Of life’s great mysteries, surely among the most impenetrable is how Bat Out of Hell, Meat Loaf’s adolescent wet dream of an album that was released forty years ago today
[October 21, 1977], came to be one of the best-selling albums in the history of the record industry, cracking the top five in some rankings, and out-selling nearly all the pillars of
the rock canon.
I pose the question not out of cultural disdain from atop a critic’s ivory tower. On the contrary (and in the spirit of full disclosure), I adore Bat Out of Hell. It is like
a treasured family heirloom I have carried with me through every life stage. My love of Bat Out of Hell borders on the unnatural. I own Bat Out of Hell in four
different formats. I have watched documentaries on the making of Bat Out of Hell. I have even read Meat’s autobiography, To Hell and Back. And I am left wanting more
helpings of Meat Loaf.
MOST SONGS give you only one perspective: She will always love you. Billie Jean was not his lover. You can check out of “Hotel California” but you
can never leave.
But popular music history is studded with the occasional duet that serves more of a purpose than simply an excuse for the existence of cool harmonies, or to provide an opportunity for
Paula Abdul to dance around with an anthropomorphized rapping cartoon cat—no offense, MC Skat Kat (and Posse). These duets actually use the form to explore two different, often dueling,
perspectives on the same relationship…often, relationships in which men are getting called out on their bullshit.
I’ve just listened to Robert Plant’s new album, Carry Fire. It’s pretty good.
A long while after my dad’s death five years ago, I’d meant to write a blog post about the experience of grief in a digital age. As I’ve clearly
become increasingly terrible at ever getting draft posts complete, the short of it was this: my dad’s mobile phone was never recovered and soon after its battery went flat any calls to
his number would go straight to voicemail. He’d recently switched to a pay-as-you-go phone for his personal mobile, and so the number (and its voicemail) outlived him for many months. I
know I’m not the only one that, in those months, called it a few times, just to hear his voice in the outgoing message. I’m fully aware that there are recordings of his voice elsewhere,
but I guess there was something ritualistic about “trying to call him”, just as I would have before his accident.
The blog post would have started with this anecdote, perhaps spun out a little better, and then gone on to muse about how we “live on” in our abandoned Inboxes, social media accounts,
and other digital footprints in a way we never did before, and what that might mean for the idea of grief in the modern world. (Getting too caught up in thinking about exactly what it
does mean is probably why I never finished writing that particular article.) I remember that it took me a year or two until I was able to delete my dad from my phone/email
address book, because it like prematurely letting go to do so. See what I mean? New aspects of grief for a new era.
Another thing that I used to get, early on, was that moment of forgetting. I’d read something and I’d think “Gotta tell my dad about that!” And then only a second later
remember why I couldn’t! I think that’s a pretty common experience of bereavement: certainly for me at least – I remember distinctly experiencing the same thing after my gran’s death, about 11 years ago. I’m pretty sure it’s been almost a year since I last had such a forgetting moment for my
father… until today! Half way into the opening track of Carry Fire, a mellow folk-rocky-sounding piece called The May
Queen (clearly a nod to Stairway there), I found myself thinking “my dad’d love this…” and took almost a quarter-second before my brain kicked in and added “…damn;
shame he missed out on it, then.”
If you came here for a music review, you’re not going to get one. But if you like some Robert Plant and haven’t heard Carry Fire yet, you might like to. It’s like he set out to
make a prog rock album but accidentally smoked too much pot and then tripped over his sitar. And if you knew my dad well enough to agree (or disagree) that he would have dug it, let me
know.
Those who know me well know that I’m a bit of a data nerd. Even when I don’t yet know what I’m going to do with some data yet, it feels sensible to start collecting it in a
nice machine-readable format from the word go. Because you never know, right? That’s how I’m able to tell you how much gas and electricity our house used on average on any day in the
last two and a half years (and how much off that was offset by our solar panels).
