Monday, December 31, 2012

Happy New Year! And Happy Birthday!

Happy New Year to all those out in radio land! I hope the coming year is prosperous and joyful and full of excitement. May the happy times outweigh the sad times!

Happy birthday to Andy Summers of The Police fame. He is 70 years old today. Holy crap, 70? Wow.

Here's easily my favorite Police song:


Saturday, December 29, 2012

Top 5 Metal Records of 2012

I saw a tweet about a month ago and then a follow-up yesterday from Guitar World. On their website an English guitarist bemoans the state of metal. He makes some very good points. Read it here and here. The gist of it is something I agree with, that many metal bands have forsaken melody for sheer speed or noise or image or whatever. The second of the two posts is actually much better I think. I have always fallen on the Black Sabbath and Iron Maiden-y side of the spectrum of metal. I like a song that I can tap my toe to or hum along with, be it metal or power pop or alt country or whatever. Good songwriting is something that trumps all genres.

Individuality is an interesting idea and something that is missing from a lot of bands. Dave Murray and Adrian Smith are both in the same band, but they have a unique sound and I can tell who is doing which Maiden lead, if I try hard enough that is. Kirk Hammett sounds like Kirk Hammett (mainly because he is usually playing something completely different than the rest of the band). Maybe I am just not as well-schooled in modern metal, but from what I hear it is just a wall of noise. There's a place for that sure but it isn't my thing.

The image thing I don't know what to say about. Image has been a part of rock n roll forever, so I don't really subscribe to that. If a guy wants to wear a dress on stage or be wrapped in spandex or whatever more power to him.

Where I disagree is that there are indeed plenty of metal bands that still practice the "old school" variety of melodic metal. So to re-inforce that, here are my five favorite metal records of the year.

Sorrow and Extinction by Pallbearer - Heavy, sludgy Sabbath-inspired metal.

De Vermis Mysteriis by High On Fire - Fast and heavy and relentless. Reminds me of Slayer, but not as scary.

Yellow & Green by Baroness - More Sab-metal. These guys had a terrible bus crash while touring in Europe earlier this year. Thankfully nobody was killed, though the band were pretty beat up. Excited to see them on the road again.

Angels of Darkness, Demons of Light II by Earth - Slow and melodic instrumentals.

Apocryphon by The Sword - More Sab-inspired metal. A bit more goofy but the best record they have done since their debut.

Thursday, December 27, 2012

Obligatory Buys

There are some bands that I will always buy their new record. As a fan I think it is important to continue showing support. Plus my music habit is close to a drug addiction, so it is a nice way of providing cover.

Some of the albums were really good...some were kind of meh.

Mirage Rock by Band Of Horses - I do not like their last two records as much as I liked their first two records. I sense a negative trend. The last two have been more by-the-numbers...less interesting.

The Sound Of The Life Of The Mind by Ben Folds Five - Ben Folds' solo stuff has always been sort of dull, especially when compared to his work with his eponymous band. The song writing here is not as great as the original three BFF records. Not a disappointment here; it is good to hear Ben playing with Darren Jesse and Robert Sledge again. They seem to bring out the best in Ben.

Algiers by Calexico - Best way to describe Calexico is if an alt-country band did the soundtrack for a spaghetti western. This one would probably have been in my top 20 if I thought that hard about it.

One Lovely Day by Citizen Cope - Clarence Greenwood writes great songs. This is another solid entry into his discography. Mellowish R&B-flavored singer-songwriter stuff.

Walking In The Green Corn by Grant Lee Phillips - Grant Lee Buffalo was an amazing band and their leader has turned in some greta solo records since he went solo. He is mellowing with age. Unfortunately it is not as interesting a sit used to be.

Love Is The Plan, The Plan Is Death by James Blackshaw - Young British 12-string acoustic player. Makes great instrumental albums with scary titles. Has experimented with more instrumentation, be it strings or keys or what. Still really pretty music.

Bringing In The Darlings by Josh Ritter - Great singer-songwriter with a new EP. This one is kind of meh.

The Dreamer by Rhett Miller - Kind of growing on me since I saw the Old 97s live.

Point Of Morrow by The Shins - I really liked this when it first came out. Still like it but it dropped out of the top 10.

Among The Leaves by Sun Kil Moon - Mark Kozelek's latest is sort of inert. I just don't dig this one.

Now For Plan A by The Tragically Hip - My second most favorite band on Earth and their latest is just sort of meh. I have thought that for the last couple of records but I eventually came around on them. Maybe I will here!

Tomorrow I will talk about my favorite metal albums of the year! YEAH!

Sunday, December 23, 2012

Favorite Albums of 2012 - Number 1

I find that I contemplate my mortality more as I get older. I understand that is not a unique proposition but it is there. Most times I think on it and understand there is nothing I can do about it, that it is inevitable, that we all must face it, that we do the best we can to be ready. I do not believe one can face it without regrets; regrets are a part of life and being human. What we can do is remember those regrets but not let them hold us back.

Sometimes though, usually when I am awake at night, I have an overwhelming fear of this unknown. So much that I pace the floor and do all I can to stop from crying out. It is an immense void. As someone who was brought up Catholic, went to parochial schools, and spent 4 years at a Jesuit prep school, I find myself now with a shattered faith. The concept of an all powerful and all seeing god simply does not resonate to me anymore. I do not believe in any afterlife. I believe that the life we have is the one life we have, that there is not a heaven or hell waiting for us. We are here not for a higher purpose but simply because we are here. And that we must do everything we can to cherish all the moments and all the people we come in contact with, because even though there have been so many of us, are so many, and will be so many more, we are still the only one of us, and are special beyond words in that regard.

Anathema - Weather Systems
Anathema are a progressive rock band from England. Their latest record is Weather Systems. And I bring up the concept of mortality because in this record Anathema confront it through some of the most beautiful music I have ever heard. The interplay of acoustic and electric guitars with piano and string and the vocals of the Cavanagh brothers and Lee Helen Douglas, when coupled to the themes of facing life and death both and ultimately of accepting it and the gift life is, it makes for some heavy listening. Anathema do not approach it heavy handed or with fakeness; the record to me at least is a wonderful reminder of the power of music, the beauty of music, and how music can touch you to the core. Songs like "Lightning Song" bring tears to my eyes, even after the 20th listening.

