Led by the heavily–and cheekily–accented Eugene Hutz, any punkish attitude and vulgarity is completely lost in translation–and gobs of schtick–the resulting tone being a unilaterally playful one. accordion and fiddle) you might expect to hear at a Russian wedding reception. Their songs overflow with the sorts of melodies and instruments (e.g. Gogol Bordello occupy a scarcely-populated genre called ‘gypsy punk,’ which is music that carries the brash force and frenzied energy of your average punk song, while dipping it into a distinctly Eastern European kettle. This song offers a taste of it all, with an immediately gratifying, hook-centric pop sensibility that speaks to folk tradition, as well as the kind of things a band should be doing that is, obeying structure, while defying limits. Their willingness to explore new, different sounds has resulted in the Hooters incorporating many an unconventional instrument into their act, from melodica to mandolin (even unleashing a completely-ostentatious guitar-mandolin hybrid onstage) to accordion. One thing that does show, from album to album, is the band’s lack of complacency. So, it should be no surprise then, that their undeniable songwriting sensibilities should be evident in their former musical incarnation. So basically, for this album, the Hooters were Cyndi Lauper’s backing band. She’s So Unusual was also produced by Rick Chertoff, who signed the Hooters to Columbia Records, and produced three of their albums). ![]() “Time After Time,” “All Through the Night,” “Girls Just Want to Have Fun,” etc.), was largely written by the formative members of a band called the Hooters, (i.e. You might not know this, but Cyndi Lauper’s ever-so-commercially-viable debut album She’s So Unusual (e.g. Imitation may be the most sincerest form of flattery, but this is completely original.īest moments: when the Strokes’ “Last Nite” is rendered as a slinky, finger-snapping jazz tune, or when P.O.D.’s “Youth of a Nation” is outfitted with distinct trumpet ‘wah-wahs’. ![]() Armed with an apparent tormented-childhood’s worth of accordion lessons, Weird Al lampoons 13 songs in one …in the innately over-the-top style of polka.īeing an album from the faraway year of 2003, he targets ‘ angry white boys’ from acts as regrettable and/or genetically-dissimilar as Papa Roach, System of the Down, the White Stripes, the Strokes, P.O.D., Limp Bizkit and Eminem. This song from the frizzy-haired king-of-song-parody, Weird Al Yankovic–appearing on his Grammy-winning 2003 album Poodle Hat–is exactly what it says it is: an Angry White Boy Polka. These days, you’re more likely hear it in Europe being played by a humble busker (or on your average indy-folk band’s pegboard), but it has found its way into rock songs made all the more awesome by its uniquely-colored character. One instrument in particular fitting this very description is the accordion. Whatever that might be for some, that change may come in the form of an extended African holiday, a new pill combination (not advisable), or simply picking up an instrument most people don’t generally equate to rock status. When you’ve gotten to a point, as a songwriter, where you feel like you heard or played it all, there comes a necessary need for change.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |