The DJ’s setlist at the wedding had consisted mostly of songs hailing from earlier decades, many of which came from artists showcased at the Hall of Fame. It seemed so on the nose. We danced the night away to “Sweet Caroline,” “Shut up and Dance with Me,” and one of my personal favorites, “Livin’ on a Prayer.” If I didn’t know what places to visit while we were in town, I certainly did now.

The location of the museum was up for competition between various cities before Cleveland was awarded the honor by the Rock & Roll Hall of Fame Foundation in 1986. While being a major stop for rock tours and founding the radio station WWMS, what really put Cleveland over the edge in gaining the Hall of Fame was Alan Freed.

Freed was a disc jockey for Cleveland station WJW in the 1950s and 1960s who first coined the term “rock and roll.” Not only did Freed come up with the name, he frequently played the genre on the station and advocated for its expansion.

We later discovered his jukebox shaped tombstone when exploring the expansive and beautiful grounds of the Lake View Cemetery. This 285 acre area contains the final resting place of many historic figures, even a large memorial for 20th US president James A. Garfield.

Recuperating from the unprecedented computerized voice of our rental car practically shouting “narrow lanes ahead,” we exited the highway towards the museum. Located on the west bank of Lake Erie, the building itself is a bit unorthodox just like the legacy of the music it houses.

The main design feature resembles the Luxor hotel and casino in Las Vegas, a big glass pyramid. Adorned by a lengthy statue out front that proclaims “Long Live Rock” in bright red letters, the Rock & Roll Hall of Fame is unapologetic about its presence. A liberal use of black and red decorates the interior but is overshadowed by the extravagance of the museum’s artifacts.

Decades of music memorabilia line the walls, and I found myself amazed around every corner. From famous stage outfits to the instruments used to create the music itself, rock history was everywhere. Some of my favorite pieces were Michael Jackson’s iconic sequined glove and a Rolling Stones pinball machine.

“Is that the real thing?” another visitor questioned when approaching Slash’s top hat in the Guns N’ Roses case. Of course it is, I thought. Everything here is real. Which is what makes it so unbelievable.

I was inches away from something that David Bowie wore on stage. A pane of glass distanced me from a guitar Paul McCartney played. I didn’t dare touch anything and face the wrath of the security guards but it amazed me that much of the decades-old items had held up so well.

This year’s inductees included The Cars, Nina Simone, Bon Jovi, Sister Rosetta Tharpe, The Moody Blues, and Dire Straits. If you, like me, are asking how is Bon Jovi only now getting into the Hall of Fame, the induction process is quite extensive.

Necessary talent included, artists only become eligible 25 years after their first commercial recording is released. According the the Hall of Fame’s website, “Ballots are then sent to more than 900 historians, members of the music industry and artists—including every living Rock Hall inductee—and the five performers receiving the most votes become that year’s induction class.”

While making it alongside some of music’s greatest legends may seem like an unachievable fate, it is possible. Recent artists are also featured in the museum. Katy Perry’s candy cane outfit and DNCE’s Star Wars themed concert garb lie inside glass cases on the ground floor. Even bands who have played right here in Iowa City like Saint Motel are present at the Hall of Fame.

Rock and roll lives in ever-changing artists and genres and will continue to evolve as the days roll by. As the sign outside the Rock & Roll Hall of Fame dictates, Long Live Rock.

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Formed in Glasgow in 2002, the Scottish indie rock band’s sound is as unique as their name.

Lead vocalist Alex Kapranos has a flexible voice that covers a wide range of tones. Much of Franz Ferdinand’s music has an emphasis on guitar, with four out of the five members, including Kapranos, playing the instrument.

Other members include Bob Hardy, Paul Thomson, Julian Corrie, and Dino Bardot, who joined the band in 2017 after original member Nick McCarthy left the band in 2016.

Franz Ferdinand first shot onto the charts with “Take Me Out” from their debut album in 2004, a song that has been in my Itunes library since middle school. No matter how old I am, I still get hyped up whenever I hear from the opening guitar chords of that song.

