Clang & Clatter

I’ve been waiting all week for the Friday Five at Popdose.

Sixpence None the Richer - “I’ve Been Waiting” (Divine Discontent, 2002)
Known more for the hit “Kiss Me” and their cover of “There She Goes,” you’ll have to trust me when I say there’s much more to Sixpence than that. This song is—as is much of the album—soft, quiet, lush, introspective, and beautiful. While I miss the loud-indie-rock-guitar moments from This Beautiful Mess, I’m just fine with this version of Sixpence.

Arcade Fire - “The Suburbs” (The Suburbs, 2010)
I’ve already admitted in other Friday Fives to having missed the Suburbs train when it first rolled by, and this album opener might be one of the reasons why. It’s not that it’s a bad song, it’s just that it doesn’t go anywhere until Win Butler’s falsetto parts in the chorus. It’s odd that I don’t like this more as it reminds me quite a bit of The Hold Steady’s “A Slight Discomfort,” which I do like. Weird.

Foo Fighters - “Let It Die” (Echoes, Silence, Patience & Grace, 2007)
This one’s a slow builder from the arpeggiated acoustic intro and main theme to the bombastic end section with Grohl screaming “Why’d you have to go and let it die?”

Cake - “Mahna Mahna” (For the Kids, 2002)
Written by an Italian composer for an Italian film about sexual practices in Sweden, made popular by TV in the U.S. shows Sesame Street and The Muppet Show and British comedy The Benny Hill Show, and covered in true Cake style and fashion for a compilation of new renditions of “children’s songs.”

Caedmon’s Call - “Prove Me Wrong” (Long Line of Leavers, 2000)
One of a handful of songs written or co-written by former (and along with Derek Webb, primary) lyricist (though never full band member) Aaron Tate. This was the last Caedmon’s album to feature Tate’s songs, seeing them transition to collaborating with quite a few professional CCM songwriters before Andrew Osenga from The Normals joined the band as one of the primary songwriters. Long Line of Leavers sees Caedmon’s Call move further in a pop-oriented direction started with 40 Acres, and while the album as a whole is fairly strong, actually containing a couple of my all-time favorites from the group, this particular song has never really grabbed me.

Glen was recently a guest on The Songwriting Podcast. Give it a listen.

From the website:

The Songwriting Podcast is a monthly music podcast where three hosts revel in the technical and creative aspects of the craft of songwriting, with the help of a guest songwriter or some other music industry professional.

But this show is a BONUS episode featuring a 70-minute interview with singer-songwriter Glen Phillips, who is the frontman of the ‘90s alternative rock band, Toad the Wet Sprocket, and he’s a successful solo artist, as well.

Glen talks with us about his songwriting process; which instruments he prefers to write on; how songs were written as collaborations in Toad — including some background info on the writing of “Walk on the Ocean” and “I Will Not Take These Things for Granted.”

Glen also talks about what he values in a co-writer; whether he finds it easier to write for an assignment; the background for his collaboration with John Askew on “Secrets of the New Explorers” and “Remote Tree Children.” We also ask Glen for his thoughts on writing lyrics and avoiding cliches.

Toad fans will be interested in hearing Glen briefly speak about the new album that Toad the Wet Sprocket is working on, and the style and flavor of the new songs he’s been writing for that album. Oh, and we include a speed round of about 20 random questions on Glen’s various preferences that aren’t necessarily musically related.

And as always, we play an entire song by our guest. Glen chose his song, “Rise Up,” and he shares a very personal story behind the writing of that song.

Get your filthy hands off my Friday Five.

P.O.D. - “Bullet the Blue Sky” (The Fundamental Elements of Souththown, 1999)
Very respectable cover of this U2 number that has more of the energy of the Rattle and Hum version than the one from The Joshua Tree.

Beastie Boys - “So What’cha Want” (Check Your Head, 1992)
A couple of weeks late, but still a very fitting tribute to Adam “MCA” Yauch. As I mentioned recently on my blog, I had not previously delved very deeply into the Beasties’ catalog, so I have spent a bit of time getting acquainted with their newer material and reacquainted with some of their older stuff. Along the way I have gained a deeper appreciation for the guys’ musical abilities, on this album especially.

Jimmy Page & the Black Crowes - “You Shook Me” (Live at the Greek, 2000)
The Crowes do their best Led Zed impression with the man himself. Nice.

Pink Floyd - “Get Your Filthy Hands Off My Desert” (The Final Cut, 1983)
Political filler from what was essentially a Roger Waters solo album.

King’s X - “Danger Zone” (Black Like Sunday, 2003)
Black Like Sunday is a reworking and reimagining of old (some of it pre-King’s X) material, much of which previously had never seen the light of day outside live performances. Overall the album is very spotty, and while this is not one of my favorites, I can find very little to dislike or complain about when it comes to King’s X.