I do not know what happens when we die. Anathema do not know either. But what I do hope for is that whatever happens, mother nature will take care of us, accept us back where we came from, and I hope makes us part of whatever grand plan she has. Maybe that is God; maybe that is enough to believe in.

The only way to appreciate this record is front-to-back, but here is the aforementioned "Lightning Song" in case you want to take a listen. I recommend it as a voyage well worth taking.


To all my loved ones and friends and to everybody out there, I wish you the Merriest of Christmas. To you and yours, nothing but the best.

Saturday, December 22, 2012

Favorite Albums of 2012 - Number 2

Rock and roll is the proverbial young-mans-game. Slogging through a tour, night after night, eating garbage, sleeping little, wearing dirty clothes, sitting around all day waiting to play for anywhere from 30 minutes to 90 minutes looks like it would be drag for someone old and tired like me. When my band does a show it is exhilarating, but I think doing it every night for three months would get taxing. Unless you are the Rolling Stones and fly around in your own jet and stay at the Plaza, but any life out of a suitcase even if you are Mick Jagger can get tiring.

Bob Mould - Silver Age
Bob Mould is 52 years old. He became known as the front man for Hüsker Dü, went solo for a bit, did Sugar, did more solo, became a DJ, came out as gay somewhere in there, then did this record, the best guitar pop record of the year. If you heard Sugar before then you know what is happening on this record. Last year he did a guest spot on the Foo Fighters record and it must have re-awakened the loud guitarist in Bob because this record just roars. It comes out firing and just doesn't stop. Thirty-eight minutes of power pop heaven. Bob has only a handful of tour dates in 2013 and that is sad because I would love to see him do this record on the road. But then again, he is 52 and he paid his dues with the Dü, so maybe we should appreciate him taking it easy. He's doing a bunch of shows in Australia and that isn't too bad.

Here's the lead track "Star Machine." It is in a word frakkinawesome.


Up next: Steve unveils his number one record of 2012. He is pretty sure you have NOT heard of it.

Friday, December 21, 2012

Favorite Albums of 2012 - Number 3

It is my strong opinion that the Rock and Roll Hall of Fame is a joke. When it opened it was Jann Wenner's (editor of Rolling Stone magazine) baby, so it was filled with bands and continues to be filled with bands that have the Rolling Stone seal of approval. I do not hide that I am a power pop and metal and progressive music fan, and what particularly galls me is the lack of that in such a hallowed institution. If the purpose of a hall of fame, any hall of fame, is commemorate bands that were important, especially bands that were important to other bands, it is an absolute sham it took Black Sabbath so long to get in and that bands like Deep Purple, King Crimson, Yes, Kiss, Cheap Trick and Big Star are still not there.

I not one of those dopes that say hip-hop does not belong there. I am not a big hip-hop fan but I like everybody else I like The Beastie Boys. But I also appreciate and enjoy listening to Public Enemy, N.W.A., Cypress Hill. Hip-hop is as much a part of rock n roll as anything else. It all came from the same root just went in different branches of the tree.

Rush - Clockwork Angels
The Rock and Roll Hall of Fame recently announced my most favorite band on the planet is finally getting inducted into their little club. Rush has always been the first band I froth at the mouth over when discussing the Hall. Their induction in all honesty does not seem like some sort of vindication to me. I am glad for my favorite band, but I am not pumping my fist and strutting around like Rod Tidwell. Part of me is probably a little sad I won't be able to complain about my favorite band being in their stupid hall. I guess I will take up the Cheap Trick or Big Star cause now!

Anyway, back to the countdown. One of the many things I love about Rush is that they keep making strong records. I've talked before about Aerosmith and The Rolling Stones and why they even bother with new music because nobody is interested in hearing it. Rush stays relevant by continuing to make records that say something. I do not mean that in some metaphysical or deep-man kind of way but in that they still write great songs and still play better than any other band on the planet. Clockwork Angels is no exception. It is a return to the concept album idea, but not the 20-minute suites that they used to do. The concept is about an alternate universe based in steampunk about a farm kid who runs off to the city and has adventures and sails air-ships and crosses deserts and fights battles and joins a traveling circus. (Neil Peart co-wrote a book that fleshed out the story. Speaking as a Rush fan, it is...okay. We will leave it at that) The story is fine, the revelation is the musicianship and the great songs. There's no "Tom Sawyer" here, no "Limelight" or "Spirit Of Radio," but songs like "Caravan" and "Headlong Flight" and "The Wreckers" and especially the last two: "Wish Them Well" and "The Garden" are songs that stand just fine in the Rush canon. Those last two are especially good: the former a nice almost power pop kind of cut, the former probably the best closing song Rush has done (except for "La Villa Strangiato")

It's not hip to say it (but maybe now it's so unhip it has actually become hip...whatever) but I love Rush. I screamed like a little girl when Jodi and I had 2nd row seats right in front of Geddy Lee. I will see them whenever they come to DC or Baltimore. And if Geddy or Alex or Neil ever stumble across this while searching "Rush" in google, then I'll just say "Thanks" for being my most favorite band on the planet for the last 25 years.

Here's "Wish Them Well:"


Next: another old fart makes the list!!

Wednesday, December 19, 2012

Favorite Albums of 2012 - Number 4

For me, a great album is made up of great songs, and great songs are made up of great songwriting. OK, I guess that is fairly obvious, but good song-writing is hard to find. There are plenty of records that are full of just uninteresting song-writing. For example, last night I saw Tegan & Sara open for The Killers. Tegan & Sara seemed like very nice people who I am sure would be pleasant to share a cup of coffee with, and their songs were relatively pleasant, but the quality of writing left me wanting. I underdtand they are infinitely more successful than I could ever hope let alone expect to be. But I felt the songs were too strangely structured. They ended in odd places and in odd ways. They had some really cool moments but the songs never really seemed to feel fully formed. It's one thing to explore beyond verse-chorus-verse-chorus-bridge-verse-chorus but T&S aren't Yes.

