But what’s so confusing about this mindset is that these bands are still here—they don’t merely exist in 70s rocker garb and sepia tones. The reluctance to provide space for artists once hailed as the greatest songwriters and musicians of their generation has led to a lot of different responses from these same artists. Billy Joel decided to quit on a high point (why bother when you can sell out Madison Square Garden over 100 times with the music you’ve already recorded), while Paul McCartney made a surprise leap back into popular relevancy with Egypt Station (an album I didn’t find remarkable, though you can’t deny numbers). But the majority of artists—Paul Simon, Bob Dylan, and Neil Young—to name a few, have desperately tried to hold on with muddled efforts and unremarkable songs. The Who’s first release in thirteen years, WHO, doesn’t fall into this category. 

It certainly won’t join the ranks of the albums that brought the band notoriety, but it works as tasteful fan service that’s much more self-aware than most. After both the tragic deaths of Keith Moon and John Entwistle, the remaining half of the English rock band never quite found its way back to its initial genius. WHO, however, delivers an impressive amount of familiar sound from a distant band that put out innovative rock operas and a sizeable amount of smashed guitars.

Despite songs that provide loyal fans with some comfort, echoing back to hit songs, the album isn’t able to fully deliver the same musical highs from their past. And they probably can’t. They’re older—the years are catching up and The Who just isn’t as relevant as they used to be. That’s also why it works far better than most artists from the same slice of music history—Roger Daltrey and Pete Townsend are fully aware of it. 

The first words that burst out from a still rocking Daltrey vocal performance are both refreshingly and unexpectedly self-aware:

“I don’t care / I know you’re gonna hate this song / And that’s it / We never really got along / It’s not new, not diverse.”

The opening track, “All the Music Must Fade,” is the anti-comeback song, discussing how anything the band releases will never be completely unique or revolutionary, there’s too much content and too much overlap in the music industry. The instrumentation, ironically, sounds an awful lot like past Who songs, but in this setting, it’s a welcome surprise. The age argument is fitting when it comes to discussing The Who’s unexpected return—full tour stretches have been postponed due to health concerns in recent years; instead of sticking to talks of rebelling against older generations and pinball champions, the music duo is tackling age head-on. There are talks of tumors (“Ball and Chain”), wistfully looking back “on being twenty-four” (“Break the News”), with a healthy dose of self-criticisms of being “snotty young kids” and “trying hard to stay young” (“We Don’t Want to Get Wise”). 

Nothing truly matches the unmistakable rock-and-roll energy of “All the Music Must Fade,” but “I Don’t Want to Get Wise” and “Detour” are strong entries when it comes to the overall sound, with enjoyable harmonies and self-commentary that proves captivating. There’s nothing quite like hearing Roger Daltrey and Pete Townsend talk about their past screw-ups and the qualms they had with each other over their tumultuous relationship (“he was drunk…he was late”). 

Though this album can easily be considered a worthy effort when it comes to the subset of matured bands, there are definitely some misses. “She Rocked My World” adopts Latin musical influences that feel misplaced for the band and is frankly, an uncomfortable song with its growling vocals and creepy intonations. “Danny and the Ponies” is a less than stellar end to an otherwise respectable release with an inexplicable amount of obvious and unenjoyable autotune. Painful dips into ill-fitting genres and someone who got a little too excited about voice correcting technology aside, when this album sounds like The Who famous in the 60s and 70s, there’s nothing better. 

“Got Nothing to Prove,” which should have been the closing track, belongs firmly in the 60s with eery sound replication—classic doses of reverb are utilized, and 60s Britpop vocals dominate with a soaring horns section. You would sincerely have a hard time convincing me that this song wasn’t recorded in the 60s, unearthed and thrown in as an unreleased song. When a listener gets a rare song that so closely echoes a lost era, there’s something to be said for a band not trying to stay relevant with current culture, but rather encapsulating a part of music history that only those who helped create it have the means to recreate it. 

I had the pleasure of seeing The Who in concert a couple of years back; although the crowd was certainly far from young, Daltrey was absolutely wailing, hitting all the expected vocal highs, and Townsend was energetic as ever on full-length guitar solos. It’s certainly easy to be skeptical about aging talent, but in that moment, it was clear that age wasn’t slowing them down one bit. Although age inevitably dims the stars of many musical careers, that doesn’t mean it’s game over. There’s no harm in allowing space for past artists, silencing remaining genius might lead to a world of missed surprises.

The post Album Review: “WHO” by The Who appeared first on KRUI Radio.

