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.
Friday, January 1, 2016
Favorite Heavy Records of 2015
Wow! Not a single post in 2015. That is sad. As my second resolution for 2016, I will write more often. Let's set a goal of at least once a week.
For my first entry of the year, I will list my favorite heavy records of 2015. I decided to break my list into two because a) it gives me an opportunity to write two lists; and b) while I think good music is good music, I am also somewhat nitpick when it comes to genres. So instead of going deep into Best Heavy Rock and Best Metal and Best Power-pop and Best Acoustic-Driven-Singer-Songwriter, I am just going to do heavy and not-heavy.
There's no order to these, except for alphabetical. Which I guess means there is an order. Just not favorite-like.
Purple by Baroness: After nearly killing themselves in a bus crash in the UK, Baroness returns (with a new rhythm section) for their latest LP. What I like about them is that they are an evolving band. They stick to their heavy roots, but they aren't afraid to branch out. This new one does that by incorporating synths alongside their heavy-riff-based muscle. That's a good thing, because it is used really well.
Meliora by Ghost: Papa Emeritus and the Nameless Ghouls return for more Dio-inspired pop-metal. The Satan-worhsiping schtick is still there, but it is so tongue-in-cheek you can't help but chuckle at it. That said the music and the melodies are fantastic. They are not going to "save metal" like some articles I read have suggested, but they are good trashy fun.
Innocence & Decadence by Graveyard: If I was ranking the records by which I liked best, this would probably be number 3 or 4. This is what I call heavy blues rock. It's one of the records I felt my friend Tom would like (and his record collection taps out after 1985...hahaha!) so he got it for Christmas. It has the classic rock sound of the 70s that I think never goes out of style, especially when it is done well.
The Book of Souls by Iron Maiden: Iron Maiden is one of the two dinosaur-bands (the other being Rush) that still make records that are not only worth listening to, but worth coming back to. This would have been #1 on my list. A triple LP (or double CD) and it is a masterpiece, which is really hard to do when you are 40 years into your career and have records like Piece of Mind and The Number of the Beast in your catalogue. This isn't the same old thing; they challenge themselves with long songs, short songs, classic Maiden sounding songs, and boundary pushing prog songs. This is a band that is still at the top of their game. Gave this to my friend Michael for Christmas and he loves it.
Mondo Drag by Mondo Drag: A late fine in 2015 and what a find. If I had discovered it earlier it would have been given as a gift to Tom. More heavy blues with organ work at the front end. Very Deep Purple-ish and that's a compliment. Really excited for their new record in 2016.
Love, Fear and the Time Machine by Riverside: The most progressive of the records here. They remind me of Dream Theater but without the pretension and the show-offy-ness. Or what Pink Floyd would sound like if they gave into their prog side. They are from Poland so that's another reason to like them. How many bands come from Poland!?! It's a bit long but it's worth the commitment.
High Country by The Sword: Austin isn't really known for heavy rock but here is The Sword. Like Baroness these guys are building on their heavy rock base, adding synthesizers to positive effect, no matter what their core fans might say.
Crooked Doors by Royal Thunder: More heavy blues rock, this time with lady on vocals. I like that. We'll get another in a moment. Lots of bands these days have a heavy sound amplified with a female singer and it is a great dynamic. This would be in my top 2 if I was ranking them in more detailed. Maybe I should explain more about heavy-blues-rock: guitar riffs with a fat rhythm section. Not really metal, but definitely close to that.
The Night Creeper by Uncle Acid: Here's an album that was initially a bit of a disappointment but is still in my list. Trick is these guys are such a good band and have such a great sound. Their records sound muddy, though, and that's probably why it took me a while to appreciate this record. That and the packaging, which was supposed to be special edition, sucks: there are fancy pictures and whatnot, but no slip case for it. WTF, Rise Above Records? Anyway, if you miss what Black Sabbath used to sound like, these guys will take good care of you.
Grief's Infernal Flower by Windhand: Pure sludge-stoner-doom metal, heavy and slow and fierce. Another female singer and one of the best around (Dorthia Cottrel...and her acoustic solo record this year is also great). This is another record that took a while for me to appreciate.
Later this weekend I will go through my favorite non-heavy records. That will be more alt-country and power poppy kind of stuff.
