A new series has arrived in the form of Grab Bag, a fun monthly list that finds me listening and reacting to ten random songs from the depths of music's annals. There's no prerequisites, no regulations self-imposed. Anything can make this list if the site I'm using to discover these songs, RateYourMusic's random release generator, spits them out. This is a great way to discover new music with no attachment to something in your catalogue. Or, a dark reminder that truly horrid music exists in droves.
The positioning is based on the order in which I discovered them. The rating system similar to what DoD already enforces, in that 5 / 10 is average, not bad.
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This is about as 1970's Midwest Rock as you can get. I mean, even beyond the music, Kansas' namesake, the song's title, and the album's cover all come equip with that heartfelt, homebound sheen. Considering the extremes Prog Rock was at at the time, what with King Crimson, Pink Floyd, and Can, Kansas' laid back, overtly sentimental styling's can't really compete. Their piano-led Rock bores long enough for the eventual uptake in power towards the end of 'Lonely Wind' to not matter much. Along with this, the lyrics struggle in the originality department, coming off as a precursor to those hackneyed romantic fantasy novels that were infatuated with longing goody two shoes and their heroic love interests set off to overcome grand obstacles.
3.5 / 10
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There's a certain unestablished mystique with Strawberry Children's 'Love Years Coming.' That's because, along with 'One Stands Here,' it is the only song the group ever put out. In the 1960's, how does that even happen? This isn't the Internet age where someone can release a single, have it flop, then return to insignificance. Truthfully, while 'Love Years Coming' has a picturesque Sunshine Pop brightness to it, the speciality isn't exactly there. Apparently an early offering by Singer/Songwriter Jimmy Webb, 'Love Years Coming' may have acted as a precursor with childhood friends who went their separate ways. The bubbling theatrics finds the Strawberry Children at a crossroads between The Beatles and Beach Boys, with a hint of Phil Spector's wall looming in the background.
4 / 10
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Truthfully, I'm going into my first Kraftwerk listen with sparse contempt. I'm a large proponent of the belief that untested genres are at their worst towards the beginning and end of their lifetime. The latter, not so much a controversial thought, considering the painful death Rock music endured. However, generally speaking, music in their curious infancy deserve praise for their influence and little more. Hip-Hop's always my go-to example for this, as the likes of Grandmaster Flash, The Sugarhill Gang, and Kurtis Blow, in retrospect, failed to make engaging or remotely complex music. Hip-Hop was, after all, at its genesis.
By and large, I feel the same way towards Kraftwerk, although have held reservations due to my inexperience with the German-based group. Their Electronica is overtly simple, capturing pre-programmed sequences, loops, and sounds without much variation. 'Radioaktivität' doesn't contradict that statement, with Kraftwerk even tackily using Morse Code to spell out the title. However, there's something about the monotonous piece that evoke trysting imagery. Beyond the hissing gas pipes, laminating synth patterns, and neatly-arranged tongue of Emil Schult, 'Radioaktivität' really takes to form with the building choir arrangements scarring the background. That's where the song gathers the fear and apprehension necessary when talking about radioactivity that's "in the air for you and me."
By and large, I feel the same way towards Kraftwerk, although have held reservations due to my inexperience with the German-based group. Their Electronica is overtly simple, capturing pre-programmed sequences, loops, and sounds without much variation. 'Radioaktivität' doesn't contradict that statement, with Kraftwerk even tackily using Morse Code to spell out the title. However, there's something about the monotonous piece that evoke trysting imagery. Beyond the hissing gas pipes, laminating synth patterns, and neatly-arranged tongue of Emil Schult, 'Radioaktivität' really takes to form with the building choir arrangements scarring the background. That's where the song gathers the fear and apprehension necessary when talking about radioactivity that's "in the air for you and me."
8.5 / 10
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I'm always intrigued by bands originating out of my home state. That being Massachusetts, Come arising out of Boston. And let me tell you, these guys could not look more early 90's Boston. Anyways, unlike the Pixies who were hitting it off big in the underground with peppier Alternative Rock, Come takes a more somber look at the genre. Elements of Grunge, Post-Rock, even Shoegaze can be found in the drawn out reverb chords. However, all that's stripped away come 'Off To One Side's' second half, where riotous rhythms are introduced, Thalia Zedek's manly vocals wreak havoc using cynicism, and the whole Grunge bravado comes full circle. Decently executed song that finds substantial payoff for those wading through the sullen sulk of the first half.
6 / 10
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Ah yes, Adult-Oriented Rock. Or AOR for short. A radio-friendly genre made purely for dads who missed the 'true' Rock era, despite having lost touch with taste-making music. I mean, just look at any AOR band, Foreigner included. They ooze blandness. And while their earlier, more popular work may be more well-received, 'Say You Will' ticked off each box in terms of genre cliches. It's got booming, layered hooks. Empty, soft-spoken verses. Dirty guitars that have not an ounce of fluidity or passion in them. And lyrics that could only be found appealing by sleazy bar patrons drunk in love whilst 'Say You Will' plays on the jukebox. It's songs like these that point out just how poorly the 80's have aged.
