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Part of the draw, the attraction, an aditctive element, of capitalism is that it is always presenting us with the new. We’re consistently being sold the latest technology, the latest fashion and the latest tunes. And this emphasis on endlessly new compositions is arguably a more significant marker of popular music than in other contemporary music forms, where we go for novel renditions of known music (think the latest conductor to present Mozart, or the latest (jazz) interpretation of April in Paris.
Yet, popular musicians do occasionally reinterpret their own tunes. So, this is what Andrew and Sam discuss this week – what happens when a musician remakes their own tunes. What is the motivation behind it? Is it mostly to do with contracts, or because the job isn’t done yet? What happens when a musician dedicated to the new has to spend their life performing the old and well known?
Riffs of the week
Dr Sam’s Riff
- Darkest Hour – Societal Bile (opening)
Andrew’s Riff
- Dissimulator – Neural Hack (0:25)
Dr Sam’s track choices
- Dizzy Gillespie – A Night in Tunisia (1.29 – from Afro-Cuba)
- Dead Kennedys – Pull My Strings (0.14)
- Jawbreaker – Boxcar (0.18)
- Taylor Swift – Shake it Off (Taylor’s version – opening)
Andrew’s track choices
- Bob Dylan – Lay lady Lay live in Stuttgard 91
- Beastie Boys – Cookie Puss (0:58)
- The Charlatans – Subtitle (1:40)
- Green Day – Welcome to Paradise (2:00)
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