Find Me On:
Thanks for that.
A little more research reveals John Kerry as a partial inspiration. http://www.musicomh.com/features/interviews/interview-the-national
I guess I’ll have to let Reggie Jackson go.
Agree with the frustration in the comments on this list. My top 10 would mostly be Alligator, but I also love HV. (and think Boxer is over rated. Start the tomato throwing… NOW!)
But I want to comment on the write-up of Mr. November. I don’t understand what politics has to do with that song at all. It was an after-the-fact association that seems to have displaced the actual meaning and power of the song.
So can I take a crack at the meaning of the song and get some up or down votes if you think I’m right?
I think it’s essentially a play on “Mr. October” associated with Reggie Jackson’s great performances in playoffs and world series. In this case the narrator is saving up his star performance for what is going to be too late. November. After the season is over. So yeah, he has actually fucked he and his partner over.
But maybe I’m just projecting too much from my own life. I moved with my wife from the US to Glasgow in October of 2005. She was going to grad school and I needed to find a job with no leads and not knowing anyone. Alligator is what got me through that. Especially Mr. November. I desperately didn’t want to fuck us over. (It turned out pretty well. I got a job in January)
Anyway. I love the National. I think back on my friends I left in 2005 and think “We’ll run like we’re awesome, totally genius.”
This may be tedious, but when a song finishes, if the next song doesn’t start I:
1. reload the page
2. click play
3. fast forward to the next song you want to hear.
Every GBV album is their White Album, isn’t it?
Additional quote via pfork: Vernon said, “There’s a big misunderstanding– I don’t want to sell music. But if people are going to be selling music, and they want to sell our music without disturbing the medium of what it actually is, we want to fucking do that. I want people to hear the music that we make. I don’t want to do it in any shitty way.”
How did we go from “using music to sell other commercial products is uncool” to “selling the actual music itself is uncool”?
Am I misreading the quote above? To me, he seems to be saying that he doesn’t want to sell music as a general principle, but if it’s going to be sold, he’d like some say in the process.
I really don’t get that.
I know this is the bazzilionth comment so it will probably go unread but:
Wild Beasts – Smother
Ryan Adams III/IV
My favorite song this year: “Loop the Loop” from Wild Beasts.
“I’ve made enough enemies…”
Where’s the article about the Achtung Baby reissue so we can all hate on U2?
or Cate Blanchett
Agree, sounds like Talking Heads. And I think the Peter Gabriel influence is more from #3 (Intruder) and Security.
Yes, I’d like to sign the “Robert Smith, please record a full length with Crystal Castles” petition. It’s so much more positive than the “Robert Smith, please stop making Cure records if they are going to sound like anything you’ve done since 1990″ petition.
I don’t know anything about the show Glee, but I think Damon’s point was about having young musicians using cover versions of songs to establish careers rather than write their own songs. I don’t think his willingness to license Blur songs invalidates this opinion.
Two basses? Why on earth would they miss the opportunity to cover Ned’s Atomic Dustbin on Letterman?
But seriously, why do I find it so painful to watch these guys? They sound great live. I love their records. But somehow seeing them play live seems to over-emphasize the drama and dourness and I end feeling embarrassed for taking them so seriously.
Sorry for the unrelated comment but I am really unhappy to find a stereogum application in my facebook that I never agreed to be loaded. Please stop it.
Are you joking? Of course we want to see the whole thing.
U2′s Achtung Baby… Sigh… I’m really surprised how little love this record gets from readers of sites like this. Is it an age thing? I was 16 when it came out and I think it’s one of the greatest records of all time. I won’t go on to try and establish some semblance of indie-cred by listing current bands that I like to try and legitimize this statement (although I will say that other favorites in 1991 were Cocteau Twins’ Heaven or Las Vegas and Talk Talk’s Laughing Stock (which was released the same day as Achtung)). And I will concede to someone’s comment above that it may sound dated now. But I think it is one of the most dramatic band reinventions in the history of popular music. Even if you take it out of the context of U2′s other albums, I think it stands on it’s own amazingly… ah, I won’t go on. No one cares. Pitchfork left it off their top 100 of the 1990s and until they change their mind this will go unappreciated by far too many youngsters.
I feel so old. But thanks anyway, Spin.
I couldn’t agree more.
Actually, you’re both right. I didn’t listen to the song and it was an attempt at humor.
I thought Craig Finn was supposed to be this great song writer. Why’s he covering Duncan Sheik?
I think you meant to say “AC > STP”