Dude, this guy has the best guitar/O-face of all time.

Hi kids, I’m still alive. I’m in NYC with my good friend Edward Gottfried. Being in NYC grants me access to all kinds of fun and awesome things. Like seeing Cap’N'Jazz and Lightning Bolt and No Age for free. Or eating ungodly amounts of delicious burritos. Or being bothered on the street by a shivering gentleman who is holding his nose for fear of it falling off. Or not showering and having no one notice how bad I smell because the garbage behind me is emitting the foulest of foul odors (3 week old shrimp that’s been basting in an old canvas shoe resting in a literal river of shit). Or going to Siren fest.

Siren fest was fantastic. There was a nice mix of middle-to-mainstream bands playing decently long sets for the best price: nothing. Also, it was at Coney Island, so if the bands were dull, you had an ocean to play in or a freak show to watch. Man, what a great place. Suck it Pitchfork Fest. Although I did not make it there in time to catch one of my favorite new bands, Dom, I did get to see the likes of Ponytail, The Pains of Being Pure At Heart, Apache Beat, and Holy Fuck. But my favorite performance by far was Cymbals Eat Guitars. I was ecstatic the hear them open their set with the words “we’re going to play a few new songs” because I was honestly afraid of Cymbals Eat Guitars being a one-and-done band. For those who are unaware (all of you), I was a huge fan of CEG’s debut Why There Are Mountains. Although many called it overly-derivative, I preferred to think of it as a positive expression of postmodern pastiche. In a year filled with fairly excellent releases, Why There Are Mountains is one of the only albums that continues to get regular play 1.5 years later (for the record, Edward has expressed similar sentiments). A debut as strong as WTAM that received as much press as it did often results in lofty expectations from fans and critics a like. It can also influence an artist to develop in an unnatural way, either experimenting too much or lying too dormant to be a followup worthy of similar praise. Luckily, Cymbals’ new material sounds just as strong as their previous stuff, with no influence rising above the others to pull their music in an unnatural direction. The Pavement is still there, but so is The Modest Mouse, Guided By Voices, Explosions In The Sky, Tullycraft, Cap’N'Jazz, etc. All of their songs retain the baroque-strength of WTAM while adding an unexpected maturity in both song structure and song writing that is beyond the band’s average age (25). Below the jump you will find the videos of these as-of-now-untitled songs, in decent quality, for your viewing and critiquing pleasure. All the videos were taken by Jay “Shapster7″ Sharp, who apparently like, “Glam, wacky shit, and acoustic covers.” Thanks Jay.

Of the new songs on YouTube, this is by far the best. Lead singer Joseph D’Agostino said that it might be the lead-off to their as-of-now-untitled and undated and officially unannounced 2nd album. It has the same intensity as Wind Phoenix, though it feels a little more contained and makes use of the synths a bit more. It’s thoroughly enjoyable and highly recommended by yours truly.

Related posts:

1. Practice, Practice, Practice
2. BEST ALBUMS OF 2009 — #5-1
3. J. Tillman (of Fleet Foxes): "Firstborn"

This is exactly what the DJs and interior of WAMH look like...

Ladies and gentlemen, I have arrived. No, wait… WE have arrived. ‘Where have we arrived’, you ask? The airwaves. The motherfucking radio airwaves. 60 miles in circumference from the sizable transmitter sitting atop Bear Mountain. That’s right, ladies and gentlemen, I, Marquis Meowmers IV, have a a college radio show. Friday afternoons. From 2-4P.M on WAMH Amherst, MA, 89.3 FM. What’s that? You can’t listen because you don’t live nearby? Well, make the jump for more info, and a few sweet tunez thrown in just because I love you.

Now, wait… what? You don’t even live in beautiful Western Assachusetts? Well, FRET NOT. You can still listen in (from 2-4pm Friday afternoons) at http://wamh.amherst.edu/programming.html . You can even chat with me there! That’s right. Direct internet contact with yours truly. And after every show, you can come here, read the set-list, and be all like “damn that sumbitch knows how to DJ a college radio show”. Awww yeah.

Wait, what’s that? You don’t want to just internet chat with me? You can to hear sarcastic, self-centered scoffs/relationship advice straight from my voice? Well than, call me up at 413.542.2288. That’s right. A real motherfucking request line at a real motherfucking college radio station. Awwwwwww yeahhhhh.

