Some Great Musical Moments

1) First on the list is Bob Dylan’s performance at the 1998 Grammy Awards. This was the infamous show where he was confronted by a spastic, hippy-acid dancing man, known best by the phrase written across his chest: “Soy Bomb”. The sequence of reactions that follow Dylan’s discovery are priceless: the initial, startled shock as he notices the dancing figure next to him; the double-take and the beady-eyed-stinkeye; and then the dismissive cold shoulder he gives as he turns back toward the microphone without missing a beat. The song continues and Soy Bomb is eventually taken off stage, although he continues to dance for a surprisingly long amount of time.

2) It’s somewhere in the early 90s and The Beets, a fictional band on the cartoon “Doug”, are singing their hit song “Killer Tofu”. They were like Oasis meets Beatles (which is redundant since Oasis more-or-less ripped off the Beatles, bringing the Fab Four’s hooks into 90s mainstream music). In appearance they were like the Ramones. The Beets were the deities of pop-rock in the world of “Doug”. They were also worshiped in reality with hundreds of children air-guitaring to the chorus along with the oddly-colored cartoon characters. It was a dismal day when the band broke up as the show moved to Disney. “Let It Beet” was their last album. The Beets encased the spirit of “Doug” with their killer hook– “Ayeoou. Killer tofu” and “I Need Mo’ Allowance”.

3) Speaking of cartoons, “Bobby’s World” had a massive library of clever sing-alongs during its run. They really were sing-alongs, as the cartoon was always subtitled for easy following. The greatest musical moment in the series occurred with the song “Animals Don’t Wear Underwear”. Other classic originals include the one about various modes of transportation Bobby will take on a vacation and the ode Bobby sings to his brother in exchange for saving him from a swimming pool. Maybe “Silly Symphonies” by Disney pioneered the partnership of music and cartoons in the 30s, but both the 90s classics “Doug” and “Bobby’s World” helped move that artful tradition into the present.

4) A moment of near-enlightenment; John Coltrane starts chanting, “a love supreme” on his song “Acknowledgment”. It was this mantra that gave the album its name. “Acknowledgment” is a perfect introduction to the suite of songs that follow after it. The swelling saxophone solos and beating rhythm section all play toward that one chant, that one hurdle, as a gateway to the rest of the album. It is a great moment in musical history no matter when it was heard in an individual’s listening experience.

5) Napster reigns king and is then deflated. Recently, Oink.org also has a productive reign before being shutdown.

6) Johnny Cash becomes even more of a badass. He was already a genuine O.G. at the height of his popularity in the 60s, but then he lost it for awhile (especially in the 80s — a terrible decade for many of the older artists). He then made a significant comeback with “American Recordings” in 1994. It was from “American Recordings” that he again started to dominate the airwaves and eventually regained his status as badass to an unprecedented level. After Cash was diagnosed with a terminal illness came the “real shit” as Mobb Deep would say; American III, American IV and the posthumous album, American V rank in the top of the tops.

Hippy Jesus belts to God over ’70s guitar riffs and blasting horns; Jesus, and even Judas, really are superstars

“Jesus Christ Superstar” is a rock-opera about Christ’s last days before being crucified. Like “The Passion” except tasteful and with dance numbers.

It is one of the most overlooked musicals of all time. Even when looked at, it is often underrated.

A shame, for if the film was more popular, a terrible remake could be made for me to obsessively critique (think John Travolta in “Hairspray” or “Little Shop” – the cartoon spinoff of “Little Shop of Horrors” that ran alongside “Attack of the Killer Tomatoes” back in the ’90s).

I will have to settle with obsessively campaigning the original “Jesus Christ Superstar” instead.

It was originally an album, then Broadway musical and then movie. The focus of this blog will be on the film and soundtrack since this is my favorite constituent of the Jesus Christ Superstar experience.

Carl Anderson plays Judas Iscariot. His performance brings you down to your knees — not necessarily in a religious context. Not necessarily in a sexual one either. Although, both are possibilities. He shines on the opening song, “Heaven on their Minds”.

Yvonne Elliman, Eric Clapton’s backing vocalist at the time, plays Mary Magdeline. Her voice is heavenly, pardon the Christian illusion. She lulls the viewer in with “Everything’s Alright”.

The point is that every member of the cast is vital. Even with certain minor characters singing one or two lines, each one could match a main character from another musical.

Bonus: The Supremes, as in Dianna Ross and The Supremes, make a guest appearance on a song.

Best of all, every word in “Jesus Christ Superstar” is sung. Sadly, this is not the case in most musicals. The lack of corny dialogue between musical montages makes the story that much more convincing.

Many scenes are obviously outdated and just plain hilarious, but under the surface is the truth, “This is the real thing — this is the best musical ever made”.

The corny costumes and cheap sets further engage the audience into the musical, allowing an insider’s view into the making of the film while experiencing the finished product. It is a feeling of belonging, a part of a whole, as if a member of the cast. Even an atheist can feel that kind of religion.

In fact, the beginning of the movie starts with all the actors driving to the filming destination in a bus. The overture plays while they get dressed and prepped. Anderson, dressed as Judas, strays from the group and everyone takes positions.

It is ahead of it’s time. It is classic. A revamped opera with the clash of old and new, electric guitars and a driving drumset intertwining with horns, strings and other classical instruments.

The hooks in the music are marvelous, the acting superb — bordering on eye-wrenching and ridiculous.

Sure, it has a small cult following, but this thing should be bordering “Rocky Horror Picture Show” in number of rabid fans. Planned activities during viewing, like turning water into wine instead of throwing toast, should be all the rage.

I am astounded when I show the movie to someone and they are not blown away. I lose hope in humanity when a viewer just shrugs and complains about the “slow parts”.

The crucifixion scene is much better then Mel Gibson and a dozen buckets of fake blood could ever accomplish. Tasteful yet tremendous. No sick pleasure in seeing an exaggerated, medieval painting with torn Jesus, crucifix-inspired torture.

The film is full of interweaving musical lines, re-occurring lyrical themes and massive riffs. Genius. Not borderline or on the brink — just genius. A perfect combination of a free spirited hippy cast, directing by Norman Jewison and a musical partnership between Tim Rice and Andrew Lloyd Webber.

Religious or not, this film is God.

The elements are there, controversy and an amazing voice — what else can you ask for in Amy Winehouse?

Her music is almost as addictive as the crack-cocaine she smokes.

Videos of her smoking crack… maybe marijuana…okay, probably crack, are spreading on the internet like wild fire.

I could clean up that last sentence, but if Amy Winehouse refuses to clean up, so do I.

Her sultry, addled voice — as if Frank Sinatra and Janis Joplin had a British child– combined with her bad girl persona and Motown-esque band, makes Winehouse the queen of English soul.

Currently, the buzz surrounding her has more to do with her personal life than music, but I believe that in the end, the music will shine strongest.

I was recently re-acquainted with Winehouse on a flight from Japan to my home in the States. Listening to “Back to Black” while sitting on a mind-numbing 12-hour flight was an ethereal experience.

Music like that, in that state of mind, cannot be fully explained. It is akin to pulling an all-nighter while skimming highschool yearbooks and listening to Lou Bega. It is unreal.

Her songs are powerful. They have just the right touch of 50s girl group combined with the spunk of the drug, infomercial and internet dependent 21st century.

I love every stage of Winehouse; back when she was plump, singing about her fuck me pumps, now, crack-skinny, slurring that she won’t go to rehab. I am like a true fan who loves both early and late Beatles. Even with the loss of her beehive hair, replaced with a mop-swatch, bleach-blonde dye job; her voice holds me in. It could soothe me to do any of her whims. She could scratch my face into oblivion, as she does to her boyfriend, and I would die of happiness to be an inspiration for one of her biting songs.

The New Statesman magazine called Winehouse “a filthy-mouthed, down-to-earth diva”.

“A perfect storm of sex kitten, raw talent and poor impulse control,” said People Magazine.

Those excerpts are Amy Winehouse in a nutshell.

Her shenanigans are priceless. In 2006 she heckled U2 singer, Bono, during an awards show speech he gave. Any girl who ridicules Bono wins a place in my heart. Remember that ladies.

She can do no wrong except to leave this world. That is the only reason I wish she would slow down on the drugs. But then she wouldn’t be Amy Winehouse, would she?