For my first entry of the year, I will list my favorite heavy records of 2015. I decided to break my list into two because a) it gives me an opportunity to write two lists; and b) while I think good music is good music, I am also somewhat nitpick when it comes to genres. So instead of going deep into Best Heavy Rock and Best Metal and Best Power-pop and Best Acoustic-Driven-Singer-Songwriter, I am just going to do heavy and not-heavy.
There's no order to these, except for alphabetical. Which I guess means there is an order. Just not favorite-like.
Purple by Baroness: After nearly killing themselves in a bus crash in the UK, Baroness returns (with a new rhythm section) for their latest LP. What I like about them is that they are an evolving band. They stick to their heavy roots, but they aren't afraid to branch out. This new one does that by incorporating synths alongside their heavy-riff-based muscle. That's a good thing, because it is used really well.
Meliora by Ghost: Papa Emeritus and the Nameless Ghouls return for more Dio-inspired pop-metal. The Satan-worhsiping schtick is still there, but it is so tongue-in-cheek you can't help but chuckle at it. That said the music and the melodies are fantastic. They are not going to "save metal" like some articles I read have suggested, but they are good trashy fun.
Innocence & Decadence by Graveyard: If I was ranking the records by which I liked best, this would probably be number 3 or 4. This is what I call heavy blues rock. It's one of the records I felt my friend Tom would like (and his record collection taps out after 1985...hahaha!) so he got it for Christmas. It has the classic rock sound of the 70s that I think never goes out of style, especially when it is done well.
The Book of Souls by Iron Maiden: Iron Maiden is one of the two dinosaur-bands (the other being Rush) that still make records that are not only worth listening to, but worth coming back to. This would have been #1 on my list. A triple LP (or double CD) and it is a masterpiece, which is really hard to do when you are 40 years into your career and have records like Piece of Mind and The Number of the Beast in your catalogue. This isn't the same old thing; they challenge themselves with long songs, short songs, classic Maiden sounding songs, and boundary pushing prog songs. This is a band that is still at the top of their game. Gave this to my friend Michael for Christmas and he loves it.
Mondo Drag by Mondo Drag: A late fine in 2015 and what a find. If I had discovered it earlier it would have been given as a gift to Tom. More heavy blues with organ work at the front end. Very Deep Purple-ish and that's a compliment. Really excited for their new record in 2016.
Love, Fear and the Time Machine by Riverside: The most progressive of the records here. They remind me of Dream Theater but without the pretension and the show-offy-ness. Or what Pink Floyd would sound like if they gave into their prog side. They are from Poland so that's another reason to like them. How many bands come from Poland!?! It's a bit long but it's worth the commitment.
High Country by The Sword: Austin isn't really known for heavy rock but here is The Sword. Like Baroness these guys are building on their heavy rock base, adding synthesizers to positive effect, no matter what their core fans might say.
Crooked Doors by Royal Thunder: More heavy blues rock, this time with lady on vocals. I like that. We'll get another in a moment. Lots of bands these days have a heavy sound amplified with a female singer and it is a great dynamic. This would be in my top 2 if I was ranking them in more detailed. Maybe I should explain more about heavy-blues-rock: guitar riffs with a fat rhythm section. Not really metal, but definitely close to that.
The Night Creeper by Uncle Acid: Here's an album that was initially a bit of a disappointment but is still in my list. Trick is these guys are such a good band and have such a great sound. Their records sound muddy, though, and that's probably why it took me a while to appreciate this record. That and the packaging, which was supposed to be special edition, sucks: there are fancy pictures and whatnot, but no slip case for it. WTF, Rise Above Records? Anyway, if you miss what Black Sabbath used to sound like, these guys will take good care of you.
Grief's Infernal Flower by Windhand: Pure sludge-stoner-doom metal, heavy and slow and fierce. Another female singer and one of the best around (Dorthia Cottrel...and her acoustic solo record this year is also great). This is another record that took a while for me to appreciate.
Later this weekend I will go through my favorite non-heavy records. That will be more alt-country and power poppy kind of stuff.
Monday, December 29, 2014
Steve's Top 10 Favorite Records Of The Year
I have been woefully uninspired in terms of writing. I chalk it up to a very busy fall spent with my band tightening up the sound in preparation for our return to the studio. BE PREPARED!
