Why is this band so hated? They are one of the only distinctive, interesting band in a popular rock arena polluted with bands like Nickelback and Hinder. They are the best of the mid-90s adult alternative bands and about the only one that still matter (what ever happened to Train and the Wallflowers?). They sure don't overdo the releases: this is their first record since 2002.
Music critics seem to think that they have no place in modern rock, although I think that's a good thing. To me, they just continue to make brilliant, uncompromising roots rock like they always have.
They gave us a masterpiece of a debut (August and Everything After), a wild sophomore album that shows off their range (Recovering the Satellites), and a brilliant, somber, intimately underrated third effort (This Desert Life). I'll admit Hard Candy was a little weak, and the bad Shrek 2 song and the abysmal Joni Mitchell cover ("Big Yellow Taxi") made me loose some faith in them.
Their new album, Saturday Nights & Sunday Mornings, makes me glad they kept going and never changed their sound too much. The first six songs are a blessing: real rock with real singing and real guitar playing! Could this get onto rock radio next to the awful grunge rehashes that dominate it right now? The blues-jam of "Los Angeles" and the keyboard driven "Cowboys" probably have no place there, which is a shame.
The later half is a well-paced throwback to August and Everything After. The highlight is the transitional "Washington Square", which sets the tone for the rest. Nobody writes great somber pop ballads like "Anyone But You" anymore.
Ignore the critics on this one: the Counting Crows have given us one of the best records of 2008.
Best tracks: "Los Angeles", "Cowboys", "Washington Square", "On A Tuesday In Amsterdam Long Ago", "Come Around"
Next we, we get to see if an even more improbable comeback works: REM! I'm hopeful...
Sunday, March 30, 2008
Friday, March 28, 2008
I Miss You, Lauryn Hill
I walk into one of my employee's office today and she was playing one of my favorite albums from high school. It was so refreshing to hear a true timeless classic. I felt bad for not playing it for so long. The Miseducation of Lauryn Hill is ten years old this year. Can you believe it?
This album will sound both fresh and classic in 30 years. 15 perfect songs (and one useless intro) that she would never even try to follow up. Here is a few of my favorite moments:
"Ex-Factor" - The best soul song of the past 20 years... it just makes you wish that Motown still made them like this. The track doesn't peak until about 3:30 in, which hurt its radio potential but made it even more replayable. Perfect.
"Final Hour" - I never imaged a soul singer would be capable of something this tense, dark, and apocalyptic, but she can rap with the best.
"Forgive Them Father" - Now she pulls out reggae and raps out of the Bible. This is the kind of song Wyclef Jean would put out if he had any talent.
"Everything is Everything" - I remember her performing this song at the MTV Video Awards with a 15-piece band; she made every musician in that room look like a joke that night.
"Miseducation of Lauryn Hill" - This is a song that holds it all together for me. After taking us through about 10 musical styles and mastering them all, she writes a piano ballad and belts it out like nobody has since Aretha Franklin. This one is high on my list of "rip your heart out" songs.
She put out one album that was at the same time one of the best rap albums ever, one of the best soul albums ever, and one of the overall best albums of the 1990s. Then she quit and called it a career. Not too bad. I only have one thing to say about that: you don't need the Fugees! Forget them!
This album will sound both fresh and classic in 30 years. 15 perfect songs (and one useless intro) that she would never even try to follow up. Here is a few of my favorite moments:
"Ex-Factor" - The best soul song of the past 20 years... it just makes you wish that Motown still made them like this. The track doesn't peak until about 3:30 in, which hurt its radio potential but made it even more replayable. Perfect.
"Final Hour" - I never imaged a soul singer would be capable of something this tense, dark, and apocalyptic, but she can rap with the best.
"Forgive Them Father" - Now she pulls out reggae and raps out of the Bible. This is the kind of song Wyclef Jean would put out if he had any talent.
"Everything is Everything" - I remember her performing this song at the MTV Video Awards with a 15-piece band; she made every musician in that room look like a joke that night.
"Miseducation of Lauryn Hill" - This is a song that holds it all together for me. After taking us through about 10 musical styles and mastering them all, she writes a piano ballad and belts it out like nobody has since Aretha Franklin. This one is high on my list of "rip your heart out" songs.
She put out one album that was at the same time one of the best rap albums ever, one of the best soul albums ever, and one of the overall best albums of the 1990s. Then she quit and called it a career. Not too bad. I only have one thing to say about that: you don't need the Fugees! Forget them!
