10 and 1 - Top Songs of 2012 (So Far)

Santigold: Bringing the awesome in 2012...

You're going to be inundated with mid-year music countdowns soon enough, so we thought we'd get in a bit early. We probably failed. We're probably not early at all. Anyway, here are ten of our favourite tracks from 2012... and, of course, our least favourite. The worst song of the year. Unless Brian McFadden releases something, it will most likely remain the worst song of the year. Enjoy?

THE 10:

212

by Azealia Banks ft. Lazy Jay

Rabbit Hole

by The Temper Trap

 

Haunted Gold

by Curxes 

Bad Girls

by M.I.A

 

Come Into My Head

by Kimbra

Love Interruption

by Jack White

Never Let Me Go

by Florence + The Machine

Runaway

by Mr Little Jeans 

Comeback Kid

by Sleigh Bells

Big Mouth

by Santigold

 

THE 1:

 

T.H.E. (The Hardest Ever)

by Will.I.Am ft. Jennifer Lopez and Mick Jagger 

When is Will.I.Am going to give up on those solo aspirations? When is Will.I.Am going to give up full stop? 

It's All Coming Back To Me Now - Alvin, Put That Harmonica Down!

THE HARMONICA

by Jo Michelmore

 

First it was the whistling, then it was the clap. The cowbell couldn’t go without being featured and now, due to a special request, this week, we feature another incredible instrument: the harmonica! It’s a weird little instrument isn’t it? When I think of the harmonica I think of those creepy one man band type people with a hundred instruments strapped to them and a harmonica kind of hovering in front of their face. Super creepy. Actually, the concept of the harmonica is kind of great though, an instrument small enough to fit in your pocket but big enough to create some serious noise and if played right, in the right place, in the right song, it’s beautiful. Not so beautiful? The actuality of the harmonica. All that spit and saliva and yeeeeeew, yuck. Oh the horror of playing someone else’s harmonica. Uuuurgh. You know how they recommend you don’t get spit on your harmonica when playing? Tilt your head back, let gravity do the job for you. Yuck. Yuck and yuck. Let’s think about that while we focus this week on vintage songs that have featured the harmonica! Yes!

Rainy Days and Mondays – The Carpenters, 1971

Wow. It’s rainy or it’s Monday and you’re feeling a bit depressed, so you decide to get vintage and put this song on to feel better. Er, don’t. What a depressing song. First there’s the sad harmonica bit at the start, then she sings things like “hangin around, nothing to do but frown” and “feelin like I don’t belong”; well, Karen, chin up! Things aren’t that bad and you got to wear that beautiful ‘70’s yellow dress in the clip! How lovely. No? I know, it was the thought of all that spit in the harmonica got you down, didn’t it? Yes, I agree. Uuuurgh.

Isn’t She Lovely – Stevie Wonder, 1976

Written for his daughter when she was born, isn’t that sweet? “Isn’t she lovely, made from love,” how nice. It’s just a little pop song, not Stevie’s absolute best, but it’s one people seem to remember. Perhaps it’s all that harmonica. Yep, that’d be it. Everyone loves harmonica, right? Stevie does. He’s known for his keyboard skills, generally, but his harmonica skills are exceptional. He’s featured on over 100 songs by people other than himself, playing harmonica. That’s some serious harmonica skills. Also, a lot of spit.

Karma Chameleon – Culture Club, 1983

Come on. Who doesn’t love this song? Ok, maybe a few people. Love is a strong word. Who doesn’t know at least some of the words of this song? You’ve read the title; you already know most of the chorus. Who doesn’t love Boy George? Ok, stupid question. A lot of people don’t, especially that guy he kept chained in his basement for a while there. Things did get a bit weird for a minute there, didn’t they BG? Speaking of weird, this clip is a bit weird too. On a riverboat? Playing cards? Crooning Karma karma karma etc? It’s all a bit odd. Catchy though. I don’t actually know who plays the harmonica on this one. I wonder if Boy G made that poor male escort learn the harmonica bits while he was chained up in his basement? Maybe. Probably not.

Desire – U2, 1988

This was U2’s first number one single in the UK (and Australia, actually). I think it was the harmonica bit. It certainly wasn’t that hat that Bono insists on wearing in the clip. I’ve seen U2 live a couple of times. Everyone seems to like this one live. It’s the whole sing-along bit, people love screaming “desiiiiiiiiiiiire” etc. I like the harmonica bit, myself. Unfortunately, that’s harder to sing along with. It’s still quite good though.

