First up was Bodhisattva Vow by Beastie Boys, which we played in tribute to Adam Yauch. I’d brought along the Beastie’s anthology, and chose this track as it’s just MCA doing vocals on it, and it’s kind of the embodiment of the Tibetan-inflected sound and Buddhism-influenced lyrics that he brought to the band on Ill Communication (there are tiny hints on Check Your Head, too). Bodhisattva Vow has some of the maddest drum sounds I’ve ever heard; I assume they’re those massive Tibetan drums.
We’ve got into the habit of playing a tribute song at our meetings whenever a significant musician dies, but this affected me far more than previous choices in memory of Whitney Houston or Clarence Clemons.
Okkervil River – The John Allyn Smith Sails
The Hold Steady – Boys and Girls in America
I don’t think we own the Okkervil River album that this song is from. We’ve got Black Sheep Boy. It was alright.
The Hold Steady I like in concept but not in execution; their sound is pretty prototypically mid-00s, very thick and dense and compressed in the mix and master, which really bugs me and, I think, really plays against their strengths – I’d like them to sound ragged and edgy and dynamic and like a proper live bar band. I’d like them to sound like Cure For Pain by Morphine, actually.
The Wonderstuff – The Eight Legged Groove Machine
I’d never heard this all the way through before; I know (and love) the singles, though. Big discussion about “massive w@nk3rs” in rock and pop music, inspired by anecdotes about Miles Hunt.
The Bhundu Boys – Shabini
Really enjoyed this, even though it made me get angry at indie bands being satisfied to let their thick mate play bass guitar because they don’t understand how important it is and awesome it can be. Mention of Alex James, another massive w@nk3r but an excellent bassist.
Beastie Boys – Skills To Pay The Bills
Field Music – Plumb
If I get to play a stand-alone track (because my album is 45 minutes or less in length) I’ve resolved to play a b-side. I couldn’t have chosen anything but Skills To Pay The Bills, really.
Field Music I chose because I know Tom wanted to hear it, it’s my favourite record of 2012 thus far, and, being short, it meant I could play a track, too.