Brendan Benson - What Kind Of World
That is an odd way to get to my number 4 favorite album of the year: Brendan Benson's What Kind Of World. The connection leading to this record is that Brendan is an AMAZING songwriter. A great pop songwriter. Catchy, melodic, lyrically clever, constantly have my head bobbing up and down. He as good as it gets.

If you listen pop radio, you have probably heard him, though it was not anything on this album or any of his previous solo records. He has had exposure the last few years as part of The Raconteurs with Jack White. In fact, Brendan is doing most of the singing on those records, not Jack White. This particular record came out the same day as Jack's record Blunderbuss. I wrote about that earlier in the year and I stand by my belief that Brendan's record is superior in every regard. Jack's record is too fussy, too all over the place. WKOW is straight-forward power pop, but without any sameness. That's a tough balancing act: to make a record that flows effortlessly but is not locked into the same groove. And THAT is a tribute to Brendan's great songwriting ability.

Here's "Keep Me" which is not even the best song on the record.


Up next: my favorite band ever continues to make great records.

Tuesday, December 18, 2012

Favorite Albums of 2012 - Number 5

I once owned a Rickenbacker 6-string. I had ordered a green one but instead a mapleglo one showed up. At first I was sad and figured I would have to send it back. But after two seconds of looking at it I was in love. What a great guitar. I got to play it live once when I did a solo show at a shitkicker of a club out in Centreville. I sold it about...6 or 7 tears ago, figuring I was never going to be in a band and might as well let it go to a good home. I sold it through craigslist. One of the dumber things I have ever done. I miss the hell out of that guitar.


I speak of Rickenbackers because the latest record from Gentleman Jesse features a pretty fireglo on the cover. Ricks, especially the 12-string model, have that beautiful and unique chimey sound. Think mid-80s REM and Elvis Costello. I bought an Italia Rimini 12-string because I didn't want to spend so much on a Rick. It's a great little guitar, fantastic value and I love it, but it ain't no Rickenbacker.

I am off on a long tangent, because ostensibly this is about number 5 on my list of favorite records of 2012, and that would be Leaving Atlanta by the aforementioned Gentleman Jesse. It's a great power-pop record, VERY late 70s and early 80s Elvis Costello sounding. It has that Rickenbacker chime I adore all over it. What's happening on this record is just straight ahead power pop. Fast catchy numbers. No slow ballads in the bunch, though a couple mid-tempo songs. It's great songwriting in support of a fun summertime record. A minute in and you will likely be bopping your head or tapping your toe along with the beat. Great songs played great will always have a place on my iPod.

Here's "You Give Me Shivers" done live and featuring that gorgeous Rickenbacker.


Next up....a solo record overshadowed by a more well-known band member, though the less known guy's record is 100 times better than the well known guy. Make sense?

PS...I might slip in a concert review because Jodi and I are seeing The Killers tonight. It will ruin the symmetry of the postings but whatever.

Sunday, December 16, 2012

Favorite Albums of 2012 - Number 6

Pop music has been taken over by the likes of Taylor Swift and Justin Bieber and the new assemblage of boy bands. That is all well and good. Pop music leans towards the lowest common denominator; in order to sell records you have to reach the most people and to do that you need to offend or alienate the least amount of people. Guitar bands aren't really found much at the top of the charts, except you're the Foo Fighters and they pretty get to be there because pop has to have one guitar band it likes. But their are plenty of bands with guitars that are making great records that have a space where they exist and get heard.

Nude Beach - II
After running he gamut of grunge to psych to prog to alt country, we come to indie rock band Nude Beach. Their latest record is called II and is a short little record. Ten songs of 60s inspired American garage rock; it gets in and gets out. It's not particularly deep or thought-provoking, but that's perfectly fine! Music at its essence is just having a good time, of enjoying the melody and enjoying the day; of tapping your shoe to the beat. Nude Beach do that very well. This is one of those summer day with the top down kind of records. The record nods to the power-pop forebears like The Hollies and The Beach Boys and Big Star, but retains a modern sound. I like this record much better than the Japandroids new record, which is the one  currently making it to the top of the best of lists. I think this record has more life breathed into it.

Here is the video for the lead track "Radio:"


Up next: the best record Elvis Costello never made!

Saturday, December 15, 2012

Favorite Albums of 2012 - Number 7

A melancholy day with the terrible doings in Connecticut. But one of the things about music is it can help heal, help people get through difficult times, it can just help in a small but maybe meaningful way.

Ryan Bingham - Tomorrowland

I've written about Ryan Bingham before, specifically how I think he carries on the tradition of Springsteen-esque rock. He is the type of artist whose music fits the image: jeans, flannels, stubble-faced.  This record is a great mix of acoustic-based folk and harder barroom stompers. It is the former collection of songs that hit the hardest. His songs reflect the darkness that makes up the shadows of life.  A big part of life is the sadness, is the loss. Life really is all loss, from the day we are born we are on a path towards dying. The struggle of life is to fight through that and reach for the light on the other side of the shadows, for the things that make it all bearable.

It is sort of appropriate this record comes up today. Here's "No Help From God."


Friday, December 14, 2012

Favorite Albums of 2012 - Number 8

There's something about progressive music that many folks don't like. Too earnest, too busy, too take-it-self-serious, too full of itself, too complicated-for-the-sake-of-complication, too pretentious, too sterile.

I like progressive rock. I like lots of different kinds of music but good prog can be stimulating on many levels (uh oh here he goes). The musicianship can be very impressive but that can be done at the expense of passion. All things being equal, I think it's better to play passionately than perfectly (assuming you know how to play in the first place).

Alcest - Les Voyages de L'Âme

Another thing people don't like is France. HA! I kid (kind of). I myself love France; Paris is one of my favorite cities. Alcest has the dual problem of being a progressive metal band from France.

Their new album is called Les Voyages de L'Âme, which for the non-French speakers means "journeys of the soul." That is a very progressive rock kind of title, but it also suits the music. I am going to drift perilously close to melodrama here, so bear with me. Prog rock tends to do that to me.