The riffs and beat are something anyone can bang their head to, and the lyrics are easy to sing along with.

Another quintessential part of the band is their imaginative music videos, “Take Me Out” being a prime example. It has a particular aesthetic emphasized by the color scheme of the animations.

Graphics align with the beats to create a thrilling experience. All their songs are perfectly complimented with the absurdist art of their videos, captivating for any listener.

Their new album, Always Ascending, came out in February of this year.

The title track has a punk feel combined with futuristic backing effects.

Its driving drum beats and bass guitar move quickly, making it a lively listen. Kapranos mixes a velvety melody with shout-like moments to bring out the energy of the piece.

He closes off his mouth a bit during the chorus to really emphasize the end of the word “ascending,” pulling you through the song as it ascends, appropriately, through several keys.

Always Ascending is full of music that harkens back to the punk movement of the 1960s and 1970s. Each song carries experimental work with sounds, lyrics, and rhythm. Kapranos hypnotic voice leaves you on the edge of your seat, waiting to see where a song goes next.

“Paper Cages”, the third song on the album, has a bouncy piano part that contrasts in a really fascinating way with the smoother flow of the lyrics. The song discusses humanity escaping the paper cages, and that “we’ll never be free if our incarceration is a story we tell, a tale of invention.” Franz Ferdinand’s lyrics challenge what music is “supposed” to do, offering obscure narratives through whimsical word choice.

Synthesizer and electric guitar galore, “Glimpse of Love” is a fresh take on musical tropes of the 80s. It has a aura of glam rock while still having the grittiness of more current music in its syncopation and beat. The music video is full of weird images with a retro theme, aligning with the mood of the album.

Always Ascending proves once again that it is definitely worth taking the journey into the strange and entrancing world of Franz Ferdinand.

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My Spotify playlists each carry a wonderfully weird meaning behind their names.

“It’s Not a Boulder” is a rock playlist inspired by one of my favorite Spongebob quotes, which is high praise considering I have been a fan of the cartoon for almost as long as I have been able to walk.

The Bee Movie sits behind the name “Barry,” a playlist of jazzy and soulful tracks.

Weird names aside, one of my favorite playlists has to be “Silver,” full of songs from movies and TV shows.

While memorable songs from The Breakfast Club and Ferris Bueller’s Day Off certainly make the list, many of the best songs on it come from the 2015 movie, The Man from U.N.C.L.E.

Based on the spy television series from the 1960’s, The Man from U.N.C.L.E. is set in Cold War-era Europe, starring Henry Cavill and Armie Hammer as rival U.S. and Soviet spies.

The film captures the nostalgic action of the original with action sequences, comedic yet dynamic characters, and eye-catching visuals. On plot and performances alone this movie is commendable, but what really stands out is its soundtrack.

Roberta Flack’s 1969 song “Compared to What” opens up the film. An effortlessly smooth bass line and piano part contrast with a bright brass section to create a complex atmosphere.

This mimics the feel of the movie, with many lighthearted moments contrasting with intense action sequences. Flack’s alto tones play with emphasis and syncopation, pushing this jazzy piece to another level.

With a multinational story, the music of The Man from U.N.C.L.E. has songs in various styles and languages. “Jimmy, Renda se” by Brazilian musician Tom Zé underscores a scene in which the two spies are tailing the criminal mastermind, Victoria Vinciguerra, portrayed by Elizabeth Debicki.

The title translated to mean “Jimmy, Surrender,” sets up the tone of Zé’s spirited lyrics, further detailed in an analysis from the Red Bull Music Academy.

Its semi-chanted Portuguese lyrics and energetic guitar riffs accompany the action sequence perfectly, while also being a great song to practice your best secret agent moves to.

Tension between Illya (Armie Hammer) and Gaby (Alicia Vikander) is perfectly captured by Solomon Burke’s “Cry to Me.”

