; this song proves he’s great at both. I think his solo may be as memorable as the head. Of course, it helps that he uses the old trick of restating bits of the melody in his solo, which helps ground his improvisation.

The most swinging cut on the album, “Black Comedy,” inspired me to play drums. I’m sure I’ll never play like Tony Williams, but I sure can pretend. I was immediately taken by his overuse of the high-hat and weird turnarounds. Probably the most accessible (or short) track on the album, this track found its way onto numerous mix tapes in college.

The last song, “Country Son,” is so weird. Without any discernible melody, the master and alternate takes included on the CD sound completely different. The meandering feel of the composition seems emphasized by Davis and Shorter, who sound like they’re wandering around the studio as they play.

All that said, maybe Miles in the Sky sucks and you should check out Kind of Blue or Bitches Brew first. I just feel too close to the record to be objective. Because it was in constant rotation around the time my parents split, it just sounds to me like their divorce. I feel a longing in its grooves and an aching transcendence in its melodies. And that’s why, after amassing most of his catalog, it continues to the most important Miles Davis record for me.

Episode 110: On Route to Somewhere

Come see this show, bring lots of friends and buy Robert’s music!

I usually despise the term singer/songwriter. But then again, I have to check myself, as some of the most life-changing music has come from dudes pouring out their hearts in stories and arpeggios on acoustic guitar. I believe Robert Deeble is one such guy. When I hear his music, I imagine he has spent (un)healthy amounts of time in his bedroom listening to Songs from a Room or The Times They Are a’Changin’ and perfecting his own songs. As you might guess, I’m no casual fan. Gallons of virtual ink could easily be spilled on the importance of Deeble’s music in my life over the past 15 years. My wife is also a huge fan of his music, and counts him among her favorite interviews from her days in music journalism.

A while back, Deeble began talking with us about the possibility of hosting a small concert. As long-time fans, we greeted this discussion with enthusiasm and are happy to announce that he will play at Morton Hall in Westport on October 4, 2013. To help promote the show–and his music in general–this week’s show is dedicated to his songs. Hopefully you can attend the $5 show, but at the very least, I hope this show piques your interest to check out his catalog on Bandcamp.

Enjoy.

1. “Heart Like Feathers” (Heart Like Feathers/Dead Letter Records/2013)
2. “Peter and the Lion” (Thirteen Stories/Pete Records/2004)
3. “Two Statues” (Earthside Down/Jackson Rubio/1998)
4. “The Colors of Dying” (Heart Like Feathers/Dead Letter Records/2013)
5. “Lovers on Route” (Earthside Down/Jackson Rubio/1998)

[audio https://dl.dropboxusercontent.com/u/1415312/110radiofreeraytown.mp3 ]

Radio Free Raytown – Episode #110 (9/15/13)

Episode 109: Back in the Saddle

After 108 episodes, my output of podcasts ground to a halt.  I guess a two-year old, super-demanding job and crashed computer will do that to you.  My last show was in October, a whopping nine months ago!  That’s probably nothing for the newbies still trying to play catch-up, but for some close friends it’s seemed like forever.

Anyway, I haven’t bothered with a theme for this week.  I’m just playing some music that’s been released since Episode 108.  Enjoy.

1. Don’t Forget (To Forget About Me) – The Mary Onettes (Hit the Waves/Labrador/2013)
2. Love is Lost – David Bowie (The Next Day/Columbia/2013)
3. Four Teeth – True Widow (Circumambulation/Relapse/2013)
4. Distance – Beaches (She Beats/Chapter Music/2013)
5. Islands (She Talks in Rainbows) – Guided by Voices (English Little League/Guided By Voices, Inc./2013)

Radio Free Raytown – Episode #109 (8/6/13)

2013, so far.

Ian’s waited all his life for another My Bloody Valentine record!

Since the year is now half-empty (or half-full or whatever), a friend asked me for a list of my favorite records of 2013.  He felt that, apart from the new Yo La Tengo record, there was no real “slam-dunk” this year.  I courteously, yet vehemently, disagree.  So here’s a list of several records that captured my attention in the first half of 2013.  (The order here means nothing, I don’t want to rank them just yet.)  Let’s see if they stick around for my year-end list…

Thought and Language by Dead Leaf Echo

Dead Leaf Echo has been around a few years now and finally delivered the solid album that should get attention.  I tend to like any new shoegaze band, so an album like this, full of perfect and hazy pop songs, always gets my attention.

