If you caught yesterday’s post, you already know that I spent a sizable part of last weekend’s visit to PA listening to kickass music with my father-in-law via his new Apple TV. Saturday was devoted to exploring the thousands of radio stations available for streaming through iTunes, but Sunday afternoon had a different focus. While Mrs. YHT and her mom were out shopping — effectively lifting the living room’s usual noise ordinance — Joe and I took full advantage, and things quickly escalated from “Hey, there’s a Dr. John song I wanted to play for you” to a virtual New Orleans music festival.
Laissez les bons temps rouler!
How’s about another Joe’s Pick? Yeah? Yeah!
It’s been a little more than two months since we first checked in with what my father-in-law has been listening to, and I couldn’t be more excited to bring you round 2.
Kelis — “Milkshake” (Gold Top trap remix) [Soundcloud]
(Click here to browse my 5 original year-in-review posts.)
While Mrs. YHT was making a delicious Mexican corn chowder thing the other night, a song that was released in 2012 came on our under-cabinet CD player — yes, we still have (and use) an under-cabinet CD player — and a wave of regret began to wash over me. No… that metaphor isn’t strong enough. Hearing this particular song was more like regret giving me a spirited kick to the nuts. (You’ll find out which tune it was in a minute.)
In some ways I’m glad it happened, because there are a few artists and albums I’d take a mulligan to include, either because I screwed up or because of my short-sighted — albeit merciful, for sleep-getting reasons — decision to limit myself to 5 of each superlative category.
If you’ll indulge me, I promise not to ever talk about 2012 again.
OK, I can’t promise that, but indulge me anyways?
Filed under #features, #rva
Near the end of August of last year, I had the opportunity to interview Christina Gleixner about the home recording project she’d undergone to help pay for the next Low Branches studio release. At the time, not many details on the album were available, other than the fact that they’d done some production work with John Morand at Sound of Music, some themselves, and that the final product was to be titled One Hundred Years Old (or 100 Years Old, as I styled it at the time).
Exactly four months after that interview was published, the album’s title track hit the interweb via Richmond Playlist, and I haven’t been able to get over how much I love it… in large part because I can’t seem to get it out of my head.
Moments, by definition, are fleeting. Like snowflakes in the palm of your hand, or unhealthy breakfast food brought into work on Friday morning.
But moments never really disappear… not when you have documentation. Not when you sit down and write a song about what you’re feeling right then and there. “Age of Gold” is just such a document, both in terms of what it says and how it came into being.