Music Reader: Haim, Miley, Lorde, Naked And Famous, more

This week’s awesome music writing! (the first link was editor Marcus’s work - I’d put in a different thing about Lorde that The Vine had also run previously. But it’s a fine read too.)

Music Reader - Lorde, Miley, Chvrches, Kanye, Iggy Azalea, more

I try to link to/promote lots of awesome music writing. 

rexosaurusrex Asked:
question 1: natural music ownership progression: digital (via the interwebs), digital (via silver disc) and then do the truly worthy make it on vinyl? (that's my progression). 2. you know people who taste wine for a living or smell perfume have things they smell/taste/do to re-ground the applicable senses - is there a music equivalent for you?

I got a question! Whee! 

Well, these days, I listen to new things on Spotify for a bit and then if something sticks, if it makes me feel strongly, I feel like I should own it in a physical format. Vinyl is the premium physical format right now, as far as record companies are concerned. It has a certain enjoyable ritual to the listening, and bigger cover art etc - listening to vinyl is a sort of event that listening to an mp3 isn’t. It means you’re probably more likely deliberately and intensely listening to the music, I think.

But honestly, I’m fine with CDs - I have way more CDs than LPs, and I’m still buying CDs. I do like to have a physical artifact, and hard drives fail and artists take their music off Spotify. But I don’t get the same ritual out of putting a CD on (unless it’s in the car). So if I graduate to owning Little Earthquakes on vinyl (like I mentioned yesterday), it’s partially because I want the music listening ritual for that particular album, I guess? But probably it’s mostly that I am a hopeless music collector and want to have a new way to collect things I have had strong emotional attachments to.

Re: the second question, I’ve never thought of it that way - I just listen widely, omnivorously, to music. In the last couple of days, for example, I’ve listened to whole albums by Pet Shop Boys, Jason Isbell, of Montreal, The Clash, Cat Power, The Cure, Kris Kristofferson, and Parliament (which isn’t really listening that widely, really, but still). When I started doing the Number Ones columns, I found that listening to much of modern chart pop was quite a shock to the system - it all seemed so hyperactive and loud and in-my-face and tasteless. But that was because most of what I was listening to was for better or worse less boisterous. These days, though, listening to the new song by RedFoo I just wrote about, three years after starting the column, my reaction was more like boredom, even though it’s probably more boisterous than the stuff I started writing about in 2010. You get used to the tastes of things, I guess, and I don’t think that there’s a right way to taste music, as it were.

I write things for the tumblr of the podcast thingy I talk on, 90% Hits. The podcast usually talks about 5 #1 singles of the 1990s (we just finished 1994), but for each year we do a ‘Choose Your Own Adventure’ episode where we pick a song that was amongst the top 100 best selling singles of the year. I ended up going with ‘Asshole’ by Denis Leary for 1994, but almost picked this one instead. So I wrote about it. 


The Songs We Almost Picked: Cornflake Girl by Tori Amos 

Someone I know told a story on Facebook yesterday about going into Rocking Horse in Brisbane and asking if they should buy a Joanna Newsom record. The guys behind the counter said something to the effect of ‘do you still like Tori Amos?’ Snarkily, I take it. 

And well, I do own Have One On Me on vinyl. And here I am saying I almost picked ‘Cornflake Girl’ as being one of my favourite songs in 1994. Oddly, I never really got into Under The Pink, the record ‘Cornflake Girl’ is from; the Tori Amos albums I really liked the most were Little Earthquakes and Boys For Pele (and something always seemed to be missing in her albums after Boys For Pele). But I remember seeing the video for 'Cornflake Girl' a fair bit at the time (I discovered just then that there were UK and US versions; we got the UK version in Australia), with its 'Tori on a spiderweb' thing. And then I had a copy of the song itself, on 100% Hits Volume 11, which I bought on cassette because I wanted to have a copy of Denis Leary’s ‘Asshole’, of course. But from small things big things grow. And ‘Cornflake Girl’ did become one of my favourite songs from 100% Hits Volume 11; I was fascinated by the piano-eyness of it. Being a piano playing dude, I don’t think I’d really heard a female singer-songwriter whose thing was playing piano before Tori Amos - I’m not sure I was that aware of the likes of Carole King then. So that was new and eye-opening in itself - you know, in pop music I thought piano was what Billy Joel and Elton John did, in some ways.

The other thing that fascinated me about ‘Cornflake Girl’ was the psychedelic ‘Alice In Wonderland’-style lyrics. I had no idea what the lyrics were until I bought 100% Hits Volume 11 of course, because Tori’s singing style was high on emotional swoops and low on precise diction. But 100% Hits Volume 11 - like most of the hit compilations at the time - had the lyrics (do the Now! and So Fresh compilations these days still do that, or has the proliferation of lyrics sites on the internet killed that off?).

So looking at the lyrics I recall being confused at lines like “Peel out the watchword" and "she’s putting on her string bean love" and "rabbit, where’d you put the keys girl?" - this wasn’t "I use public toilets and I piss on the seat/ I walk around in the summertime saying how about this heat”. But I think I knew enough about 1960s psychedelia via the Beatles (I probably had the red and blue 1962-1966 and 1967-1970 compilations by that point) to identify what Amos was doing: it was meant to not make sense, and I think that might have been the first time I was aware of such things being meant to make no sense.

But ‘Cornflake Girl’ was one song, and I didn’t have the pocketmoney or inclination to explore further in 1994. I wasn’t curious about music, then, in quite the same way as I am now. The curiosity I had was pointed at the library - I would read anything and everything I could. It didn’t occur to me to listen to all the music I could. I was terrified of buying an album and discovering the rest of it was shit, discovering that I’d wasted hard earned pocketmoney. There was no music library in 1994 near where I lived, and Napster was 5 years away.

