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Um, I went to this ridiculous concert:
http://www.nytimes.com/2009/10/31/arts/music/31hall.html?hpw
yes, my seats were behind the stage, and I didn't technically SEE the whole show (or most of it, unless you count a screen by my seat), but it was pretty awesome anyway.
Highlights:
1. Simon and Garfunkel. Just...wow. So nice to see them together in my lifetime. I didn't think it would happen. From my seat, I had a perfect view of the bands that were coming up next setting up (it was a rotating stage so each band was completely set up as the previous band was completing their set) and I got to watch Stevie Wonder absolutely JAMMING to The Boxer from backstage. What a moment.
2. Stevie Wonder breaking down during The Way You Make Me Feel. He also led the audience in the following chant at the end of Superstition: "Death, where is your sting? Long live Michael Jackson!". Just awesome.
3. John Fogerty and Springsteen playing together with the E Street Band. Such power. And Fogerty's voice is in SUCH good shape. He was belting Fortunate Son like he was still in his twenties, and then they did Pretty Woman and he was beautifully crooning without any grit in his voice.
4. Billy Joel playing with Springsteen. They did You May Be Right, Only The Good Die Young, New York State Of Mind and Born To Run. They totally messed up the end of Die Young, and then went back and replayed the ending. I bet the edit is seamless.
5. The special guests were unstoppable: B.B. King, Little Anthony and the Imperials, Smokey Robinson, Jackson Browne, Bonnie Rait, Sting and so so so many more.
6. Sam, from Sam and Dave, backed by the E Street Band was also really really great sounding.
Showing posts with label Billy Joel. Show all posts
Showing posts with label Billy Joel. Show all posts
Friday, October 30, 2009
Wednesday, August 13, 2008
"White" Music
Via Chicago just responded to the last post by declaring (on behalf of Tex Plush and himself) just how "white" Billy Joel's music is. Relative to the groups that get praised on here-- Andrew Bird (solo), Radiohead, New Pornographers, Bonnie "Prince" Billy-- that's just absolutely flat wrong.
Now look, I just finished my 2 and half year education at Berklee, and while I'm not dropping that as any sort of superiority thing, it was very illuminating because-- at least in ensembles-- I played predominantly black-written music there. And I many took classes that focused almost exclusively on the work of black people. And I learned how to write in a lot of "black" styles. I'm not claiming to know more about black music than any of you (certainly not more than Quinapalus), but I do know a heck of a lot more about it than I used to know.
And here's what I can tell you: Relative to most white musicians, Billy Joel ain't all that "white." Listen to Little Richard or Ray Charles play the piano. Now compare the piano styles of Billy Joel and, say, Stephen Drozd of Flaming Lips. Or Thom Yorke. Or Neil Young. Or the Sigur Ros guy. Or Panda Bear/Animal Collective. Or The National. Or Mikael Jorgenssen/Pat Sansone. So who sounds more like Ray Charles and Little Richard?
You can hear it in songs like Big Shot, Movin' Out, Scenes From An Italian Restaurant, Only The Good Die Young, etc. And then listen to "New York State of Mind," which is an homage to "Georgia On My Mind." Tell me how that song makes you feel white.
Look, I feel a little weird propping up Billy Joel, because I hardly listen to him anymore. But I do have those "Greatest Hits Vol. I & II" in my iTunes and I stand by the vast majority-- except for wussy stuff like "Just The Way You Are."
But using the "he's too white" argument against Billy Joel is just inaccurate. If anything, you could say too many of his best songs are simply derivative of black artists. (Musically at least. I'll concede that singing about Long Island all day is pretty white.) But the guy is simply too rhythmically attuned to get the "whitey" tag.
Now look, I just finished my 2 and half year education at Berklee, and while I'm not dropping that as any sort of superiority thing, it was very illuminating because-- at least in ensembles-- I played predominantly black-written music there. And I many took classes that focused almost exclusively on the work of black people. And I learned how to write in a lot of "black" styles. I'm not claiming to know more about black music than any of you (certainly not more than Quinapalus), but I do know a heck of a lot more about it than I used to know.
And here's what I can tell you: Relative to most white musicians, Billy Joel ain't all that "white." Listen to Little Richard or Ray Charles play the piano. Now compare the piano styles of Billy Joel and, say, Stephen Drozd of Flaming Lips. Or Thom Yorke. Or Neil Young. Or the Sigur Ros guy. Or Panda Bear/Animal Collective. Or The National. Or Mikael Jorgenssen/Pat Sansone. So who sounds more like Ray Charles and Little Richard?
You can hear it in songs like Big Shot, Movin' Out, Scenes From An Italian Restaurant, Only The Good Die Young, etc. And then listen to "New York State of Mind," which is an homage to "Georgia On My Mind." Tell me how that song makes you feel white.
Look, I feel a little weird propping up Billy Joel, because I hardly listen to him anymore. But I do have those "Greatest Hits Vol. I & II" in my iTunes and I stand by the vast majority-- except for wussy stuff like "Just The Way You Are."
But using the "he's too white" argument against Billy Joel is just inaccurate. If anything, you could say too many of his best songs are simply derivative of black artists. (Musically at least. I'll concede that singing about Long Island all day is pretty white.) But the guy is simply too rhythmically attuned to get the "whitey" tag.
Theory
Every single song on Billy Joel's Greatest Hits Vol. I and II is amazing.
And I know every word and note even though I probably haven't listened to it more than a handful of times in the past fifteen or twenty years.
It's really strange to listen to it actually, because it seeped very deep into my consciousness at a time when I didn't really think about music in a self-conscious way. I just loved the Storm Front album with We Didn't Start the Fire and my friend Ben made me a tape copy of his earlier greatest hits. When I just listened to it now (on a random nostalgia kick after hearing a couple of the songs in a cab the other night), I couldn't help but hear everything in context-- how he moved from Prog Epics (Captain Jack), to New Wave Mimicry (Still Rock and Roll to Me) to shameless nostalgia (Uptown Girl), all while indulging in sensitively wussy singer-songwriter balladry (Just the Way You Are, Always a Woman). But back when I first got into it was just about the myuuusic, man-- I liked the way he spoke-sang "Biiiig shooot, deeeedja" and the awesome synth hook in Pressure and the "BrenderandEddie" section of Scenes from an Italian Restaurant.
To return to my theory: Seriously, every single song is great!
And I know every word and note even though I probably haven't listened to it more than a handful of times in the past fifteen or twenty years.
It's really strange to listen to it actually, because it seeped very deep into my consciousness at a time when I didn't really think about music in a self-conscious way. I just loved the Storm Front album with We Didn't Start the Fire and my friend Ben made me a tape copy of his earlier greatest hits. When I just listened to it now (on a random nostalgia kick after hearing a couple of the songs in a cab the other night), I couldn't help but hear everything in context-- how he moved from Prog Epics (Captain Jack), to New Wave Mimicry (Still Rock and Roll to Me) to shameless nostalgia (Uptown Girl), all while indulging in sensitively wussy singer-songwriter balladry (Just the Way You Are, Always a Woman). But back when I first got into it was just about the myuuusic, man-- I liked the way he spoke-sang "Biiiig shooot, deeeedja" and the awesome synth hook in Pressure and the "BrenderandEddie" section of Scenes from an Italian Restaurant.
To return to my theory: Seriously, every single song is great!
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