This is another record, much like the Tame Impala record, I find surprised is ranked so far down the list. Maybe in a year I will want to re-arrange things, because this is the kind of record that finds itself getting played and played and played. It probably helps that it is sung in French, which adds to it's mystery. Like their European colleagues Opeth, Alcest was a black metal band that has become much more melodic and has stepped away from the cookie-monster-growls that goes for vocals in that scene. The singing here is lovely and is perfectly suited for the music. It is, in a word, beautiful...beautiful all around. It's complicated but it's never monotonous; it goes from quiet to loud; from the valleys then into the air. And really, it is a very touching record. 

If you are a fan of progressive rock and you don't have this record...you really really REALLY need to get it.

Here's the video for the title cut. And yes the video is as proggy as you would expect.


Up next....from prog to alt-country. Sacre bleu!!

Thursday, December 13, 2012

Favorite Albums of 2012 - Number 9

I'd like to visit Perth Australia one day. I was marveling at a map of Australia the other day. I like to go online and follow along with roads that are winding through the middle of nowhere. Perth is on the far western side of Australia and seems to be a real oasis in the middle of nowhere. One of the cool things about Google Maps is the street view, which was even working along a highway in bum-frak nowhere. It was cool to see the emptiness, the expanses, the small little hick Australia towns. It was kind of amazing and over-whelming in a way. I found myself oddly nervous looking at these pictures, like I was an invader.

Tame Impala - Lonerism
Perth is the home of Kevin Parker, who is the mastermind behind Tame Impala. It is strange though maybe it shouldn't be that a place like Perth gives birth to a band like Tame Impala. Maybe music like this has to come from a place that seems so isolated.

Tame Impala are kind of psychedelic, spacey rock. They remind me of an old school Pink Floyd, like Saucerful of Secrets Pink Floyd, but better and more sure of themselves. Lonerism is their second full record, the first being InnerSpeaker, and I think it is almost as good. That is not a bad thing at all. To me the first record was such a strange sounding thing, and Lonerism is expanding on that. It is inventive, always interesting, and weird in lots of places. It's very sonic, lots of stuff going on in it, but not so much it detracts from the experience. It is a great record for headphones, for dark listening, for drifting away in a space capsule.

Looking at my list, it really shows the strength of this year's crop of records that one this good is number 9 (number 9....number 9....number 9....number 9). Maybe a year from now I could find myself wondering how it was ranked so low.

Here's "Apocalypse Dreams," a perfect example from this great great great record. I love this band.


Next up...even the French can make a great record!!

Wednesday, December 12, 2012

Favorite Albums of 2012: Number 10

Today I start my countdown of my favorite albums of 2012. I don't say best because your humble writer were never be so bold as to call these the BEST records of the year. I am no established critic or judge, just a simple fellow with simple tastes.

My list is going to run the gamut from power pop to indie rock to progressive to alt-country to psychedelic rock. I'll do some honorable mentions when the list is done, but these records are the ones I kept going to. I did a little exercise: I had all the records I bought in 2012 on my iPhone, then I slowly wheedled that down to about 30. My selection process was to ask myself: of these <x> which one would I go without. That's how the list made made and how the rankings were done.

So...number 10:

Brad - United We Stand

Brad is comprised of Mike Berg, Shawn Smith and Stone Gossard. The last of those 3 guys is one of the guitarists in Pearl Jam. I've written about Brad before. I liked the record a lot then and like I said, it is one I keep coming back to. It is a very 1990s sounding record. For someone my age, that's not a bad thing. There is a nostalgia that drips from it. Some of the reviews I have read have called it and the band irrelevant. I do not agree with that. I all music is relevant in some regard. If someone can hear it and enjoy it then it is relevant; it just may not be everybody's cup of tea. Personally, I find it interesting and enjoyable. I like Shawn Smith's voice; it has a very 90s alternative sound. Maybe because it reminds me of Dewey Bunnell of America, which is a band my father loved and is one, especially their first two records, hold a special place in my heart.

Particularly strong tracks, if you are inclined to sample, are "Miles Of Rope," "Bound In Time," and "Needle and Thread." I you like Pearl Jam or Mudhoney or just the 90s Seattle sound in general, you might like this.

Next up....an Australian psychedelic adventure!

Friday, December 7, 2012

Back In The Saddle Again

Pardon my blatant self-promotion, but my band Braddock Station Garrison returns to the stage tomorrow night! We shall be at the Red Palace at 1212 H Street NE (that's NORTHEAST!!!) in Washington DC. Doors open at 8:30 and we hit the stage around about 9pm.

We are honored to be playing with these great bands: You're Jovian, Golden Gurls, and Technicians. Do yourself a favor and check them all out. They are all unique and talented and make great music. As I have said many times here the worse thing a band can be is uninteresting. These bands are most assuredly NOT uninteresting! We are super excited to be sharing the stage with them!!!

All of us would be extremely gratified if you could make it out. It is guaranteed to be a great night of music at a very cool venue, one that is sadly closing its doors at the end of the month. I have been meaning to see shows here in the past, so it is kind of bittersweet to know my one time there will be to play there with my band. Gauging from the web site it appears to have a New Orleans whorehouse kind of vibe. Who doesn't like that!!??!!

If these words don't do it for you, how about a picture? Here's a poster that Golden Gurls (I am assuming it was them because I stole it from their Facebook page) cooked up. It's about 87 kinds of awesome. Hope to see you there!!!


Tuesday, December 4, 2012

RIP Tommy Bolin

I saw a tweet from Glenn Hughes today. He is the bass player for Black Country Communion and spent some time in Deep Purple in the mid-to-late 1970s. His tweet was about his friend Tommy Bolin, who passed away 36 years ago today.

Tommy Bolin is one of those great guitarists who died way too soon (drug overdose) and only gets talked about in guitar magazines. He spent some time in bands like Zephyr before replacing the guy who replaced Joe Walsh in The James Gang. He only stuck around for two records before replacing Ritchie Blackmore in Deep Purple for the only non-RB record of Deep Purple that matters (that would be Come Taste The Band). Meanwhile he made two very cool solo records, Teaser and Private Eyes. Then in 1976 while on tour with Jeff Beck he was found dead in his hotel room. Drug overdose. He was 25.


