Every time I visit a major American city, I try to learn about important musical landmarks that occurred there. Here are a few notes from my Las Vegas weekend:
- I visited the corner of Kovul and East Flamingo Street. Why is this important? This is the corner where 2Pac was murdered. What was there? Absolutely nothing. Would somebody please spearhead a 2Pac memorial project at that corner? It was a long time ago; give him something!
- It's really interesting which burnt out musicians end up doing shows in Las Vegas: I saw signs for Bette Midler and Morris Day and the Time. If I go to Vegas 20 years from now and see signs for the Flaming Lips, Wilco, and Fiona Apple, I might kill myself.
- If you are ever in Ceaser's Palace, stop by the Elton John store. Can anybody else wear those clothes?
- Jimmy Buffet and Toby Keith own restaurants on the strip. Crappy pop stars get shows in Vegas, crappy country stars get a restaurant in Vegas.
- If there is one thing music lovers should do there, it's the Cirque du Soleil production Love. If you grew up listening to the Beatles, it's nice to see somebody do something so artistic, original, and beautiful with their music without altering it considerably. The visual sensory overload they produce on every track look like what John and Paul might have been thinking when they wrote these songs, drug hallucinations and all. The album Love really is only worth buying if you've seen the show, but it is a fascinating mix of tidbits of their song and it beats putting out another greatest hits record. So if you in Vegas, Love is worth every bit of the 100-150 dollars per ticket.
Tuesday, July 15, 2008
Friday, July 11, 2008
When great artists do bad records
I’ve become convinced that American bands are only good for about 2 great albums. I don’t know why that is – are bands incapable of doing great things once they have been told by the masses that they are geniuses? Are American rock critics killing innovative bands such that we can never have another R.E.M – i.e., an American band that creates consistently great music for more than a decade running?
Instead of writing about the masterpiece albums these bands have made, I’m going to mention a few disappointments. Here are a few recent letdown records from artists who were following up great records:
Flaming Lips – At War With The Mystics: The Soft Bulletin and Yoshimi And The Pink Robots are still talked about years later – but does anybody remember this one? The pop songs drag on until catchy becomes irritating and the spaced-out jams are only there to entertain those who either do drugs or listen to Phish. They spent four years after Yoshimi making this?
Wilco – Sky Blue Sky: Wilco says goodbye to edginess, experimentalism, and being the thinking man’s alt-country band – it’s time for an album of background music for the dentist’s office! Some of the songs on this album sound like rejects from the last Eagles album. Ouch.
The Strokes – First Impressions of Earth: Their debut record was a classic. Their second album was a fast-driving fun follow-up with some great moments. This album ran about as long as those two combined, contained more “serious” and “personal” songs, and proved that more is less when you are a catchy garage punk band. Then they broke up, which was good news after this one.
Bright Eyes – Cassadaga: Please, let me know if there are people out there who can stomach “Make a Plan to Love Me”. Returning to the dense instrumentation of Lifted wasn’t a bad idea, but the songwriting on this album is just plain embarrassing.
My Morning Jacket – Evil Urges: I think I already said enough about this one in the past few weeks. Let’s move on.
Next week, the new Hold Steady album comes out. Right now, they are one of my favorite American rock bands. They’ve already given me two great albums (Almost Killed Me and Separation Sunday) and one classic (Boys and Girls in America). They are good for another one, right? They aren’t out of ideas like these other bands, right?
I'm going to Vegas for a few days; I'll be back next week and review the new Hold Steady album. I've also got albums by John Cale and Primal Scream coming in the mail. Have a good weekend.
Wednesday, July 9, 2008
Another year, another horrible Beck album
Do you remember when Beck was one of the most important musicians alive? After Mellow Gold, Odelay, Mutations, and Sea Change, I thought he could do anything. Rap, country, punk, folk: anything he wanted to do, he could and did on those albums.
He capped this run off with Sea Change, one of the most unexpected surprises any major label musician has ever released. A heartfelt and perfectly paced update on Dylan's Blood On The Tracks, it remains one of my favorite records of this decade. But after that, he's had a hard time sounding like he was interested in making music. Whereas his new brooding, drained vocal style worked great on Sea Change, it has ruined his ability to make the whiteboy rap/funk that made him famous in the first place.
Now that working with Nigel Goodrich (The Information) and the Dust Brothers (Guero) have failed to help him recapture old magic, he brought Danger Mouse on board. Unfortunately, no produced can make him sounded interested again. Even the spy-theme funk rhythm on "Gamma Ray" makes me wish it was Cee-Lo on the mic instead of Beck.