My dad recently bought a record player, his first since the 90’s, and he was eager to show me some of his old record collection. As a judgmental millennial, I decided it would be best to rate some selections from his collection (and my mom’s) and spare no feelings.

The Queen is Dead – The Smiths

We begin with what might be my father’s favorite album ever. I’ve already heard this album and I think it’s great. Morrissey is a pithy, sarcastic jerk and it is amazing. I’ve been forced to listen to The Smiths throughout my life, but I’m finally at the angsty teenage phase where I can really get into this band. They can rock out, get a little emo, and make fun of Margaret Thatcher all in one album. What more could you need? Not to mention There Is a Light That Never Goes Out is the death-obsessed anthem for all angsty teens, tweens, and in-betweens. No wonder it was so prominent in 500 Days of Summer. The song is a classic and so is this album. 9/10 because I would get in trouble if I gave it any less.

Play Deep – The Outfield

This was apparently a classic my dad’s freshmen year of college and was wildly popular at the University of Northern Iowa’s parties. Honestly, I could see it. It’s a genuinely fun and wild album full of 80’s synths and an insane amount of cheese. I’m into it though. Your Love is an amazing and memorable song, not only for the hilariously cheesy SNL skit from a few years ago, but also for it’s unabashedly fun attitude. This album makes me want to dress like a John Hughes character and throw a weird party in my basement. It’s a thoroughly engaging and fun album, although it’s a little depthless, with lyrics that border on annoyingly simple at times. 6/10, good for creating false nostalgia in hipster teens and making my dad think about college parties.

Parallel Lines – Blondie

This one actually comes from my mom’s record collection and is definitely one of my favorites in her records. This might only be because of “One Way or Another,” which is an amazing song often underrated by its repeated use in sitcom chase montages. Debbie Harry is a wild singer and the album is well varied, veering from pop-rock to the disco of “Heart of Glass.” I found myself bopping my head to this and pretending I was a young, hip kid born in the 70’s. I’m definitely going to check this out more and try to emulate the iconic Debbie Harry, who is already cooler than anyone I’ve ever met. 8/10 music I will play in the car and loudly sing while the cars next to me stare.

The River – Bruce Springsteen

Bruce Springsteen’s The River is a classic double album by the Boss. This album has a wide variety of styles but mostly deals with the same theme: sadness in blue-collar life. But even that is kind of fun on songs like “Hungry Heart” which is probably the most upbeat song portraying a decaying blue-collar relationship. It’s definitely a strong album and I could see myself getting into it more, but I feel like I need to listen to it while doing some tough, manly work. Maybe I’ll put this on while I change the oil in my car or something. Either way, a strong album and I like cuts like “The River,” “Out in the Street,” and “Hungry Heart.” But, it continues the complaint I have against all double albums, it’s a little too long and repeats itself a few too many times.  7/10, would listen to again and envision myself in 1970’s New Jersey.

Faith – George Michael

Listening to this from my mom’s record collection just left me with more questions. Was this cool at the time? Was George Michael a sex symbol for girls in 1987? Did my mom see George Michael as a sex symbol? I wanted to love this album more than I did. I enjoyed songs like “Faith” which was a fun romp that mixed acoustic guitar and electronics. And “Father Figure” had a nice tune, but a few too many daddy issues in it for me. “I Want Your Sex” felt overly long and cheesy with its grunts, which were way over the top. This might just not be for me, it felt like it was trying too hard. I’m surprised though because I love Prince and thought I would enjoy it. However, I just can’t get into this. 5/10 for making me think about sex while looking at my mom’s record collection.

Shaun Cassidy – Shaun Cassidy

Shaun Cassidy feels like the Justin Bieber or Shawn Mendes of 1977. According to my father, he’s Partridge Family adjacent and that explains the music’s “cheesy love songs aimed at tweens” vibe. Songs like “Hey There Lonely Girl” and “I Wanna Be With You” feel like the boyish Cassidy is singing to little girls in elementary school who dream about their future husbands. I don’t feel like I’m the demographic for this album and I was intrigued to find this in my dad’s collection. He claims it’s his sister’s. Either way, the music is sort of fun 70’s pop, populated with tons of gospel choirs, brass, and soaring string instruments. It can be enticing but it mostly feels childish, especially on the “hit single” “Da Doo Ron Ron” which was probably influential for Hanson’s “MBop.” The album comes with a poster of Shaun though, so can I really complain? 5/10 will be better if you imagine yourself as a 12 year old girl living in a small town in 1977.

