As I sit here sipping a smoothie that closely resembles something that Slimer may have excreted, I feel compelled to mention a fantastic band that I’ve been listening to. Damn, I ended that last sentence with a preposition. Let’s try another swing at that. A fantastic band to which I’ve been listening. Damn, that’s a sentence fragment. Moving on.
They’re called Crooked Still and wikipedia calls them an “Alternative Bluegrass” band, which I think means that they play bluegrass and none of them have grey hair. I’ve only heard their album “Shaken By A Low Sound” so far, but I’ve been captivated by their rip-roaring renditions of classic bluegrass and folk tunes, their technical mastery of their instruments, and their vocalist’s soft cooing, which does bear a striking resemblance to Alison Krauss (a comparison they’re probably sick of hearing). Check out this live performance of the song “Come On In My Kitchen“. Listen to that cello moan!
Now that I’ve got that out of my system (which will probably soon be followed by this smoothie) I want to mention an interesting thing I’ve been seeing during my many voyages on the intertubes. In what is surely just another inevitable step toward the day when all the best musicians are robots, people are taking songs that are in a minor key (if you’re not musically savvy, think sad, eerie, or sorrowful), and using some software wizardry to modulate them to a major key (think happy, joyful, hopeful). Upon listening to these, I was amazed by how quickly our ears accept the change, and how it doesn’t take long for us to be able to sing along to the new versions. Here’s some links to majorized songs:
Pretty neato, eh? That’s definitely some black magic voodoo business, and I’m assuming several goats had to be sacrificed in order for that program to work like it does. Ok, that’s all for now. I’m going to choke back the rest of this smoothie now and pretend it’s a pint of Blue Buck.