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This One Goes Out to the Hutch


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post #3
bio: mizalmond
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4/7/2006
12:15

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· elliott smith







040706  
A large part of my southern visit last weekend was to see my good friend Hutch ("the Hutch"), who has the same first name as me. She's only recently left New York in favor of a South Carolina climate and business school, and I've been missing her terribly.

Anyway, she asked me to make her some mixes. This is the first one.

Because – The Beatles
I never really listened to the Beatles all that much, choosing at a young age to channel my obsessive rock man-love in the direction of Led Zeppelin. This song is a relatively simple, sixties sounding thing—that is, until the horns kick in and then you realize why stereo was a great and essential creation.

Munich – Editors
Yes, they sound almost exactly like Interpol. I fail to see why that is a bad thing.

All the People I Like Are Those That Are Dead – Felt
One must strike quickly with the goth-y music, or not at all. Still, I'm not sure how this will go over, as death songs usually aren't appreciated on mixes. Example: I once put "People Who Died" by Jim Carroll on a widely distributed Holiday Mix. The feedback was significantly less than positive.

Korean Dogwood – Devendra Banhart
I think the term "freak-folk" was a direct result of Mr. Banhart's music. And yes, while he frequently sings songs about marrying little boys and raising hoards of Chinese children, this particular song is very comfortable. Like an Asian-patterned comforter bought on sale at Urban Outfitters.

When Will You Come Home? – Galaxie 500
This is one of those songs where the sentiment is perhaps more important than the song itself. I usually try to avoid this, but . . . oh well.

Sex is Boring – ballboy
One of the last bands to be championed by the late John Peel, ballboy sounds an awful lot like Belle and Sebastian. Their inherent talent, I believe, lies in provocative song titles such as this one. They also have a great tune called "I've got pictures of you in your underwear."

Did I Die – Oneida
The Rock. The Roll. Plain and simple. And a much needed tempo change after all this slow, sappy business.

Peach Plum Pear – Joanna Newsom
She sounds like a Smurf on helium, but it's somehow endearing. Plus, I know that the Hutch likes her, so I can appeal, in a small way, to her already existing tastes.

Mother's Little Helper – Rolling Stones
No mix is complete without the inclusion of at least one song that everybody knows.

Discotraxx – Ladytron
This sounds exactly like what you would think it would sound like, after reading the title. Nice interludes in Spanish.

Awake and Under – Calla
I'll be honest about where this song came from: there's a book called As Simple As Snow, written by Gregory Galloway, and it's all about Goth kids and mixtapes and Lovecraft—a guilty pleasure. Anyway, when the book came out, an agent friend of mine revealed that the author had actually made the mixtapes mentioned in the book and offered to copy them for me. That's where this song came from. It's appropriately dark.

Maxine's Parlour – Bill Fay
For reasons that I can't explain, this poppy British rock song makes me think of the extremely warped and misogynistic Fassbinder movie Martha. I'm trying to get over that, though.

E.M.P.T.Y. – The Clientele
This poppy British rock song doesn't inspire any but very happy feelings. In the spring, when you walk down the street listening to it, you can pretend that you're in a music video where everything syncs up to the beat and the lead singer gets the girl.

It's a Man's, Man's, Man's World – James Brown
It's great when JB kicks it all funky-like, but it's even better when he gets in touch with his Soul Brother Number #1 side. This song could almost make you forget about those spousal abuse charges.

Action Woman – Litter
This is a not-so-subtle reminder of those spousal abuse charges, Nuggets garage-rock style.

The Number Song – DJ Shadow
UG&OB Alec and I have been picking this song apart, sample by sample, over the past few months. So far, we know that the "I got the number!" part is from "Who Got the Number?" by Pigmeat Markham. Alec swears that the essential bassline is from a Metallica song.

I Love You – The Bees
You know that part in Hairspray where Penny Pingelton and Seaweed meet at the dance and fall in love? This is what should have been playing.

Harlem – Bill Withers
Back in high school, when I worked at the Limited, we had to play these pre-approved store tapes that headquarters would send us. There was always a lot of Bill Withers on them, but never this song. I guess they didn't want to stir up any racial tension at the mall—ruins the shopping experience.

Sure ‘Nuff ‘N Yes I Do – Captain Beefheart and His Magic Band
For some weird reason, I'm forever picturing Buster Poindexter when I think of Don Van Vliet. I know that he and David Johansen aren't the same person. But I can't help it.

Abel – The National
The lead singer of the National sounds like the spawn of Mark Sandman and Black Francis, though in this song he leans more in the direction of the latter.

Don't Worry Baby – Masonic
An updated classic by a good Austin indie-rock band.

Goodbye – Grandaddy
Again, a song picked more for the sentiment than the music. But hey, I miss the Hutch. And the ELO-style keyboards don't hurt either.





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