My Dad and stepmum got the internet circa 1995 or so, and I remember discovering IRC channels you could chat on at the end of 1996, I think. By that point I was a Smashing Pumpkins fan, and so I went on the #smashingpumpkins IRC group on as soon as I discovered it existed, after hanging around in #teens for a bit. I only had Siamese Dream and Mellon Collie & The Infinite Sadness by that point. I mentioned not having their b-sides compilation Pisces Iscariot on #smashingpumpkins, and someone else was like “dude, what are you doing? are you actually a Pumpkins fan?” Something about the shame of realising that there were bigger Smashing Pumpkins fans than me who knew way more about things than I did made me realise that “oh, music is like books. Explore!” I haven’t looked back since. I mean, obviously I’m looking back now, but you know.

After ‘Cornflake Girl’ faded from memory, I remembered that Tori Amos existed circa 1996, when I saw her play ‘Caught A Lite Sneeze’ and ‘Hey Jupiter’ on Saturday Night Live (my Dad had Foxtel). I remember being transfixed by the pretty melody of ‘Hey Jupiter’ especially, and being amazed by the way she spun around in the middle of ‘Caught A Lite Sneeze’ in order to play the piano rather than the harpsichord (she was sitting at a stool in the middle of a piano keyboard and a harpsichord keyboard - coincidentally there’s live footage of Ben Folds doing this on the Reinhold Messner tour - I bet he had the exact same reaction I did).

Not too long after that (and the odd success of that snarky dance remix of ‘Professional Widow’), I found Little Earthquakes on cassette at a Sanity store in Fairfield, which I’d browse on the way home from school sometimes (even though it was nowhere near as good as Galleon, which was the best music store in Fairfield). Cassettes must have been very much on their way out by 1996; they were selling full albums for $5 at Sanity, obviously just to get rid of them. I bought Little Earthquakes by Tori Amos and Together Alone by Crowded House around then, and eventually upgraded to digital formats. I’ll probably get them both on vinyl eventually. 

To get back to those snarky guys behind the counter, it probably is the case that the things that made me like Tori are the things that make me like Joanna Newsom, to some extent at least. There’s a certain obliqueness to both of their lyrics, and a certain sense of living in the imagination. And a certain complexity of the music and sentiments. Both have a certain love, I suspect, for both Joni Mitchell-style confessionals and Kate Bush style-weirdness (yes, I realise comparing a female singer-songwriter to Kate Bush is as cliched as calling a guitar band ‘angular’ or referring to anything with harmonies as being ‘Beach Boys-esque’, but, you know, saying that the Beatles were influenced by Chuck Berry isn’t quite the same as saying that the Beatles were just Chuck Berry ripoffs, and Newsom and especially Amos have Kate Bush influences in a way that, say, Laura Marling or Aimee Mann do not).

Of course, in the end, ‘Cornflake Girl’ is not that complicated a song; in a packet of Sultana Bran there’s always more cornflakes than raisins, but it’s the raisins that make life interesting, that provide the fun taste. And though if you were conforming you’d want to be a cornflake, some people just gravitate towards the raisins, gravitate towards the weird and inexplicable. The rest of the song feels like ‘I Am The Walrus’-style or ‘Ballad of A Thin Man’-style taunting the straights - “what, you don’t understand what “rabbit, where’d you put the keys girl means? Something is happening and you don’t know what it is!" That I was gravitating to ‘Cornflake Girl’ in 1994, well before music became quite as big a part of me as it is now, meant that I was always going to gravitate towards the raisins once I started paying attention.


Music Reader: Nirvana, Drake, Bono, King Krule, more

As ever, my round up of awesome music writing from the last week or so.

Science behind music hits

Getting interviewed for an article like this is odd. I mean, it’s nice in a way; apparently, according to the Brisbane Times, I am ‘one of Australia’s leading experts on music psychology’?

Kristian Silva had a word limit, of course, and so my probably-lengthy explanations on the phone were sometimes boiled down to something that reads better but may not be strictly as true - I did try to make clear that my argument about hooks is an argument rather than something strongly supported by cold hard scientific evidence/research (because it’s not) but that didn’t quite make it to the article. 

Music Reader: Cyndi Lauper, MGMT, Rock Band, more

Me at the Vine doing my linking to good music writing thing I do.

Number Ones: RedFoo 'Let's Get Ridiculous'

Part of me really wanted to run with the idea that it wasn’t a coincidence that the day after a bitterly fought federal Australian election, people suddenly started buying a song called “Let’s Get Ridiculous”. If only because the idea of Tony Abbott as PM is ridiculous, let alone the idea of Tony Abbott, of all people, electing himself as women’s minister, and removing the science portfolio from his cabinet.

But politics doesn’t rate that highly in most people’s lives, I guess. 

I was talking to someone last night, after the piece went up, who said that it was within ten minutes of the performance on the X-Factor on September 8th that this song was suddenly at #1 on the iTunes charts.

Music to your ears? - 2SER - Real Radio 107.3 FM

A link to audio of me pretending to know things about earworms/songs stuck in your head talking to Kylar Loussikian on 2SER radio in Sydney this morning. “Well, that’s the million dollar question, isn’t it?” is my current favourite way of saying “it’s complicated, we don’t quite know, but there are very likely a variety of reasons.” 

Music Reader: Janelle Monae, Springsteen, R Kelly, more

This week’s crop of good writing about music (and/or things I felt like writing a paragraph about - e.g., the Springsteen one maybe isn’t good writing per se but it’s instructive in a way).