That's "The Grind" from Teaser. If you listen to enough of his playing you appreciate what a great guitarist he was. You can't really shoe-horn him into a particular style. There's straight-ahead rock naturally but then there is a lot of jazzy stuff, some Spanish-style stuff.

He was a real talent who like many went away too soon. I was struck by Glenn Hughes' tweet because it seemed so heartfelt.

Sunday, December 2, 2012

(More Than) Ten Years Gone

I watched the Blu Ray of the 2007 Led Zeppelin reunion on Friday. Like probably 95% of the rest of the population I love Led Zeppelin. They are an integral part of my growing up. I had the posters (like this one and this one) in my room growing up. My best friend in high school didn't really like Zeppelin, he was more of a fan of Ozzy and Guns n Roses. I took it as a tremendous victory when after my constant playing of it he went out and bought the 2-disc version of the Zep box set. I remember going to Sound Warehouse in my hometown of Carrollton to buy the 4-disc set the morning it came out. That was a big deal for a kid in high school working at a grocery store. It was something like $50. It's awesome and I still have it.

The fans will say the untitled fourth record is their favorite; critics will always say Led Zeppelin II, but my favorite is Presence. I admit that is a music-snob kind of thing to say, always having to pick the more obscure record because I-am-in-the-know-compared-to-you-trogloydites. But that said, I really love "Achilles Last Stand" and "Tea For One" and "For Your Life." "Tea For One" is a favorite but it's also frustrating because the opening 30 seconds have a just tremendous Jimmy Page riff, that just goes completely away.

Watching the Blu Ray I like anybody else who watches it came away impressed. Even being from 5 years ago these guys are old (except for Jason Bonham, who isn't a spring chicken). Plant and John Paul Jones just look great for their age. Page looks a bit rougher, like some old wizard with the long silver hair. He still makes the funny Jimmy Page faces and poses. I like the one where he puts the guitar to his side and sort of swivels his hips. He might be almost 1000 years old but he is STILL Jimmy Page.

And being Jimmy Page he is still sloppy as hell. It's maddening sometimes. But that is part of his charm. He's supremely gifted; he's the best riff-er I have ever heard. But like Eddie Van Halen said it's like Page plays with a broken hand sometimes. Sometimes I am not sure what Page is doing. It seems like he is playing a different song.  Take "Black Dog":


Page is all over the place. But that's one of the great things about them, something that Jodi mentioned yesterday when I was talking about it, that Zep was great at disparate parts making a great whole. If my band tries it it will be a total train wreck. But in the hands of the people who actually know what they are doing and are as creative as it comes in rock it's mesmerizing.

Let's get back to the clip above, which comes from the Celebration Day movie. Isn't it awesome!?! These old bastards are tight and they rock the hell out of that stage. Before I saw the performance I was saying to my bandmates that a Zep reunion tour would wind up being a sad thing because how great could it be? It's been so long and they are let's face it pretty old. I've heard people talk about a new album but is that really necessary? Is any new Zep record going to be any good? Do they have anything new left to say as a unit? Will a new record really compare favorable or even belong next to The Song Remains The Same and Physical Graffiti in the CD rack? The new Aerosmith is horrid; is a new Rolling Stones record needed? Maybe that is harsh, and maybe the record is not horrid but it is the one thing I cannot get past: it is not interesting. Why listen to a new Aerosmith record when you can listen to Rocks?

But watching the video I stand corrected in at least one respect, for one night Led Zeppelin can still bring it. Maybe after 3 months on the road it would get horrible. But on that night the hammer of the gods were back at the anvil and showing how they were once the greatest rock n roll band on the planet.

Tuesday, November 27, 2012

The Tea Party...no, not those people, the awesome Canadian band!

One of my favorite Canadian bands is The Tea Party. They bear no resemblance to the political movement. They're a proggy, classic rock-sounding trio. Imagine Jim Morrison fronting Led Zeppelin and you have a starting point. Anyway, they have been dormant for a bunch of years but they just released a live record and accompanying Blu Ray. I just downloaded the former and will get the latter. It's very cool to see them back at it and I hope they go on a full-fledged reunion tour.

Here's one of my favorite tunes of theirs: "The Bazaar" off of their best record: The Edges Of Twilight.


Rockin, eh?

The one time I was aware they were playing DC was at the old 930 Club (that long ago!) and I wasn't able to go because they were opening for Dogstar and the show was sold out. What a crock! Screw you, Neo!

Another funny story: I was sitting in the backseat of a car driving back from a King's X show at Jaxx in Springfield with my buddies Clay and Doug and I started making up a song, to the tune of another TP song called "Correspondences," about a demon fighting Doug. I don't remember the specificities but there was a line about the cold hands of death around Doug's throat. And something about spitting in Satan's face. What can I say, I had a few to drink.

Anyway, check out The (REAL) Tea Party. They are actually a REALLY cool band.

Sunday, November 25, 2012

Joe B in DC

I've blogged a few times about Joe Bonamassa. He is one of my favorite guitarists out there. My friend Patrick thinks Joe is a bit of a tool but whatdoesheknowhe'sdumb. Anywho, Jodi and I went down to The Warner Theater last night to see Joe do his thing. And what a great show!


I've seen a few shows at The Warner. I know I have seen Natalie Merchant and Sarah McLachlan there. I think that's where I saw the Nutcracker when I went. I think I saw Grease there. It's a great venue, not that big. We were a bunch of rows up in the balcony but the view was damn good.

Joe started the set acoustic doing a couple covers and few songs off his new record. I initially labeled that record a disappointment. After seeing the show I will probably re-assess that. Seeing a show does that to me; once I hear the songs in the live setting they have a new life to them that I carry over into the record listening. The same thing happened a couple years ago with the Brandon Flowers (of The Killers) and his solo record; I thought it was pedestrian until I saw the show and the record wound up in my favorite ten of the year.

So Joe is shoe-horned into the blues bins of the record stores. That element is there but it is just part of the vibe. He has a very classic rock feel, a British bluesman kind of thing. Kind of got a harder Humble Pie era Peter Frampton and Rory Gallagher (I know that he's Irish) kind of thing. Gary Moore pops into my mind, oh yeah, Joe did a Gary Moore cover so there you go.