Fade by Yo La Tengo

One of the band’s best and most concise albums in a catalog full of “best” albums.  I love it.  A great starting point for anyone unfamiliar with Yo La Tengo or life itself.

mbv by My Bloody Valentine

Pandemonium ensued the night My Bloody Valentine released its new record.  Kevin Shields hinted a week earlier that it was coming, but after nearly two decades since the band’s last record, I was skeptical.  It doesn’t overwhelm with shock and awe at first, instead the band takes its time.  Shields has delivered a fairly quiet record with some classy songwriting.  Until the end, then it gets crazy.

Iceage, performing at this year’s Middle of the Map Festival in Kansas City.

You’re Nothing by Iceage

I went nutso a few months ago when Iceage released its second album and played at The Riot Room.  I kinda feel like it was as close as I’ll get to ever seeing Joy Division.  Not only is its live show amazing, but the new record is also fantastic.  A little more dry-sounding and mature than the last one, it’s also brief, demanding repeated plays.

The Next Day by David Bowie

I’d be a millionaire if I had a nickel for every time I read the phrase, “Bowie’s best album since Scary Monsters,” to describe The Next Day.  It’s kinda maddening, really, considering how much good material filled Heathen and Reality.  (Sure, those weren’t totally solid albums, but whatever.)  This new record is awesome.  With each song sounding like a different stage in his career, it almost feels like a best-of collection, except that they’re all new songs.

She Beats by The Beaches

Fuzzy, Aussie band that’s spent far too much time with its Sonic Youth and Neu! albums.  Enough said.

Without a Net by Wayne Shorter

Wayne Shorter turns 80 this year, but you wouldn’t know it by his playing.  Sometimes he deconstructs songs with reckless abandon, squawking away on his soprano sax.  Sometimes he composes super-ambitious, 23-minute pieces for a large combo.  At his age/stature, he could/should be the star of his own records, but Shorter seems content to step back and let listeners enjoy his insanely-talented band, as well.

The Terror by The Flaming Lips

Why am I even writing about this?  I’m not sure I even ‘get’ this record yet.  Dark, weird, lots of synthesizers and that one Suicide beat in nearly every song.  I think I just answered my question.

10 jazz records you should own

Herbie Hancock and The Headhunters, his band for his 1974 album, Thrust

Some friends have indicated that they just don’t know where to start when it comes to jazz records.  Some of them feel it would be valuable for me to offer a list of recommendations.  I understand that Jazz can be intimidating, as it often evolves into a cerebral exercises.  You know, dudes will solo in a particular mode in a certain time signature while the rhythm section plays in another time signature and, truthfully, it’s no longer even tuneful or moving.

Before I begin, a little concerning my history with jazz might be helpful.  I played alto saxophone until my freshman year of college.  I also played baritone saxophone for three years in high school.  Between the busyness of life and the intonation problems of my student-issue horn, I stopped playing and pursued songwriting and rock instruments.  During this time, I sought out mostly rock recordings, as well.  This gap, however unfortunate it may be perceived, gave me a different perspective on jazz recordings when I finally returned to them later in college.  While I can appreciate technical prowess, I’m a bigger fan of sounds and melodies.  I also prefer small groups, or combos, to overblown big bands.

Obviously this list is not exhaustive; I’m leaving out some real heavy-hitters.  I just hope the annotated list offers a place to start and doesn’t get too technical (for lay people who just want to discover cool music).

1.  Thrust – Herbie Hancock (Columbia / 1974)

Thrust is the follow-up to Herbie’s big, funky, fusion break-out record, Headhunters.  Simply put, I like this one better.  The grooves are more tight and the drumming more precise.  I feel like Herbie and his backing band, The Headhunters, have gelled with this record.  Probably the most accessible album on this list to start with.

2.  Kind of Blue – Miles Davis (Columbia / 1959)

Miles was like only a handful of career artists who constantly evolved and reinvented themselves.  (Bob Dylan, John Coltrane, Herbie Hancock, David Bowie and Elvis Costello also come to mind.)  This record finds Miles and his bandmates embracing modal soloing.  Don’t worry about what that means, just know that it opens up the bebop sound.  He pieced together a stellar band of dudes  who really listened to one another and were, themselves, on the cusp of true greatness.  I know, I know, this is an obvious, big album in Miles’ catalog (and in all of music) but it’s still a great starting point.

