My sister has long named Lyle Lovett as her desert island artist (with the rather fanciful prerequisite that all of his future material would be delivered to the island as well).
Given Lovett’s spotty output over the last decade, that “future material” provision might not count for much anymore, but that doesn’t diminish the extraordinary quality of his first several albums.
Sometimes the iTunes “randomness” is downright creepy.
A week ago I wrote about the difference in quality between Adele’s first and second albums, and this week the Random iTunes Fairy serves up a track from her debut to either prove or refute my point.
I’d argue that this little ditty completely supports my description of the album, 19, as a “bore.”
I feel about Belle & Sebastian the way Pulp Fiction‘s Vincent Vega feels about Europe — they’re similar to other alternative bands but just a little bit different.
It has something to do with the makeup of the band, I’m sure. Seven members, several of whom trade off lead vocals, playing traditional rock band instruments as well as cellos, violins and plenty of woodwinds. You’re pretty much guaranteed to have a unique sound given that lineup.
I’m vulnerable to the cool new thing.
When a movie or album or performer is lavished with praise in all the “right” magazines and websites, I get a little antsy until I’m in the know. And more often than not, I agree with the chattering class.
In my defense, the critics are usually right, especially when there is near unanimous consent.
Today’s Random Weekend selection is the fifth cut from Adele’s blockbuster 2011 album, 21, to make the blog. And the six I haven’t featured are just as good.
This album was such an unexpected masterpiece. Adele’s first album (19) was a bore. I liked ‘Chasing Pavements’ well enough but I could barely make it through the rest. What happened in the intervening two years that prepared Adele to write and record such a stunning record?
Meet Me In Montauk 