Burke’s smooth voice brings us back to 1962, when the song was released, which happens to be during the time period the movie takes place in. A jazz-like drum part with an emphasis on cymbals gives a sultry feel to the accompaniment.

Pushing aesthetics, the song has a soulful beat that plays up the romance between the two characters while bringing a bright contrast to the fighting within the scene.

The Man from U.N.C.L.E. blends together different time periods, genres of film, and music.

While much of the soundtrack comes from older pieces from around the world, there are several original pieces written specifically for the movie by Daniel Pemberton.

Percussion is essentially a character in the film with how much it is showcased. Imitating movement and moods ranging from flirting to daring escapes, Pemberton’s arrangements carry a spy film linked to the 1960s into to the current era.

In trying to summarize how The Man from U.N.C.L.E. integrates music into its plot in an inventive and fun way, I leave you with Italian singer Peppino Gagliardi’s “Che Vuole Questa Musica Stasera.”

The ballad talks about how music reminds the singer of their love, asking through the title “Who Wants this Music Tonight?” Napoleon (Cavill) is none too concerned about the fate of Illya, but eventually saves the Soviet spy he has been forced to partner with.

Combining clashing tones of a legato Italian love song and an extensive action scene encapsulate much of what the film accomplishes through its soundtrack.

And unlike the characters of the film, no spying is necessary to see its ingenuity.

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This past month on March 24th, thousands of people around the nation, young and old, participated in the March For Our Lives. Incited by ever-increasing instances of gun violence, particularly school shootings, March For Our Lives advocates to create lasting legislative change that will end needless deaths. “Not one more. We cannot allow one more child to be shot at school.” reads their mission statement. Although the main focus has been on enacting legislation that helps to decrease school shootings, the movement declares “All lives are precious, and our country must make the safety of its citizens a number one priority.”

The main march took place along Pennsylvania Avenue in Washington D.C., accompanied by more than 800 other marches around the United States. Participators peacefully protested with signs and chants chastising the lack of gun control legislation. Gun-related violence affects all Americans, but the drivers of this movement and the ones facing the biggest consequences of it have been young people, who some choose to write off as “children.” Survivors of the Parkland school shooting and many other young survivors of gun violence gave stirring speeches to the crowds. There were also a few musical performances alongside the speeches, the performers including Jennifer Hudson, Ariana Grande, Andra Day, Miley Cyrus, Demi Lovato, & Common, among others.

A standout among the performances was the original song “Found Tonight,”  written by Lin-Manuel Miranda, Benj Pasek, and Justin Paul. This mash-up of various tracks from the hit musicals Hamilton and Dear Evan Hansen shared a heartwarming message of remembrance, inclusion, and freedom that echoed loudly through the nation’s capital per the remarkable voices of Miranda and fellow Broadway star Ben Platt.

The lyrics of this song discuss “telling the story of tonight,” showing the power of this movement and its status as part of modern history. Telling listeners “when you don’t feel strong enough to stand, you can reach, reach out your hand.” Bringing people together is the goal of the song and of March For Our Lives. Not only does this song carry emotional significance, it carries financial weight as well, a portion of the proceeds from the record being donated to the cause. 

Watching the current state of politics in the United States and society’s reaction, it is hard to ignore historical comparisons, most notably the Vietnam War. While on a much larger scale and an international rather than just domestic issue like gun violence, it sparked protests and movements from younger generations. By the end of the war, around three million people had died, more than half being Vietnamese civilians, according to History Channel. Questions and concerns regarding the United States’ role in the war and ethics of the troops involvement incited objections both on the home front and the battlefield.

Protests truly started to gain a following on the home front in 1964 and continued to grow in numbers and influence throughout the rest of the decade. Many young people resisted the draft that dragged them into a war they had no desire to be part of. Of those who did become soldiers, many either died in combat or came back with physical and or psychological issues.

