December 24, 2006
Healing: A song list ::
music — tagged broken leg, buffalo, family, indie rock, music, personal and travel
12:13 pm
So I’m back in Buffalo for Christmas. The trip here was exhausting. After an eight hour car ride I tumbled from my dad’s car with a stiff leg feeling very, very cranky. My time here overall has been fun, and it’s been nice to show family members that, even though I’m still on crutches and have still-unhealed surgery scars, my condition has improved dramatically from the day I was discharged from the hospital. Also, it’s been fun to show off my x-rays and watch people squirm when I point out the fracture that starts from my hip and spirals around my femur.
So, with introductions aside, I put this mix together a couple of weeks ago while in the hospital, high on Percocet. I’m pretty happy with the sound of this one, much moreso than Winterish or the Fall mix. In part the outcome is the result of my immobility at the time, which allowed me the concentration and time it takes to make a good mix. But also, I think it’s an indication that drugs and rock and roll really do go together quite well.
Halloween by Matt Pond PA: Is it un-hip for an indie rock snob to actually like Matt Pond PA? No matter what the critics might say about the band’s artistic shortcomings, I fell for this song long before it would have otherwise been tainted by other’s opinions. And it’s dramatic lyrics, combined with the piano, acoustic guitar, and pedal steel make for a really seductive sound.
Pushover by The Long Winters: I first found this song over the summer, through a Music for Robots post. Since then the track has appeared and reappeared on a variety of playlists and mix CD’s I’ve put together. I finally picked up the CD at Amoeba Records when I was in SF in August.
Don’t Call Me Whitney, Bobby by The Islands: “Bones, bones, brittle little bones,” go the opening lyrics of this track. When I first added it to the list, I didn’t even think about how apropos to my condition the song actually was—I was thinking more about just how pretty the song is. But boy, does this one fit perfectly.
The End’s Not Near by Band of Horses: Band of Horses covering a song by The New Year for the OC Soundtrack. I really don’t know that much about The OC, but the track is really great—it’s an interesting reinterpretation of the original version of the song, in which the band makes the song their own.
Steps and Numbers by Appleseed Cast: They’re such a curious band, which moved from a straight ahead (and pretty annoying) Midwestern emo outfit to a post-rock band with a melodic, unique sound. So far, Low Level Owl has been the high point of their sound for me, but I also haven’t heard any of their most recent releases. But that’s on my to-do list, definitely.
Sukie in the Graveyard by Belle and Sebastian: I don’t love the album, but I do love this song. It does a great job of snapping the mix back into line after the more airy, nebulous sound of the previous track.
Hard Bargain by Ron Sexsmith: Ah, the underappreciated Ron Sexsmith. This is a great track that emotes a feeling of being beat up but willing to come back the next day for more.
Song for the Myla Goldberg by The Decemberists: This is the first song I heard by the Decemberists, and it’s the one that caused me to really fall for the band. But it’s never made it onto any of my mixes. So now’s as a good a time as any to finally add it to my song list. And the lyrics, especially the tongue-twister “I know New York, I need New York I know I need unique New York” always makes me smile, especially when I sing along and get it right.
This is the Way by Devendra Banhart: An interesting song in which Devendra sings about his physical self. One thing about this broken leg, as well as the healing process, is how aware of my physical self I have become during this time. With that in mind, the track works really well here.
Radio Campaign by M. Ward: Hey, I’ve been into M. Ward since August, and I think I’ve had one of his tracks on each of my mixes since then. So here’s another one. Here he pleads, “come back, come back my little peice of mind…” As I sit here, leg aching and knowing that I couldn’t get up to visit friends, get food, or go to the bathroom without a big production, I really know how he feels.
Paper Thin Walls by Modest Mouse: after the more intellectual, introspective stretch of tracks, I needed something to change the tone a bit. I found this song on a whim and thought it was perfect. Do you remember when the Moon and Antarctica came out in, what, 2000? And do you remember how new and exciting the track was? I sure do, now that I’ve heard this song. Now the album is back in my iTunes rotation.
A King And A Queen by Okkervil River: There’s an element of melodrama to all of Okkervil River’s music, and it provides me with a feeling of catharsis every time I hear it. This slow, acoustic number is a perfect example. Did I mention that my roommate went to high school with the lead singer? I’m totally serious!
Sleeping In by The Postal Service: One thing I like about the Postal Service is the sense of calm the songs seem to bring in the face of apocalyptically bad news. This song is a perfect example: here the singer dreams that global warming was simply a reward for humans being so good to each other. “No we can swim every day in November,” the verse concludes. It’s definitely not something I’d want to maintain in my entire life, but while I’m healing it makes me feel just a little bit better.
Throwing Things (Acoustic) by Superchunk: I pulled this track off of Superchunk’s Incidental Music, a compilation of the band’s singles and b-sides from the early 1990’s. This is a wonderful acoustic rendition of the electric original, and can make me weep if I hear it at the right time.
Reconstruction Site by The Weakerthans: this is probably John Samson at his most melodic and fun. This great sing-along tune can help me see the bright side of just about any dismal situation.
The Ballad of Daykitty by Lou Barlow: Lou Barlow is so strange—his music can range from exploring the deepest, darkest emotions to just having fun. This track, which closes out Barlow’s Emoh release, is an example of his later line of songs, in which he sings of a cat who, after much flirtation, decides to come and live with him.