Snoop Dogg takes his time in order to give his woman a “Sexual Eruption” … or for the PG-philes — a “Sensual Seduction”

The “Sexual Eruption” music video (censored as “Sensual Seduction”) has been circulating on television channels and the internet for at least 2 months now. The watching experience goes in stages similar to those introduced by psychiatrist Elisabeth Kübler-Ross in 1969 for grief and loss.

Denial: “Did he really make such a terrible video/song?”

Anger: “Why am I humming along? Sure, he made the video in good humor, but it still pisses me off.”

Bargaining: “What? It’s on again? Mr. Snoop Doggy Dogg is lucky that the remote is so far away. I would take bamboo shoots under the fingernails to have my girlfriend change the channel.”

Depression: “Why can’t my love-making be how Snoop describes it? Look at all the shining women around him that I will never have.”

Acceptance: Singing to oneself on the way to work: “If you don’t know by now, Doggy Dogg is a freak freak freeeeaak.”

Here is a break-down:

The music — A mixture of vocoder/talkbox vocals, synthesizers, flutes, a triangle and a subtle rap beat.

The video — A wonderful parody making use of greased and teased hair through a soft-focus lens, fog machines, twinkling pinpoints of light and beds floating across galaxies.

The remix with Lil Kim — Her lyrics are even nastier than Snoop Dogg’s: “I like to take mine from behind so he can take control.” Her contribution adds even more flavor to the song, bringing it to a new level of ’sleazy-70s-song-to-bang-your-girlfriend-to’.

The verdict — A hilarious guilty pleasure whether the remix or original, single track or video. If you have not heard it yet, go cycle through the steps — I will meet you at acceptance.

And then we can wait.

The album drops in March.

There will be no guest appearances on the album, sources said. It will be 100-percent Snoopy Doggy Dizzle. Just the way it should be.

Unlike most rappers, she samples from more then just classic rock bands and 80’s drum machines; M.I.A. borrows from the world.

Pink Floyd cash registers, gun shots off a cheap Casio keyboard, layers upon layers of lush flute-thermin sounds borrowed from various exotic lands — all flourish into one dance groove that is also known as “Paper Planes” by M.I.A.

Every song off her latest album, “Kala”, could produce an extensive list of influences, samples and instruments.

“Paper Planes” samples from The Clash, but other tracks off “Kala” make use of elements as diverse as The Pixies, remixed Bollywood disco, urmi drummers, and so much more.

And of course, like any dance album that is popular these days, Timbaland has touched it. He worked his mojo-magic on M.I.A, producing the last track on the album, “Come Around”.

M.I.A.’s singing and playful babbling is reminiscent of solo Gwen Stefani and Fergie except less abrasive and far more intelligent.

If not already witnessed by the number of times the song is mentioned in this post, “Paper Planes” is my personal favorite off the album. If there is one monotonous song to choose from the bunch, this song is it.

It is best listened to while dancing naked on uppers and shooting gun fingers to each gunshot in the chorus. This is just a theory though. A theory based on observation.

Half the reason I like the song is the image I have of my roommate whenever the “Paper Planes” ringtone plays on his phone. He stares off into his imaginary ghetto world, wide-eyed, twitching and bouncing his limp hands above his head as the shots in the chorus ring out. It is a visual in which the amusement factor will never cease.

So, far from a perfect song, it’s a perfect ringtone.

The downfall is that all the songs off the album have the tendency to become monotonous.

It is one of the side effects of creating a dance track. Luckily, there is enough layers in the music to keep even the most attention-deficit listener mostly interested.

The remix of Paper Planes, just introduced to me and featuring two other rappers, helps brings diversity to a song that otherwise might lose its freshness.

If you have already discovered and listened to M.I.A., congratulations — you are among those who have already made their decision to love, hate, or be indifferent to her worldly sounds. For the rest of you, try going with my theory on how to best appreciate her music and then judge for yourself.

Go ahead, strip your clothing, go Hunter S. on that stash of drugs you’ve been saving up for a special occasion — then watch M.I.A’s trippy “Boyz” music video and tell me you don’t feel something deep in those dancing bones.