Anyway, I still have been listening to a shit-ton of music and here's my favorite 10 records of the year, irrespective of genre. I will do a metal/heavy-rock list later, because even though the top 5 are all power-poppy and Americana records, I still love my metal. But more importantly, I love great songs, be they heavy or slow or hard or dreamy or toe-tapping or sing-along or shout at the top of your lungs. A great song is a great song.
So the order for these were determined by the following methodology: which record would I want more. So if you were a jerk and started taking records out of my collection and saying "you can't have this" this would be the last 10 getting plucked.
10 - The Autumn Defense - Fifth: A perfect slice of 1970s FM radio. For fans of Wilco and Jackson Browne.
9 - Pallbearer - Foundations of Burden: Super heavy prog meets doom metal with hooks. These guys should be the standard bearer for stoner rock. For fans of pot.
8. Alcest - Shelter: Ethereal French progressive rock. It isn't showy but the melodies and the moods are beautiful. For fans of clouds.
7. Elephant Stone - Three Poisons: Psychedelic India-inspired rock from fine Canadian band. Second year in a row they have made my list. For fans of the George Beatles songs.
6. Opeth - Pale Communion: Opeth have fully embraced their inner-prog-nerd. Old fans might hate the direction but I am glad to see the Cookie Monster vocals are a thing of the past. For fans of Pink Floyd.
5. Sloan - Commonwealth: Canadian power-poppers great double album where each member gets a side. Four distinct song-writers that together are brilliant. For fans of Paul Beatles songs.
4. The Both - s/t: Aimee Mann and Ted Leo join forces for an album of wonderful songs. For fans of harmony.
3. Foo Fighters - Sonic Highways: No Dave Grohl saturation for me this year. I love the record and I love the exuberance he has for rock n roll. If he can turn people back to rock music, the world is a better place for it. For fans...frak it, you know who this is.
2. Jenny Lewis - The Voyager: A lost Stevie Nicks record by a great song-writer. And produced by Ryan Adams, who by the way....
1. Ryan Adams - s/t: The best record he has made since Gold. The record Tom Petty used to make. Glad to have Ryan back.
There it is. That's the list. Find me another list where you'll find The Autumn Defense AND Pallbearer AND Jenny Lewis AND Opeth.
Anyway, I still have been listening to a shit-ton of music and here's my favorite 10 records of the year, irrespective of genre. I will do a metal/heavy-rock list later, because even though the top 5 are all power-poppy and Americana records, I still love my metal. But more importantly, I love great songs, be they heavy or slow or hard or dreamy or toe-tapping or sing-along or shout at the top of your lungs. A great song is a great song.
So the order for these were determined by the following methodology: which record would I want more. So if you were a jerk and started taking records out of my collection and saying "you can't have this" this would be the last 10 getting plucked.
10 - The Autumn Defense - Fifth: A perfect slice of 1970s FM radio. For fans of Wilco and Jackson Browne.
9 - Pallbearer - Foundations of Burden: Super heavy prog meets doom metal with hooks. These guys should be the standard bearer for stoner rock. For fans of pot.
8. Alcest - Shelter: Ethereal French progressive rock. It isn't showy but the melodies and the moods are beautiful. For fans of clouds.
7. Elephant Stone - Three Poisons: Psychedelic India-inspired rock from fine Canadian band. Second year in a row they have made my list. For fans of the George Beatles songs.
6. Opeth - Pale Communion: Opeth have fully embraced their inner-prog-nerd. Old fans might hate the direction but I am glad to see the Cookie Monster vocals are a thing of the past. For fans of Pink Floyd.
5. Sloan - Commonwealth: Canadian power-poppers great double album where each member gets a side. Four distinct song-writers that together are brilliant. For fans of Paul Beatles songs.
4. The Both - s/t: Aimee Mann and Ted Leo join forces for an album of wonderful songs. For fans of harmony.
3. Foo Fighters - Sonic Highways: No Dave Grohl saturation for me this year. I love the record and I love the exuberance he has for rock n roll. If he can turn people back to rock music, the world is a better place for it. For fans...frak it, you know who this is.
2. Jenny Lewis - The Voyager: A lost Stevie Nicks record by a great song-writer. And produced by Ryan Adams, who by the way....
