It’s Official: Merrill Garbus of tUnE-yArDs is a Genius

Hopefully you’ve been watching the Coachella live stream this weekend. Or maybe you’ve decided to refrain from watching so as not to bang your head incessantly against a wall in anger for not being there. Don’t worry, my bruises aren’t too bad. I caught the tUnE-yArDs set today and it was absolutely incredible. For those that aren’t familiar, tUne-yArDs is the vehicle for Merrill Garbus and her completely unique compositions. Her last record, 2011’s whokill, is both catchy and experimental, with its drum beats, random sax lines, and Garbus’s guttural singing. Here’s the newly released video for the first cut on the album, “My Country,” complete with multitudes of colors and kids.

Seeing tUnE-yArDs on stage though was revelatory. She does all the drum and vocal loops live. Watching her work is incredible, even if you’re not into the music that much. She’ll get to work on a complex drum beat, adding layers upon layers, after which she’ll do syncopated vocal harmonies (remember how I feel about vocal harmonies) until it’s a full chorus and percussion section right there for her to manipulate with the tips of her toes on the pedals. The energy she brings to the show is amazing, as she strums along on her ukulele and yelps in tune with her loops.

No one’s put up a good recording of her Coachella performance, so I’ve posted a Studio 360 performance of “Bizness,” one of her best tracks. It’s weird seeing the audience sitting down instead of dancing, but it looks like the venue didn’t exactly provide for festival behavior. It’s still a great example of watching how Merrill Garbus does her thing.

Are you hesitating? I know what your hold-up is — it’s those darn capital letters, isn’t it? It took months for me to finally check out tUnE-yArDs because I hated those random capital letters. Don’t make the same mistake I did.

My Insane Devotion to Vocal Harmonies as Used by the Beatles

I have an irrational love for vocal harmonies. An absurd love, really. When two or three human voices mesh to create chords, that is the epitome of beauty and purity to me — I’m serious. I maintain that this is the greatest moment in music, even though I’ve been laughed at for saying so.

The Beach Boys were probably the best in the business when it comes to harmonies, but in many cases, the Beatles were just as amazing. Well, not Ringo really. Sorry Ringo. A huge factor in their signature sound was John Lennon and Paul McCartney singing together in harmony, with George Harrison occasionally getting in on the action to add a third part. Those three could blend their voices in spectacular fashion, but they also had the songwriting chops to put that ability on full display.

I decided to come up with the 10 songs that best capture the Beatles’ harmonizing. To be clear, these rankings are based specifically on the role that the vocal harmonies play in the songs. The criteria include, but are not limited to: the ease at which John, Paul, and (usually) George’s voices blend; the nuance and complexity of the vocal lines, as well as the group’s ability to execute them; the difference that the harmonies make in augmenting and improving the song; and the overall goosebump-causing, “this-is-incredible” factor. Sounds like an intense rating system, but let’s be honest, I mostly just focused on the goosebump-causing one.

(Related: “50 Years of ‘Strawberry Fields Forever,’ the Greatest Pop Song Ever”)

Quick Honorable Mentions go out to “Paperback Writer”, for its opening 6 seconds of harmonic joy, and “Baby’s in Black”, for its solid John/Paul two-part harmony. And now, on to the top 10!

10. In My Life | Rubber Soul (1965)
This selection may not be as readily obvious as some of the other choices on this list, since this Lennon masterpiece isn’t really known for its harmonies, but listen for those subtle vocal touches. They make an incredible song even better.

9. Ask Me Why | Please Please Me (1963)
“I love you-woo-woo-woo-woo.” This Please Please Me deep cut is proof that even in the beginning, the boys were perfectly in sync.

8. Sun King | Abbey Road (1969)
The Beatles were throwing around random Spanish words long before Troy and Abed (with some Italian and Portuguese for good measure). John said, “We just started joking, you know, singing ‘cuando para mucho.’ Paul knew a few Spanish words from school, you know. So we just strung any Spanish words that sounded vaguely like something.” And their harmonies while doing it are incredible, as per usual.

7. Nowhere Man | Rubber Soul (1965)
The a capella opening to “Nowhere Man” is so striking! I love it.

6. If I Needed Someone | Rubber Soul (1965)
I have stated that “It’s All Too Much” is the Beatles’ most underrated song. Well, “If I Needed Someone,” another George composition, comes in a close second as far as under-appreciated songs are concerned. The whole thing is great, but it attains an even higher level when they get their second wind after the bridge at 1:22. They get in a zone and really lock into Ringo’s steady drumming.

5. And Your Bird Can Sing | Revolver (1966)
This is my sister’s favorite Beatles song, and I have no arguments here. You can hear the joy emanating from every line.

And, as a bonus, here’s a take of John and Paul messing around while trying to record the song.

4. This Boy | Past Masters, Volume 1 (1963)
When “This Boy” was released, that was the moment when the Beatles entered the harmony big leagues. This was the first manifestation that John, Paul, and George could really pull it off. And by the way, John doesn’t do too badly singing the chorus by himself.