Suicide Blonde – INXS, 1990

This was one of the ‘Kylie Minogue/Michael Hutchence’ mystery marketing genius songs. Was she the suicide blonde he sung about? Guess we’ll never know now. Regardless, it’s INXS sounding exactly like INXS, with harmonica thrown in for good measure. Did they really need another instrument? There were six of them weren’t there? Anyone remember any of them, other than Hutchence? There was nerdy whats-his-name-with-the-glassses and those other couple, weren’t there some brothers in there? Whatever. Well, apparently they did need another instrument and they did ok with this one. The harmonica works quite well in it. This one features the spit of Charlie Musselwhite in the harmonica. I don’t know who he is but he spits into a harmonica well.

Hand In My Pocket – Alanis Morissette, 1995

Finally, an excuse to post my favourite angry/pop female singer from the ‘90’s. Not only does it highlight her exceptional pop song writing skills on this album, it features harmonica. Perfect. Alanis provided so many anthems for so many kids of the 90’s. This was one of them, the lyrics being relatable to anyone, anywhere. I especially liked the “I'm high but I'm grounded, I'm sane but I'm overwhelmed, I'm lost but I'm hopeful” and “I'm sad but I'm laughing, I'm brave but I'm chicken shit” at the time. I still kind of like them. It’s such a great vintage road trip song, this one. Sing it loud with the windows down. Then do some funny impersonation of a harmonica at the end, but try not to spit all over the steering wheel while you do it. Good luck.

New Music Monday #10

1991 (EP)

by Azealia Banks

As Azealia Banks launches into the opening/title track of her debut EP, she completely, 100% establishes herself as the hottest new property in all of music. "1991 my time has come, Oh nah nah Ma, your time is done." She's got the attitude and she can talk the talk, but most importantly, she's got the talent to back it up. Producer Jef Martens lays down beats that will get you moving as Banks throws out confident, profanity laced rhymes that you can't help but love. I'd say this could have become the Timbaland/Missy team for new generation, but alas, one cannot be too hasty. Banks moves on to Paul Epworth (Adele, Florence + The Machine) for her debut LP, Broke With Expensive Taste. Comparisons to Missy Elliott are sure to arise from Banks' performance on '1991.' Obviously any young female MC will have been inspired in some way by Elliott and it's nice to see that Azealia is carrying Missy's 'She's A Bitch' torch throughout the EP. "Cause you gonna be a bitch n***a, I'ma be that bitch, what?" Heck yes! Yeah, there will be comparisons to Missy, but Azealia Banks more than stands on her own as a performing artist. She's got her own exciting style that introduces elements in an MC we've never seen before (walking the fine line between innocent and extremely vulgar), as well as honouring and developing the styles of rap and hip hop stars that have come before her. 'Van Vogue' builds on the opening number by introducing the sweet vocals (read: not rapping) that our star has housed inside her. We got to hear it before the excellent breakdown in '212' and this is just as good. It's a brief moment and we get some dog barks after it, but I'll take what I can get and hope we here more on her full-length. We then come to our bona fide super-hit of this collection. Yes, I'm talking about the aforementioned '212.' Duh. It's been slowly taking over the world since December last year and the buzz the track generated for Banks in the lead-up for this EP has been phenomenal. Truly one of, if not the best rap song of the year. Isn't it just the cutest thing when she says, "I'ma ruin you, c*nt." What's so great about Azealia Banks? Her delivery of that line right there. It's distasteful, hilarious, threatening and endearing... all rolled into one perfect package. As amazing as it is, the one fault you can put on '212' is that it's too hard an act to follow. Subsequently, 1991's final track, 'Liquorice,' doesn't have the impact it might have had if things were different. Really, it's just more of the same; acceptable yet ultimately not memorable. You know what though? It's still better than anything on Nicki Minaj's new album. There, I said it. Due to the success of '212' an EP was essential to satiate fan hunger before September's release of Broke With Expensive Taste. The move to not rush her debut is admirable and working with such a high-profile name like Epworth leads to the possibility of us hearing something groundbreaking when its finally out. 1991 stands on its own though as a fun introduction to music's next big superstar. There's a lot more to it than the brilliant '212' and it's well worth the price of admission.

Matt Bond gives the 1991 EP four Missy Elliott's out of five...