Wait, what’s that? You don’t care about my 2 hour long radio show filled with hot babes and sweet music? You just want hot tunes for your computer? Well, I’m not sure if I can do that right now, but damn baby, I’ll try:

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Beach House – Norway (YSI)

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Rye Rye (Ft. M.I.A) – Bang (DJ Sega’s Philly Club Remix) (YSI)

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J. Dilla – Fuck The Police (YSI)

Playlist for The Animal Show show (11/20/09):

song – artists (break song denotes a song played in the background during PSA announcements)

the day that mauro ran over elwy yost – 1-speed bike
Fuck The Police-Clean – Jay Dee
Detchibe 4:09 – Prefuse 73

Come On Feet (12″ Version) – Quasimoto

Welcome Home – Daedelus
Bang (DJ Sega’s Philly Club Remix) – Rye Rye F. M.I.A. – break song
Say Whoa – A-Trak
golden phone (etan’s golden pager ringtone) – micachu
Animal (Crookers Remix) – Miike Snow
Music sounds better with you – Stardust
Demon Lung – Electric Wizard – break song
Money Stinks (D.R.I.) – Ampere
Sick of Jock – Aerosols
Against All Youth – In/Humanity
Man You Suck! – Betercore
Downward Harmonization – Confines
Police – Fucked Up
Hungry Jack – Weedeater
With Teeth – Melvins
Aquarian – Sleep
Tongue Tied – Wanda Jackson – break song
Take My Hand – Randy Holden
Gypsy Ball – Blue Cheer
Let’s Talk About Girls – The Chocolate Watch Band
Violent Brave – Ganglians
Hammer I Miss You – Jay Reatard
The New Dark Ages – Dan Melchior’s Broke Revue
North American Scum – LCD Soundsystem – break song
Oozing – Kisser Chug
Cold – The Charlottes
You Are The Darkness – Fleeting Joys
Surfin’ With The Shah – Urinals
Let’s Go Crazy – Prince – break song

Related posts:

1. The Animal Show Rocks You Into 2009: Part I
2. The Animal Show Collects All the Animal Collective-Related Material You Could Ever Want
3. HAPPY BIRTHDAY, ANIMAL SHOW!

Or at least my local radio station.

So as much as we’d like to be your only source for musical discovery, and though we’re proud to have, as a staff, the undisputed best music taste on the internet, I’ll have to admit: there are other places you can go for your music.  The ‘machine is a pretty good source of things, but I’d like to be on it more than I’d like to use it.  Usually, I lean on poor Edward here for new music discovery.  Sometimes, I turn on the radio.

Now, most of radio is junk.  Pretty unadulterated junk. It’s good if you want to blast The Fray (who wouldn’t?), but not so good if you want to listen to the Noisettes or even Vampire Weekend.  For that, I turn to my local 88.5, WXPN.  They’re funded in part by the University of Pennsylvania, but local businesses also pitch in, and they have membership drives every so often.  All in all, they operate much like an NPR station: no commercials, mostly good stuff, occasionally annoying membership drives.  They mostly focus on indie/eclectic sounds, so no mashups, but you’ve got the Show for that, right?

They also support “The World Cafe,” a radio and concert series hosted by David Dye.  Through this concert series, they’ve brought several notables like Andrew Bird, Phoenix, Avett Brothers, Grizzly Bear, and a few more to local venues, and several of them, like Andrew Bird, have held free lunch concerts at the radio station that anyone can attend.  All in all, it’s a great source for free music, and a great asset to the city of Philly.  It’s why I’ve decided to become a member recently, and for my pains, they sent me the latest compilation of recordings from these lunch time concerts.

If you’d like to listen to them online for free, you can do so at http://www.xpn.org.  Their stream will open right into the mp3 app of your choice, and you can listen away!  If you wanna hear some of the tracks from the World Cafe, they are below.

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Crying – TV on the Radio (World Cafe Live) (YSI)

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Daniel- Bat for Lashes (World Cafe Live) (YSI)

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Just Like Heaven – The Cure (World Cafe Live) (YSI)

Related posts:

1. Live, on air, it’s The Animal Show show (Now with a playlist!)

What do you get when you cross the passion exhibited by Robin Williams in “Dead Poet’s Society,” with encyclopedic knowledge of U.S. History, with a pop culture scholar? You get Jim Cullen. For all of you scratching your heads out there, he is not related to tween deity Edward Cullen, he was my 10th grade U.S. History teacher. A former professor at both Brown and Harvard, he is now spending his time rewriting history curricula and just being generally visionary. Oh yeah; I forgot the best part, he wrote a book about Bruce Springsteen.

