Sometimes you get so lonely / Sometimes you get nowhere I’ve lived all over the world / I’ve left every place
Please be mine / Share my life Stay with me / Be my wife
You may have heard David Bowie cooly exhort those plaintive words over a stylish soundscape on 1977’s Low, but today a cover from the upcoming compilation Life Beyond Marsgives us this haunting new version that melds the aching falsetto of Oxford musician Richard Walters with Faultline (aka North London DJ David Kosten, who’s worked with Wayne Coyne, Michael Stipe, Chris Martin of Coldplay, and Keane).
LIFE BEYOND MARS TRACKLIST Au Revoir Simone – Oh! You Pretty Things Heartbreak – Loving The Alien Kelley Polar – Magic Dance (Harold and Baby O in Italy version) Leo Minor – Ashes To Ashes Carl Craig presents Zoos Of Berlin – Looking For Water Drew Brown – Sweet Thing Matthew Dear – Sound & Vision Susumu Yokota – Golden Years The Emperor Machine – Repetition Joakim & The Disco – A New Career In A New Town Richard Walters & Faultline – Be My Wife The Thing – Life On Mars
Worth noting that Rapster Records are also the folks who put together the 2006 Radiohead covers album Exit Music, which spawned that sexed-up Mark Ronson version of “Just” that swaggers with dance beats and brassy horns.
BOWIE COVER ART: a specially commissioned illustration by Berlin artist Maria Tackmann
This earthy, warm, rich bootleg is from a shared evening of music that included sets from M. Ward, Jim James of My Morning Jacket, and Conor Oberst of Bright Eyes.
Billed as the “Monsters of Folk” tour, after individual sets it closes with a six-song jam session where they all play together and sometimes (like for the closing Dylan cover) take turns with the verses. The sound quality here is sparkling and pristine with some choice song selections in the mix. Any of their single sets would be a treat in its own right; together they blow my mind a little bit.
Notable track: that Willie Nelson cover! “Always on My Mind” is one of my favorite sad songs as is, but with Jim James taking the lead vocals it aches and ebbs in a new way. There are so many wonderfully melancholy songs in this bunch – in addition to the lonesome starter of “Fuel for Fire,” the way M. Ward’s voice cracks on Undertaker (“Ah, but if you’re gonna leeeeeeaaaaave, you better call the undertaker, take me under undertaker, take me home“) is practically the sound of a heart breaking.
The new Vincent Moon-directed film that follows the making of The National‘s 2007 album Boxer is out today. A Skin, A Night offers the gorgeous treatment that this music deserves, making it feel even more special, all wrapped up in moonlight and grainy black and white. The film is being screened at select U.S. locations (and hmmm, should we do a Denver one?) and if you buy it, the DVD comes paired with an excellent collection of 12 rare/demo/unreleased tracks called The Virginia EP.
In addition to collaborations with like a song with Sufjan Stevens recorded at Benny’s Wash ‘N Dry in Brooklyn, some great UK b-sides including one called Santa Clara (which I like to pretend is about my alma mater), and that sublime Springsteen cover I posted in April, there are several home-recording demos and live tracks.
This cover is one of my immediate favorites on the EP — a mournful, quietly sad song written originally by a Bristol-born singer-songwriter named Caroline Martin. It starts with a fill of organ pipes like you just stopped into that little cathedral, and now are not quite sure what for. Maybe to say a prayer for someone, light a candle. Maybe just to sit in the silence.
Quickly the song blossoms within its traditional structure that caused me to wonder at first if this was a reinvention of an old doo-wop tune from a girl group. But there within the simplicity, The National wrenches out new layers of genuine loss and missing someone so much that all you can construct are lines that are three or four words long.
Hot Chip appeared on BBC’s Live Lounge today to perform a semi-acoustic version of their single “One Pure Thought,” and also cover Trinidadian/East London rapper Wiley’s “Wearing My Rolex.” After seeing these guys nearly cause a riot at Coachella, they can get under my skin and make my hips start movin’ even more easily.