The music of the Vietnam era similarly tackled the issues facing the nation, most often aligned with the views of protestors. While “Found Tonight” takes on the obstacles of the political system today, the songs during this time were a bit more explicit in their message. Edwin Starr’s “War,” released in 1970, has stood the test of time as an anti-war anthem. Most everyone has heard the song’s famous chant-like chorus, but the lyrics continue to voice a more specific message: “War has caused unrest within the younger generation. Induction then destruction, who wants to die.” Still today, governmental shortcomings have forced the following generations into a problem incited by the older group.

Buffalo Springfield’s 1967 “For What It’s Worth” strikes a similar tone, its lyrics echoing social problems during the Vietnam era that still apply today: “There’s battle lines being drawn, nobody’s right if everybody’s wrong. Young people speaking their minds, getting so much resistance from behind.” Polarization has taken over the political sphere and is bleeding into society. Opposing sides discount the other’s opinion without ever considering to talk out a feasible solution. Collaboration and communication between people is the beginning of a road to a more accommodating culture.  

During both Vietnam and the recent March For Our Lives movement, music speaks alongside those who dare to protest for a better country and a better world.

The post An Oldie But a Goodie: The Music of Marching appeared first on KRUI Radio.

The music industry is a fast-paced world where the status quo is constantly changing. But these “one-hit wonders” are more than just the songs that put them on the map. The list of these one and done artists continues to grow as the ability to spread music through streaming services and apps increases. More and more rankings are being created as songs rise and fall in popularity, much like this Buzzfeed list of the top one-hit wonders of the 2000s. Certain songs can speak to people more than others, and some even shape cultures. Yet the artists behind them get shackled to that legacy rather than being able to fully explore their musical visions. Not every song a musician makes is going to be a chart-topper, but an each piece deserves to be considered on its own instead of in comparison to that one song that everyone loves.

Here are five other commendable songs by some famous “one-hit wonders”:

1. Harry Chapin — “W*O*L*D*”

Chapin’s timeless hit “Cat’s In the Cradle” is a ballad-like song that characterizes the relationship of a distant father and a son who struggles to grow up without paternal guidance. “W*O*L*D*” continues this story after the father has been away from the family for ten years and is now a DJ on the radio station W*O*L*D*, where the songs he plays are a tribute to his children that he has lost contact with. The song has a simple guitar accompaniment to Chapin’s crooning voice which builds as the drum part grows more intense towards the end. These two songs, along with several other Chapin singles and albums, are linked in both story and style, showing how artists work to build up their musical repertoire.

2. Norman Greenbaum — “Junior Cadillac”

On the same 1969 album his famed “Spirit In the Sky” was released, Norman Greenbaum came out with another tune. With a fun baseline that skips alongside a lively brass section, “Junior Cadillac” has a more bluesy and jazz-like feel than the guitar-laden “Spirit In the Sky.” Any piece written by Greenbaum has a story within the lyrics, and this piece tells of a “low rider” who steals the heart of a young woman. “Junior Cadillac” is a easy to listen to song that seamlessly blends jazz and rock.

3. Daniel Powter — “Delicious”

“Bad Day,” Powter’s 2006 single, skyrocketed to the top of the charts, spending five weeks at number one according to Billboard. After the intense fame of one song, Powter didn’t have much success with his music being played on the radio. However, earlier this year, Powter released a new single entitled “Delicious.” Far from the sad piano tones of “Bad Day,” “Delicious” is an upbeat song with a catchy beat. It makes you want to dance around the room with your friends, and will hopefully be the start of a wave of new songs from Powter.

4. Mungo Jerry — “Alright, Alright, Alright”

Few songs go as well with lounging by the pool and a cold drink as “In the Summertime,” but the name Mungo Jerry most likely means nothing to many of its listeners. Another great song on the band’s 1970 album titled after the popular hit is the track “Alright, Alright Alright.” It keeps the upbeat feel of the rest of the album, but adds a rock twist with the syncopation of the beats and lyrics. The driving guitar and drums make the song easy to move to, and the relatively simple lyrics are ripe for karaoke. Additionally, this might have been the very song that inspired Matthew McConaughey’s signature catchphrase.