So it should perhaps come as no huge surprise that for the last six months I’ve been recording the identity of every piece of music played by my favourite local radio station,
Jack FM (don’t worry: I didn’t do this by hand – I wrote a
program to do it). At the time, I wasn’t sure whether there was any point to the exercise… in fact, I’m still not sure. But hey: I’ve got a log of the last 45,000 songs
that the radio station played: I might as well do something with it. The Discogs API proved invaluable in automating the discovery of
metadata relating to each song, such as the year of its release (I wasn’t going to do that by hand either!), and that gave me enough data to, for example, do this (click on any image to
see a bigger version):
I almost expected a bigger variance by hour-of-day, but I guess that Jack isn’t in the habit of pandering to its demographics too heavily. I spotted the post-midnight point at which you
get almost a plurality of music from 1990 or later, though: perhaps that’s when the young ‘uns who can still stay up that late are mostly listening to the radio? What about by
day-of-week, then:
The chunks of “bonus 80s” shouldn’t be surprising, I suppose, given that the radio station advertises that that’s
exactly what it does at those times. But still: it’s reassuring to know that when a radio station claims to play 80s music, you don’t just have to take their word for it
(so long as their listeners include somebody as geeky as me).
It feels to me like every time I tune in they’re playing an INXS song. That can’t be a coincidence, right? Let’s find out:
Yup, there’s a heavy bias towards Guns ‘n’ Roses, Michael Jackson, Prince, Oasis, Bryan Adams, Madonna, INXS, Bon Jovi, Queen, and U2 (who collectively are responsible for over a tenth
of all music played on Jack FM), and – to a lesser extent – towards Robert Palmer, Meatloaf, Blondie, Green Day, Texas, Whitesnake, the Pet Shop Boys, Billy Idol, Madness, Rainbow,
Elton John, Bruce Springsteen, Aerosmith, Fleetwood Mac, Phil Collins, ZZ Top, AC/DC, Duran Duran, the Police, Simple Minds, Blur, David Bowie, Def Leppard, and REM: taken together, one
in every four songs played on Jack FM is by one of these 34 artists.
I was interested to see that the “top 20 songs” played on Jack FM these last six months include several songs by artists who otherwise aren’t represented at all on the station. The
most-played song is Alice Cooper’s Poison, but I’ve never recorded them playing any other Alice Cooper songs (boo!). The fifth-most-played song is Fight For Your
Right, by the Beastie Boys, but that’s the only Beastie Boys song I’ve caught them playing. And the seventh-most-played – Roachford’s Cuddly Toy – is similarly the only
Roachford song they ever put on.
Next I tried a Markov chain analysis. Markov chains are a mathematical tool that examines a sequence (in this case, a sequence
of songs) and builds a map of “chains” of sequential songs, recording the frequency with which they follow one another – here’s a great
explanation and playground. The same technique is used by “predictive text” features on your smartphone: it knows what word to suggest you type next based on the patterns of words
you most-often type in sequence. And running some Markov chain analysis helped me find some really… interesting patterns in the playlists. For example, look at the similarities between
what was played early in the afternoon of Wednesday 19 October and what was played 12 hours later, early in the morning of Thursday 20 October:
19 October 2016
20 October 2016
12:06:33
Kool & The Gang – Fresh
Kool & The Gang – Fresh
00:13:56
12:10:35
Bruce Springsteen – Dancing In The Dark
Bruce Springsteen – Dancing In The Dark
00:17:57
12:14:36
Maxi Priest – Close To You
Maxi Priest – Close To You
00:21:59
12:22:38
Van Halen – Why Can’t This Be Love
Van Halen – Why Can’t This Be Love