Josh Rouse! Covering Mother Love Bone! Thanks to Kelly who sent this to me — it’s a song from the latest volume in Rouse’s Bedroom Classics series. I am big fan of volumes 1 and 2, and it’s quite a mindtrip to hear Nebraska singer Josh Rouse take on the formidable late ’80s/early ’90s pre-grunge rock sounds of Mother Love Bone.
“Chloe Dancer/Crown of Thorns” is a dark and melancholy river of a song from the Singles soundtrack, and it is interesting here how Rouse only chooses to cover the intro portion, never lapsing into that chorus of “this is my kinda love, it’s the kind that moves on, it’s the kind that leaves me alone….” Having listened to the original so many times, it is a bit disconcerting where this version stops, but beautifully moody, and I can’t fault that choice in cover material.
Thanks to everyone who submitted a story about Africa, U2 –or even Bonalmost— for the contest to win the In The Name of Love CD of U2 covers by African musicians.
Boyhowdy’s story was an early favorite (make your wife read that, boyhowdy!) and so many of you shared great tales of the ways U2 has been present at different memorable moments in your life. However the winner is Russell, because of the way I loved this paragraph he wrote about seeing U2 in 1980:
“There was real glory in an Edge solo – a dazzling scattering of light and energy that detonated dreams. Exhilaration. Running from that concert in the rain to catch a late night train remains vivid and gleaming: music mattered, life mattered. Everything was potentially magical.”
Russell, thanks, and let me know where to send the winnings. Enjoy.
NEW CONTEST: Tristan Prettyman is a musician from the San Diego area with a lovely sunrise homespun voice, and an approachable acoustic sound that I dig.
She’s designed a cool music-oriented tank top for the ladies, picturing the chord breakdown of her song “Hello” (the title track of her album, out this week). Stream the tune on her MySpace, and please leave me a comment if you’d like to win the shirt (via Elwood Clothing). The folks running the contest would like entrants to leave an email address to opt-in for Tristan Prettyman news in the future, but it’s up to you.
LISTEN: Here’s a cover Tristan did of French-Israeli artist Yael Naim‘s “New Soul” – that catchy ditty from the MacBook Air ad.
Oh, Feist, you do it again. I simply adore the first listen of this cover with my favorite Canadian songstress (clearly a close winner over Celine) and The Constantines. They take the Bee Gees & Dolly Parton/Kenny Rogers guilty-pleasure song that I admittedly love to sing along with, and reconstruct it as something that is breathy, ethereal, and almost sad.
This seems exceptionally fitting to post today, as I have a date with Bruce Springsteen this very evening. The National does a gorgeously arresting cover here. The rich, round tones of the plucking of strings sound for all the world like rain on the roof of a wooden cabin I stayed in once, deep in a redwood forest.
I think my heart stops at a few points during that song — the way the strings stretch and hover, pause and swell.
Pitchfork wrote yesterday that The National is including this cover on a new CD called The Virginia EP (a 12-track “EP”) which will also contain unreleased demos, b-sides, live recordings, and a song from last year’s Daytrotter session.
It’s part of a package that will also include the excellent Vincent Moon documentary A Skin, A Night: watch clips here.
I was fascinated with this concept album when I first read about it: Twelve artists and musical groups from all parts of Africa gather together to cover U2 songs with traditional African instrumentation, percussion, and even languages. In many cases, the songs are completely restructured into something you can feel rising from the ground up, the beats thumping into your deepest hollows.
And you know — I think that this is how the type of love that Bono originally sings about is supposed to sound; like a well rising, voices joining together. Pride (In The Name of Love) – Soweto Gospel Choir
NEW CONTEST! One winner will get a copy of In The Name Of Love: Africa Celebrates U2 just by leaving me a comment with either a good U2 story, a good Africa story, or both. I’ll pick a winner and send the booty on its merry way.
PS – I checked, and I ain’t got a Monday Music Roundup in me. Not today.
We are requested by Mister McFeely to don a sweater of some sort this Thursday, in honor of what would have been Mister Rogers‘ 80th birthday. I think I’ll wear my green hoodie that I can zip up all the way, pause, and then zip it halfway back down. Man, I loved that (American kids) show when I was a tot. To this day, whenever I catch a rerun and he tells me that I am special, I believe him.
But seriously. Why was the postman on a childrens’ show named Mister McFeely?!