Anyway, he started acoustic and that was very cool. Then he picked up his electrics and rocked the joint. He is a pretty avid guitar collector and it seemed he had most of them with him. He started with a gorgeous tobacco looking Gibson Explorer, an army of Les Pauls, a big Gibson hollow-body, a beautiful Gibson ES-335, a white SG, and something at the end that wasn't a Gibson but I could see it close enough.

The band was tight. He was supported on drums and bass and keys. Joe is obviously a bit of a prima donna but in his case it is okay and not douchey. I mentioned to a friend on Facebook that it is fun to see someone who is so unabashedly a show-off. The stage set up is all about him. The drums and keyboard are off to the sides on risers while his rig gets center stage, naturally. Jodi said that my band should play with a carpet on the stage. Unfortunately we aren't playing the Warner Theater.

Cover-wise they did a blazing version of "Young Man's Blues" channeling the Live At Leeds version. The ending medley was ZZ Top's "Just Got Paid," Whitesnake's "Still Of The Night" (HA!) and Zep's "Dazed and Confused." I could have sworn there were a few other Zep licks thrown in there.

The best song of the night was a tune called "Mountain Time." This is an original of his. The record version is good, but the live version is fantastic. It just soars, up and down back and forth. A real great song to end on because it packs a real punch.

So a great show. Jodi had a really good time. She said she liked it better than Gov't Mule. We did have a crazy drunk lady sitting next to us who got some kind of disconcerting Facebook message (ah technology, how you fins new ways to aggravate us) and cussed and punched her husband for the following twenty minutes. They left after about halfway through the show. YAY! Joe is better appreciated live than in the studio; in the live setting he can really show off. I recommend his Beacon Theater live record from earlier this year.

Here's a few more pictures. We're not too close, so they are not the best but you get the idea.




Monday, November 19, 2012

In Defense Of Lana Del Ray

I sort of feel like Daniel Webster today, as I put pen to paper...errr...well you know what I mean. And like his Seventh of March speech I rise not as a rock lover or an indie rock lover but as a music lover. And what I wish to speak on is Lana Del Ray.

For those not in the know, Lana Del Ray is a strange mix of sexpot, lounge singer, and weirdo pop singer. Her voice is to put it mildly an acquired taste. She's not beautiful, I'm not even sure if she is really pretty, but she is still alluring and sort of mesmerizing to look at, kind of like a Salvador Dali painting. I am not really sure if she's real, but evidently Axl Rose loves her.

Here's the video for "Video Games" the shot-across-the-bow in DelRayDom:


I don't think she'd get any traction if she didn't look like she does. I think without the weird vamp thing going on she'd be lumped in with the Regina Spektor's and Nellie McKay's and the Joanna Newsom's of the music world. But she is who she is so she gets to be on Saturday Night Live before she even has a record and becomes British GQ's Woman of the Year. Hey good on ya!

So is it worth all the fuss? Entertainment-wise it's without a doubt interesting. Just singing a line like "my pussy tastes like Pepsi cola" with a straight face warrants applause. Her whole thing is her schtick. Does the music stand up? In places. Her first record, Born To Die, is just that...a first album. There's some clunkers for sure, but there's some great stuff. "Video Games" is a great track. "Diet Mountain Dew" is better; it has a great slinky Hollywood-trash thing going. "Radio" is a great track. She just released a companion to that record called Paradise gets help from big shots like Rick Rubin on "Ride."

Again, is it worth the fuss? I think it's pretty good. She's an interesting artist for sure. According to the liner notes she has a songwriting credit for all the tracks. Except for a (apparently super-obligatory) cover of "Blue Velvet."

Does she deserve all the attention, be it positive or negative or whatnot? I think some of the negative attention veers toward mean-spirited. Her SNL performance left many underwhelmed to put it gently. I thought she looked really nervous. I'd be nervous if I was asked to go on SNL. Is it fair that she gets the attention that other artists don't get? Probably not, but that's been going on ever since records started getting made. I've read stuff about her not having worked for it and not deserving the place she has in the music sphere, as if deserve has anything to do with it. Like any artist she was the right person at the right place at the right time.

But rock n roll isn't just music. There's also image and style and all that stuff. And she has a strangely interesting image. If you're one of those who don't think image is part of rock n roll, that it's all-about-the-music-man, I give you this, and this, and this, and this. And this just because it makes me laugh a lot! HAHAHAHA! Back to the point: I sympathize with the substance-over-style crowd, but I give LDR a break because she's onto something different and weird. For me she is a helluva lot more interesting that Taylor Swift and Justin Bieber and OneDirection and the rest of the claptrap in the modern pop music-sphere. While writing this I am listening to Paradise and damn my indie rock street cred if I ain't diggin it. Sue me.

Tuesday, November 13, 2012

The (Latest) Next Springsteen

Bruce Springsteen is about as iconic an artist you can get. I think even if some people don't care for his music they have to respect him. I've written before about how I was in that group until I started playing guitar and writing songs of my own. It was at that point that the music of artists like Springsteen and Neil Young really began to speak to me.

You always hear about the new Springsteen. I've written about a couple of those bands, like The Gaslight Anthem and Titus Andronicus. The fellow who best reflects Springsteen through a modern prism is a song-writer by the name of Ryan Bingham.

I first heard of him as the fellow behind the songs in the great Jeff Bridges movie Crazy Heart. In it Bridges plays an old outlaw country singer who gets a chance to redeem himself. The music is classic alt-country in the Kris Kristofferson and Waylon Jennings vibe. The movie is great and the music is one of the catalysts. He deservedly won an Academy Award for "The Weary Kind."

After the movie came out I bought Ryan's current-at-the-time record Junky Star. I thought it was pretty good but it didn't really stay with me. His 2012 record, Tomorrowland, has. And it's that record where the Springsteen vibe comes to me. Especially Bruce's The Ghost Of Tom Joad record.

Here's a tune off Tomorrowland called "Flower Bomb." It's not the best song off the record but it's a good song and it serves a point.


The rest of the record has a rockier and grittier sonic-texture, but the vibe from this clip flows throughout. The thing about Springsteen is that he makes you really feel the music and lyrics. I listened to Tom Joad again today and was struck by the power of it; songs like "Highway 29" and "Youngstown" and "The Line" have a power to them. It's a real master flexing his muscle. It's a record that makes you stop and listen. And for me I really appreciate the depth and strength of the song-writing.