Glasshouse Living (EP)

by Molly Contogeorge

Over the past decade, Australia has built up an amazing collection of female singer-songwriters, with names like Sarah Blasko, Missy Higgins, Kate Miller-Heidke and Lisa Mitchell leading the way. I'd say it's only a matter of time before we can add Sydney's Molly Contogeorge to that incredible list. Her sophomore EP, Glasshouse Living, features four tracks that showcase one of Australia's great emerging songwriters. Contogeorge has the right kind of modern jazz/pop voice that holds your attention on each song's excellent lyrics. 'Lead on, Lead on' is a welcome introduction to Molly's style and sets her apart from the Blasko's and Higgins' of the Australian music industry. There's an infectious tune that puts Contogeorge's style in line with a more upbeat Nicole Atkins. Third track, 'Lock and Key,' is the highlight of the EP; a little darker than the other tracks and Contogeorge gets a little grungier with her vocals. Heading down a rock and roll path could be a very interesting direction for her. Closing out Glasshouse Living is the ballad 'Why?' "We ask the same questions and tell all the same lies." Beautifully written and performed by Molly, listen to 'Why?' once and you wont be forgetting it any time soon. Actually, it leaves you wanting to hear a lot more from Molly Contogeorge. Hopefully we'll be hearing her debut LP soon.

Matt Bond gives the Glasshouse Living EP four Michael Hutchence's out of five...   

NEW MUSIC VIDEO OF THE WEEK

Days Go By

by The Offspring

Album: Days Go By (2012)

You know when you hear a song on a commercial and it sounds kind of familiar, like something you know but just not quite right? You know when some company’s advertising budget doesn’t cover getting the original artist’s song, so they get some terrible dodgy cover of the song done for their terrible dodgy ad? Well, hi Offspring. Someone’s got a bad case of Foo envy don’t they? Except I hope Dave Grohl wouldn’t be caught dead singing those lyrics; “All your anger all your hurt doesn’t matter in the end, those days go by and we all start again”; did you write these in high school? You, Dexter Holland, singer person, I've never understood how you got that gig? I’ve heard better voices at bad karaoke, not to mention good karaoke. As for your new clip, all these layered images are just to distract from your wrinkles aren’t they? You’re almost all in your forties, how long can someone keep playing teenage style average middle of the road pop punk? Oh well, forever I guess and this song will probably be quite popular too, but as they say, there’s no accounting for taste. LMFAO have made millions of sales. 

Jo Michelmore gives the 'Days Go By' video one Chad Kroeger out of five...

Top 20 - 3 June, 2012

Amanda Palmer and the Grand Theft Orchestra take over! 

1. Amanda Palmer and the Grand Theft Orchestra - Do It With A Rockstar






2. Edward Sharpe and the Magnetic Zeros - Man on Fire (NEW)








3. Kimbra - Come Into My Head






4. Azealia Banks - Van Vogue (NEW)








5. Graveyard Train - I'm Gone (NEW)

Gig Review - Lanie Lane (31/05/12)

LANIE LANE

Live at The Hi-Fi, Brisbane.

Supported by: Steve Smyth and The Rubens

Review by Jo Michelmore

A cold night in Brisbane, it would have been easy to stay inside on the lounge wrapped in a blanket and sipping a hot beverage. As a general rule though, I think live music is worth the effort and this gig was no exception. My lounge called but my legs took me to the rainy streets of West End, where I was so happy to enter the warm doors of The Hi-Fi and lucky to witness the sweet sounds of Sydney’s Lanie Lane.

Opened by Steve Smyth (what an incredible voice, this guy is one to definitely check out) and The Rubens (I ‘liked’ on these guys on the Facebook while they were playing to remind myself to check them out later; solid blues-ish rock, the ‘like’ wasn’t a lie, I actually did like them!) but the punters were here to see one gal and they weren’t to be disappointed.

Right on time, the black curtains covering the stage were pulled to reveal a charming understated set adorned with pretty Day Of The Dead skulls and metallic mexi-style bunting. Her three piece band and an excited Lanie quickly appeared, running onto stage in a fabulous rainbow beaded jacket and tiny silver sequined shorts. She’s the epitome of cuteness with her beautiful guitar draped around her neck. Lanie launched into the incredibly catchy ‘What Do I Do,’ an awesome, fun song to set the tone of the rest of the evening. Bouncing around the stage and giggling with her band members, it’s obvious Lanie loves to perform and this love was completely and totally reciprocated by the devoted audience from the opening keys of the first song. Her band are incredibly tight, her drummer Paul Derricott (or, as Lanie calls him “DERO!”) and her double bass player Zoe Hauptman were a pleasure to watch. Her guitarist Aidan Roberts was outstanding and clearly such an incredible talent. Lanie spent much of the night interacting with him, at one stage even on her knees as they played together. It was nice to see a band who clearly admire and respect each other’s skills. (There must be mention of an absolute highlight, Lanie and guitarist Aidan performing a version of Aidan’s song , ‘The Drug,’ written for his own band, The Maple Trail. It’s a track I’d never heard before, but it gave me goose bumps; the lyrics are so beautiful and I was so glad it was on iTunes so I could download it as soon as I got home.) They swing and rock their way through an hours set, including the brilliant ‘Betty Baby’ (who doesn’t adore an ode written for a guitar?), ‘The Devil’s Sake,’ ‘To The Horses’ and we were also treated to a new song as well as her cover of The Black Keys' ‘Gold On The Ceiling.’ Lanie is super fun to watch. She chatted between songs about how her best friend was in attendance, about making forts in hotel rooms and how everyone has an inner Vicki (and her inner bogan Vicki even made an appearance). Leaving the stage for only a minute before they all bounced back out, the encore just didn’t seem enough. I could have watched for another hour and another, what a lovely way to spend a Thursday night.

