A to Z Music Challenge

On the podcast 1000 Greatest Misses, co-host Chris and I submitted the following music challenge to our listeners: you’re sent to a desert island and are allowed to take with you the recordings of only 26 artists - one for each letter of the alphabet. Who do you choose? This challenge comes courtesy of my daughter and her partner who needed to kill some time while driving through Indiana last Thanksgiving. And what a great time suck it was!

Chris and I were delighted by the number of responses we received from listeners, further proving the point that although people aren’t always willing to tackle the pressing issues of our times, they will happily piss away a few hours on a completely frivolous endeavor! We thought it would be helpful to include everyone’s picks in one place so that they might inspire further investigation. There are tons of choices of artists I’ve never even heard of, much less listened to, and I hope to check some of them out in the days ahead.

For me, I stuck to rock and pop and didn’t go down the jazz or classical rabbit holes. Some letters - B, C, J, P, S - were exceptionally difficult, while others - G, N, O, Q, U, Y - were absolute no-brainers.

Consider coming up with your own choices before perusing the lists below. Please ignore misspelling, and please don’t shoot the messenger when it comes to entries that should have been disqualified (Elvis Costello as an E entry, for example); Chris and I didn’t catch some of these as they came pouring in toward the end of our podcast challenge. Also, consider checking out author S.W. Lauden’s Substack where he addresses the same music challenge. And yes, I am aware than Ken was messing with us when he chose acts like USA for Africa and Pia Zadora. All good!

Backing Tracks at Live Performances

Prerecorded music at live performances isn’t a new thing: in the 1970s, Queen used a recording of the operatic middle section of “Bohemian Rhapsody” when playing live, The Who played to the sequenced synth tracks for “Baby O’Reilly” and “We Won’t Get Fooled Again” and Rush triggered recordings for the openings of “2112” and “Cygnus X-1.”  But for the most part, the rest of the shows were 100% live.

Today, live performances are often the reverse, with a good chunk of it being played to backing tracks. I’m sure we’ve all been to shows where you heard brass and keyboards, only to find that no one on stage was actually blowing a horn or playing a keyboard.

Last month I attended a concert by the female-fronted New Zealand band, The Beths, and they were terrific. All four band members know their instruments, and they sounded great. Unfortunately, they sang to prerecorded backing vocals and harmony vocals, played to backing keyboard tracks on a few songs, and added massive amounts of reverb and prerecorded ambient noise that filled the performance with a rumbling bed of sound. It was so unnecessary. It’s not like these aren’t great musicians. They could have played everything live and done a terrific show, but something compels The Beths and other bands to have their live performances sound exactly like their studio recordings.

What all this leads to is a lack of spontaneity, preventing something surprising and exciting from happening. Yes, you’ll hear a good reproduction of the music you’ve been accustomed to hearing, but what you won’t hear is a happy accident, a band that extends the jam and spontaneously starts playing a different song. You won’t get Led Zeppelin taking a song like “Dazed and Confused” and turning into a 20-minute venture that leads to…well, to who knows where? And sure, the self-indulgences associated with the 70s sometimes led to laborious performances, but they also led to amazing discoveries. I’m not a Grateful Dead guy, but from what I understand, each of their performances were unique, with songs morphing into others and outros extending into monster jams. The band might not have been my jam, but I appreciate the philosophy of keeping live performances loose and open to discovery rather than highly choreographed, each identical to the next.  

There are still bands that allow for live exploration. Khruangbin did so last month in Chicago, as did Jason Isbell and Molly Tuttle at Red Rocks last spring. Truly live music still exists, but little of it is in the more mainstream pop and rock arena, which is one reason why I’m likely going to be more selective in what I see in the future. I’d rather see a 100% live show that isn’t my favorite music than a show of a band I really dig who’s playing to backing tracks. I just don’t see the point.

So much of our human experience has degraded into something artificial. Give me something authentic, even if imperfect.