My wife and I returned Tuesday from a long weekend in Nashville. The primary object of the trip was to see the great Jason Isbell and the 400 Unit at the legendary Ryman Auditorium. Our current thinking is that we are going to try to see some of the seminal music venues around the country. The Ryman is the first in this endeavor; we'll see if it continues, but here's to trying!
Jason Isbell is a singer-songwriter in the country-rock vein. He did some time with the Drive-By Truckers before drinking issues forced him to leave. Thankfully, for him as a person and for us as music lovers, Jason cleaned up and has become one of the best artists around.
I said country-rock, but that's such a broad and potentially inaccurate generalization. If you saw A Star Is Born you heard one of his songs (the great "Maybe It's Time") and you get an idea of the kind of artist he is. Roots leaning, but able to rock with the best of them. But his biggest strength, and he has many, is his songwriting. He's one of the best around. His latest record, The Nashville Sound, has one of the most beautiful love songs written, though with one of the silliest titles. "If We Were Vampires" is not just about love but about the inevitability of loss, that our time on Earth will run out, and that we should make the most of every moment we have been gifted.
It's knowing that this can't go on forever
Likely one of us will have to spend some days alone
Maybe we'll get forty years together
But one day I'll be gone
Or one day you'll be gone
It's kind of devastating in how close it hits. Especially because he sings it with his wife, the equally talented Amanda Shires.
Let's give it a listen:
Jason is great at balancing delicate songs with rocking songs. And he isn't afraid of owning up to his politics. At the show he took a moment to encourage us all to vote, that every vote matters, and it certainly mattered in the recent Senate race in his home state of Alabama, where he was very vocal and supportive of the eventual winner.
He's one of my favorite artists. I encourage everybody to enjoy his music.
The rest of the Nashville trip was wonderful. We stayed at a nice hotel very close to the Ryman. Which also meant we were close to the chaos of Broadway Avenue and all the bars and music venues down there. bands are playing in them damn near 24 hours a day it seems. Adding to the craziness are party buses, pedal-bars, and other assorted vehicles with people in varying states of inebriation. Because I am an old fuddy-duddy we didn't partake in too much of the local flavor, but we certainly got to appreciate it. We visited the Johnny Cash Museum, we visited Jack White's Third Man Records, where I picked up some sweet special edition vinyl. We drove to Nashville so it was two long days of nearly 10 hours in the car each way. But it was worth it. A definite good time.
Wednesday, October 24, 2018
Thursday, February 1, 2018
Albums I Love: MIGHTY JOE MOON by Grant Lee Buffalo
To me, Grant Lee Buffalo's second album, Mighty Joe Moon, is the sound of rustic distortion. When I listen to it, I envision cabins, fireplaces, trees, couches, scotch, wood. I envision The Band if they hit the distortion pedal a a bit more and cranked up the amps.
This is a record, one of many, that I love but often forget I love. Musicially, it drifts from hard-edged guitar rock to wistful acoustic balladry. Many times in the same songs. Powerful vocals with soft and beautiful harmonies. It's filled with little touches that make me wish I could do it with my band. Like the harmony vocal in the pre-chorus of "Sing Along." It's a small touch, but it adds so much life and vibrancy to the song.
Small touches are what really make an album for me. Naturally, great songs are needed to be the foundation. But it's the little details, the small touches, the attention to detail, that give me the goosebumps. It can be a harmony vocal, it can be a guitar fill, it can be a couple notes on the piano. But when you put the right touch in the right place at the right time.
Listen to Mighty Joe Moon and you'll hear these all over the place. Grant-Lee Phillips is the main guy, but the secret weapon is bassist Paul Kimble and his production and mixing. I don't know the details, but I am suspecting he had a real hand in the craft here. He must have if he mixed it. It's almost a miracle how good it is.
There's the lyrics. They are beautiful. A simple song like "Last Days Of Tecumseh" is poetry set to music. A heartbreaking ballad like "Honey, Don't Think" warning a lover not to look too close because she might not like what she sees:
Something wrong in my stars
Could you look at my chart
Help me healing these scars?
Could you learn to read minds?
In the case of mine
Do you read in the dark?