So when I thought about writing a review of the final Bruce Springsteen concert at Giants Stadium, and heard he was there, I realized only a moron would not turn a Bruce Springsteen chronicler and general pop culture prophet to write about it. After just a few minutes of groveling, I convinced him to do it, and below is what I received, hours later (all that brilliance, and he still turns things around faster than that lame English teacher you had back in high school).

I could talk about the rousing version of “The Rising.” I could express my joy at seeing him pick up the sign that said, “Bald Guys Can Dance,” and then choosing a fellow of my general demographic description as a partner during the beloved climax of “Dancing in the Dark” (take that, Courtney Cox!). I could express my happiness at the turn-on-dime transition from the old jazzy chestnut “Kitty’s Back” to the new Celtic-flavored “This American Land.”

But for me the best moment of the final show at Giants Stadium last night happened beforehand, when my wife and I were stuck in the bottleneck near the parking lot entrance. I imagined all the cars, like metal filings, drawn to this point from a concentric circle miles and miles around. All these people choosing to come here for no other reason than they simply wanted to. All this pollution and commerce and anticipation and love converging on a single point. But that all this — this show, this night, and all the other shows on other nights — began with a solitary figure, alone, sitting at a piano, perhaps, but certainly at some point working with nothing more than a pen and a spiral notebook. And that he made something, from the workings of neurons in his head, that resulted in all this. The spectacular power of a human imagination. Astonishing.

So the next time you’re sitting in History class, just think about how cool your teacher could be. By the by, for all of you wondering how much extra credit this is worth, I do not currently have him as a teacher, I am actually just that big a fan. Below are some of my favorite less-glorified Springsteen tunes (live versions).

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Land of Hopes and Dreams – Bruce Springsteen and the E Street Band (YSI)

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Spirit in the Night – Bruce Springsteen and the E Street Band (YSI)

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Jersey Girl – Bruce Springsteen and the E Street Band (YSI)

Related posts:

1. Some Pretty Boss Covers
2. Sneak Peek: Bruce Springsteen's Working on a Dream
3. Old it like it's new: Tunnel of Love

They know how to get there

If I were to make a list of places I wish I could go tonight, coming in right between “Endor” and “Someplace warm” would be Carnegie Hall, where several thousand lucky fans have the chance to see the miraculous Punch Brothers unveil new tunes and fill the sacred space with their beautifully melodic and thrilling folk/pop/bluegrass/classical amalgamated masterpieces. If you’re in the NY area, you have to go. I don’t do much ordering, but this is one. Plus, I’m told that rush tickets are only $10! LET ME LIVE VICARIOUSLY THROUGH YOU.

Any faithful reader of this blog has heard plenty about our collective adoration for Thile + co. If not, below are a few youtube videos to whet your proverbial whistle, one of which (the first) was a bonus track from 2008’s delectable Punch (the track is available exclusively on iTunes). Watch, listen, go. Then tell me all about it. In great detail.

I Know You Know

It’ll Happen

Rye Whiskey

Related posts:

1. Another Reintroduction (and more Thile)
2. Welcome Home: Punch Brothers’ Antifogmatic in Review
3. Some Thile to Tide You Over

We're a couple of changes behind him.

In the last installment of Notes on Jackson Browne, rearranged to suit the sensibilities (and sensitivities) of certain readers, I noted that Jackson Browne’s career took a fairly downward turn in the mid-eighties and nineties.  A lot of people point to the anti-Reagan sentiment saturating much of his music of this era.  He is a very anti-war guy, and seems to have gotten pretty pissed when Reagan embroiled his regime in the whole Contra business (no, not Vampire Weekend).  Lives in the Balance of 1986 is his stand: ”Who are the ones that we call our friends?” Browne asks, answering his own question less than a second later, “These governments killing their own.”  Now, his points are likely valid.  But we all know how I feel about overtly political lyrics (or you would if you read what that links to).  I don’t know.  Perhaps all of my taste for songs like that evaporated upon seeing Fahrenheit 9/11 (really, no real hatred of the movie, just of overhype).  Or perhaps it really does come of as a bit preachy.  Whatever it is, this is the era of Jackson Browne that Randy Newman would be alluding to and ridiculing, and this is the era where people began to tune the guy out, so I’m not the only one.