Tuesday, March 25, 2008
Heart of the City Tour
I've been to a lot of concerts in the past few years, but none of the prepared me for what I saw last night: Jay-Z and Mary J. Blige at Amway Arena in Orlando, Florida. Part of the fun was that I have never been to a hip-hop show; I had no idea what to expect. Who will go on first? Will there be a band, or just a turntable setup? How long do they perform? How clear will the vocals be? I had no idea.
It didn't take long for me to get it. After a brief video intro, a curtain went up and there sat a band with at least 18 members: drums, guitars, trumpets, violins - just about everything. Mary J and Jay-Z took their time walking out there, until the beat dropped and they jumped into a stunning duet of "Can't Knock The Hustle". This was the kind of cathartic moment I thought was only possible at an Arcade Fire or U2 show.
Mary's set was loose and unrestrained. The bouncy-as-ever "Real Love" was a highlight, where Jay-Z added a frantic 15-second verse. "No More Drama" was even more dramatic than on record, which I didn't think could be possible. Some of her more recent material dragged a little, but the call-and-response chorus of "You Know" reminded me why she has been so loved for so long.
Jay-Z didn't waste any time. He crept out with a single slow verse before dropping his real opener: the jazz trumpet section blared and Jay-Z spit fire on a version of "Roc Boys" that felt like it could tear the roof off of Amway Arena. It was unbelievable. Watching him rhyme was like watching Michael Jordan in 1996: not only was he the greatest, he knows it.
He astounded me by the different ways he could use his band: the jazz touch of Reasonable Doubt's "Can I Live", the Latin horns of "Encore", the guitar thrash of "99 Problems", the screeching organ of "Public Service Announcement", and the full-out pop jam of "Izzo". The band didn't waver one second through the gorgeous closer "Heart of the City" with Mary J.
I have one complain about this concert, and it has nothing to do with the musicians: Orlando has no soul. Why was everybody sitting? If Jay-Z, Mary J Blige, and a 18+ piece band can't move you, you should probably check your pulse.
This concert was one of the greatest musical experiences I've ever had. If you go to this tour, don't be ashamed to dance. The entire house will probably be moving (unless you are in Orlando).
You've never felt hip-hop like this before.
It didn't take long for me to get it. After a brief video intro, a curtain went up and there sat a band with at least 18 members: drums, guitars, trumpets, violins - just about everything. Mary J and Jay-Z took their time walking out there, until the beat dropped and they jumped into a stunning duet of "Can't Knock The Hustle". This was the kind of cathartic moment I thought was only possible at an Arcade Fire or U2 show.
Mary's set was loose and unrestrained. The bouncy-as-ever "Real Love" was a highlight, where Jay-Z added a frantic 15-second verse. "No More Drama" was even more dramatic than on record, which I didn't think could be possible. Some of her more recent material dragged a little, but the call-and-response chorus of "You Know" reminded me why she has been so loved for so long.
Jay-Z didn't waste any time. He crept out with a single slow verse before dropping his real opener: the jazz trumpet section blared and Jay-Z spit fire on a version of "Roc Boys" that felt like it could tear the roof off of Amway Arena. It was unbelievable. Watching him rhyme was like watching Michael Jordan in 1996: not only was he the greatest, he knows it.
He astounded me by the different ways he could use his band: the jazz touch of Reasonable Doubt's "Can I Live", the Latin horns of "Encore", the guitar thrash of "99 Problems", the screeching organ of "Public Service Announcement", and the full-out pop jam of "Izzo". The band didn't waver one second through the gorgeous closer "Heart of the City" with Mary J.
I have one complain about this concert, and it has nothing to do with the musicians: Orlando has no soul. Why was everybody sitting? If Jay-Z, Mary J Blige, and a 18+ piece band can't move you, you should probably check your pulse.
This concert was one of the greatest musical experiences I've ever had. If you go to this tour, don't be ashamed to dance. The entire house will probably be moving (unless you are in Orlando).
You've never felt hip-hop like this before.
Sunday, March 23, 2008
Gnarls Barkley's The Odd Couple
This is the kind of album critics hate to review. Not that they hate it, they just hate to review it.
Gnarls Barkley's first album was a glorious mess; it was an accumulation of crazy ideas that most musicians would never try. It was wildly inconsistent; for every track that the album could have done without, there was an absolutely brilliant, memorable track that I'm still humming two years later. "Crazy" became a huge hit, the title track is still one of my favorite soul tracks in decades, and "Just A Thought" remains as powerful and unpredictable as it ever was.
So after hearing the first album, I though what probably everybody else thought: this band needs restraint and focus to do a great album. Now they have that, and their second album does not have a bad song on it, but there aren't any stunning, exceptional tracks like "Just A Though" or "St. Elsewhere" either.