Looking at the CD, I am reminded The Band comparison is not far off. They are pictured playing in what looks like a cabin. Rustic, almost exotic instruments. Grant-Lee Phillips wears a weird bear head for many photos. It doesn't appear to actually been recorded there; that's okay. They still capture the spirit about as well as they possibly could.
I saw Grant Lee Buffalo twice. First was opening for R.E.M. on their Monster tour. When Bill Berry had his aneyurism on stage, it was Joey Peters (GLB's drummer) who stepped in to finish the set. I saw them again when toured behind Jubilee, which was two records after MJM. The middle record, Copperopolis, was good but did not grab me like MJM. Jubilee comes close, though. Grant-Lee Phillips went on to do his own thing after that. I saw him at Iota shortly after that. His solo records have been spotty. That's not quite right. They're good but they don't have the magic that MJM caught. Maybe it's just tough to come out of that shadow. I admire MJM so much, maybe to the detriment of the others.
I know if you watched Gilmore Girls, then you have seen Grant-Lee Phillips.
Let's listen to one of the songs. Here's one of the prettiest songs on the record, "Mockingbirds." And one of the prettiest songs, period.
This is a record, one of many, that I love but often forget I love. Musicially, it drifts from hard-edged guitar rock to wistful acoustic balladry. Many times in the same songs. Powerful vocals with soft and beautiful harmonies. It's filled with little touches that make me wish I could do it with my band. Like the harmony vocal in the pre-chorus of "Sing Along." It's a small touch, but it adds so much life and vibrancy to the song.
Small touches are what really make an album for me. Naturally, great songs are needed to be the foundation. But it's the little details, the small touches, the attention to detail, that give me the goosebumps. It can be a harmony vocal, it can be a guitar fill, it can be a couple notes on the piano. But when you put the right touch in the right place at the right time.
Listen to Mighty Joe Moon and you'll hear these all over the place. Grant-Lee Phillips is the main guy, but the secret weapon is bassist Paul Kimble and his production and mixing. I don't know the details, but I am suspecting he had a real hand in the craft here. He must have if he mixed it. It's almost a miracle how good it is.
There's the lyrics. They are beautiful. A simple song like "Last Days Of Tecumseh" is poetry set to music. A heartbreaking ballad like "Honey, Don't Think" warning a lover not to look too close because she might not like what she sees:
Something wrong in my stars
Could you look at my chart
Help me healing these scars?
Could you learn to read minds?
In the case of mine
Do you read in the dark?
Looking at the CD, I am reminded The Band comparison is not far off. They are pictured playing in what looks like a cabin. Rustic, almost exotic instruments. Grant-Lee Phillips wears a weird bear head for many photos. It doesn't appear to actually been recorded there; that's okay. They still capture the spirit about as well as they possibly could.
I saw Grant Lee Buffalo twice. First was opening for R.E.M. on their Monster tour. When Bill Berry had his aneyurism on stage, it was Joey Peters (GLB's drummer) who stepped in to finish the set. I saw them again when toured behind Jubilee, which was two records after MJM. The middle record, Copperopolis, was good but did not grab me like MJM. Jubilee comes close, though. Grant-Lee Phillips went on to do his own thing after that. I saw him at Iota shortly after that. His solo records have been spotty. That's not quite right. They're good but they don't have the magic that MJM caught. Maybe it's just tough to come out of that shadow. I admire MJM so much, maybe to the detriment of the others.
I know if you watched Gilmore Girls, then you have seen Grant-Lee Phillips.
Let's listen to one of the songs. Here's one of the prettiest songs on the record, "Mockingbirds." And one of the prettiest songs, period.
Friday, January 26, 2018
Power Pop Roundup
As my band approaches being ready to record our next album, I find myself dialing up more power-pop records than stoner rock records. Becoming a vinyl nerd means I sometimes miss out because the latter batch of bands revel is gorgeous vinyl, while the former bands tend to be digital and CDs only, with a couple exceptions here and there.
Spotify has been a good friend here, as I use the Similar Artist feature to lead me down the rabbit hole. I don't even remember what artist started it this time around, but here's some of the good jangly- guitar rock I have been digging lately.
Crash Through or Crash by Shake Some Action! Yes the exclamation point is in the band name. I like that. The album cover even hints at a Rickenbacker like mine. You can hear the chimey guitars right from the start. This is classic sounding, soaring power pop. The vocals remind me of Jagger in spots; second track "The Only Way Is Up" has a verse that says "Am I fast enough? Am I some slow enough?" on and on. What Stones song was that? "Miss You." Anyway, this is my favorite of the batch.