00:25:00
12:25:39
Beats International / Lindy – Dub Be Good To Me
Beats International / Lindy – Dub Be Good To Me
00:29:01
12:29:40
Kasabian – Fire
Kasabian – Fire
00:33:02
12:33:42
Talk Talk – It’s My Life
Talk Talk – It’s My Life
00:38:04
12:41:44
Lenny Kravitz – Are You Gonna Go My Way
Lenny Kravitz – Are You Gonna Go My Way
00:42:05
12:45:45
Shalamar – I Can Make You Feel Good
Shalamar – I Can Make You Feel Good
00:45:06
12:49:47
4 Non Blondes – What’s Up
4 Non Blondes – What’s Up
00:50:07
12:55:49
Madness – Baggy Trousers
Madness – Baggy Trousers
00:54:09
Eagle Eye Cherry – Save Tonight
00:56:09
Feeling – Love It When You Call
01:04:12
13:02:51
Fine Young Cannibals – Good Thing
Fine Young Cannibals – Good Thing
01:10:14
13:06:54
Blur – There’s No Other Way
Blur – There’s No Other Way
01:14:15
13:09:55
Pet Shop Boys – It’s A Sin
Pet Shop Boys – It’s A Sin
01:17:16
13:14:56
Zutons – Valerie
Zutons – Valerie
01:22:18
13:22:59
Cure – The Love Cats
Cure – The Love Cats
01:26:19
13:27:01
Bryan Adams / Mel C – When You’re Gone
Bryan Adams / Mel C – When You’re Gone
01:30:20
13:30:02
Depeche Mode – Personal Jesus
Depeche Mode – Personal Jesus
01:33:21
13:34:03
Queen – Another One Bites The Dust
Queen – Another One Bites The Dust
01:38:22
13:42:06
Shania Twain – That Don’t Impress Me Much
Shania Twain – That Don’t Impress Me Much
01:42:23
13:45:07
ZZ Top – Gimme All Your Lovin’
ZZ Top – Gimme All Your Lovin’
01:46:25
13:49:09
Abba – Mamma Mia
Abba – Mamma Mia
01:50:26
13:53:10
Survivor – Eye Of The Tiger
Survivor – Eye Of The Tiger
01:53:27
Scouting For Girls – Elvis Aint Dead
01:57:28
Verve – Lucky Man
02:00:29
Fleetwood Mac – Say You Love Me
02:05:30
14:03:13
Kiss – Crazy Crazy Nights
Kiss – Crazy Crazy Nights
02:10:31
14:07:15
Lightning Seeds – Sense
Lightning Seeds – Sense
02:14:33
14:11:16
Pretenders – Brass In Pocket
Pretenders – Brass In Pocket
02:18:34
14:14:17
Elvis Presley / JXL – A Little Less Conversation
Elvis Presley / JXL – A Little Less Conversation
02:21:35
14:22:19
U2 – Angel Of Harlem
U2 – Angel Of Harlem
02:24:36
14:25:20
Trammps – Disco Inferno
Trammps – Disco Inferno
02:28:37
14:29:22
Cast – Guiding Star
Cast – Guiding Star
02:31:38
14:33:23
New Order – Blue Monday
New Order – Blue Monday
02:36:39
14:41:26
Def Leppard – Let’s Get Rocked
Def Leppard – Let’s Get Rocked
02:40:41
14:46:28
Phil Collins – Sussudio
Phil Collins – Sussudio
02:45:42
14:50:30
Shawn Mullins – Lullaby
Shawn Mullins – Lullaby
02:49:43
14:55:31
Stars On 45 – Stars On 45
Stars On 45 – Stars On 45
02:53:45
16:06:35
Dead Or Alive – You Spin Me Round Like A Record
Dead Or Alive – You Spin Me Round Like A Record
03:00:47
16:09:36
Dire Straits – Walk Of Life
Dire Straits – Walk Of Life
03:03:48
16:13:37
Keane – Everybody’s Changing
Keane – Everybody’s Changing
03:07:49
16:17:39
Billy Idol – Rebel Yell
Billy Idol – Rebel Yell
03:10:50
16:25:41
Stealers Wheel – Stuck In The Middle
Stealers Wheel – Stuck In The Middle
03:14:51
16:28:42
Green Day – American Idiot
Green Day – American Idiot
03:18:52
16:33:44
A-Ha – Take On Me
A-Ha – Take On Me
03:21:53
16:36:45
Cranberries – Dreams
Cranberries – Dreams
03:26:54
Elton John – Philadelphia Freedom
03:30:56
Inxs – Disappear
03:36:57
Kim Wilde – You Keep Me Hanging On
03:40:59
16:44:47
Living In A Box – Living In A Box
16:47:48
Status Quo – Rockin’ All Over The World
Status Quo – Rockin’ All Over The World
03:45:00
The similarities between those playlists (which include a 20-songs-in-a-row streak!) surely can’t be coincidence… but they do go some way to explaining why listening to Jack FM
sometimes gives me a feeling of déjà vu (along with, perhaps, the no-talk, all-jukebox format). Looking
elsewhere in the data I found dozens of other similar occurances, though none that were both such long chains and in such close proximity to one another. What does it mean?
