Spring Mix

I try to make a mix tape every month or so, but lately, it's been coming down to every season. I present, without further adieu, the Spring '05 Space Hardware Mix.

• "A New England" by Billy Bragg

A forgotten gem from the 80's, with one of my favorite lyrics ever: "I saw two shooting stars last night / I wished on them, but they were only satellites / It's wrong to wish on space hardware / I wish, I wish, I wish you cared." Hence this mix title.

• "An Honest Mistake" by the Bravery

Yes, it's a new retro-sounding band with "The" in their name, but it's a catchy tune

• "Hardcore Days & Softcore Nights" by Aqueduct

Good beat, and you can dance to it, with a nice electo touch thrown in. Plus, a great title. I'm digging it.

• "Will You Smile Again for Me" by ...And You Will Know Us By the Trail of Our Dead

Yes, AYWKUBtToOD is a pretty ridiculous name for a pretty ridiculous band, but they're so gosh-darn earnest. They pound their instruments like they're the next Led Zeppelin, and I love the tune just for the fact that it goes a dozen directions in seven minutes

• "More Than This" by Peter Gabriel

No one does haunting synth-rock like ol' Pete, and it's nice to have him back in rotation

• "Maps" (live) by the Yeah Yeah Yeahs

Acoustic versions of hard rock songs rarely work, but this is a nice exception. Her voice carries it, and makes the in-your-face original sound almost poignant.

• "Teardrop" by Massive Attack

The first time I heard this song was in the credits for my new favorite show, HOUSE. Luckily, my wife is much cooler than I am and owns MEZZANINE, which I've been listening to on a regular basis every since.

• "Hallelujah" by Jeff Buckley

Another gift from television, heard a couple years ago in a West Wing episode. A beautiful song, nonetheless.

• "Redmen and their Wives" by Guided by Voices

One of the (many) things I love about GbV is that, every time I listen to them, I find a new favorite song...heard this one on their AUSTIN CITY LIMITS performance.

• "Specialist" (live) by Interpol

The missus is currently obsessing over these kids, and there's no denying the appeal of their soaring melodies. And, as she says, it's nice to hear a band on the radio that's got half a brain in their head.

• "If You Leave" by Nada Surf

I loved these guys before ANY of you alt-rock posers. And yes, this is a cover of the OMD 80's classic. Who cares? Shut up!

• "California" by Low

See the "All at Once the Ghosts Come Back" post.

• "I Have Known Love" by Sidecar

This is one of those songs that just came to me out of the ether. Seriously, I found it in my iTunes Library one day. No idea whatsoever how it got there. But I like it.

• "Banquet" by Bloc Party

When the EP came out, these guys were shaping up to be the new Arcade Fire. Now the full-length is out, and they're shaping up to be the new Killers. This album is very, very good. Buy it now and give it a good listen so it's out of your system by the time the nimrods on K-Rock (or your local jackass-populated radio station) start raving about it as the new big thing six months from now.

• "Hounds of Love" (new mix) by the Futureheads

See the above about the Bravery. This one's even catchier, though.

• "Don't Save Us from the Flames" by M83

M83 has seen the hole left wide open in the electronic-cinematic-swoop-rock field since Brian Eno disappeared fully up his own arse in a whoosh of processed dead air, and they've filled the gap nicely.

• "No One Takes Your Freedom" by DJ Earworm, the Scissor Sisters, the Beatles, George Michael, and God knows who else

Yes, it's a mash-up. Mash-ups are the new big thing. Mash-ups are COOL. Don't you listen to the radio?

This mix, albeit in a bastardized iTunes version, is available on, what else, iTunes, if any of the above has piqued your curiosity.

Bruce n' Bono

I have a difficult time summing in words my love of Bruce Springsteen, and my wife was concerned that she was going to have to roll in a crash cart as we watched, courtesy of the ol' Tivo, Bruce join U2 on stage during their induction performance at the 2005 Rock n' Roll Hall of Fame ceremony on VH1. And while I can't sum up my love of the Boss, the greatest man in rock and roll, what I can do is share his hilarious, touching, and simply terrific introduction of the best band in the world.

"Uno, dos, tres, catorce. That translates as one, two, three, fourteen. That is the correct math for a rock and roll band. For in art and love and rock and roll, the whole had better equal much more than the sum of its parts, or else you're just rubbing two sticks together searching for fire.

'A great rock band searches for the same kind of combustible force that fuelled the expansion of the universe after the big bang. You want the earth to shake and spit fire, you want the sky to split apart and for God to pour out. It's embarrassing to want so much and to expect so much from music, except sometimes it happens: the Sun Sessions, Highway 61, Sgt. Peppers, the Band, Robert Johnson, Exile on Main Street, Born to Run... whoops, I meant to leave that one out... uh... the Sex Pistols, Aretha Franklin, the Clash, James Brown; the proud and public enemies it takes a nation of millions to hold back. This is music meant to take on not only the powers that be but on a good day, the universe and God himself, if he was listening. It's man's accountability, and U2 belongs on this list.

