One of my favorite songs of all time. XTC wasn’t playing much live after releasing The Big Express, two albums before this one, but this is a rare live acoustic version of King for A Day, written and sung by Colin Moulding. Oranges and Lemons is one of the GOAT albums of the 1980’s, right behind Skylarking.
Damn. Brent Hinds, founding lead guitarist of Mastodon, left the band this March for unknown reasons, and all parties were initially quiet about the reasons. More recently he started posting angry tweets about being kicked out of the band, and things got uglier. Yesterday he was killed in a motorcycle accident, when a woman turned left without signaling in front of him.
It sounds like he had a lot of stuff to work out, and like any band breakup, I always have hope they can sort their differences and work together again; I do hope the band can continue making excellent music. Several of their albums have been inspired by personal tragedy, but this just seems cruel.
Huh, I must be on some kind of Soundgarden/grunge kick these past couple of weeks. The excellent Hands All Over is currently stuck in my head, and I’m not complaining.
As I mentioned earlier, I bought Louder Than Love in ’89 right after was released and it was on heavy rotation for the next couple of months. This was a welcome antidote to the heavy diet of hair metal I’d been exposed to in high school, and was one of several I bought at the same time: Nothing’s Shocking, Gish, and Pretty Hate Machine, which were definitely not being spun on local radio. Sadly, at that time Baltimore was not a regular stop on the concert circuit for most of these bands, so it was difficult to see them without going to D.C., which was difficult as a broke college freshman without a car.
Following up on last week’s earworm, Outshined is now stuck in my head:
An absolutely superior song by all measurements. And featuring one of the grungiest of grunge videos: fire, chains, dirt, sparks, the combination of shirtless black shorts and combat boots… I feel like it’s 1993 all over again.
Bonus: Brad Pitt’s best cameo appearance. We should all aspire to be Floyd.
I’ve had this fucking song stuck in my head for the past five days now, and it’s probably one of my least favorite songs this band ever produced. I had a cassette of Louder than Love in high school and played it until it wore out, but found that my appreciation for Soundgarden’s last two albums fell off sharply, minus a few songs. I didn’t pay much attention to Audioslave even though it was a mixture of two of my favorite 90’s bands; the styles and genre didn’t mesh as well as I had hoped it would even though they gave it everything they had.
RIP, Chris Cornell.
Update: The same day I posted this, I learned that a group of excellent musicians—William DuVall, (Alice In Chains), Bill Kelliher (Mastodon), Charlie Benante (Anthrax, S.O.D.), and Mark Menghi (Metal Allegiance) among others, formed King Ultramega to do covers of Soundgarden tracks during COVID, and just started releasing them, beginning with one of my favorites, Rusty Cage. All proceeds go to support the MusiCares Foundation.
From Can’t Get Much Higher newsletter, a list of the 18 best Podcasts About Music. This is basically a Venn diagram of my favorite things. Many of these I’ve never heard before and am excited to dive into; some of these I’m already familiar with (Reply All, Heavyweight, 60 Songs that Explain the ’90’s) but demand a repeat listen.
Something’s Always Wrong, by Toad the Wet Sprocket. I got this stuck in my head at a rest stop in Pennsylvania on the way home from Ohio. It’s probably the only song by this unfortunately named band that I like; the harmonies in the bridge are beautiful. This was on heavy alternative radio airplay back in the day in a time when “alternative” music was losing steam and leaning towards easy listening. I would have posted the actual music video, but it sucks.
It’s been a minute since I’ve bought digital music online. Here’s the bullshit I had to go through to buy an album this afternoon:
- Apple’s Music app (the replacement for iTunes) in its normal state, does not have a visible link or menu item for the iTunes Store. It can be made visible in the Preferences. Why is this?
- The only visible way to see new music is to sign up for a subscription plan, which I refuse to do. I have enough subscriptions.
- So I went to Amazon, where the only visible link is a subscription shill as well. I refuse to do this too. Surely there must be a better way.
- A couple of searches later, I found a CNET article on how to buy and download new music. CNET still exists?
- This contained a link to a page on Amazon that was not immediately available from my Prime account. Thanks.
- From here I found my album. I purchased and downloaded it in MP3 format.
- Now, to get it on my iPhone. I imported it into Apple Music, figuring it would sync. It did not.
- Another search told me to AirDrop the files to my phone. I did this, and it only put the files in my iCloud Files folder without importing them. I deleted them. The fuck?
- More searching revealed that I needed to connect my phone via a cable to my computer. How very 2005 of them.
- I did this, the first time I’ve connected this phone to my computer ever. I had to tell each machine to trust the other, and wait for the handshake.
- Then I went through Ye Olde Sync screen to manually select the music and load it on my phone. How can this still be the way?
I am aghast at the state of things. I figured surely these days there would be a quicker, easier way that didn’t involve yet another subscription, but this is The State Of Things, I guess.
Light Design, Turnstile. You’re probably tired of me posting stuff about them, but too bad. This cut off the new album is happily stuck in my head, displacing The Unforgiven by Metallica, which was stuck there for a day (and thus not worth posting about). My only beef with it is that it’s only 2 minutes long, and I feel like it builds up to something without releasing. Other than that, no notes. The rest of the album (released yesterday) is excellent.
Pitchfork did a great interview with Turnstile on the eve of their new album release: it’s great to see them repping Baltimore and getting their due. I really hope they are able to keep their feet on the ground and stay connected to their roots—it sounds like it’s working.