Now, Jackson Browne didn’t just give up his political views.  Far from it, actually.  He released more albums.  He kept going to rallies.  He kept supporting the democratic left, singing for everyone from Farm Aid to MoveOn.  He released a cover of the song “I Am A Patriot” (written by the one of the ugliest men alive) and regularly performs it.  He actually recently sued the McCain campaign for using “Running on Empty” during an ad attacking Obama.  Jackson Browne probably still pissed.  Naturally, he did not approve of the George W. Bush’s war policies.  So what did he do?  Release an album?  You betcha.  But this time, he decided to stay out of the studio.  He hit the road, alone and without much fanfare.  And two amazing albums came of it: Solo Acoustic Volume 1 and Solo Acoustic Volume 2.

Jackson Browne comes alive on these discs.  He performs songs from all over his career, ranging from the biggest hits (”Somebody’s Baby,” though admittedly not his best version) to his most obscure (”Birds of St. Marks,” a beautiful, live-only track) to songs people don’t know are his (”Take It Easy,” co-written by Jackson Browne before The Eagles really existed), and he punctuates each track with easy banter with the audience.  You get to hear him talk about the guy (douche) that went to every show and requested “Tequila Sunrise,” and how he actually gave in to requests to hear “Peaceful Easy Feeling.”  ”I’m kinda drawn to do those songs that you call for that I might not have done for a while, but I, you know, don’t know if I’ll get through, but it’s more exciting for me that way,” he says on Volume 1, trying to explain away his mid-concert lapses in memory.  He jabs at the somewhat monotonous and consistent mood of his songs: “Now, I could sing you a really tender song filled with despair,” he says, then pauses slightly before continuing, “or a really weary song, laced with hope.”  He’s funny, endearing, and earnest.  On a clear set of speakers, you can hear the audience’s responses, yelling out songs, screaming and loving his choices.

But the music.  Oh, the music.  I attribute this album for my love of Jackson Browne.  Yes, I’d heard some of his music before.  But honestly, his songs are better now.  His voice, though giving in to the fatigue of years, is better for it.  ”I’m just one or two years and a couple of changes behind you/In my lesson that love’s pain and heartache school,” he sings in “Fountain of Sorrow,” and while I never doubt the man’s sincerity, he’s gained a few years and changes since 1974 when he wrote that, and he sings with that weight and knowledge.  His personal songs sound like they come from a man who knows better now, but simply can’t tear himself from the memories.  Even his more political songs, like the aforementioned “Lives in the Balance” gain new life and intensity in this live solo setting.The war?  His beliefs?  Yes, he does mention, “Chances are you’re as disappointed as I am about the outcome of the last US election,” but for the most part, they come through the attack of the keys, the gravel in his voice as he closes off a note and whimpers its echo.  His live show is notable and remarkable because sings his years into his songs, unlike others like (though I do love them both) Springsteen and Dylan who sing despite them.

The songs below reflect this the best (though I intentionally left off “Fountain of Sorrow” for Edward’s review).  ”Birds of St. Marks” is a song said to have been written about Nico of the Velvet Underground (or Joni Mitchell, depending on whom you ask), and it’s a stunningly beautiful piece of rock history that’s not been released on any other album.  But listen to him sing, “Wooden lady turn and turn/among my weary secrets,” and tell me that he’s just singing about Nico, or Joni, or any one person.  He sings about it all, in all his songs, and we listen.

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Jackson Browne – Birds of St. Marks (YSI)

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Jackson Browne – These Days (YSI)

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Jackson Browne – The Pretender (YSI)

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Jackson Browne – Take It Easy (YSI)

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Jackson Browne – Something Fine (YSI)

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Jackson Browne – Sky Blue and Black (YSI)

Related posts:

1. Browne Notes – An Intro
2. When I grow up I want to live in Baltimore so I can hang out at Wham City…
3. Live, on air, it’s The Animal Show show (Now with a playlist!)

And, unfortunately, not enough of these.

So, I have nothing new to bring to the table right now.  But in the interest of interest, it’s interesting that recently I’ve been listening to more individual songs than albums.  Normally, I’m really an album guy, slavishly devoting my ears to the artist’s intent.  Mixes are fun, but usually I’m too respectful lazy to embark upon making them.

And I’m still not.  I’ve just been hitting the genius button on my iTunes a few more times a week, letting it scour my massive library for gems I’d never given a chance to before–gems past and present.  Here are some great launching points for me from this past year:

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Buck 65 feat. Sufjan Stevens – Blood Pt. 2 (YSI)

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Metric – Help I’m Alive (The Twelves Remix) (YSI)

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Avett Brothers – And It Spread (YSI)

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The Antlers – Bear (YSI)

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Franz Ferdinand – Call Me (Live) (YSI)

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Monsters of Folk – Temezcal (YSI)

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Dirty Projectors – Stillness Is The Move (YSI)

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Grizzly Bear – While You Wait For The Others (YSI)

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My Morning Jacket – El Caporal (YSI)

Related posts:

1. Sneak Peek: Bruce Springsteen's Working on a Dream
2. Birds Aren’t Muppets.
3. Live, on air, it’s The Animal Show show (Now with a playlist!)