Melody Records by The Mylars. This is more modern sounding. Great vocals and great melodies. And a pretty cool cover of The Cars' let's go. These guys are opening for Rick Springfield and that's a pretty cool comparison. The vocals remind me a TON of some band I listened to in college. Wakeland comes to mind, but there is somebody else. These cats are really good. I'd love to open for them. I followed them on Instagram and they followed us back. I should hit them up.
Crybaby by Danny De La Matyr. I am never gonna completely remember this guys name. But that's alright, I'll buy the record and that will be fine. More chill than the others here. Rainy day power-pop. A bit more produced, like in the Jon Brion-vein. His voice reminds me of somebody too. Memory is failing.
Scenery For Dreamers by Daniel Wylie's Cosmic Rough Riders. And I thought my band name was a mouthful. Crunchy guitars over Americana-y vocals. Internet tells me these guys are taking a hiatus. That's too bad they are very cool.
Spotify has been a good friend here, as I use the Similar Artist feature to lead me down the rabbit hole. I don't even remember what artist started it this time around, but here's some of the good jangly- guitar rock I have been digging lately.
Crash Through or Crash by Shake Some Action! Yes the exclamation point is in the band name. I like that. The album cover even hints at a Rickenbacker like mine. You can hear the chimey guitars right from the start. This is classic sounding, soaring power pop. The vocals remind me of Jagger in spots; second track "The Only Way Is Up" has a verse that says "Am I fast enough? Am I some slow enough?" on and on. What Stones song was that? "Miss You." Anyway, this is my favorite of the batch.
Melody Records by The Mylars. This is more modern sounding. Great vocals and great melodies. And a pretty cool cover of The Cars' let's go. These guys are opening for Rick Springfield and that's a pretty cool comparison. The vocals remind me a TON of some band I listened to in college. Wakeland comes to mind, but there is somebody else. These cats are really good. I'd love to open for them. I followed them on Instagram and they followed us back. I should hit them up.
Welcome Aboard: by The On and Ons. More of a retro 60s feel here. Sounds like a band that plays on Little Steven's Underground Garage that I would need to look up immediately so I didn't forget. Or if The Wonders kept going for a bit more than one record. They appear to be from Australia, so I probably won't ever see them. At least we have the internet!
Crybaby by Danny De La Matyr. I am never gonna completely remember this guys name. But that's alright, I'll buy the record and that will be fine. More chill than the others here. Rainy day power-pop. A bit more produced, like in the Jon Brion-vein. His voice reminds me of somebody too. Memory is failing.
Scenery For Dreamers by Daniel Wylie's Cosmic Rough Riders. And I thought my band name was a mouthful. Crunchy guitars over Americana-y vocals. Internet tells me these guys are taking a hiatus. That's too bad they are very cool.
Tear Your Minds Wide Open! by The Galileo 7. Another retro sounding outfit. They sound British. Yep Kent. I guess their name comes from a Star Trek episode so you have to add BAND when searching for them. Worth the effort.
Monday, January 15, 2018
Band of Gypsys
One of the Christmas presents that Jodi gave me this year was the Jimi Hendrix's Band of Gypsys Live at the Fillmore East vinyl. I have the original Band of Gypsys but it is this document of their first show on December 31, 1969 that is really jaw-dropping.
You don't need me to tell you how good Jimi was. He was the personification of innovation. He feels like one of those guys who would have invented the electric guitar if it didn't already exist. His hands and his brain would simply know what to do.
It is a tragedy that he succumbed to fame's perils. The Band of Gypsys records show what direction he was going, where his muse was taking him. This record is very improvisational. He is also less a bandleader and more of another piece, fitting in with his bandmates. Buddy Miles and Billy Cox, which is a pretty damn good band.
It's interesting to hear on the first track Jimi making mistakes, trying to keep up. But when he hits it you can almost hear him say "There it is." Even Jimi didn't get everything right on the first try. And for much of this he is winging it with the other two guys. They hadn't rehearsed much. At the end of the set he mentions they will come back and do it right. Which makes it especially incredible.