3.  House on Hill – Brad Mehldau (Nonsuch / 2006)

The most recent album in the list.  I love Brad Mehldau’s airy style (reminiscent of Keith Jarrett, but I’d say Mehldau is usually more accessible), and I feel this record finds him at his best.  A great album to play as you watch the rain fall.

4.  Red Clay – Freddie Hubbard (CTI / 1970)

The funkiest fusion record you will ever find.  It’s a collision of funk, soul and jazz.  Lenny White’s drumming is so crisp and precise.  Some great playing and comping, too, but I don’t want to get too technical.  Like so many releases on CTI, this seems intended for vinyl.  The drums sounds perfect and warm on wax; the gate-fold artwork is gorgeous.

5.  Off-Limits – The Francy Boland/Kenny Clarke Big Band (Polydor / 1970)

I’m not usually a fan of big band recordings.  (Playing in bands, on the other hand, was pretty fun.)  This is the only big band to make my list, and it’s quite impressive.  The group has two drummers, hard-panned left and right, and the horn lines swoop in and out in a dizzying manner.  It’s hard to keep up with it all, but it’s beautiful.  With everything going on, it’s surprising that the best moments are quiet and autumnal.  Hard to describe, but it’s a must-have.

6.  Moon Germs – Joe Farrell (CTI / 1973)

Farrell is a criminally-overlooked tenor sax player.  In fact, I recommended him to a friend who just graduated with a degree in tenor sax performance, and he had never heard of the guy.  Playing with some of Miles Davis’ late-60s band, this album finds Farrell at his most funky.  It’s worth getting this record for the drum break in “Great Gorge,” alone–it feels like the drummer (DeJohnette) predicts the future of 80s hip-hop with just that one break.

7.  Conversations with Myself – Bill Evans (Verve / 1963)

I think Bill Evans is my favorite pianist.  I won’t gush about his beautifully-voiced chords, but they are beautiful.  Trust me.  Just get this record and be amazed.  It’s a solo piano record without precedent.  Evans accompanies himself, one piano track on the left and another, overdubbed part on the right.  Occasionally, he even adds a third piano down the middle.  Great tunes and an inventive (for the time) delivery.

8.  Search for the New Land – Lee Morgan (Blue Note / 1964)

Much like Freddie Hubbard, Lee Morgan was a trumpet player whose legacy is often overshadowed by Miles Davis’.  This album is well-balanced between swinging bop and new sounds of the 60s.  I especially love the title track, as it explores that expansive (airy?) vibe that Coltrane and Miles were after, as well. It’s as close to psychedelia as many acoustic jazz musicians got without tape manipulation and overdubbing.

9.  Timeless – John Abercrombie (ECM / 1974)

I really don’t care for many fusion guitarists.  Trading style for wankery, these dudes seem only concerned with impressing the listener (or themselves).  While that can be fun, it usually just gets old.  Throughout his career, Abercrombie occasionally nailed it, delivering cool vibe and melodies.  This is it.  Oh yeah, and check out the crazy breakdown with synth bass and drums (same dude who drummed on the aforementioned Joe Farrell record) nine minutes into “Lungs”.  That sick track, alone, makes most DJ Shadow records obsolete.

10.  Speak Like a Child – Herbie Hancock (Blue Note / 1968)

Before he became a jazz/funk rockstar, Herbie was on the verge of becoming a first-rate jazz composer.  Speak Like a Child and The Prisoner feature fantastic horn arrangements.  This record, in particular, is especially solid and would make for a great film noir soundtrack.  Very few songs make me cry, and “Goodbye to Childhood” has brought me to tears, twice.

Rotation (1/21/13)

Long before last.fm, Instagram and Facebook sharing, an important tool in musical discovery on the internet was through the sharing of rotations on message boards and email discussion lists. Inspired by radio stations that would post the singles currently in rotation, people would share lists of recently played albums.

While they could be perceived as exercises in elitism or narcissism, these lists also served as recommendations (for albums that required years of scouring local record stores). Hopefully this list is helpful, as not everything I listen to can be scrobbled.

Just a list, in no particular order, of what I’ve been listening to over the past two weeks or so.