I don't know what it will take to revitilize Beck - at 38 years old, he isn't nearly as old as he sounds (Bob Dylan and Tom Waits, both past 60, has more spunk and life). So forget Modern Guilt: pull out Mellow Gold and Odelay and remember the golden age of Beck.
He capped this run off with Sea Change, one of the most unexpected surprises any major label musician has ever released. A heartfelt and perfectly paced update on Dylan's Blood On The Tracks, it remains one of my favorite records of this decade. But after that, he's had a hard time sounding like he was interested in making music. Whereas his new brooding, drained vocal style worked great on Sea Change, it has ruined his ability to make the whiteboy rap/funk that made him famous in the first place.
Now that working with Nigel Goodrich (The Information) and the Dust Brothers (Guero) have failed to help him recapture old magic, he brought Danger Mouse on board. Unfortunately, no produced can make him sounded interested again. Even the spy-theme funk rhythm on "Gamma Ray" makes me wish it was Cee-Lo on the mic instead of Beck.
I don't know what it will take to revitilize Beck - at 38 years old, he isn't nearly as old as he sounds (Bob Dylan and Tom Waits, both past 60, has more spunk and life). So forget Modern Guilt: pull out Mellow Gold and Odelay and remember the golden age of Beck.
Monday, July 7, 2008
Shearwater's Rook
I read a review in Blender that referred to Shearwater as a "moodier offshoot of Okkervil River" and I could help wondering how Okkervil River could get any moodier. The album Black Sheep Boy is my new definition of over dramatic. The Stage Names seems tame and resigned in comparison: that is, until the end, when their singer sings the Beach Boys "Sloop John B" like he has a gun in his mouth. How can anybody top that?
Shearwater's new record, Rook, is more dark, symphonic, and even more dramatic than Okkervil River's records. The opening track, "On The Death Of The Waters", has one of the most surprising blasts of noise I've ever heard in a song - don't play this record too loud. The title track follows and actually approaches a pop-rock tune until the violins and trumpets overtake the guitar. Most songs are built around a harpsichord, a piano, or violins; guitars make appearances mostly in the background.
Several tracks are written as epics that only work in the album but not alone: this isn't a record to shuffle on your iPod. Songs like the waltzing "Home Life" and the building "Snow Leopard" are multi layered epics that can only work in this context. The albums lone conventional rock song, "Century Eyes", comes and goes like a two minute burst of adrenaline - you might find yourself wanting another verse to break the silence for a few more minutes. All this happens in an album that is only 38 minutes long, which is amazingly restrained for a brooding indie-folk record.
The instrumentation and dynamics are great, but like Okkervil River, it's singing and lyricism that make me want to keep hearing this album. Shearwater has a haunting Jeff Buckley effect to his voice that makes it obvious why he wanted his own band. His lyrics take time to sort out - allusions to birds give the album a theme, and how he uses that to describe loneliness and fear is up to you to figure out.
Rook is a masterpiece - an even better record than Black Sheep Boy (and that's saying something). While it might be too dramatic for mass consumption, this is a must-hear for anybody who loves Okkervil River, The National, or Sufjan Stevens. It's a standout album in a year already full of them.
Shearwater's new record, Rook, is more dark, symphonic, and even more dramatic than Okkervil River's records. The opening track, "On The Death Of The Waters", has one of the most surprising blasts of noise I've ever heard in a song - don't play this record too loud. The title track follows and actually approaches a pop-rock tune until the violins and trumpets overtake the guitar. Most songs are built around a harpsichord, a piano, or violins; guitars make appearances mostly in the background.
Several tracks are written as epics that only work in the album but not alone: this isn't a record to shuffle on your iPod. Songs like the waltzing "Home Life" and the building "Snow Leopard" are multi layered epics that can only work in this context. The albums lone conventional rock song, "Century Eyes", comes and goes like a two minute burst of adrenaline - you might find yourself wanting another verse to break the silence for a few more minutes. All this happens in an album that is only 38 minutes long, which is amazingly restrained for a brooding indie-folk record.
The instrumentation and dynamics are great, but like Okkervil River, it's singing and lyricism that make me want to keep hearing this album. Shearwater has a haunting Jeff Buckley effect to his voice that makes it obvious why he wanted his own band. His lyrics take time to sort out - allusions to birds give the album a theme, and how he uses that to describe loneliness and fear is up to you to figure out.