'It was the early '80s. I went with Pete Townshend, who always wanted to catch the first whiff of those about to unseat us, to a club in London. There they were: a young Bono (single-handedly pioneering the Irish mullet), the Edge (what kind of name was that?), Adam and Larry -- I was listening to the last band of whom I would be able to name all of its members. They had an exciting show and a big, beautiful sound. They lifted the roof. We met afterwards and they were nice young men. They were Irish. Irish. Now, this would play an enormous part in their success in the States. For what the English occasionally have the refined sensibilities to overcome, we Irish and Italians have no such problem. We come through the door fists and hearts first.

'U2, with the dark, chiming sound of heaven at their command which, of course, is the sound of unrequited love and longing - their greatest theme. Their search for God intact, this was a band that wanted to lay claim to not only this world but had their eyes on the next one, too. Now, they're a real band; each member plays a vital part. I believe they actually practice some form of democracy - toxic poison in a bands’ head. In Iraq, maybe. In rock, no. Yet, they survive. They have harnessed the time bomb that exists in the heart of every great rock and roll band that usually explodes, as we see regularly from this stage. But they seemed to have innately understood the primary rule of rock band job security: "Hey, asshole, the other guy is more important than you think he is!" They are both a step forward and direct descendants of the great bands who believed rock music could shake things up in the world, dared to have faith in their audience, who believed if they played their best it would bring out the best in you. They believed in pop stardom and the big time. Now this requires foolishness and a calculating mind. It also requires a deeply held faith in the work you're doing and in its powers to transform. U2 hungered for it all and built a sound, and they wrote the songs that demanded it. They're keepers of some of the most beautiful sonic architecture in rock and roll.

'The Edge, the Edge, the Edge, the Edge. He is a rare and true guitar original and one of the subtlest guitar heroes of all time. He's dedicated to ensemble playing and he subsumes his guitar ego in the group. But do not be fooled. Take Jimi Hendrix, Chuck Berry, Neil Young, Pete Townshend - guitarists who defined the sound of their band and their times. If you play like them, you sound like them. If you are playing those rhythmic two-note sustained fourths, drenched in echo, you are going to sound like the Edge, my son. Go back to the drawing board and chances are you won't have much luck. There are only a handful of guitar stylists who can create a world with their instruments, and he's one of them. The Edge's guitar playing creates enormous space and vast landscapes. It is a thrilling and a heartbreaking sound that hangs over you like the unsettled sky. In the turf it stakes out, it is inherently spiritual, it is grace and it is a gift.

'Now, all of this has to be held down by something. The deep sureness of Adam Clayton's bass and the rhythms of Larry Mullen's elegant drumming hold the band down while propelling it forward. It's in U2's great rhythm section that the band finds its sexuality and its dangerousness. Listen to "Desire," she moves in "Mysterious Ways," the pulse of "With or Without You." Together Larry and Adam create the element that suggests the ecstatic possibilities of that other kingdom -- the one below the earth and below the belt -- that no great rock band can lay claim to the title without.

'Now, Adam always strikes me as the professorial one, the sophisticated member. He creates not only the musical but physical stability on his side of the stage. The tone and depth of his bass playing has allowed the band to move from rock to dance music and beyond. One of the first things I noticed about U2 was that underneath the guitar and the bass, they have these very modern rhythms going on. Rather than a straight 2 and 4, Larry often plays with a lot of syncopation, and that connects the band to modern dance textures. The drums often sounded high and tight and he was swinging down there, and this gave the band a unique profile and allowed their rock textures to soar above on a bed of his rhythm. Now Larry, of course, besides being an incredible drummer, bears the burden of being the band's requisite "good-looking member," something we somehow overlooked in the E Street Band. We have to settle for "charismatic." Girls love on Larry Mullen. I have a female assistant that would like to sit on Larry's drum stool. A male one, too. We all have our crosses to bear.

'Bono, where do I begin? Jeans designer, soon-to-be World Bank operator, just plain operator, seller of the Brooklyn Bridge - oh hold up, he played under the Brooklyn Bridge, that's right. Soon-to-be mastermind operator of the Bono Burger franchise, where more than one million stories will be told by a crazy Irishman. Now I realize that it's a dirty job and somebody has to do it, but don't quit your day job yet, my friend, you're pretty good at it.

'And a sound this big needs somebody to ride herd over it, and ride herd over it he does. His voice, big-hearted and open, thoroughly decent no matter how hard he tries. Now he's a great frontman. Against the odds, he is not your mom's standard skinny, ex- junkie archetype. He has the physique of a rugby player... well, an ex-rugby player. Shamen, shyster, one of the greatest and most endearingly naked messianic complexes in rock and roll. God bless you, man! It takes one to know one, of course.