Song for song, the Odd Couple is a better album start to finish; but in a few years, St. Elsewhere will still sound fresh. So which one will everybody be happier with? Good question. Both are worth buying to find out for one reason: nobody else is making music like this right now.
Best tracks: "Who's Going To Save My Soul", "Run (I'm A Natural Disaster)", "Blind Mary"
Gnarls Barkley's first album was a glorious mess; it was an accumulation of crazy ideas that most musicians would never try. It was wildly inconsistent; for every track that the album could have done without, there was an absolutely brilliant, memorable track that I'm still humming two years later. "Crazy" became a huge hit, the title track is still one of my favorite soul tracks in decades, and "Just A Thought" remains as powerful and unpredictable as it ever was.
So after hearing the first album, I though what probably everybody else thought: this band needs restraint and focus to do a great album. Now they have that, and their second album does not have a bad song on it, but there aren't any stunning, exceptional tracks like "Just A Though" or "St. Elsewhere" either.
Song for song, the Odd Couple is a better album start to finish; but in a few years, St. Elsewhere will still sound fresh. So which one will everybody be happier with? Good question. Both are worth buying to find out for one reason: nobody else is making music like this right now.
Best tracks: "Who's Going To Save My Soul", "Run (I'm A Natural Disaster)", "Blind Mary"
Thursday, March 20, 2008
Random albums I'm listening to non-stop
Vince Gill - These Days: I originally borrowed this album from a library and ripped it to my computer. A few weeks later, i shelled out $25 for it just to own it. It is that good. All 43 songs of it. The second disc is still my favorite, but there is something for every mood here, and brilliant songwriting to back it up. (Best tracks: "Love's Standin'", "No Easy Way", "Sweet Little Corrina", "A River Like You")
Nine Inch Nails - Year Zero: I think I underestimated this one. Trent finally discovers lyrical focus; he also discovers some strange instrumentation, such as the bells in "The Good Soldier" and the horns in "Capital G". A year ago, I was ready to give up on NIN. Now, I'll be first in line for Year Zero: Part 2 later this year. (Best tracks: "Capital G", "Zero-Sum", "The Beginning of the End", "God Given")
Kanye West - Late Registration: I think this one will age better than just about any rap album this decade. Jon Brion contributes orchestrations to this 70 minute plus epic that doesn't peak until near the end: the most memorable parts for me are the trio of "Hey Mama", "Celebration", and "Gone". It's a celebration, bitches! (Best tracks: "Heard 'Em Say", "Crack Music", "Celebration", "Addiction")
Nine Inch Nails - Year Zero: I think I underestimated this one. Trent finally discovers lyrical focus; he also discovers some strange instrumentation, such as the bells in "The Good Soldier" and the horns in "Capital G". A year ago, I was ready to give up on NIN. Now, I'll be first in line for Year Zero: Part 2 later this year. (Best tracks: "Capital G", "Zero-Sum", "The Beginning of the End", "God Given")
Kanye West - Late Registration: I think this one will age better than just about any rap album this decade. Jon Brion contributes orchestrations to this 70 minute plus epic that doesn't peak until near the end: the most memorable parts for me are the trio of "Hey Mama", "Celebration", and "Gone". It's a celebration, bitches! (Best tracks: "Heard 'Em Say", "Crack Music", "Celebration", "Addiction")
Monday, March 17, 2008
Protest The Hero's Fortress
It has been a while since I've picked up a metal album. Since I've been on a big country music kick lately, I was definitely overwhelmed by the speed of this album. Just try to count the time signature of any track here: it will make your hurt.
Anyway, this is a great album with suprisingly wonderful melodies. The singing is more emo than metal, which isn't surprising since it's on the Vagrant label (home to Dashboard Confessional). In a split second, this singer can go from death metal growl to emo cry to hair metal scream; that's a pretty impressive trick that keeps me interested for 41 minutes. Plus, great surprises like the piano part in "Spoils" and the flash bass solo in "Palms Read" kept me guessing even after hearing them a few times.
If you like prog metal but you think the Mars Volta are too over the top, you'll like Fortress. I don't care how old you are, we all need a good thrash and scream once in a while.
Anyway, this is a great album with suprisingly wonderful melodies. The singing is more emo than metal, which isn't surprising since it's on the Vagrant label (home to Dashboard Confessional). In a split second, this singer can go from death metal growl to emo cry to hair metal scream; that's a pretty impressive trick that keeps me interested for 41 minutes. Plus, great surprises like the piano part in "Spoils" and the flash bass solo in "Palms Read" kept me guessing even after hearing them a few times.