He would be 75 if he had stayed alive. I don't claim to know where he would have gone with his talent. I don't think he'd have stopped. Music seemed ingrained in him. To remove it would be removing a limb. I don't think he would have been an oldies machine, that he would have become irrelevant in terms of creativity like The Rolling Stones. I can't see him playing "Foxey Lady" and "Purple Haze" 200 times year for 10 years. Maybe he would have. Man's got to eat. The mythos would be different with life. There'd be just Jimi Hendrix, not JIMI HENDRIX. The allure of what could have been never need rise from the tomb. The world would have been better with that music, with that life.
You don't need me to tell you how good Jimi was. He was the personification of innovation. He feels like one of those guys who would have invented the electric guitar if it didn't already exist. His hands and his brain would simply know what to do.
It is a tragedy that he succumbed to fame's perils. The Band of Gypsys records show what direction he was going, where his muse was taking him. This record is very improvisational. He is also less a bandleader and more of another piece, fitting in with his bandmates. Buddy Miles and Billy Cox, which is a pretty damn good band.
It's interesting to hear on the first track Jimi making mistakes, trying to keep up. But when he hits it you can almost hear him say "There it is." Even Jimi didn't get everything right on the first try. And for much of this he is winging it with the other two guys. They hadn't rehearsed much. At the end of the set he mentions they will come back and do it right. Which makes it especially incredible.
The liner notes say these shows were not especially received. Over the course of several nights the band added more of the hits.
He would be 75 if he had stayed alive. I don't claim to know where he would have gone with his talent. I don't think he'd have stopped. Music seemed ingrained in him. To remove it would be removing a limb. I don't think he would have been an oldies machine, that he would have become irrelevant in terms of creativity like The Rolling Stones. I can't see him playing "Foxey Lady" and "Purple Haze" 200 times year for 10 years. Maybe he would have. Man's got to eat. The mythos would be different with life. There'd be just Jimi Hendrix, not JIMI HENDRIX. The allure of what could have been never need rise from the tomb. The world would have been better with that music, with that life.
Sunday, January 7, 2018
Back In The Saddle
I don't really like the concept of resolutions. Let's call them "resolutions" because they deserve the quote marks. You shouldn't need the act of hanging up a new calendar to find inspiration for making yourself better. It's a constant process. We are fluid entities, we shift and change. Some things are wired in but we as beings are capable of growing and changing and expanding. We don't need to be stuck in a rut.
One of these said "resolutions" is to write more. According to this blog, I last made that resolution at the start of 2016. It did not last long. Sigh. What a waste. OK, done with the looking back, let's look forward. I'm gonna stick to it this year. OK, I am really going to try to stick to it.
Another one is to see more rocknroll shows. That's a big one for me. I have wimped out farfarfar too many times over the years, missing great shows, letting opportunities slip by. That's another sigh, so let's not belabor it. For me, music is as important as air. If god wanted to fuck with me he would take my hearing away. My band has been trying to kill my hearing but I am fighting back these days with dreaded earplugs at rehearsal. Some of the time, at least. So, dear reader expect to see many more show reports here over the coming months. And if you don't you have my permission to call me a loser.
Other "resolutions" aren't quite musical related. Continue to eat sensibly. Go to the gym at least 4 times a week. Start doing yoga and meditation. That one can help with the creativity. I have anxiety but I have no reason for anxiety. I have a smart, funny, beautiful, and loving wife; I have a good job that has a positive impact on people's lives; I have a kick-ass band with three genuine friends. That should be another one, see friends more often. The anxiety I have is self-flaggelation and it fucking sucks. It isn't necessary. I think Trump has a part of doing it. That asshole is bringing my shakes and twitches back. Hell with him, he's not worth the additional characters.
So change is in the the air.
Why now...why today. I watched the new teaser video for Titus Andronicus' new album. And now I am listening to their masterpiece The Monitor. What a fucking record. I saw them when they toured behind it and it was rocknroll at it's most....well, rocknroll at it's most. Energy, passion, the catharsis you get when you just yell "fuck you!" I drifted away from them, saw them again a couple years later but the crowd was bigger and the energy at the back of the room is never like the front of the room. They'll be back in town in April and I will be there.