Gigs like Lanie’s are one of the reasons I love live music. Sometimes it’s mind-blowing and fireworks and dancing, sometimes it’s swaying and goose bumps and comfortable. This one was a little of all of those things. Lanie Lane made the night feel like a long conversation, giggles and beverages with a friend in their lounge room and it was the perfect way to spend a winter’s eve.

It's All Coming Back To Me Now - Needs More Cowbell

NEEDS MORE COWBELL

by Jo Michelmore

I did a post on the whistling. Then I did a post on the clap. Then a friend reminded me of another feature in songs that should be celebrated. The cowbell. Who doesn’t love the cowbell? Probably Swiss cows, actually. The cowbell stops them from easily running away, doesn’t it? Would you like a giant bell hung around your neck? Maybe, whatever you're into, I suggest not. Anyway, I digress. The cowbell is really nothing on its own, but put it in the right place and it takes an average song and makes it magic. So, this week, as a special request, I feature: the cowbell!

Hey Ladies - Beastie Boys, 1989

Classic Beastie Boys, this song is nothing without the cowbell. Nothing. It’s so instantly recognisable and the, “hey ladies!” followed by the chang chang chang is like an instant time machine to 1989. The clip? Beastie Boys being the Beastie Boys. It’s also a classic, featuring everything you want in a Beastie Boys clip; scuba divers, bad ‘70s suits, martial arts, hairdryers, palm trees and a girl’s body painted like a clock (long before Gotye and Kimbra even knew what body paint was). Most importantly, it features two arms poked through a wall, playing a cowbell. Excellent.


Go Your Own Way - Fleetwood Mac, 1976

 

The ultimate break up song, one of Fleetwood Mac’s best, was written by Lindsey Buckingham for Stevie Nicks, about their own break up. At the time it was recorded, the marriage of other Fleetwood Mac members John and Christine McVie was also ending. They all took a lot of drugs too. Was it the combination of all these things that made it such a great song? Maybe. Or maybe it was the cowbell. Probably the cowbell, yes. Huh?
   

Stuck In The Middle With You - Stealers Wheels, 1972

 

For those of you who are concentrating, you’ll notice a little pattern. This song was featured last week, in the clapping post. It was also stuck in my head for about three days after I listened to it. You know what else? Not only does it feature clapping it features the cowbell. If songs were judged only on their cowbell and clapping features, this could be the greatest song of all time.


Play That Funky Music - Wild Cherry, 1976

 

See, the funny part about this song is that it was played by a bunch of very un-funky, unattractive white boys. Weird. Its bass line is admittedly phenomenal though and it’s been sampled a bazillion* times. (*Not exact number) Anyway, beside all that, it’s got cowbell, which I wouldn’t necessarily describe as a funky instrument. Or maybe I would. Would I?


Pets - Porno For Pyros, 1993

 

You know how I said that Beastie Boys song was like an instant time machine to 1989? This one is an instant time machine to 1993. After Jane’s Addiction split, two of the members formed Porno For Pyros, and this song was their debut single. The ‘indie’ kids of the time (who were then called the ‘alternative’ kids) loved this song, like reeeeeallly loved this song. Perry Farrell was like a pied piper leading the alternative kids away from the mainstream, man, with a weird little orange clip, some laid back guitar riffs, lyrics about aliens taking over the world and keeping humans as pets and of course, the cowbell. Perfect.


Groove Is In The Heart - Deee-Lite, 1990

 

It was just a little dance song, but this one made an impact. Probably the only song most who know the name ‘Deee-Lite’ would know, it had a whole bunch of samples, a’70’s inspired bright, bright clip, a lot of tambourine, Bootsy Collins and just at the right time, a cowbell break. A whole feature of the cowbell! Brilliant. It also has the ability to get stuck in one’s head. Just warning you.