If you like prog metal but you think the Mars Volta are too over the top, you'll like Fortress. I don't care how old you are, we all need a good thrash and scream once in a while.
Thursday, March 13, 2008
Joe Henry's Civilians
Last year gave us a ton of great albums, but it gave me three masterpieces that I'll be playing for years: Radiohead's In Rainbows, National's Boxer, and Joe Henry's Civilians. The first two have something to show for their work. Radiohead sold lots of albums, got the critics to kiss their asses again, and changed the way music can be sold. The National got critical acclaim, got some notice from opening for the Arcade Fire, and got to play David Letterman. Not too bad.
So why didn't Joe Henry get anything? I didn't see him on any of the critic's top ten lists. Some reviews were great, some were indifferent. His album was so unnoticed that Borders was the only store I could find that even carried it. And good luck finding any of his other records.
You can't ignore this album. This is rare album that I use the word timeless to describe: it could have come from the 60s, 70s, 80s.... it doesn't matter. The themes are modern (mostly anti-war songs), but they are so subtle that it could be from any time period. The first song describes a confused, disoriented General in a park drawing a battle plan on a napkin:
"Pray for you, pray for me! Sing it like a song! Life is short, but by the grace of God, the night is long!"
Who, besides Dylan or Waits, could write an anti-war song like that? Or this:
"Progress rides with thieves and whores, the stowaways of a civil war"
Why is this guy not worshiped as one of America's great songwriters? Listen to this album, and then buy Tiny Voices if you want more - and you will.
So why didn't Joe Henry get anything? I didn't see him on any of the critic's top ten lists. Some reviews were great, some were indifferent. His album was so unnoticed that Borders was the only store I could find that even carried it. And good luck finding any of his other records.
You can't ignore this album. This is rare album that I use the word timeless to describe: it could have come from the 60s, 70s, 80s.... it doesn't matter. The themes are modern (mostly anti-war songs), but they are so subtle that it could be from any time period. The first song describes a confused, disoriented General in a park drawing a battle plan on a napkin:
"Pray for you, pray for me! Sing it like a song! Life is short, but by the grace of God, the night is long!"
Who, besides Dylan or Waits, could write an anti-war song like that? Or this:
"Progress rides with thieves and whores, the stowaways of a civil war"
Why is this guy not worshiped as one of America's great songwriters? Listen to this album, and then buy Tiny Voices if you want more - and you will.
Sunday, March 9, 2008
Kathleen Edwards "Asking For Flowers"
I've played this album a few times now and I am definitely impressed. Although the later half of the album never replicates the intensity of the first three songs, it is a solid, consistent effort by an artist I'd like to hear more by. "The Cheapest Key" delivers enough anger without losing her sweetness, which is a tough trick for some female country singers to pull off. The title track is sort of a corner crier, but the melody is hummable and memorable, so the lyrics work well enough. And you have to love any artist who can write a folksy heart breaker called "Sure As Shit".
Here's a rundown on all of the albums I've hear this year:
Brilliant, maybe a masterpiece:
Nick Cave and the Bad Seeds: Dig! Lazurus Dig!
Drive-By Truckers: Brighter Than Creation's Dark
Great albums by promising artists:
Vampire Weekend: Vampire Weekend
Kathleen Edwards: Asking For Flowers
Disappointing albums by once-great artists who should give us something better:
Magnetic Fields: Distortion
Stephen Malkmus & the Jicks: Real Emotional Trash
Here's a rundown on all of the albums I've hear this year:
Brilliant, maybe a masterpiece:
Nick Cave and the Bad Seeds: Dig! Lazurus Dig!
Drive-By Truckers: Brighter Than Creation's Dark
Great albums by promising artists:
Vampire Weekend: Vampire Weekend
Kathleen Edwards: Asking For Flowers
Disappointing albums by once-great artists who should give us something better:
Magnetic Fields: Distortion
Stephen Malkmus & the Jicks: Real Emotional Trash
Thursday, March 6, 2008
Stephen Malkmus & The Jicks
After reading rave reviews from Rolling Stone and Allmusic, I was excited to hear Real Emotional Trash by Stephen Malkmus & The Jicks. Now that I've played it a few times, I have some mixed feelings.
The guitar work here is amazing. For this album, Malkmus decided to do more with guitar/keyboard interplay. He also added Janet Weiss, who is one of the most overpowering drummers alive. Instrumentally, this album is a cross between the Grateful Dead and Sonic Youth's more laid back work.