My advice is put a record on. Or a CD. Or if it's the only thing you got then put your earbuds in and listen to something you love. Something that breathes life into you. Something that makes you want to shake the pictures off the walls and hug whomever is standing next to you. Something that makes you forget about all the hate and all the anger and all the pain and all the fear we have in this country and all across the world. We all have one heart and one body (thanks, Call Me By Your Name). Don't fucking waste it.
Wednesday, January 6, 2016
GnR Rumors to Return
So Guns n Roses are "confirmed" to reunite at Coachella. I put "confirmed" in quotes because this is GnR so it's a crap shoot that it actually happens. I would bet it will, because there is a shitload of money at stake and even Axl has to appreciate that. But again maybe not.
I for one won't be going to Coachella to see this. Nor would I pay the astronomical price a ticket to the show would cost once they go on tour. Again, assuming they do. It's Axl and it's Slash and it's Duff, so that makes the reunion. Matt Sorum on drums is fine; it'd be nice to see Steven Adler, but for me Izzy Stradlin was the secret weapon in GnR. Gilbey Clarke is a good guitarist (his Pawnshop Guitars record is really good) but Izzy really brought that 70s Stones vibe to the band. GnR get lumped in with metal but they are not a metal band. They are a heavy rock band. They wanted to be the Rolling Stones. Izzy is so under-rated as a guitar player and song writer. He's doing his thing now and god bless him.
I got to see Guns n Roses in 1991 in Dallas at Starplex Amphitheater. This was right before the Illusion records came out. I don't remember much from the show except that Axl was late and water bottles and beer bottles were being thrown everywhere and girls were lifting their tops whenever the camera panning the crowd would show them on the big screens. To a 17 year old, it was awesome. Skid Row opened and they were adequate. When GnR hit the stage Axl said "If another bottle hits this stage we walk." Naturally three bottles landed at his feet but happily the band played on and it was a great show.
The thing about GnR is that with Appetite For Destruction they really sounded dangerous. When the record came out I was listening to Iron Maiden and Metallica and Rush and Pink Floyd and Zeppelin. But GnR sounded so raw, crazy. My brother played me Appetite on tape and it was unlike anything I had heard. I was 13. Dangerous music. That opening riff to "Welcome to the Jungle". What is this?!? "You in the jungle, baby! Yur gonna diiiiiiiiiiiiiiieeeeeeeeeee in the JUNGLE!!!" This sounded real and heavy.
Appetite still stands up today. Every song is great. "Pretty Tied Up" is the weakest track because it's lyrically dumb, but at least it fits the record. "Paradise City" might be my LEAST favorite track on that record, just because it's overplayed. "Mr Brownstone", "My Michelle", "Rocket Queen." FUCK! Those songs are just killer.
I'm not going to see them though. I wish I could have seen them in 87 or 88 but I saw them in 91 with Izzy and that is good enough for me. It won't be the same. Maybe it will be great. I was totally wrong about the Zeppelin Celebration Day reunion show. Maybe I will be wrong here. But GnR have a lot of baggage, and Axl just doesn't sound the same. I hope it goes well for them, because I hope the people who do go and were too young to see them at the top have a great time. Plus I am old and cranky and am tired of big stadium shows.
I for one won't be going to Coachella to see this. Nor would I pay the astronomical price a ticket to the show would cost once they go on tour. Again, assuming they do. It's Axl and it's Slash and it's Duff, so that makes the reunion. Matt Sorum on drums is fine; it'd be nice to see Steven Adler, but for me Izzy Stradlin was the secret weapon in GnR. Gilbey Clarke is a good guitarist (his Pawnshop Guitars record is really good) but Izzy really brought that 70s Stones vibe to the band. GnR get lumped in with metal but they are not a metal band. They are a heavy rock band. They wanted to be the Rolling Stones. Izzy is so under-rated as a guitar player and song writer. He's doing his thing now and god bless him.
I got to see Guns n Roses in 1991 in Dallas at Starplex Amphitheater. This was right before the Illusion records came out. I don't remember much from the show except that Axl was late and water bottles and beer bottles were being thrown everywhere and girls were lifting their tops whenever the camera panning the crowd would show them on the big screens. To a 17 year old, it was awesome. Skid Row opened and they were adequate. When GnR hit the stage Axl said "If another bottle hits this stage we walk." Naturally three bottles landed at his feet but happily the band played on and it was a great show.
