hello.shuffle — Seven Songs

It’s been a long time since I’ve made one of these (tried last week, but the results were bad). I always enjoy making lists like this because the random nature makes it fun to rediscover old and recent favorites.

Condor Ave by Elliot Smith (from Roman Candle)

Elliot Smith's Roman Candle While I’ve been a fan of Elliot Smith for a long time, I can’t say I bought many of his albums when the actually came out (maybe the last one or two?). So when you get all of Smith’s albums all at once, its easy to discover a new song you’re not as familiar with. Such is the case with this medium tempo song, which is on one of my favorite records by Smith. It’s very close to the sound on the self titled album that I am most familiar with, so despite Smith’s typical less-than rosy subject matter, it feels warm and nostalgically familiar.

Passenger Seat by Death Cab For Cutie (from Transatlanticism)

Death Cab For Cutie's TransatlanticismThis song and album always reminds me of my time in Heidelberg Germany in the fall and winter of 2004. But every time I hear this song I think of my frequent long walks along banks of the Nekar river which separated the ‘old’ and ‘new’ parts of the old mountain town. In retrospect seems sorta depressing to be wandering alone in foreign town listening to Death Cab, but at the time it was the perfect soundtrack for the setting: quiet and introspective.

Come In Alone by My Bloody Valentine (from Loveless)

My Bloody Valentine's LovelessCertainly the best album of the brief ‘shoegazer’ era of the 90s, and this is one of my favorite songs from that. With rumors and rumblings of the first My Bloody Valentine album in sixteen years, now is just as a good a time as any to rediscover their music, or try them out for the first time if you sadly have not heard. And while there are countless bands now who fall into the “nugazer” genre now (Silversun Pickups for one, who do it amazingly I might add), how can you beat the wall of blaring distorted guitars, layers of feedback and the deeply melodic inflection of the vocals. The overall effect is surreal and affecting.

Masqualero by Miles Davis Quintet (from Sorcerer)

Miles Davis' SorcererCompared to Miles Smiles and E.S.P., Sorcerer is a bit lesser known for Miles’ second great quintet era. But with a lineup of Wayne Shorter on sax and the piano, bass and drums of Hancock, Carter and Williams, it is hard to state that this is a ‘lesser’ work. Pieces like this one just bleed Shorter’s compositional style. With off kilter harmonic progressions, extended melodic scale tonalities (modes anyone?) and the darkened introspection that the quintet was known for, this song is perhaps an overlooked but worthy classic.

Magnolia Mountain by Ryan Adams and the Cardinals (from Cold Roses)

Ryan Adams' Cold RosesDiscussing Ryan Adams does not have to involve his insane prolificacy, his tumultuous relationship with critics, his stange antics or his recent sobering. While these things have soaked up a majority of the limelight and recent press coverage, at some point it would be nice to perhaps separate the man from the art. Granted, Adams’ songs are brimming with allusions to personal exploits, nakedly exposed to his fans. But songs like “Magnolia Mountain,” the lead off from the double album Cold Roses, and coupled with the even better the Band-esque Jacksonville City Nights, Adams instilled some new confidence in the artist. In the process, Adams has also made the Grateful Dead cool again by finding the best aspects: the dueling guitars, the rambling spirit, and the back to nature (if not slightly hippie) ideal.

The Infinite Pet by Spoon (from Gimme Fiction)

Spoon's Gimme FictionThe song opens with a groove reminiscent of many a soul inspired rock tunes of the 60s, namely Booker T. and the MGs. But for a band like Spoon, this is nothing new. Despite being clearly an ‘indie’ band, Spoon still shows some love for that Motown\Stax soul and 60s rock which is a great thing. This song just oozes mood and in the pocket grooves, while still being minimalist and experimental enough to not be a throwback in the slightest of imaginations. Fans of Spoon often remark about the band’s lack of A B structure — that is often without a distinct chorus — but when the songs are as infectious and catchy as this, why even bother taking it to the bridge?

Clouds Solve It (featuring Wayne Coyne) by Ghosty (from Grow Up or Sleep In)

Ghosty's Grow Up or Sleep InThis is a band featuring two high school friends of mine who I used to play the occasional jazz gig or jam session with in college. This band is something of a local Lawrence, Kansas and Kansas City favorite, who I’m always rooting to push to the next level. I even featured them on NPR’s Open Mic (now Second Stage for those keeping track of new NPR Music site) a couple years ago. This band combines all my favorite aspects of indie pop — singable choruses, memorable hooks and some quirky instrumentation — and this song is especially cool because they were able to get Wayne Coyne of The Flaming Lips to sing on it (likewise they appear on the Yoshimi-era EP Ego Tripping at the Gates of Hell). Great short little song.