So why isn't this a great album? Two reasons: 1.) there are few memorable hooks or choruses to be found, and 2.) the lyrics are absolutely horrible.
I don't expect good lyrics out of Stephen Malkmus. That has never been his forte. Even on Pavement's best albums, the lyrics were the part I tried to ignore. Unfortunately, I think they get worse as he gets older. Just read the song titles: "Hopscotch Willie", "Elmo Delmo", and "Wicked Wanda". Could he have made an instrumental album?
There are some great moments here though. "We Can't Help You" is the rare beautiful moment that happens about once on each of his records (just like what "Here" was to Slanted and Enchanted). "Baltimore" has some of the best lo-fi buzz guitar soloing I've heard in years. "Gardenia" actually manages to be catchy: it's the only song you might still be humming after the album is over.
If you are looking for a great album to get drunk or stoned to, this one might work. If you are looking for a great rock album, get the new Drive By Truckers or wait a few weeks for Nick Cave and the Bad Seeds new one.
The guitar work here is amazing. For this album, Malkmus decided to do more with guitar/keyboard interplay. He also added Janet Weiss, who is one of the most overpowering drummers alive. Instrumentally, this album is a cross between the Grateful Dead and Sonic Youth's more laid back work.
So why isn't this a great album? Two reasons: 1.) there are few memorable hooks or choruses to be found, and 2.) the lyrics are absolutely horrible.
I don't expect good lyrics out of Stephen Malkmus. That has never been his forte. Even on Pavement's best albums, the lyrics were the part I tried to ignore. Unfortunately, I think they get worse as he gets older. Just read the song titles: "Hopscotch Willie", "Elmo Delmo", and "Wicked Wanda". Could he have made an instrumental album?
There are some great moments here though. "We Can't Help You" is the rare beautiful moment that happens about once on each of his records (just like what "Here" was to Slanted and Enchanted). "Baltimore" has some of the best lo-fi buzz guitar soloing I've heard in years. "Gardenia" actually manages to be catchy: it's the only song you might still be humming after the album is over.
If you are looking for a great album to get drunk or stoned to, this one might work. If you are looking for a great rock album, get the new Drive By Truckers or wait a few weeks for Nick Cave and the Bad Seeds new one.
Monday, March 3, 2008
Nick Cave delivers again!!!
Nick Cave has a new album called Dig!!! Lazarus Dig!!!. It isn't out in America until April 8, but you can hear it at:
http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=212434537
Now that I've heard this album, I think the Album of the Year 2008 competition might be over. This album is unbelievable. It's takes the best elements of Abattoir Blues and Grinderman and serves everything that makes Nick great: mock-gospel choruses, Biblical ranting, rock riffs, and hilarious lyrics about death.
"Dig yourself, Lazarus, dig yourself!!!"
I'm going to be writing about this one for months.
http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=212434537
Now that I've heard this album, I think the Album of the Year 2008 competition might be over. This album is unbelievable. It's takes the best elements of Abattoir Blues and Grinderman and serves everything that makes Nick great: mock-gospel choruses, Biblical ranting, rock riffs, and hilarious lyrics about death.
"Dig yourself, Lazarus, dig yourself!!!"
I'm going to be writing about this one for months.
Sunday, March 2, 2008
The Cure
The Cure are putting a new album out this year! OK, I don't know if I should be excited. It's been about 20 years since Disintegration now, and their last album was their worst.
However, I did think Wish and Wild Mood Swings were very good albums, even though by then the general opinion seemed to be "the Cure are done for". I remember seeing them on VH1's "Where Are They Now" in the late 90s, which was one of the saddest moments of my life. They aren't done yet! They are still a great band!
I'm not expecting a masterpiece like Kiss Me Kiss Me Kiss Me, Disintegration, or The Head On The Door, but I'll give anything Robert Smith puts out a chance. He did get me through high school and several crappy relationships; I owe it to him!
If this new album and the new REM album are both disasters, I will be very depressed this year. And not that good depressed you get from listening to Disintegration.
However, I did think Wish and Wild Mood Swings were very good albums, even though by then the general opinion seemed to be "the Cure are done for". I remember seeing them on VH1's "Where Are They Now" in the late 90s, which was one of the saddest moments of my life. They aren't done yet! They are still a great band!
I'm not expecting a masterpiece like Kiss Me Kiss Me Kiss Me, Disintegration, or The Head On The Door, but I'll give anything Robert Smith puts out a chance. He did get me through high school and several crappy relationships; I owe it to him!
If this new album and the new REM album are both disasters, I will be very depressed this year. And not that good depressed you get from listening to Disintegration.
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