The thing about GnR is that with Appetite For Destruction they really sounded dangerous. When the record came out I was listening to Iron Maiden and Metallica and Rush and Pink Floyd and Zeppelin. But GnR sounded so raw, crazy. My brother played me Appetite on tape and it was unlike anything I had heard. I was 13. Dangerous music. That opening riff to "Welcome to the Jungle". What is this?!? "You in the jungle, baby! Yur gonna diiiiiiiiiiiiiiieeeeeeeeeee in the JUNGLE!!!" This sounded real and heavy.
Appetite still stands up today. Every song is great. "Pretty Tied Up" is the weakest track because it's lyrically dumb, but at least it fits the record. "Paradise City" might be my LEAST favorite track on that record, just because it's overplayed. "Mr Brownstone", "My Michelle", "Rocket Queen." FUCK! Those songs are just killer.
I'm not going to see them though. I wish I could have seen them in 87 or 88 but I saw them in 91 with Izzy and that is good enough for me. It won't be the same. Maybe it will be great. I was totally wrong about the Zeppelin Celebration Day reunion show. Maybe I will be wrong here. But GnR have a lot of baggage, and Axl just doesn't sound the same. I hope it goes well for them, because I hope the people who do go and were too young to see them at the top have a great time. Plus I am old and cranky and am tired of big stadium shows.
Saturday, January 2, 2016
Favorite Non-Heavy Records of 2015
Yesterday was the heavy records, meaning metal, stoner rock, doom, psychedelic, etc etc. Today I am going to do the comparatively mellower stuff. So this will be power pop, indie rock, alt country and that sort of thing.
The way I cull these down to ten is by thinking "If I could only listen to ten from 2015, which would they be?" So with that as the basis I narrow it down. I'd rather have this than that, even though I really like that.
Again, no order to these. Scratch that. My #1 of the album actually isn't on the list, because it is my band Braddock Station Garrison's album: A Hint of Recognition. Shameless self promotion. In fact, unlike the other list, these are bands that I would love to open for. In fact, we have played with one of them before!
The Dark Beautiful Sun by William Duke: Jangle-pop goodness. Has a real Byrds' flavor, if they stuck to playing their poppy stuff. Opening track "The Golden Ring" has a tempo change in the middle that I swear I am going to steal.
1989 by Ryan Adams: Sure, it is his Taylor Swift cover album, but that doesn't stop it from being amazingly good. I have a lot of respect for Taylor Swift. This album shows that she is a good song-writer; a cover can be well done and interesting, but the song needs to be strong or the whole thing falls apart. Ryan just puts his stamp on each of the songs, and it works. When Taylor decides to record a stripped down record, Ryan Adams should be behind the board.
Laugh In The Dark by Tommy Keene: I took my guitar player Tom to see him at Iota and he was impressed. The song-writing is just a clinic. Every track, both old and new, was fantastic. Tommy's new record is more of the same. Just great power pop songs, perfectly written and executed. I tried desperately to get on the bill when he played Iota, but to no avail.
Parking Lot Regrets by The Silverites: Disclaimer, these guys are friends. But that doesn't stop them from making the list. Again, great melodic, smart power pop songs. Out of all the bands we play with, they are the ones I hate to follow, because it is damn hard to be as good as they were. That said, I will play with them any time, any where.
Lessons From A Shooting Star by Rene Bo: I heard this guy on a Swedish power-pop podcast that my band was honored to be included on. The thing about power-pop is that when it's done well, it really affects me musically. It makes me want to pick up a guitar and play, and write, and borrow. HA! And hearing this makes me want to write songs.
Monterey Canyon by John McAteer and Gentleman Firesnakes: Disclaimer 2, John is a friend from high school. And if his band ever got out of Little Rock and played DC I would beg to play with them. This record has a bunch more keyboards on it; has a positive 80s vibe to it. John has a very strong vocal style that works very well with the songs. And the songs, they are great!
Earthquakes & Tidal Waves by Dot Dash: Another local band that I think are just great. These guys have an edge to them more than the others, power-pop mixed with punk in a good way, not in a cheesy Green Day way. They were the other band on the bill with Tommy Keene I was desperate to get on to, to no avail.