3. If I Fell | A Hard Day’s Night (1964)
Two heads are better than one. Three-part harmonies are better two. That’s just how it is — usually. However, “If I Fell” — with just two parts — is amazing enough to hang up here with the three-parters and land in the top 3! This is Lennon and McCartney doing what absolutely they do best.

2. Yes It Is | Past Masters, Volume 1 (1965)
“Yes It Is” was so close to being #1. The intricacy and nuance of the three vocal parts, with all its gorgeous dissonance, is incredibly compelling. This is one of those instances where the harmonies augment and improve a song immensely, as per my previously mentioned criteria. John actaully insisted that “Yes It Is” was crap, saying that he tried to rewrite “This Boy” only to have it turn out badly, but he was just plain wrong. Not only does “Yes It Is” show, on a purely technical level, the complex chords swirling around John’s head, but it is also succeeds at being heartbreaking and amazingly beautiful.

1. Because | Abbey Road (1969)
That goosebump-causing, “this-is-incredible” factor I was talking about? Check. Times a million. Really, how could anything beat “Because?” John, Paul, and George all recorded each of the three vocal parts and put them all together, effectively creating nine voices, but you wouldn’t believe it based on how well they execute it. The way their voices blend together is stunning, capitalizing on their years of growing familiarity with each other. As a prominent cut on the Beatles’ calling card Abbey Road, it showed John, Paul, and George putting aside their differences (albeit briefly) and coming together one last time to blow our minds.

If you think that was good (or, on the contrary, if you’re not a big fan of that harpsichord), then listen to the version below. It’s just the vocals. I dare you to not be blown away. It’s even better than the original version.

I’m a sucker for harmonies and I’m a sucker for the Beatles. So when you combine the two… game over.

Related post: Float Down Stream: The Beatles are Now on Spotify!

Cadence Weapon – “Conditioning”

Today was the first time I’d heard of this dude Cadence Weapon, and I must say I was pleasantly surprised. He’s already released a single entitled “88”, which sampled fellow Canadian and D-Brad Music favorite Grimes. His new single “Conditioning” has an old-school feel, from the sick beat, to his best Steven Tyler vocal impersonation at 1:28, to his faded hairstyle and 90s Charles Barkley jersey. Check it.

Norah Jones – “Say Goodbye” / Danger Mouse is a Wizard

I’ve always appreciated and respected Norah Jones, but I never really fully embraced her…until now. The catalyst? Brian Burton, a.k.a. Danger Mouse, who has Gnarls Barkley and Broken Bells to his resume and receives the very lucrative honor (ha) of being my absolute favorite producer. (I think a post solely devoted to the Mouse is in order.) He’s behind Norah Jones’s new album Little Broken Hearts, coming out May 1st, and I couldn’t be more excited. Danger Mouse’s signature woozy production is fully intact on new single “Say Goodbye,” giving Jones a vocal effect that makes her already amazing voice even more alluring. And the song’s got an awesome hook. What more could you want?

Sigur Rós – “Ekki Múkk” / They’re Dropping a New Album in May!

News just broke today that everyone’s favorite band from Iceland, Sigur Rós, will be releasing their first album in four years, Valtari. Apparently Valtari means “steamroller,” which makes me think more of chugging Black Sabbath riffs than icy, emotion-filled soundscapes. Hear the lead single “Ekki Múkk” right here. You have to be in the right mood though for it to really hit the spot.

Grimes – “Oblivion”

Here’s my experience with Grimes’ lead single, “Oblivion”:

  • Read all the hype about Grimes, downloaded the album.
  • Heard “Oblivion” about 3 times, didn’t think much of it.
  • Watched the video, thought it was cool, then promptly forgot about it.
  • Heard the song on my iPod again on the way to work 2 weeks later, thought it was pretty dang catchy in a mysterious way.
  • Watched the video again and LOVED IT. Oh the dissonance! Oh the male/female dynamic! Oh the awkwardness of an indie geek in a jock’s terrain!
  • Watched it yet again and developed favorite moments: when she courteously allows that guy to walk through the camera shot at 0:41; the two black dudes at 0:52 who are like “This song is super weird, and this chick is SUPER MORE WEIRD, but I’m down”; the ultimate bro doing the YMCA at 1:12; the lisp at 1:39; the return of the bro at 1:46, this time with his arm around Grimes, a chick that he NEVER would have even acknowledged in high school; whatever that dude is doing in the back at 1:58; everything that’s happening at 2:55; the collision and smile at 2:57; the swag at 3:26; the black dudes’ return at 3:30, with the guy on the left looking amused, the guy on the right looking awkward, and Grimes loving every second; and the general attitude of “These people probably think I’m insane but I don’t care, this is awesome” displayed throughout the video, but encapsulated at 3:45.
  • Watched this interview, realized the lisp was not a fluke, and thought she was so weirdly cool in a natural kid of way.
  • Blasted “Oblivion” non-stop ever since. Sick song, sick video.