There are several possible explanations, including:
The exotic, e.g. they’re using Markov chains to control an auto-DJ, and so just sometimes it randomly chooses to follow a long chain that it “learned” from a real DJ.
The silly, e.g. Jack FM somehow knew that I was monitoring them in this way and are trying to troll me.
My favourite: these two are actually the same playlist, but with breaks interspersed differently. During the daytime, the breaks in the list are more-frequent and longer,
which suggests: ad breaks! Advertisers are far more-likely to pay for spots during the mid-afternoon than they are in the middle of the night (the gap in the overnight playlist could
well be a short ad or a jingle), which would explain why the two are different from one another!
But the question remains: why reuse playlists in close proximity at all? Even when the station operates autonomously, as it clearly does most of the time, it’d surely be easy enough to
set up an auto-DJ using “smart random” (because truly
random shuffles don’t sound random to humans) to get the same or a better effect.
Which leads to another interesting observation: Jack FM’s sister stations in Surrey and Hampshire also maintain a similar playlist most of the time… which means that they’re either
synchronising their ad breaks (including their duration – I suspect this is the case) or else using filler jingles to line-up content with the beginnings and ends of songs. It’s a
clever operation, clearly, but it’s not beyond black-box comprehension. More research is clearly needed. (And yes, I’m sure I could just call up and ask – they call me “Newcastle Dan”
on the breakfast show – but that wouldn’t be even half as fun as the data mining is…)
Wind and brass instruments (which I’ve just learned are collectively ‘aerophones’) work because since characteristic of their shape causes the air that is pushed or drawn through them
to vibrate at particular frequencies. They work in air whether you’re down a mine or at the top of a mountain, so there’s clearly some tolerance to pressure variation. I presume,
therefore, that you could play them using other gases too (e.g. by connecting a whistle to a pump in a nitrogen atmosphere, for example), albeit presumably with a change in pitch (we
have whistles driven by an air/steam mixture on steam locomotives, for example).
But I wonder: can such an instrument be used with other fluids? How about a liquid, like water? Can I pump water through an underwater whistle in order to make a whistle-like noise?
What are the physical constraints on doing so (e.g do I need a higher pressure difference in water)?
If it’s not possible, why not? What could be done, hypothetically, to construct an aerophone-style (“hydrophone”?) instrument that would work underwater?
tl;dr: Could I pump water through an underwater whistle to ‘blow’ it? If not, how can I ‘fix’ that?
Those of you who’ve met my family will probably already have an understanding of… what they’re like. Those of you who haven’t are probably about to gain one.
It started on a weekend in April, when my mother and I went to a Pink concert. The support act were a really fun band called
Walk the Moon, who finished their energetic set with I Can Lift A Car, with its’ catchy chorus hook “Did you did you… did you know know: I can lift a car up, all by
myself?” Over the weeks that followed, perhaps because of its earworm qualities,
this song became sort-of an inside Rickroll between my mum and I.
At one point, she sent me a link to this video (also visible below), in which she is seen to lift
a (toy) car. My sister Becky (also known as “Godzilla”) was behind the camera (and, according to the credits,
everything else), and wrote in the doobly doo: “I think I’m gonna start doing family vlogs.”
She’d experimented with vlogging before, with a short series of make-up tutorials and a “test video post” on her blog, but this represented something new: an effort to show off her family (and guest
appearances from her friends) as they really are; perhaps this was an effort to answer the inevitable question asked by people who’ve visited them – “are they always like
that?” Perhaps that’s why she chose the name she did for the Family Vlog – “IRL”.
At the time of writing, Becky (on her YouTube channel) has produced eight such videos
(one, two, three, four, five, six, seven, eight), reliably rolling out one a week for the last two months. I thought they
were pretty good – I thought that was just because they were my family, but I was surprised to find that it’s slowly finding a wider reach, as I end up speaking to friends who mention
to me that they “saw the latest family vlog” (sometimes before I’ve had a chance to see it!).