1. Ryan Adams - s/t: The best record he has made since Gold. The record Tom Petty used to make. Glad to have Ryan back.
There it is. That's the list. Find me another list where you'll find The Autumn Defense AND Pallbearer AND Jenny Lewis AND Opeth.
Saturday, August 2, 2014
Fantômas and Musical Journeys
I consider James Blackshaw one of the most talented musicians I have ever come across. I have written about him before and the growth he has exhibited, from records featuring just him and his acoustic 12-string to more sonically complicated records involving keys and strings.
His latest record continues that journey forward and see him stepping not only into the role of player but as composer. Fantômas: Le Faux Magistrat was recorded live at the Théâtre du Châlet in Paris on Halloween 2013. In celebration of the 100th anniversary of the Fantômas silent film series, directed by Frenchman Louis Feuillade, composer Yann Tiersen was asked to run the score and accompanying live performances for screenings of the five films. For the final film, Le Faux Magistrat, he asked Blackshaw. And this record is a document of that performance.
It features Blackshaw on his usual nylon string guitar as well as the grand piano. For this he is joined by Charlotte Glasson, Duane Pitre, and Simon Scott playing assortments of guitars, saxophones, flutes, violins, electronics and percussion instruments.
I confess I don't know anything about any of these films or people, except for Blackshaw. His name on the record's spine is what got it into the shopping basket (virtually, of course). But I know interesting music when I hear it. The images on the record hint at a dark, noir-ish endeavor. The music is equally foreboding and lovely. It is broken into 13 pieces and spread over 2 LPs.
For me it is a real listening experience. Four great musicians playing live to a film involves a tremendous amount of skill. Especially when they are rotating from instrument to instrument. It is hard to image that 4 people could pull this off so well. A sinister piano melody is augmented by a dark, almost sleazy saxophone in one of the opening pieces, which will give way to a lovely 12-string figure, soon augmented by a haunting violin and vibraphone. It doesn't deserve to be background music. With so much going on it's worth the listener's effort to apply themselves to the music.
I wouldn't dream of performing music like this, the meager talents I have do no begin to approach what is going on here. I appreciate it immensely. I appreciate the talent and the skill, both natural and that honed by years and years of practice, to make this as wondrous as it is.
Here is a link to Part VIII. For whatever reason the embed won't find it.
Here is a link to Part VIII. For whatever reason the embed won't find it.
Friday, July 25, 2014
Autumn (Defense)'s In The Air
The Autumn Defense is a project featuring Patrick Sansone and John Stirratt, both members of Wilco. While Sansone has been part of Wilco for only a few years, Stirratt has been playing bass there since they formed from the ashes of Uncle Tupelo.
The Autumn Defense offers the two an opportunity to share the spotlight, which in Wilco is occupied primarily by Jeff Tweedy. Whereas Wilco started as alt-country, morphed into a sort of American-Radiohead, before settling into a dad-rock niche, TAD delights in the soft rock of the 70s. Singer/songwriter type stuff but lushly produced and orchestrated. I have listened to a few of their albums before but with their latest, called Fifth, they finally and perfectly hit their stride.
I am a big fan of the early records of the band America, and Fifth fits in perfect harmony with those records. Fifth sounds like it stepped out of a time machine, especially the lovely "August Song" which could easily find itself on Homecoming. The harmonies are not as overt as America did in their best days (think "Ventura Highway") but TAD come close. "The Light In Your Eyes" has a particularly great chorus section.
I would not categorize the record as an homage, because that is a bit of a negative descriptor. Fifth is a great record on it's own merits. It's well written and well played and extremely well made. There is nothing searing our loud or heavy here. Fifth is the kind of record you play on cool night on a desert highway with the top down. It doesn't push boundaries but it plays within established ones to great effect. Great songs are great songs. And when they sound this good they make for a very enjoyable listening experiencing.
Here's "August Song"
The Autumn Defense offers the two an opportunity to share the spotlight, which in Wilco is occupied primarily by Jeff Tweedy. Whereas Wilco started as alt-country, morphed into a sort of American-Radiohead, before settling into a dad-rock niche, TAD delights in the soft rock of the 70s. Singer/songwriter type stuff but lushly produced and orchestrated. I have listened to a few of their albums before but with their latest, called Fifth, they finally and perfectly hit their stride.I am a big fan of the early records of the band America, and Fifth fits in perfect harmony with those records. Fifth sounds like it stepped out of a time machine, especially the lovely "August Song" which could easily find itself on Homecoming. The harmonies are not as overt as America did in their best days (think "Ventura Highway") but TAD come close. "The Light In Your Eyes" has a particularly great chorus section.