Kintsugi by Death Cab For Cutie: Knowing that Ben Gibbard broke up with Zooey Deschanel, you can hear where that seeps into the songs. When it was about to come out, I read interviews where he said this would be a different DCFC album and fans might not dig it. That is true, but if you don't like it, then you really aren't interested in seeing the band evolve. It's not a drastic evolution; it feels natural for them.
California Nights by Best Coast: This record I was most torn about putting on my list, because it is very simple lyrically. One of the things I like about the other records is that they are all smart. Clever. That isn't happening here, and that is not meant to be a swipe at them. It is what it is. But the music and the melodies and the performances are fantastic. I keep coming back to this record because it's great to listen too.
The Traveler by Rhett Miller: This record was the last to make the list and had to fight it's way out of a very good crop. But Rhett always does great stuff. Another of his power-pop records he gets to make when not with the Old 97s. It's more of that and it's just plain good.
The way I cull these down to ten is by thinking "If I could only listen to ten from 2015, which would they be?" So with that as the basis I narrow it down. I'd rather have this than that, even though I really like that.
Again, no order to these. Scratch that. My #1 of the album actually isn't on the list, because it is my band Braddock Station Garrison's album: A Hint of Recognition. Shameless self promotion. In fact, unlike the other list, these are bands that I would love to open for. In fact, we have played with one of them before!
The Dark Beautiful Sun by William Duke: Jangle-pop goodness. Has a real Byrds' flavor, if they stuck to playing their poppy stuff. Opening track "The Golden Ring" has a tempo change in the middle that I swear I am going to steal.
1989 by Ryan Adams: Sure, it is his Taylor Swift cover album, but that doesn't stop it from being amazingly good. I have a lot of respect for Taylor Swift. This album shows that she is a good song-writer; a cover can be well done and interesting, but the song needs to be strong or the whole thing falls apart. Ryan just puts his stamp on each of the songs, and it works. When Taylor decides to record a stripped down record, Ryan Adams should be behind the board.
Laugh In The Dark by Tommy Keene: I took my guitar player Tom to see him at Iota and he was impressed. The song-writing is just a clinic. Every track, both old and new, was fantastic. Tommy's new record is more of the same. Just great power pop songs, perfectly written and executed. I tried desperately to get on the bill when he played Iota, but to no avail.
Parking Lot Regrets by The Silverites: Disclaimer, these guys are friends. But that doesn't stop them from making the list. Again, great melodic, smart power pop songs. Out of all the bands we play with, they are the ones I hate to follow, because it is damn hard to be as good as they were. That said, I will play with them any time, any where.
Lessons From A Shooting Star by Rene Bo: I heard this guy on a Swedish power-pop podcast that my band was honored to be included on. The thing about power-pop is that when it's done well, it really affects me musically. It makes me want to pick up a guitar and play, and write, and borrow. HA! And hearing this makes me want to write songs.
Monterey Canyon by John McAteer and Gentleman Firesnakes: Disclaimer 2, John is a friend from high school. And if his band ever got out of Little Rock and played DC I would beg to play with them. This record has a bunch more keyboards on it; has a positive 80s vibe to it. John has a very strong vocal style that works very well with the songs. And the songs, they are great!
Earthquakes & Tidal Waves by Dot Dash: Another local band that I think are just great. These guys have an edge to them more than the others, power-pop mixed with punk in a good way, not in a cheesy Green Day way. They were the other band on the bill with Tommy Keene I was desperate to get on to, to no avail.
Kintsugi by Death Cab For Cutie: Knowing that Ben Gibbard broke up with Zooey Deschanel, you can hear where that seeps into the songs. When it was about to come out, I read interviews where he said this would be a different DCFC album and fans might not dig it. That is true, but if you don't like it, then you really aren't interested in seeing the band evolve. It's not a drastic evolution; it feels natural for them.
California Nights by Best Coast: This record I was most torn about putting on my list, because it is very simple lyrically. One of the things I like about the other records is that they are all smart. Clever. That isn't happening here, and that is not meant to be a swipe at them. It is what it is. But the music and the melodies and the performances are fantastic. I keep coming back to this record because it's great to listen too.
The Traveler by Rhett Miller: This record was the last to make the list and had to fight it's way out of a very good crop. But Rhett always does great stuff. Another of his power-pop records he gets to make when not with the Old 97s. It's more of that and it's just plain good.
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