It’s ] within this mid-’00s period where there was a growing influence of funk and rhythm in rock. I mean, I love “Pop Life.” And I love that part in both songs.You mean, where [the song] goes away? It feels like the song floats away for a second, then comes back down to earth. It was a combination of them, there are maybe three going at the same time. it’s in the liner notes, I remember, because we had to credit them in order to use it for free.
It was a weird pocket of poptimism that existed within this thing still called “indie rock.” You could be excited get out and to dance to a song that wasn’t necessarily going to be on mainstream rock radio or at or whatever.I’m trying to think of why that was. And the guitar is going to be more of a twiddly thing, or maybe it’s going to play a little riff. song’s gonna be a single.” So many of them, it was like, “Here’s how we’re going to make this song a single.” We’re going to have one instrument that’s sort of the focus, and then we’re going to have it be about the beat. I totally would have guessed it was some obscure concert bootleg recording.For me it always felt like a carnival, or something. The other thing that will always place this album in time for me is that when it came out, a lot of the conversation around it was “Oh man!
Audiences can still expect highlights such as "The Complete History of The Broadway Musical in 12 Minutes", Liberace, Elton John, Stevie Wonder, Funeral for A Friend and the SA Medley but of course the opportunities to invent new material are tantalizing! The virtuoso talents are Roelof Colyn, a Handful stalwart since 2001, beloved by audiences for his effortless charm, dead pan wit and the liquid magic of his playing.
Audiences can still expect highlights such as "The Complete History of The Broadway Musical in 12 Minutes", Liberace, Elton John, Stevie Wonder, Funeral for A Friend and the SA Medley but of course the opportunities to invent new material are tantalizing!
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My favorite song off of the album is “Finer Feelings.”That’s cool. “Sometimes I think that I’ll find a love, one that’s gonna change my heart …” Well, “I’ll find it in Commercial Appeal” is maybe a little specific, but is the name of the newspaper in Memphis. I just thought that was such a bizarro name for a newspaper, right? That sounds like a Penny Saver type thing.Yeah, it’s a regular newspaper. I mean, sometimes it’s written as “G5.” Oh my god, that makes it sound extremely …Or I guess, “Ga.” I guess maybe people would call it “Ga.” But I don’t know, I don’t usually shorten it. It was something from a sound-effect library, and we found it online. And it did come out on Inauguration Day, and I did try to write for it.
I guess when our first record was very much rock, and didn’t have much soul to it, and the second one probably, too. And to me, that was the way you get to something that’s a little more classic, something that’s starting to get soulful. You have a direct Prince call-out in “Finer Feelings,” too.Do I?
And then at some point, to me, if there was any formula at all, it was get out of the distorted rhythm guitar.
In my little college-y corner of the world, it was a peak era in which an ostensibly “indie” record, helped by a pre-streaming blog culture, could feel like a blockbuster. Was “Tear It Down” even meant to be political at the time it was written? God, I forgot how early in the narrative the Wall entered the picture.Yeah, very early.
was summer-defining in a way few rock records get to be anymore. at the Henry Fonda theater in Los Angeles (a show that was somewhat perversely opened by Kool Keith, much to my delight) and watching the arms-crossed crowd eventually loosen up get their ankles moving in their sockets, as per Daniel’s instructions on “Rhthm and Soul.” The album’s singles, particularly the Jon Brion–produced “The Underdog,” became sneakily ubiquitous earworms. But yeah, “The Underdog” didn’t have the discomfort around it that makes so many people put “political rock” in scare quotes.