Altogether, this deep dive into my parent’s record collection was surprisingly intimate and it’s always intriguing to try and expand your musical horizons. I could also see how my own musical tastes were influenced by my parents. A concept which normally makes me want to be angsty and go against what my parents do, but in this instance it was sort of nice. I felt connected to my parents, even if I thought some of their records were awful. 7/10 solid experience, would raid their record collections again.

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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?

The post An Oldie But a Goodie: An Ode to Long Songs appeared first on KRUI Radio.

But then the next day is greatest day of your life.

That’s how Hang feels, the triumphant return after the cacophonous mess that was Foxygen’s last album: …And Star Power.

Now, this is a review of Hang, but so much of this record’s glory shines only in the shadow of previous missteps. Calling their last album a mistake would be wrong, as it felt like a natural step in the strange life of this band, even if the step missed solid ground a little bit. It was what some music nerds would deem their “vodka record”, one that finds them all knotted up and pissed after a strange night.

Hang is a clear morning, a record for dancing around your room and for close analytic inspection.

Foxygen is a band of drama. Their music takes on a flair last seen in the 70’s, when hip-swinging, androgynous disco and rock masters ruled the stage. It’s obvious to see the inspiration they’ve retained from other musicians in this way.

Besides theatrical drama, the band explodes with personal drama as well. After much infighting and even a farewell tour, it seemed the band was doomed. That’s why this record, which contradicts and perhaps lays to rest those rumors, is in fact a glorious return to form.

The arrangements on this record are what stand out the most. Where their last album felt like the band riding on their fame and buzz from their breakout record, We Are The 21st Century Ambassadors of Peace & Magic, which rightly found a large amount of critical success, this album let’s us know that it was a conscious effort to make really good music.

The very first song, “Follow The Leader”, runs us through some rock tropes with immediacy. A string section slide, some downbeat hits, and an overall introductory rhythm before the we’re giving the first lyrics: “Hey baby, you know it’s true. I’m in love with you.” The way he breaks up the syllables and sings it with a Jagger syncopation could lead one to think this all lacks originality, but the delivery, which almost escapes words, acts as a complete reinvention of everything we’ve ever known about old-school rock.

The piano and keyboard sounds take an interesting role on this record. “Avalon” starts out with a ragtime jam, lilting through familiar chord progressions which culminate in the classic toss-back between the lead singer and his backup singers repeating or responding to what he says. Throw in a time change and some big-band inspired horns, and you’ve got a tapestry of classic rock.

“Mrs. Adams” is the least remarkable song on the album, but still contains all the things the rest of the songs do, and feels inseparable from the album.

Each song is so dense with changes in mood and feel, each piece leaves nothing left unsaid and no mystery. In this case, it’s an advantage. This isn’t just some cliché rock band utilizing the somber drum-guitar-bass-guitar-singer set up, but one that has many different instruments on each track, and it can often be hard to decipher what the instruments even are.

All of this asks the listener to imagine this record being performed live, a task which, after so many listens, continues to elude the listener.

“America” continues to show this incredible musical prowess. This song plays out like a number from a musical. It moves like a dance, sometimes slowly, other times with loud Sgt. Pepper-esque horn blasts, consistently changing and relying on no conventions. It is almost progressive, the way it doesn’t really return to any hook or certain catchy riff which would feel like a cop-out.

Tempo and mood changes force images into your heads. In the way that someone lecturing you on classical music would implore you to imagine a visual story in your head as the song plays out, this song does the same, and takes on a seriously playful neo-classical essence.

Jumping between racing drums and fast, chromatically charged piano runs, then suddenly throwing you into a swing jazz tempo, saxophone included, Foxygen is breaking all the boundaries they’ve ever set for themselves; something this band does on each record, no matter how bad or good the album is as a whole.

“On Lankershim” is one of the songs on the record that has a music video to accompany it. The relaxed mood of the song reflects well in the images in the video, which are mostly bland but for some reason pull you in. This song also echoes their 21st Century album the most, a nice moment in the otherwise avant-garde record, as it brings about familiarity and a wholesome sense of sound within the canon of the band.

“Upon A Hill” is the shortest song on the record, and comes out as a sort of interlude. Their aren’t any dull, ambient moments on this record, so this song is a nice break from the long, theatrical numbers. The following “Trauma” and “Rise Up” are the most emotionally taught songs on the record, and caps it off in usual Foxygen fashion.

This record is treat for both long-time fans of the band and newcomers to their sound. You’ll find all sorts of things in the album, as if you were blindly pulling candy from a bag on Halloween as a child, and each piece is so different and exciting without ever giving you a cavity. You can find the record on Spotify or buy it from Foxygen’s website.

8/10

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