Listening to Ryan Bingham, you can feel that kind of power. The song titles alone show that Ryan is up to something a bit more: "Rising of the Ghetto," "No Help From God," "The Road I'm On." Where Bruce is telling other people's stories Ryan is still telling stories that feel, to me at least, more from inside himself. To me this is the development of an artist. He's not a master but he's a damn good apprentice and he's well on his way. I wouldn't be surprised if there's a Tom Joad or a Nebraska inside Ryan Bingham waiting to bust out, waiting for the right songs to come along and for the spark to strike them. He's definitely a talent to keep tabs on. I recommend checking him out. Tomorrowland is pretty much guaranteed a spot on my year end favorite list.

Sunday, November 11, 2012

Bright Lights

One of the more interesting guitar players out there is Gary Clark Jr. His new record, Blak and Blu just came out and is one of the better records I have heard this year.  He is nominally considered a blues guitarist but he shouldn't be pigeon-holed into that genre. He has plenty of rock and plenty of straight blues and a good dose of R&B.

I first heard of him in Rolling Stone and with the song "Bright Lights."


That's from Eric Clapton's Crossroads Festival in 2010. It's a pretty killer cut. Just great guitar playing and a great voice. This song shows up on his Bright Lights ep from last year and again on the new record. It's a worthy song for double inclusions.

He played the 930 Club last Friday and I thought about going, but I also thought about seeing Earth, but in the end I didn't go to either because I am a loser and an old man. Well, not really, I was just tired from band practice the night before and didn't want to stay up too late. OK, I am a loser and an old man. Sue me.

Anyway, I like the new record. Like I said it's a good mix of rock and R&B with a classic blues vibe. It could easily have been a standard blues record, which would be kind of boring. I am not the biggest blues fan in the world. I appreciate it for the great talents that are in the genre, but I can only take it in doses. I have to be in the right mood for it. This record cuts through that though.

It probably won't make my favorite 10 of the year of the year but it's very enjoyable and will have staying power through next year. It's better than the latest Joe Bonamassa record and he's I guy I really like too. I download (legally of course) maybe 8 to 10 new records a month depending on what's new. I guess from reading the blog you're getting the impression I dig music, so it's only natural I reckon. If Gary comes back through town I will likely go see him. He also has excellent taste in guitars.

Monday, November 5, 2012

Rats/Toys in the Cellar/Attic

A passing thought while listening to Boneyard on Sirius. Isn't "Rats In The Cellar" pretty much a re-write of "Toys In The Attic?" By the way, we're talking about old Aerosmith songs.

Exhibit A:


Exhibit B:

Then again, maybe that's the point. Let's check Wikipedia. Ah, yep! It is! Oh well. What do I know.

Couple more thoughts. Aerosmith right now as a band are pretty much inconsequential, even though they have a new album coming out tomorrow. Does anybody really care? Is a new Dianne Warren penned ballad necessary? That said, their first few records frakking rock seriously. Even Permanent Vacation and (especially) Pump kick ass.

My favorite old Aerosmith tune? They didn't write it (that would be Rufus Thomas), but it's definitely "Walking The Dog" just because of that fat groove and that wicked scratch Joe Perry does at the end of the chorus.



And about "Ozzy's Boneyard" on Sirius. I liked it better when it was just Boneyard. Now that they have Ozzy sponsoring it or whatever it is he's doing, they play way too much Accept and not nearly enough Rush. Boo to that!!

Sunday, November 4, 2012

There's Your Mule

Last night's rock and roll excursion took me and Jodi and my bandmate Tom to The Fillmore in Silver Spring to see Gov't Mule. Tom is a big fan of their leader Warren Haynes. He's a great guitar player and a soulful singer. He's also a busy guy. Gov't Mule is his band, but he's done solo stuff and spent some time in the Allman Brothers Band and played a bunch with the Grateful Dead guys after Jerry Garcia passed on.

The Allman Brothers is a good way to describe Gov't Mule. It's jammy based southern rock. Here's a clip of them at a Sirius studio show doing my favorite track of theirs: "Broke Down On The Brazos."


This track is a guitar players delight. Great riffs and licks. Solos like crazy. I wonder if Warren's guitar tech has to rewire that pickup selector after each show. Warren is a great guitar player. He can be lay down the sleaze but is also a really tasteful player. As demonstrated by this track from his 2011 solo record Man In Motion. This is called "River's Gonna Rise."


Usually I like shorter, hooky kind of songs. But sometimes I like to hear a good jam. I wasn't planning on seeing Gov't Mule until Tom asked if I wanted to go. Since I am pretty much always up for a show, I said hell yeah. I am glad I went because it was a great time. They played over 3 hours, including a great cover of "Working Class Hero" that I am going to want to steal for my band. We choose wisely by getting stage right and had a great view of Warren for the whole show.


Tom read up and found out this is a Gibson reverse Firebird
Warren and Jorgen Carlsson

One of his signature Les Pauls

So a really good time out. I was starving so I recommended we cap off the late evening with a visit to the Tastee Diner in Bethesda. MMMMMM! Nothing like pancakes and eggs and hash browns at 2am!!

Me rocking my new GM tee at band practice today

Friday, November 2, 2012

Greetings From The Rock n Roll Hotel

When I posted about the Old 97s show I mentioned I had seen two shows in 72 hours. The other show was the great New Jersey band Titus Andronicus. If you want to learn more about them you can read far better profiles of the band here and here. If you have stuck with me this far, THANKS!

TA from the back of the room
The leader of Titus Andronicus is Patrick Stickles. He has been the constant in the band for all three records (I think that's true..since I don't buy physical CDs anymore I no longer find myself able to recite band lineups from record to record, nor able to recall song titles anymore). The comparisons to Bruce Springsteen and the E Street Band are legitimate in that both bands operate on a level bordering on out-of-control. The elder statement of New Jersey have honed their craft where their intensity is always controlled but the audience still gets the feeling of joy. These new kids are still figuring that out but I think they are getting there. The first time I saw them was a couple years ago at The Black Cat. They were touring behind The Monitor which surprisingly was my favorite record of 2010. When I saw them I thought the show was too out-there, too much of teetering on the edge. It is a wild feeling, sure, but it felt like the manic-ness was getting in the way of the music. Not so the second time. Though my vantage point was at the back of the room the energy level was high but the control was there. Sure there were freakout points that saw everything and everybody careening around the room, but it came in waves, not in a sheer wall of madness. If you are looking for a rock show and want to see a young band bringing their all, then Titus Andronicus are for you!