10. The Bears for Lunch – Guided by Voices (Guided by Voices / 2012)
9. Coltrane – John Coltrane (Impulse! / 1962)
8. Opus de Jazz – Milt Jackson (Savoy / 1956)
7. Third Stream Music – The Modern Jazz Quartet + Guests (Atlantic / 1960)
6. Out of the Woods – Tracey Thorn (Astralwerks / 2007)
5. It’s a Jungle in Here – Medeski, Martin and Wood (Ryko / 1993)
4. Car Alarm – The Sea and Cake (Thrill Jockey / 2008)
3. A Smattering of Outtakes and Rarities – Yo La Tengo (Matador / 2005)
2. Low – David Bowie (RCA / 1977)
1. Stage – David Bowie (RCA / 1978)

Top 12 of 2012

I’ve a penchant for flippant hyperbole. But when it comes to honestly making lists of favorite albums from any given year, it can take me forever. Unlike years past when I waited a couple months to post my lists, I’ve only missed my self-imposed New Year’s deadline by a few days, so I consider this progress.

I do know some people take my recommendations seriously, so I’ve really put some thought into this list. This is not necessarily what I consider to be last year’s best albums. It’s simply a list of the ones I enjoyed the most in 2012. With seemingly everyone on Spotify or Rdio these days, I hope you all can listen to most of these (multiple times each). If you don’t have access to those services, I’ve included links to a choice song from each album. Enjoy.

12. Dumb Gold by Motel Beds

Another year, another record from another Dayton band that I adore. Maybe it’s too simplistic to say that Motel Beds are a combination of The Ventures and T. Rex, but that’s not too far off, either. If they make a record next year, I’m sure it’ll be in my year-end list then, as well.

Song: Valentimes

11. The Bears for Lunch by Guided by Voices

I thought that, when bands reunite, they’re supposed to just tour and play their hits. Never would I imagine that Guided by Voices’ classic, early-nineties lineup could reunite and release three(!) albums of new material in one year. Then again, I guess most bands don”t have a super-prolific songwriter like Robert Pollard. The Bears for Lunch is its third, and most consistent, album of the year. Not surprisingly, the band is preparing a new EP and full-length album for next year…

Song: The Challenge is Much More

10. Departure Songs by Hammock

A friend characterized Hammock’s music as “post-rock version of The Church,” which sounds as good as any description to me. This record finds the band at its most epic and lush, nearly beating Sigur Ros and M83 at their game. A full two discs in length, Departure Songs is an exhausting, yet very rewarding listen if you don’t mind losing yourself in endlessly reverberating guitars and sweeping orchestrations.

Song: Ten Thousand Years Won’t Save Your Life

9. Dwarf Mountain Alphabet by Joy Electric

I’m pretty sure Ronnie Martin is the only guy out there making synthpop with only analog synthesizers. No drum machines or computers here. If his work ethic alone doesn’t convince you, know that he has delivered his most focused and dancey collection of pop songs since 1997’s Robot Rock. Oh yeah, and his vocals have never sounded better.

Song: Whose Voice Will Not be Heard

8. Shields by Grizzly Bear

I don’t care how predictable Grizzly Bear’s spot in my year-end lists is becoming; I love this band. At the heart of its best songs is a folky-pop thing that I adore. Of course, the band dresses it up with great drumming, lush background vocals and thoughtful horn/string arrangements. I think Grizzly Bear occasionally gets backlash because of its rising popularity and the fact that Ed Droste’s vocals sound so good. Oh, that more bands pay such attention to arrangements, harmonies and lyrics!

Song: Yet Again

7. Lonerism by Tame Impala

Trailing close behind my love for great songwriting is weird sounds. On its last album, Innerspeaker, Tame Impala delivered psychedelia and killer guitar jams. This time around, the band uses more synthesizers and plays up its Paul McCartney and Todd Rundgren influences. A weird and totally perfect album.

Song: Mind Mischief

6. Melody’s Echo Chamber by Melody’s Echo Chamber

So Melody Prochet worked with Australian band, Tame Impala, to make a sugary pop record. Except that, around the seventh track, the band derails the process and the album drops off a cliff into fuzzy, new wave-influenced psychedelia. And it’s beautiful.

Song: I Follow You

5. Places by Sam Billen

I guess admiration could muck up our friendship, but I’ve always envied Sam’s songwriting and musicianship. Songs like “It’s My Life” and “Someday You’ll Regret” that he wrote for his old band, The Billions, were monumental in my personal and musical discovery/development. While I’ve loved his solo recordings up to this point, they’ve never captured the magic of the demo CDs he recorded ten years ago. But this year, Places did it for me. I feel like Sam has finally captured my feeling of driving off from The Billions’ farmhouse, playing one of his collections of mature, difficult songs and rupturing my cerebellum. I love you, Sam.