5. The Knack — “Good Girls Don’t”

The American rock group gained their fame from their international hit “My Sharona” in 1979, and came out with another piece in the same year, “Good Girls Don’t.” With heavy guitar and drum parts, “Good Girls Don’t” definitely has got the “knack” of being a lasting rock and roll track. It also features an emphatic harmonica solo that adds a jazzy note to the piece. With daring lyrics and a punchy rhythm, The Knack captures the spirit of rock and rebellion through “Good Girls Don’t.”

The post An Oldie But a Goodie: More Than One-Hit Wonders appeared first on KRUI Radio.

Songs lasting anywhere from six to ten minutes popped up on charts and radios around the world, some of the live versions going on for even longer. Found largely in the classic rock genre, these pieces truly celebrated instruments and the artists that played them.

As our attention span continues to shorten from the increased presence of technology, so has music, specifically mainstream music, shortened in length. Repetitive choruses and lyrics leave listeners with not much more than three minutes of a catchy beat and auto-tuned melody.

 There is certainly no shortage of groundbreaking artists out there today who are creating songs that push the boundaries of music, yet the majority of these pieces fall within the two to five minute time frame popularized to facilitate the flow of playlists and air time. Bringing the past movement of longer songs to modern music could allow artists to expand stylistically and fully showcase their talents. 

One of the earliest songs to bring the trend of length into the mainstream music scene was “Hey Jude” by a band that swept the world, The Beatles. Clocking in at seven minutes and six seconds, “Hey Jude” builds from a ballad-like beginning to a rousing ending chorus that echoes a simple melody alongside lively guitar strums and an emphatic piano.

Paul McCartney’s vocals start out calm and connected, then evolve to raspy improvised additions as the song picks up speed and gains a rock and roll tone. A classic example of the potential behind lengthier songs, this piece takes the listener on a journey as it progresses. Blending together different tones and tempos into one track, “Hey Jude” was just the beginning of popularity for more extensive music.

The long song really found its place in rock and roll of the early 1970s, with many bands releasing seven to nine minute long showcases of instrumental ability. Electric guitars became the star of the show, flaunted through extended riffs and solos. Released in 1970, “Layla” by Derek and the Dominoes features the high pitched sound of Eric Clapton’s twangy guitar as it floats over the rest of the arrangement.

Extensively focused on instrumentation, only two and a half minutes of this seven minute song include vocals. Complex lyrics weren’t necessary to make this piece a standout. The musical talent of Clapton and the entire group shines through and every second of “Layla” is musically captivating.

Electric guitar is practically immortalized in the mountain of a song, “Free Bird” by Lynyrd Skynyrd. The slow sliding riff that underscores the opening verse initiates what modifies throughout the piece to become one of the best guitar solos of all time. Not only is the solo increasingly fast, it covers a wide range of notes in its four minute duration.

Again, musical talent is displayed in various ways throughout a long song, and “Free Bird” only gains momentum as it moves forward. Contrasting to its laid back beginning, the high energy end of the song completes the impassioned story that is told throughout its nine minute runtime.

Perhaps the greatest benefit of creating songs that seem to “go on forever” is the ability to tell a story. This can be through lyrics, as in Don McLean’s “American Pie” or Meat Loaf’s “Paradise By the Dashboard Light,” or musically, like the ever-changing melodies in “Stairway to Heaven” by Led Zeppelin. Oftentimes, the longevity of these songs left room for both. Just like a book, long tracks develop complex plots, often with climactic moments of musical genius throughout.

With over eight minutes of music, “Paradise By the Dashboard Light” can sound like three separate songs all stuck onto the same recording, yet there is continuity between each part through the lyrics. The story never strays from the forming relationship of a man and woman and tackles several emotions surrounding this theme through differing tones of music.

Music has always had the ability to make us feel a certain way that isn’t able to be translated though just plain speech. Long songs include everything that is already loved in music, just in an extended format. And why shouldn’t we make more of what we love?

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