Rook is a masterpiece - an even better record than Black Sheep Boy (and that's saying something). While it might be too dramatic for mass consumption, this is a must-hear for anybody who loves Okkervil River, The National, or Sufjan Stevens. It's a standout album in a year already full of them.
Friday, July 4, 2008
A few quick reviews
Hercules & Love Affair - Hercules & Love Affair: Antony (of Antony & The Johnsons fame) does an outstanding vocal performance on this DFA released dance/disco release. However, he only sings on about half the tracks, and some of the instrumentals drag on too long for this album (although I'm sure they are just long enough in the club). If you are already a fan of current New York indie dance music, get this album. If not, this might not be the place to start.
Bill Frisell - History, Mystery: Calling this album jazz is oversimplifying - like all of his best albums, it combines American folk, country, jazz, and classical. It sounds more like a soundtrack to a dark Coen brothers movie that hasn't been made yet. If you love any of those aforementioned genres or you love music that is challenging while still being peaceful, try this one out. However, if you can track down his 1992 album Have A Little Faith, try that first.
Wolf Parade - At Mount Zoomer: This is what I've come to expect from an anticipated sophomore release: less adventurous, more streamlined, fewer weak moments, but also less highlights than the debut (in this case, no gems like "Grounds For Divorce" or "I'll Believe In Anything"). Albums like this always take me a while to decide on: I could end up loving it like I did Arcade Fire's Neon Bible, or I could end up hating it like Gnarls Barkley's second album. I'll get back to you on this one...
July brings us new records by Beck and Hold Steady. Have a great Fourth of July weekend!
Bill Frisell - History, Mystery: Calling this album jazz is oversimplifying - like all of his best albums, it combines American folk, country, jazz, and classical. It sounds more like a soundtrack to a dark Coen brothers movie that hasn't been made yet. If you love any of those aforementioned genres or you love music that is challenging while still being peaceful, try this one out. However, if you can track down his 1992 album Have A Little Faith, try that first.
Wolf Parade - At Mount Zoomer: This is what I've come to expect from an anticipated sophomore release: less adventurous, more streamlined, fewer weak moments, but also less highlights than the debut (in this case, no gems like "Grounds For Divorce" or "I'll Believe In Anything"). Albums like this always take me a while to decide on: I could end up loving it like I did Arcade Fire's Neon Bible, or I could end up hating it like Gnarls Barkley's second album. I'll get back to you on this one...
July brings us new records by Beck and Hold Steady. Have a great Fourth of July weekend!
Monday, June 30, 2008
At the midpoint
Now that the year is half over, here are my favorite albums of the year:
10. Hercules & Love Affair - Hercules & Love Affair: As far as New York hipster dance music goes, this is the a great album if you've worn out your copy of LCD Soundsystem's albums. (Listen to "Raise Me Up")
9. Mudcrutch - Mudcrutch: Better late than never for Tom Petty and his laid back country Florida buddies. (Listen to "Scare Easy")
8. REM - Accelerate: After a long artistic absence, a nice return to garage/pop/punk mode. (Listen to "Horse To Water")
7. Fleet Foxes - Fleet Foxes: These Seattle folk Brian Wilson-worshipers made one blissful record; I hope they don't wait long to make another one. (Listen to "He Doesn't Know Why")
6. Alejandro Escovedo - Real Animal: A lot edgier and less restrained this time - it's not often you hear this much Sex Pistols influence in a country record. (Listen to "Chelsea Hotel '78")
5. Lil Wayne - The Carter III: It's not often a rap record lives up to its sales and hype like this - he might give Kanye some competition if he can just go crazy at a few awards shows. (Listen to "Tie My Hands")
4. Portishead - Third: After eleven years away, they sound like they didn't miss a beat. Even if you are a fan, there are some stunning surprises hidden in this album. (Listen to "Magic Doors" and "Machine Gun")
3. Coldplay - Viva La Vida: Brian Eno was a good fit for them - they leave the comfort zone and live up to the "Biggest Band in the World" title. (Listen to "Viva La Vida", "Lost!", "Reign Of Love")
2. Nick Cave and the Bad Seeds - Dig! Lazarus, Dig!: Age only makes him crazier. With his band sounding simultaneously like The Stooges and The Band, Nick rants about the end of the world like a crazed pastor. (Listen to "Today's Lesson", "More News From Nowhere", "Moonland")
1. Bon Iver - For Emma, Forever Ago - The most stunning folk album since Nick Drake was alive is nine tracks of stunning heartbroken imagery. It makes you want to go hide out in a Wisconsin cabin for four months the way he did. At first, it was sleepy background music for me; now it's one of the best records of the decade. (Listen to "Skinny Love", "Flume", "The Wolves"... and then for God's sake go buy this album)