Tunes for the weekly grind:
Girls Like It Too (new, live in Buenos Aires) Jarvis Cocker Jarv says that girls like it too, I only wish the audio here was a bit better so I could vouch for the girls in this equation. We’ll just have to take his word for it; he sounds like he would know. I like Jarvis because he always sounds a little smarmy, dramatic, and very Euro-metropolitan. This song also revives that fantastic stage whisper way he has of singing that makes you feel like he’s letting you in on a secret. Huge potential in this brand new song — it’s melodic with an arching, anthemic chorus — and the live rip isn’t half bad.
Snow in Berlin Zookeeper “Okay here we go,” warns the opening voice on this bright and effervescent tune from Austin, TX five-piece Zookeeper. The song melds horns with retro pop sensibilities, and feels like the anticipation in the sky the moment before the sun bursts out from behind the horizon. Another album art selection that falls under the conspiratorial hushed-whisper “I think they have problems” header, Becoming All Things is out now on Belle City Pop!. These guys played something like a dozen shows in Austin this last week, and hey! My beloved Dodge had them on his serious SIRIUS show back in December.
What She Turned Into Retribution Gospel Choir The purest, most enthusiastic music-blog stop in my regular rounds easily falls to the guys at Said The Gramophone (for example, on Sam Cooke). They recently posted up this track that I’d never heard a thing about, featuring Red House Painter/Sun Kil Mooner Mark Kozelek producing music by Alan Sparhawk of Low, Matt Livingston and Eric Pollard. According to StG, “That means that [Kozelek] strode into the recording booth and turned the amps up. He turned them right up. He slapped Sparhawk across the face, tore Livingston’s shirt and punched a hole in Pollard’s tom. He glowered at them. Then he went back to the mixing desk and set the thing on fire. “Play,” he said over the crackles. “Play me a pop song.” It was going to rain that night, hard.” I mean COME ON. Yes. Listen, and it is exactly so. Retribution Gospel Choir has a full-length album out tomorrow on Kozelek’s Caldo Verde label.
Silence Portishead And so the first new Portishead album in 11 years begins with a crackly, mysterious transmission in what I think might be urgent Portguese, kind of like the french woman in Lost. The song crests, thrumming and unrelenting, mysterious and sexy. In short, all the things you’d hope for from these Bristol trip-hop pioneers. But what you didn’t expect was that they’d make you feel like a spy in the cold sleek streets of Berlin, rather than a beautiful blissed-out clubgoer. Third is out April 28, and Portishead is another fine band that’s gonna be at Coachella.
Young Folks (Peter, Bjorn and John cover) The Kooks & Simon Wilcox Resist it as you might (and I did try to resist initially), the whistling from the original version of this song was the catchiest thing on the radio in 2007. Sometimes I’ll be walking down the street on an especially sunny day and I want to whistle something; this does nicely (that or the Andy Griffith theme). Therefore when The Kooks covered this song with lovely Canadian gal Simon Wilcox and cut the pursed-lip magic, something else got lost in the transaction. It is still catchy and adds that cute brogue. From a recent free NME disc, the Kooks say “We tried to make it more of a rock’n’roll song, throwing a bit of Motown and doo-wop into the mix.” See what you think.
And hey, happy St. Paddy’s! Me and Sir Jameson plan to do a wee bit o’ celebrating.
Name: Heather Browne Location: Colorado, originally by way of California Giving context to the torrent since 2005.
"I love the relationship that anyone has with music: because there's something in us that is beyond the reach of words, something that eludes and defies our best attempts to spit it out. It's the best part of us, probably, the richest and strangest part..."
—Nick Hornby, Songbook
"Music has always been a matter of energy to me, a question of Fuel. Sentimental people call it Inspiration, but what they really mean is Fuel." —Hunter S. Thompson
Mp3s are for sampling purposes, kinda like when they give you the cheese cube at Costco, knowing that you'll often go home with having bought the whole 7 lb. spiced Brie log. They are left up for a limited time. If you LIKE the music, go and support these artists, buy their schwag, go to their concerts, purchase their CDs/records and tell all your friends. Rock on.
Sometimes you get so lonely / Sometimes you get nowhere
Name: Heather Browne