'You see, every good Irish and Italian-Irish front-man knows that before James Brown there was Jesus. So hold the McDonald arches on the stage set, boys, we are not ironists. We are creations of the heart and of the earth and of the stations of the cross. There's no getting out of it. He is gifted with an operatic voice and a beautiful falsetto rare among strong rock singers. But most important, his is a voice shot through with self-doubt. That's what makes that big sound work.

'It is this element of Bono's talent, along with his beautiful lyric writing, that gives the often-celestial music of U2 its fragility and its realness. It is the questioning, the constant questioning in Bono's voice, where the band stakes its claim to its humanity and declares its commonality with us. Now Bono's voice often sounds like it's shouting not over top of the band but from deep within it: "Here we are, Lord, this mess, in your image."

'He delivers all of this with great drama and an occasional smirk that says, "Kiss me, I'm Irish." He's one of the great front-men of the past 20 years. He is also one of the only musicians to devote his personal faith and the ideals of his band into the real world in a way that remains true to rock's earliest implications of freedom and connection and the possibility of something better.

‘Now the band's beautiful songwriting -- "Pride (In The Name of Love)," "Sunday Bloody Sunday," "I Still Haven't Found What I'm Looking For," "One," "Where the Streets Have No Name," "Beautiful Day" - reminds us of the stakes that the band always plays for. It's an incredible songbook. In their music, you hear the spirituality as home and as quest. How do you find God unless he's in your heart, in your desire, in your feet? I believe this is a big part of what's kept their band together all of these years. See, bands get formed by accident, but they don't survive by accident. It takes will, intent, a sense of shared purpose and a tolerance for your friends' fallibilities and they of yours. And that only evens the odds. U2 has not only evened the odds but they've beaten them by continuing to do their finest work and remaining at the top of their game and the charts for 25 years. I feel a great affinity for these guys as people as well as musicians.
‘Well, there I was sitting down on the couch in my pajamas with my eldest son. He was watching TV. I was doing one of my favorite things: I was tallying up all the money I passed up in endorsements over the years and thinking of all the fun I could have had with it. Suddenly I hear "Uno, dos, tres, catorce!" I look up. But instead of the silhouettes of the hippie-wannabes bouncing around in the iPod commercial, I see my boys! Oh my God! They sold out! Now, what I know about the iPod is this: it is a device that plays music. Of course, their new song sounded great, my guys are doing great, but methinks I hear the footsteps of my old tape operator of Jimmy Iovine somewhere. Wily, smart.

‘Now, personally, I live an insanely expensive lifestyle that my wife barely tolerates. I burn money, and that calls for huge amounts of cash flow. But, I also have a ludicrous image of myself that keeps me from truly cashing in. You can see my problem. Woe is me. So the next morning, I call up Jon Landau (or as I refer to him, "the American Paul McGuinness"), and I say, "Did you see that iPod thing?" and he says, "Yes." And he says, "And I hear they didn't take any money."

And I said, "They didn't take any money?" and he says, "No."
I said, "Smart, wily Irish guys. Anybody - anybody - can do an ad and take the money. But to do the ad and not take the money... that's smart. That's wily."
I say, "Jon, I want you to call up Bill Gates or whoever is behind this thing and float this: a red, white and blue iPod signed by Bruce 'The Boss' Springsteen. Now remember, no matter how much money he offers, don't take it!"

At any rate, after that evening for the next month or so, I hear emanating from my lovely 14-year- old son's room, day after day, down the hall, calling out in a voice that has recently dropped very low: uno, dos, tres, catorce. The correct math for rock and roll. Thank you, boys."

Bruce Springsteen

I Like to Watch

The Saturday morn (well, early afternoon, I slept late, so sue me) brings with it a multitude of glorious entertainments, courtesy of the Internets: the gorgeous new Legend of Zelda trailer, the hilarious teaser for the long-awaited full-length Wallace & Gromit feature, Spike Jonze's fantastic new Adidas commercial, and, requiring no enticing adjectives, the Star Wars Episode III trailer. My joy knows no bounds.

Have a good weekend, all.

Tired

My day, as of late:

6:30-8:00 - Wake up, stagger to the bathroom, put in contacts, make lunch, drive to work

8:00-9:00 - Ride bike on Venice Beach, work out at Gold's Gym, shower

9:00-1:00 - Work

1:00-1:30 - Spend first half-hour of lunch hour eating

1:30-2:00 - Spend second half-hour of lunch hour writing

2:00-7:00 - Work

7:00-8:00 - Drive home

8:00-9:00 - Cook dinner, eat dinner

9:00-10:00 - Write

10:00-11:30 - Quality time with the wife and the television

11:30 - Sleep

I really like the day job, but, man, a guy can get worn out trying to squeeze in a budding writing career around a twelve-hour work day. Lately, I'm looking forward to the weekends more and more; not because I don't have to work, but because I'm able to write for more than an hour at a stretch.

Bah. Enough whining. Rest is for the weak.