I would not categorize the record as an homage, because that is a bit of a negative descriptor. Fifth is a great record on it's own merits. It's well written and well played and extremely well made. There is nothing searing our loud or heavy here. Fifth is the kind of record you play on cool night on a desert highway with the top down. It doesn't push boundaries but it plays within established ones to great effect. Great songs are great songs. And when they sound this good they make for a very enjoyable listening experiencing.
Here's "August Song"
Monday, June 16, 2014
Beauty & Ruin
Reinvention has it's place. Where many critics will chastise an act for not growing, I am not fond of change for change's sake (nor am I critic, but that is a different matter). I wrote just yesterday that if you find your groove and the songs continue to be high caliber, you should stick to it.
Take Bob Mould. His last record, Silver Age, was one of my favorites from 2012. It was a straight-forward noisy power pop record. It wouldn't be surprising if he changed things up again, exploring the darker side of things Black Sheets of Rain style or even going more electronic. But Bob Mould has other things on his mind. Namely, it's the death of his father and of his own mortality. His new record Beauty & Ruin deals with that life change.
Musicially, "Low Season" starts off as a slow burn, it's deliberate pacing giving way to the punk kick of "Little Glass Pill," which segues into the Sugar-infused "I Don't Know You Anymore." His band of Jason Narducy and Jon Wurster is top shelf.
But the lyrics bite. Take the last of those three tracks: A thousand pieces of my heart/Swept across a weathered floor/And no idea how to start/Solving puzzles from before. Side 1 of the record is labeled "beauty" but beauty is hard to find here. Take side closer "The War:" And all these songs I write for you/They tear me up, it's not hard to do/Listen to my voice/It's the only weapon I kept from the war."
The second side, titled "ruin," is where the light begins to shine. Surrounding the Replacements-esque "Hey Mr. Grey" (complete with a kids don't follow reference), it flickers through songs like "Forgiveness" (and it's Brick-In-The-Wall guitar intro), "Tomorrow Morning" and "Let The Beauty Be" before coming to a close with "Fix It" where Bob sings it's time to fill your heart with love/Fix it, fix it, full enough/Time to fix who you are."
Bob Mould's homosexuality undoubtedly caused whatever friction, whatever distance he and his father had in their relationship. This album sounds like catharsis. It sounds like closure after the fact. I don't know the back story, I don't know anything about what Bob's mindset is here, but the music shows a broken relationship's turmoil. It shows an artist dealing with heavy shit. And for a master songwriter like Bob Mould it's a powerful listening experience.
Take Bob Mould. His last record, Silver Age, was one of my favorites from 2012. It was a straight-forward noisy power pop record. It wouldn't be surprising if he changed things up again, exploring the darker side of things Black Sheets of Rain style or even going more electronic. But Bob Mould has other things on his mind. Namely, it's the death of his father and of his own mortality. His new record Beauty & Ruin deals with that life change.
But the lyrics bite. Take the last of those three tracks: A thousand pieces of my heart/Swept across a weathered floor/And no idea how to start/Solving puzzles from before. Side 1 of the record is labeled "beauty" but beauty is hard to find here. Take side closer "The War:" And all these songs I write for you/They tear me up, it's not hard to do/Listen to my voice/It's the only weapon I kept from the war."
The second side, titled "ruin," is where the light begins to shine. Surrounding the Replacements-esque "Hey Mr. Grey" (complete with a kids don't follow reference), it flickers through songs like "Forgiveness" (and it's Brick-In-The-Wall guitar intro), "Tomorrow Morning" and "Let The Beauty Be" before coming to a close with "Fix It" where Bob sings it's time to fill your heart with love/Fix it, fix it, full enough/Time to fix who you are."
Bob Mould's homosexuality undoubtedly caused whatever friction, whatever distance he and his father had in their relationship. This album sounds like catharsis. It sounds like closure after the fact. I don't know the back story, I don't know anything about what Bob's mindset is here, but the music shows a broken relationship's turmoil. It shows an artist dealing with heavy shit. And for a master songwriter like Bob Mould it's a powerful listening experience.