2.5 / 10
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'Steel Strings' is a grower. That's not to say it's an incredible single, but rather a song that starts halfway off a precarious ledge only to crawl itself back to safety. The primary instrument for which the song is named after is the main culprit, entrenching itself in mid-80's Yacht Rock. However, Peter Case's powerful vocals and the strings' easy-to-follow rhythm section help make 'Steel Strings' an enjoyable parlay. He even incorporates the instrument into the lyrics, decrying "do you want a man of steel? Or a man that's real?" The inclusion of such a colorful instrument (one that wouldn't be all that out of place in a Disney cartoon, like Tarzan) strips the Folk element from Peter Case, leaving a straight-forward 80's Rock song. But the passion is there and that helps tremendously.
6.5 / 10
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I know nothing about Deszcz, III, or Crust Punk, and by all accounts it'll remain that way. A random 2018 find - the first of its kind in Grab Bag - Deszcz's aggressive mannerisms rely heavily on Black Metal schticks, to the point where I'm questioning the origins of our red herring genre Crust Punk. At least in the case of 'Black Eyes' there's nothing Punk about it. The Poland-based band gurgles their words, relentlessly shreds the guitars, and mindlessly whacks their drums without an ounce of nuance. The only intriguing part comes towards the end when they take a much-needed breather, leaving a weary guitar to strum solemnly. Still would just prefer Deafheaven in these cases.
2 / 10
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This Grab Bag was overloaded with 80's Rock, in one way or another. Even the tracks I thought would diverge - Peter Case's 'Steel Strings' and this, The Waterboys' 'December' - have more to do with Rock than their respective genres of Folk Rock and Post-Punk. That being said, this isn't a detriment to the latter, for The Waterboys drew interest from the Celtic incursion that sailed to prominence in the early 80's. On their debut, The Waterboys deal more with Post-Punk than they ever would, associating the colluding darkness and angst of the genre with generic Pop Rock prose. The result is quite the engrossing work, due in large part to Mike Scott's vocals and the song's hefty length. On 'December,' The Waterboys don't shy away from allowing the wash of noise to sustain, which is a great decision in the wake of 80's Pop Rock brevity. As for Scott's lyrics, there's a lot of intriguing romance to dissect here, making The Waterboys' first track quite the tolling experience.
7.5 / 10
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Maybe there's something to this Jazz, or Jazz Fusion in this case, after all. That's not because of the quality Tony Williams displays on 'Spectrum,' but more so the fact that, despite rarely finding appeal in the broad and purposeless genre, I keep returning to it. New artists mind you, not old ones on repeated listens, as enduring a nine-minute trudge of spastic jam band playing with no goal in mind like 'Spectrum,' doesn't tickle my fancy. Don't get my apathy confused with insult; The Tony Williams Lifetime is a fantastically talented band. For John McLaughlin, Larry Young, Tony Williams, and Jack Bruce to merely maintain the pace for nine minutes is impressive, especially Young who strenuously steals attention with his organ playing. Still, knowhow aside, I can't see myself returning to 'Spectrum' for any meaningful purpose.
5 / 10
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Like Kraftwerk, I was worried to step into Frank Zappa's world. Arguments can be made that Zappa's cult is stronger and more obsessed than any in music history. He makes convincing nonsense, as I regrettably discovered on the artsy fartsy We're Only in It For The Money. Suffice to say, on 'Uncle Remus' I was expecting more flippant trivialities. Instead, music sensibility reigns supreme, this time connected to a powerful statement on the lethargy of the Civil Rights movement. Zappa's one to make controversial statements, and in a certain light, 'Uncle Remus' is that. If the lyrics are to be implied properly, Zappa criticizes both the oppressors (a no-brainer) and the black revolutionists for caring more about their looks ("We look pretty sharp in these clothes," "I can't wait till my fro is full-grown") than the issues at hand. Seems like a failure to understand gratification, no? Especially coming from someone who deeply cared for his looks and image.
However, that questionable statement aside, it's nice that Zappa doesn't exclude the oppressive's thought process. Following up that line about clothes, Zappa thwarts impressions with "unless we get sprayed with a hose." He even goes on to question the bigot's motives, namely the incorrect belief that "keep your nose to the grindstone" would do any good. Long story short, 'Uncle Remus' is strong, concise, and certainly a conversation-starter. Musically it's also rife with grand concepts, borrowing from the Soul and Glam Rock movement with sensationalized background vocals (which are lovely by song's end), jazzy prose, and theatrical production. I'm reminded of David Bowie's detour into Blue-Eyed Soul with 1975's Young Americans, which came a year later.
However, that questionable statement aside, it's nice that Zappa doesn't exclude the oppressive's thought process. Following up that line about clothes, Zappa thwarts impressions with "unless we get sprayed with a hose." He even goes on to question the bigot's motives, namely the incorrect belief that "keep your nose to the grindstone" would do any good. Long story short, 'Uncle Remus' is strong, concise, and certainly a conversation-starter. Musically it's also rife with grand concepts, borrowing from the Soul and Glam Rock movement with sensationalized background vocals (which are lovely by song's end), jazzy prose, and theatrical production. I'm reminded of David Bowie's detour into Blue-Eyed Soul with 1975's Young Americans, which came a year later.
8 / 10
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