The new record is called Local Business. Like the show, it's a much more restrained record than The Monitor. The previous record used the Civil War as a backdrop for the songs to be constructed around. The latest record foregoes the concept and simply brings the rock. As reviews say, it's the most accessible of their three records (The Airing Of Grievances being their first) so it's an excellent starting point.

Here's the video, the shoot of which is described in one of those links up top), for "In A Big City."


If you listen close you can get that Springsteen vibe. The anthemic vibe that makes you think something different is going on here, something important. Usually that's greeted with cynicism or appropriate derision, but when songs like this are done with such earnestness it's hard not to admire it and to pump your fist along with it. It's hard not to have it catch your attention. The music almost says "Stop what you're doing and listen to me because I've got something going on here." Happily the majority of the record does that ("Food Fight" being the exception).

Couple other random thoughts. I have seen the band twice now and still don't have a tee shirt. Both times I was unhappy with the design. Unfortunate that because tee shirts are trophies for shows. I feel almost empty when I don't get one, and ecstatic when I score three (like at this show). Also, this was my first trip to the Rock n Roll Hotel on H Street in DC. I have been meaning for a long time to check this place out but something, be it something else or simple laziness, gets in the way. Not this time! It's a great little club. Reminds me inside of the old 930 Club but without the pole in the middle. Now that I've popped my proverbial cherry there I hope to report back on many shows there.

Saturday, October 27, 2012

Burning the Nite Club (930) Down

I saw two shows in 72 hours this week. I'll talk about the second first and the first one some other time.

One of the most entertaining live acts out there is the Old 97s. If you're not familiar (shame on you!) it's sort of country-punk from my grew-up-in-town of Dallas. This tour was celebrating the 15th anniversary of their great Too Far To Care album. Since it's the thing to do now they did the album in it's entirety start to finish. I've commented on this before, but (there's always a but) this album is so great it's fine with me.

Here's a video of them doing the album's (killer) opener "Time Bomb." It's about 5 years old but you'll get the idea.


Yeeeeee-haw!

I think Rhett Miller is one of the best front men around. He's good looking, a great lyricist, and a very engaging performer. I try (horribly) to model my stage presence on good old Rhett. I think if you're watching a band, you should be entertained. It is entertainment, right? I read that in a manual somewhere. And the Old 97s definitely enterain. High energy, lots of fun, great songs.

They did TFTC to start the show. For the second half they did (from memory) "Mama Tried," "Victoria Lee," "Murder (Or A Heart Attack),""Jagged,""Valentine," "Rollerskate Skinny," "Dance With Me," "Champaign, Illinois," "Every Night Is Friday Night (Without You)"and "Brown Haired Daughter." I might have missed something but that sounds right.

Rhett himself opened the show with a 20 minute acoustic set. Very cool. The support band was called The Travoltas. Not much to say of them except the singer has produced the 97s last few records, the keyboard player seems like a cool dude to hang around with, and they got nice suits. My neighbor said it best: "It went from cool to kitchsy to long." Another plus, there was not much dead time between sets, Very fast turnaround and I am old now so I like that.

Here be some photographic evidence of the good-time-had-by-all.

This man is Stewart Ransom Miller and he's a serial lady-killer
The Travoltas. Nice suits.

Just a little band from Texas

Tuesday, October 23, 2012

GRULHH: Marquee Moon

Editors note: I am going to start a new feature called GRULHH, which stands for Great Record U Likely Haven't Heard. I expect you to go off to the local record shop or iTunes or wherever you steal music from or Spotify and immediately procure or at least listen to the records in this series. Why? Because they are great and you likely haven't heard them. You're welcome.

I play guitar but admittedly not very well. I reckon if I practiced a lot more than I do, or maybe if I started playing when I was young and not when I was 28ish (or something like that) then maybe I'd be able to be a competent lead guitar player instead of the passable rhythm guitarist. Happily for my band's sake I can sing (how well is open to interpretation) and write songs (which I actually think I do fairly well but again I'll leave you to be the judge of that).

The point here is that I am always impressed by good guitar playing be it on record, live, or by Tom standing across the basement from me. When most folks think of great guitarists and great guitar albums, the usual suspects show up: Hendrix, Van Halen, Clapton. One record I would put in that list (and that a lot of rock writers do anyway) is Television's Marquee Moon.

It's interesting that a band that came out of the 1970s NYC club scene were such virtuoso guitar players; and that they let their virtuosity come out on record. The licks and leads and run that Tom Verlaine and Richard Lloyd pull off on this record is really stunning. If you are guitar player, and I am thinking mainly of younger players like my nephews, this is a record you should really give a chance to.

Here's "See No Evil" which is the first track on the record.


What's really great about it is the interplay between the two. The rhythm lines and the lead lines weave in and out and around each other. The whole record is like this, vocally and vibe in tune with bands like Talking Heads, but the guitars are creating a whole different element. This record, to my ears, at least, sounds like nothing else on the planet. It's tough for a guitar band to set itself really apart, to do something unique and special. Television have the guitars acting as another voice here, where you don't just listen to it as the guideposts or the propulsion of the song, not a wall of noise and sound but parts that demand your attention, leaving you wonder where it's going next, how it will be different the next pass through.

Television didn't last terribly long. They made another record which is good but just isn't on the same plane. The most notable thing done after this was when Richard Lloyd helped Matthew Sweet out on Girlfriend and Altered Beast, two other very unique sounding guitar records. Television did reunions and a record not too terribly long ago, but again, it doesn't have the magic they captured on Marquee Moon.

If you got nothing better to do, here's the awesome title track. Be warned it is ten minutes long, so you can always surf someplace else in another window while this is going.