Noticed this one too (sent in the Broken Bells tip). My guess is that the honchos use popular music as placeholders in their ads and then ask marketing executives to recapture the timbre (that’s the ‘feel’ of the music, unique to the instrumentation), in a manner much cheaper than licensing would cost.
It’s pretty easy to recapture the timbre of a song once someone else has created it – think Owl City imitating Postal Service, or the Beatles imitating Bob Dylan (You’ve Got To Hide Your Love Away), or Last Dance with Mary Jane -> Dani California. But is it legit to put this reproduced timbre in people’s heads to make money, associating it with a product the original band doesn’t care about? I don’t want to unwittingly think Mickey D’s next time I hear Lizstomania. The attitude these marketers probably have towards this music kind of freaks me out too (psst – this sounds too much like the real thing – let’s move it from C to D, and make this last guitar note go up rather than down). That’s pretty dishonest.
Instrumentation isn’t bad at all – this song would be so much better with AK’s shallow lyrics being less prominent. I’m sure there will be a couple classics on this new album, but this isn’t one.
You can’t hate RHCP for not remaining funk forever – bands evolve. I love their earlier stuff way better, but it’s not a zero-sum game. You don’t lose out when music is created, no matter how bad it sounds.
I wasn’t a fan of the way she used at 2:09 or 2:51, but there wasn’t much to complain about for the rest of the song. Not a bad cover.
Anyone care to speculate over what time this album will be released? I’m strongly hoping by Saturday they mean 12 AM Greenwich Time Saturday – meaning I’ll hear it 6 PM Friday.
I think Arcade Fire should have trimmed a lot of fat from the album and made some of them into a B-sides collection. Radiohead’s uncanny ability to create an album listenable from beginning to end had a lot to do with relegation of their less flowing tracks to a B-side album. At the least, Modern Man, Rococo, Wasted Hours, Deep Blue should have gone there. Half-Lights 1 and 2 should have gone to the album’s end.
I agree with the reviewer that way too much of this album’s music touches upon the same, kind of boring theme, reminding me of an adolescent Les Miserables wannabe with no cause to rally behind. I bought this album on vinyl when it came out, but it was a bad investment.
It was ‘Float’, The Mall and the Misery is a completely different track. Also, they edited the song a little from Float – changed a couple of chords around – and it probably makes the song more interesting in the end, but I’m not a fan.
Wow. The jam at the end of Brian Eno has to be one of the most terrifying things I’ve ever seen. Props for doing something that crazy on network television,.