Song: It’s Not a Lie

4. >> by Beak

Beak, a side project of Portishead’s Geoff Barrow, is quickly becoming a favorite band. It plays to the right influences, most notably Neu! and Syd Barrett. (And you should know that I love Krautrock. Neu!, Cosmic Jokers and Agitation Free are some of my all-time favorite bands.) With vocals taking a backseat to some luminous, motorik grooves, this is perfect music for 2:00 am.

Song: Wulfstan II

3. Kill for Love by Chromatics

Come on now, how can you make an album of hazy, eighties Italian disco with reverb-drenched guitars and expect me not to like it?

Song: The Page

2. Bloom by Beach House

I’ve followed Beach House since its first record, so Bloom didn’t really come out of nowhere for me. I can’t help but feel like this dreampop fad in indie rock might be just a little too trendy. Just as long as bands remember to match the sound with great songs, I’m okay with more albums like this.

Song: Other People

1. Nootropics by Lower Dens

I’m not sure why it’s suddenly hip to sound like a Krautrock band, but I like it. While I loved Bloom by Beach House, Nootropics was just more dark and murky and German, tipping the scales for me. True, I found it to be one of the year’s least-immediate albums, but all that extra work I’ve put into understanding it has made it my favorite of 2012.

Song: Brains

Honorable mentions (or albums that I liked and don’t want to not mention in this blog post): Attack on Memory by Cloud Nothings, The Loudest Sound Ever Heard by The Choir, Until the Quiet Comes by Flying Lotus, Sweet Heart Sweet Light by Spiritualized, Oshin by Diiv, Plumb by Field Music, and My Height in Heels by She Does is Magic.

Stuff I didn’t hear in 2012 (but would probably make my list if I had):Europe by Allo Darlin’, Wild Peace by Echo Lake, Cancer for Cure by El-P, Ark by Halls and Nocturne by Wild Nothing.

Episode 108: Another Sunny Day

Dedication in the used copy of Belle and Sebastian’s biography I picked up at The Strand bookstore in New York City a couple years ago.

I discovered Belle and Sebastian later in college than most. It’s not that I didn’t get its music; it’s just that I already listened to many other twee bands (and the bands they influenced). Don’t get me wrong, I liked If You’re Feeling Sinister, but I just didn’t see what the big deal was. Then I started paying attention to the lyrics…which you don’t necessarily do if you’re into twee or indie pop.

Does it diminish a band’s worth to consider the context in which it creates music? Does it put a damper on that moment you discover a new band to consider the other bands in its scene? Does it make a band seem less creative when you find out what’s in the lead singer’s album collection?

I think it’s always important to consider context when analyzing art, especially music (because that’s what I know best). It’s especially important with someone like Belle and Sebastian’s Stuart Murdoch, who is obviously a referential writer. This is why I devote Episode #108 to the musical ancestry of Bell and Sebastian. Have I exhaustively discussed every band that influenced Murdoch? Or course not, but they are all very influential. (And, if you read the band’s biography, Belle and Sebastian: Just another Modern Rock Story, you’ll find many pages devoted to Murdoch’s adoration of these bands.) This show is a starting point for many evenings getting caught in internet wormholes, discovering obscure Britpop bands.

At any rate, in the era of publicly-accessible Spotify playlists, I’m unsure that I need to merely make podcasts amounting to little more than shuffled playlists and commentary. I hope you find focused shows like this helpful. I still bristle at the idea of themed shows; I just want to help everyone grasp the context in which my favorite music is created. Enjoy.

1. “Do You Remember Walter?” – The Kinks (The Kinks Are the Village Green Preservation Society / Reprise / 1968)
2. “One of These Things First” – Nick Drake (Bryter Layter / Island / 1970)
3. “Caroline Goodbye” – Colin Blunstone (One Year / Epic / 1971)
4. “Down but Not Yet Out” – Felt (Forever Breathes the Lonely Word / Creation / 1986)
5. “I’m in Love with a Girl Who Doesn’t Know I Exist” – Another Sunny Day (Air Balloon Road / Sarah / 1990)
6. “Another Sunny Day” – Belle and Sebastian (The Life Pursuit / Matador / 2006)

Radio Free Raytown – Episode #108 (10/5/12)