Naturally, then, the only logical thing to do was to start producing my own YouTube series, on my channel,
providing reviews of each episode of my sister’s vlog. I’ve managed to get seven out so far (one, two, three, four, five, six, seven), and I’d like to think that they’re actually better than the
originals. They’re certainly more-concise, which counts for a lot, because they trim the original vlog down to just the highlights (interrupted only occasionally by my wittering
atop them).
The widget above (or this playlist) will let
you navigate your way through the entire body of vlogs, and their reviews (or lets you play them all back to back, if you’ve got two and a quarter hours to spare and a pile of brain
cells you want killing). But if you’re just looking for a taster, to see if it’s for you, then here are some starting-out points:
The best episode? My favourite is six, but number two has the most views, probably the keywords “lesbian foursome”
are popular search terms. Or possibly “girls peeing”. I’m not sure which scares me the most.
Of if you just want to drop-in and have a taster, start from the latest review.
I’d just like to say a few words of praise for Andy‘s new album, The Signal and the Noise. It’s not
the first time I’ve said nice things about him, but it’s the first time since he’s been recording
under his full name, rather than as “Pagan Wanderer Lu”.
I can say this for sure, though: The Signal and the Noise has finally dethroned my previous favourite Lu album, Build Library Here (or else!). It’s catchy, it’s
quirky, and it’s full of songs that will make you wish that you were cleverer: so far, so good. I think that one of the things that particularly appealed to me in this album were that
the lyrical themes touched on so many topics that interest me: religion and superstition, artificial intelligence, the difficulties of overcoming materialism, cold war style espionage,
and cryptography/analysis… all wrapped up in fun and relatable human stories, and with better-than average running-themes, links, and connections.
One of the joys of Andy’s (better) music comes from the fact that rather than interpretation, it lends itself far better to being issued with a reading list. To which end, here’s a
stack of Wikipedia articles that might help you appreciate this spectacular album a little better, for the benefit of those of you who weren’t lucky enough to have read all of this
stuff already:
Oh; backing vocals, you’re too kind! But this is just another chapter in the story of my life.
The Omniscient Narrator
The final track’s a little weaker than the rest (the actual final track, not the “hidden track” bit), and I’m left with a feeling that this was so-close but not quite a concept album
(which would have been even more spectacular an achievement), but these are minor niggles in the shadow of an otherwise monumental album.
Go get a copy.
By the way; I’ve got a spare – who wants it? Spare copy’s gone to Claire as an early birthday present. Somehow she failed to preorder a copy of her own.
For the last few years, though, the population of Aberystwyth has been dwindling, and Adam’s parties have turned from an immense hard-to-squeeze-everybody-in ordeal to a far more
civilised affair. While simultaneously, groups of ex-Aberystwyth people (like those of us down in Oxford, and those who are up in the North) have been having their own splinter
satellite parties.
And you know what? I miss doing Eurovision Night with you guys. So this year, we’re going to try to bring Eurovision Night back to its roots… with technology!
Here’s where the parties are at, this year:
Adam’s house, in Aberystwyth – mission control
New Earth, in Oxford (hosted by Ruth, JTA, and I) – technical operations
…and… anybody else having one this year? One of you up in the North, perhaps?
If you’re one of the usual crew, or one of our newer friends, come on over and join the party! Or if you’re going to be watching from further North (Liz? Simon? Gareth? Penny? Matt? Matt? Kit? Fi?), let me know so that I can bring you in on my proposals for “sharing the experience”, drawing together our votes, and whatnot.
And regardless of whether you’ll be joining one of these parties in person, or not, I hope you’ll be joining The Party at Adam’s and The Party on New
Earth digitally. If you’re among the 17 people who are actually on Google+, come and join us in our Hangout! Dust
off that old webcam and point it at you or your little party, make sure you’re in Adam or I’s “circles”, and then log in on Eurovision Night and join us via the power of the Internet!
You’ll have to provide your own crisps and beer, and (unless you’re at Adam’s) you’ll need to bake your own cupcakes with adorable European-flag icing, too, but at least you can be part
of the moment with the rest of us.