I take all my pictures from my iPhone. And that dude does, too.

Most days, at least recently, you can count on reliable, Monday through Friday posting action on the Show.  More reliable than a brass door-knocker we’ve been for the past few weeks–until Monday.  We messed up.  Consider today’s double posting as a rare treat for our mistake.  A rare treat of MORE PHOENIX.   This post is what you might get when you remove the “Passion Pit” element from Edward’s post earlier today.  And also move it to Philadelphia.

To follow up their undoubtedly electric performance at Central Park, NYC, they came to Philadelphia to play at the appropriately named “Electric Factory.”  I don’t do any writing that I don’t feel I have to, and they played a nearly identical setlist, so I’m just going to take this from Edward’s excellent post earlier today, emphasis added where I feel his words ring especially true:

Every song had an extra little something. A riff that came out of nowhere. A bass rumble heard nowhere in the album. A false ending, an extended bridge, or extended solo. More often than not, however, the extra something came from the drumkit. Thomas Hedlund beat the shit out of those things, with impeccable timing and feeling for crescendo and decrescendo alike. Each time the stage lights dropped and one solitary beam was placed at the center, you could feel the collective skin of the audience freckle up in goosebumps. Never have I paid so much attention to the sweaty toil of the one guy on stage too antisocial to stand up. Now there’s a high standard set for anyone else I notice.

Okay, so suffice to say, the drummer was amazing.  The lights go down, silhouetting the band on stage, and while every single member of the band looked as dynamic as they sounded, the drummer thrashed and flailed around with the skill and grace that a tool in a green-screened iPod commercial could only wish to attain.

Before the show, Edward texted me his opinion of the show from NYC:

I thought the only way they could have been better would be if they had had tits and were on fire.

Lofty expectations set up by a single sentence, and yet, they lived up to them.  By the end, I could tell I wasn’t the only one that felt that way.  After the last song of the encore, Thomas Mars hopped off stage, microphone in hand, intent to make it to the back of the room and up the stairs to see and sing to everyone in the room.  He was immediately swarmed, a tiny Frenchman amongst fans emboldened to grab and grope forward progress away.  Despite it all, he fought through while singing an improvised riff of “Lisztomania.”  And he made it to the back, singing on the stairs, with lightness, posturing as a modern day Fred Astaire.  And when he got back to the stage, he gave a bow that told the crowd that he was the one grateful to be there, and that he owed his great night to us.  Way to end the concert with energy, with class.

I thought that the high parts of the concert were definitely saved for the end of the regular set and the encore.  The “Rome” –> “Funky Squaredance” combo left me in crushing amazement, and the rendition of “If I Ever Feel Better” <insert swooning sets of adjectives here.>  So I’ll leave you with “Rome” and “Funky Squaredance” here, and direct you to another one of Edward’s excellent posts for “If I Ever Feel Better.”

Best part other than Phoenix (best part 1B)?  When my friend went up to the bar for another gin and tonic made up of bad decisions and pain, she somehow scored three free tickets to Grizzly Bear next week.  Best.  Night.  Ever.

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Phoenix – Rome (YSI)

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Phoenix – Funky Squaredance (YSI)

Related posts:

1. Passion Pit! Phoenix! PASSION PIT AND PHOENIX!
2. Ladies and Gentlemen, a Phoenix 3-Peat!
3. Threefer Thursday: Up, Up, and Away, Phoenix!

I wish I were French.

Touring behind an album as effortlessly perfect as Wolfgang Amadeus Phoenix can’t be easy. Trying to replicate the ideal pop and fillerless content of that CD on a night-to-night basis is, I imagine, draining. Somehow, Phoenix manages to do it. 3 Animal Show staffers saw 3 of the past 4 shows the band’s played, and 3 Animal Show staffers agreed: this band will melt your face, and make you appreciate it.

This past Saturday, I packed up my bindle and hitched my way down to Central Park, where I had the pleasure of having my senses double-bombed by Phoenix and Passion Pit. Passion Pit, while a powerful band in their own right, had the unfortunate position of opening, meaning that they were overshadowed in every possible way. While I could review their half of the show, I wouldn’t be able to say anything Marquis Meowmers IV hasn’t already said better; namely, “dude’s got pipes!” Instead, this review provides me the opportunity to wax rhapsodical about Phoenix, and, in part, laud their incredible records, too.

