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by Molly McCall
Mon, December 03, 2007, 3:00 am PST

Some songwriters know the secret to creating a catchy American standard. Irving Berlin was in on the gig. So was Cole Porter. And Rodgers & Hammerstein. Wander through this magical site, and you might slip an entertainment empire onto the list, too: the Walt Disney Company. In one visit to this blog devoted to covers of Disney songs, we listened to Usher's rendition of a "Tarzan" tune, Jimmy Cliff's take on "The Lion King," The Supremes revisiting "Pinocchio," and Bobby McFerrin's version of that magical "Cinderella" melody, "Bibbidi-Bobbidi-Boo." Put it together and what have you got? Bibbidi-bobbidi-wonderful. The mouse's oeuvre has inspired artists of every musical stripe, from Louis Armstrong to Tom Waits. The site's only been around since July, but it's already drawn guest contributions from fantastic audio bloggers. As another source of classic American tunes would say, "'S marvelous."

by Molly McCall
Thu, September 06, 2007, 3:00 am PDT

In 1967, Bob Dylan made a brilliant—and now legendary—opening segment for the documentary "Don't Look Back" using the song "Subterranean Homesick Blues." Now, the site advertising his upcoming collection allows you to substitute your own text for the title cards from that film clip. Yes, it's a promotional gimmick. But the small thrill of seeing young Dylan holding up papers emblazoned with your own commentary is too delicious to pass up. All you need is a friend's email and enough text to fill 10 sheets. Dylan does the rest. Once we blasted our pals with messages, we paused to wonder how the heck Ten 4, the British design team behind the site, got the legendary, scratchy-voiced, irascible maven to agree to this. We tip our hats to their marketing prowess. And we're sending another loopy missive off, backed by the jangly rhythms of Dylan's electric tune. God knows when, but we're doin' it again.
by Molly McCall
Mon, September 03, 2007, 8:00 am PDT

Since the dawn of recorded music—or at least since the rise of impish rock stars—musicians have tucked secret songs into corners of their albums. There these buried beauties lurk, waiting to startle unsuspecting listeners. Anyone familiar with the work of They Might Be Giants knows what we're talking about.

For a long time, this hidden-track trickery slipped by without any documentation. But then, HiddenSongs.com hove into view. This inventory of melodic deception not only catalogs the secret sounds, but tells you exactly how to find them on the album.

We reviewed HiddenSongs back in 2004. Now, we check in with Erik, the man behind the site, to see what inspired him to build the encyclopedia of concealed tunes...

Do you remember the first time you heard an unexpected tune on an album? Is that what inspired you to start the site?

It was probably "Endless, Nameless" by Nirvana, off "Nevermind." That was right around the time that CDs were taking over tapes, and not all CD pressings of "Nevermind" had the track. Between that and Nirvana's hidden track from the "No Alternative" compilation, I sort of developed a weird fascination with the idea that there was a... bonus for people who listened all the way through an album. I started making compilations for myself so that I could listen to the songs easily, and figured it only made sense to catalog what I found about each song.  Read the full profile...

by Molly McCall
Wed, June 20, 2007, 8:00 am PDT

It all started over lunch last year. Mary told Bryan how a particular song had been wrecked for her forever. One thing led to another, and according to legend—and MySpace—they "skipped dessert and registered the domain" for Ruined Music.

Fast forward a year. Hundreds of people have logged their achey-breaky tunes. Mary continues to handle the "word-and-grammar" parts. Bryan covers the "art-and-technology" pieces. And together, these two Brooklynites are still curating a vibrant web testament to songs painfully colored by their association with breakups, fights, death, tears, or any other brand of melancholy.

Having just celebrated its first birthday (with readings and beer and live bands, hopefully none of them blues-inducing), Ruined Music also boasts a brand new look, search functionality, and a random cat generator. Thank the big musician in the sky for kitties.

As for their own lost lullabies? Don't even try to play a certain Simon & Garfunkel song for Mary. And wild horses couldn't drag Bryan to a Tori Amos concert. Ever.

by Jon Brooks
Fri, March 09, 2007, 3:00 am PST

Freeform radio station and bloggers extraordinaire WFMU recently challenged listeners to cut-and-paste their favorite songs down to one minute or less. Now, dozens of these warp-speed tunes exist for everyone to enjoy, ridicule, and designate Exhibit A in the collapse of civilization. Some of the cuts, like this edit of Tom Waits' "Step Right Up," sound nearly seamless. Others, like The Beatles' "We Can Work It Out," function as expressionistic soundtracks to some individual's amped-up state of mind. The quickie version of Led Zeppelin's "Stairway to Heaven" may even have improved the song. Also of note: The Doors' "The End," John Coltrane's "A Love Supreme," and The Chamber Brothers' "Time Has Come Today." Because everyone wants to rock on. But not necessarily on and on and on...


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