10. Hercules & Love Affair - Hercules & Love Affair: As far as New York hipster dance music goes, this is the a great album if you've worn out your copy of LCD Soundsystem's albums. (Listen to "Raise Me Up")
9. Mudcrutch - Mudcrutch: Better late than never for Tom Petty and his laid back country Florida buddies. (Listen to "Scare Easy")
8. REM - Accelerate: After a long artistic absence, a nice return to garage/pop/punk mode. (Listen to "Horse To Water")
7. Fleet Foxes - Fleet Foxes: These Seattle folk Brian Wilson-worshipers made one blissful record; I hope they don't wait long to make another one. (Listen to "He Doesn't Know Why")
6. Alejandro Escovedo - Real Animal: A lot edgier and less restrained this time - it's not often you hear this much Sex Pistols influence in a country record. (Listen to "Chelsea Hotel '78")
5. Lil Wayne - The Carter III: It's not often a rap record lives up to its sales and hype like this - he might give Kanye some competition if he can just go crazy at a few awards shows. (Listen to "Tie My Hands")
4. Portishead - Third: After eleven years away, they sound like they didn't miss a beat. Even if you are a fan, there are some stunning surprises hidden in this album. (Listen to "Magic Doors" and "Machine Gun")
3. Coldplay - Viva La Vida: Brian Eno was a good fit for them - they leave the comfort zone and live up to the "Biggest Band in the World" title. (Listen to "Viva La Vida", "Lost!", "Reign Of Love")
2. Nick Cave and the Bad Seeds - Dig! Lazarus, Dig!: Age only makes him crazier. With his band sounding simultaneously like The Stooges and The Band, Nick rants about the end of the world like a crazed pastor. (Listen to "Today's Lesson", "More News From Nowhere", "Moonland")
1. Bon Iver - For Emma, Forever Ago - The most stunning folk album since Nick Drake was alive is nine tracks of stunning heartbroken imagery. It makes you want to go hide out in a Wisconsin cabin for four months the way he did. At first, it was sleepy background music for me; now it's one of the best records of the decade. (Listen to "Skinny Love", "Flume", "The Wolves"... and then for God's sake go buy this album)
Friday, June 27, 2008
Alejandro Escovedo's Real Animal
What a great way to close out an already stellar month for new releases. Alejandro Escovedo, who seems to be peaking in his 50s, has managed to top his 2006 release The Boxing Mirror, which is saying something.
It will only take you the first three tracks to love this record. It starts with "Always A Friend", a Springsteen-esque country rocker that deserves to be a crossover hit. After that, it gets bizarre - "Chelsea Hotel '78" finds him switching to a half-shouted punk yell to tell the story of, suitably, Sid Vicious. He shouts the call-and-response chorus of "it makes no sense (it make perfect sense!)". Trust me, you'll be singing along on the first listen. "Sister Lost Soul" is the perfect contrast to follow it: this country-weeper moves along with violins and one of the year's best vocal performances.
The rest of the album doesn't let down. "Smoke" and "Real as a Animal" combine punk with his classic country-rock sound. The ballads are well paced and well sequenced: "Golden Bear" is creepy and building with hypnotic background vocals and "Swallows of San Juan" is a country waltz where his vocals have a chance to shine again.
I was expecting a lot from Real Animal, but this is more than I expected. If you have any interest in pop or alternative country, you need this record - the songwriting and arrangements outshine the already thick competition for best country record of the year.
It will only take you the first three tracks to love this record. It starts with "Always A Friend", a Springsteen-esque country rocker that deserves to be a crossover hit. After that, it gets bizarre - "Chelsea Hotel '78" finds him switching to a half-shouted punk yell to tell the story of, suitably, Sid Vicious. He shouts the call-and-response chorus of "it makes no sense (it make perfect sense!)". Trust me, you'll be singing along on the first listen. "Sister Lost Soul" is the perfect contrast to follow it: this country-weeper moves along with violins and one of the year's best vocal performances.
The rest of the album doesn't let down. "Smoke" and "Real as a Animal" combine punk with his classic country-rock sound. The ballads are well paced and well sequenced: "Golden Bear" is creepy and building with hypnotic background vocals and "Swallows of San Juan" is a country waltz where his vocals have a chance to shine again.
I was expecting a lot from Real Animal, but this is more than I expected. If you have any interest in pop or alternative country, you need this record - the songwriting and arrangements outshine the already thick competition for best country record of the year.
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