There are two extremes of terrible in the world of live shows: first, bands that play their songs as note-for-note, breath-for-breath replications of the recorded versions, which, barring those songs being exceptionally difficult or exciting, rarely end up being totally satisfactory; and, secondly, bands who bumble and futz their way through songs, showing that they really are in need of multiple takes, overdubs, and pitch-correction. Obviously, every band should aspire to the first. But the real key is to inject life into the songs. You know what I mean, dude? LIFE. FEEL THE MUSIC.

Phoenix obviously shit the Holy Spirit of Music on their worst days. In the opening strikes of “Lisztomania,” I could feel the guitar swells of Laurent Brancowitz in my chest, forming a womb deep within me with its musical prowess, and then leaving drummer Thomas Hedlund’s insanely rocking beats to penetrate and impregnate that musical womb with a virtuosic drumitar baby the likes of which have never been seen on Earth. The dual-guitar attack throughout proved so intoxicating that I was left literally stumbling out of the concert, striding torpidly through the perilously horse shit-filled streets of the park. And Thomas Mars is simply an incredibly versatile and talented vocalist, squealing, falsettoing, and cooing his way into the hearts of every man, woman, and androgynous ex-pat in the audience.

Every song had an extra little something. A riff that came out of nowhere. A bass rumble heard nowhere in the album. A false ending, an extended bridge, or extended solo. More often than not, however, the extra something came from the drumkit. Thomas Hedlund beat the shit out of those things, with impeccable timing and feeling for crescendo and decrescendo alike. Each time the stage lights dropped and one solitary beam was placed at the center, you could feel the collective skin of the audience freckle up in goosebumps. Never have I paid so much attention to the sweaty toil of the one guy on stage too antisocial to stand up. Now there’s a high standard set for anyone else I notice.

I’d go through it song-by-song, but I’m running out of adjectives. But you can look at the setlist, and get jealous.

Expect to hear more about how much I love Wolfgang Amadeus Phoenix as the year draws to a close.

Until then, enjoy 4 of the finest non WAP songs the concert had to offer:

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Long Distance Call – Phoenix (YSI)

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Rally – Phoenix (YSI)

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Everything is Everything – Phoenix (YSI)

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Run Run Run – Phoenix (YSI)

Related posts:

1. Phoenix! PHOENIX! Part II.
2. Threefer Thursday: Up, Up, and Away, Phoenix!
3. Phoemixes: Phoenix, Remixed

It's about time for this to go down.

There are a few things I’m incredibly passionate about that I don’t end up giving much attention to here at the Show. Usually, this is because a lot of people are writing way too frequently about them, like Mad Men, the Red Sox, or Star Wars. I mean, do you really want more Star Wars than I’ve already given you? Get lost, nerd! This isn’t a Star Wars-based music blog! It’s an egocentric, me-based music blog. (That said, icebergxc has a pretty shweet album of Star Wars Breakbeats I may finally be able to convince him to post.) But, like every new relationship, I ended up oversharing in the beginning of my blog career, and, as a result, it should come as no surprise to you that I love the Muppets*.

It may surprise you, however, that so does Best Album of 09 competitor Andrew Bird.

At some point in the past few months, the Birdman was across the pond, and played a radio show in France, on which he performed a beautiful rendition on Kermit the Frog’s timeless signature song, “Bein’ Green.” In French, no less. Ladies and gentlemen, the man can do it all. According to my #1 source for Muppet-related news, the Muppet Newsflash, this song will be released (presumably in an English version) alongside Weezer’s highly-anticipated cover of “Rainbow Connection” on an upcoming album titled Muppets Revisited (as corroborated by the Muppet Wiki). Can’t wait, ya’ll. So sit back, enjoy, and reminisce. Remember, we can’t be young forever, but we can listen to Andrew Bird without being ashamed for at least another couple years.

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Bein’ Green (Muppets Cover) – Andrew Bird (YSI)

*reading those first few posts is sort of like watching the first season of the Simpsons, because some of the jokes are funny, I guess, but everyone’s voice sounds weird and seriously, why is Bart’s hair so pointy? So my apologies for that.

Related posts:

1. Andrew Bird's "Noble Beast" Takes Flight
2. This is so stupid.
3. The Phantom Hood Internet