Sunday, June 15, 2014
Most Messed Up
Like all the hipsters, I went through my alt-country phase. If you're unfamiliar, I guess technically it means rock bands that have a country flavor. This was before the Modern Country thing happened, before Rascal Flatts and Lady Antebellum and Florida Georgia Line and Zac Brown Band decided that playing electric guitars but still singing about being a shitkicker was enough the make you a rocker. Those are country bands that think they are rock bands. And they are barely country artists. They don't belong in the same breath with Johnny Cash and Willie Nelson and Kris Kristofferson and Townes Van Zandt Waylon Jennings and Loretta Lynn and Hank Williams and Patsy Cline. And that's about all I'll say on that subject, because it ain't for me and I try to be nice here.
One of my favorites out of the alt-country scene were the Old 97s. They hail from Dallas. Dreamy lead singer Rhett Miller went to my rival high school. But I was lame in high school and didn't have a blood vendetta against anybody, so that doesn't really mean much to me. The Old97s followed in the footsteps of my finding Wilco and Uncle Tupelo and Son Volt. This was around 1998 and 1999. The first record of theirs I bought was Fight Songs. But the one that really hooked me, and hooked most of the people who love them, was Too Far To Care. It's a great dose of cowpunk. Snarling Strats, great melodies, swinging rhythm section.
The cool thing about them is that they always had an outstanding melodic sense, almost as much power pop and alt-country. Rhett Miller's solo records all lean much more Big Star than Waylon. That had started to rub off on the band a bit, but the last couple of records find them returning to their roots. Their latest is Most Messed Up and it 100% follows that path.
You can tell by the names of the songs: "Let's Get Drunk & Get It On" and "This Is The Ballad" demonstrate the sense of humor they have always had. Opening cut "Longer Than You've Been Alive" sounds like Rhett telling his kids why they have a rock star for a dad. "Wheels Off" sounds like it could have come right off Fight Songs. Every country-ish band needs a song about "Nashville" and they do theirs here. "Wasted" starts off like lots of Old 97s, acoustic intro but cranking up the amps, singing about not being a square and getting blotto. Bassist Murray Hammond, who is the secret weapon of the band, gets another great track to sing, this time "Ex Of All Your See."
The cowpunk moniker sticks. It's ragged and rough in spots. It's noisy. The back of the record says "Play this album real loud." It's under 40 minutes long, so it starts, kicks ass, says see you next time.
Where bands often find themselves in ruts or bored by what they do, the Old 97s seem to revel in it. They don't break much new ground these days, but they seem to have found their groove. There are good songs in that groove. Growth isn't always needed. Knowing what you are good at is an excellent skill to have.
One of my favorites out of the alt-country scene were the Old 97s. They hail from Dallas. Dreamy lead singer Rhett Miller went to my rival high school. But I was lame in high school and didn't have a blood vendetta against anybody, so that doesn't really mean much to me. The Old97s followed in the footsteps of my finding Wilco and Uncle Tupelo and Son Volt. This was around 1998 and 1999. The first record of theirs I bought was Fight Songs. But the one that really hooked me, and hooked most of the people who love them, was Too Far To Care. It's a great dose of cowpunk. Snarling Strats, great melodies, swinging rhythm section.
The cool thing about them is that they always had an outstanding melodic sense, almost as much power pop and alt-country. Rhett Miller's solo records all lean much more Big Star than Waylon. That had started to rub off on the band a bit, but the last couple of records find them returning to their roots. Their latest is Most Messed Up and it 100% follows that path.You can tell by the names of the songs: "Let's Get Drunk & Get It On" and "This Is The Ballad" demonstrate the sense of humor they have always had. Opening cut "Longer Than You've Been Alive" sounds like Rhett telling his kids why they have a rock star for a dad. "Wheels Off" sounds like it could have come right off Fight Songs. Every country-ish band needs a song about "Nashville" and they do theirs here. "Wasted" starts off like lots of Old 97s, acoustic intro but cranking up the amps, singing about not being a square and getting blotto. Bassist Murray Hammond, who is the secret weapon of the band, gets another great track to sing, this time "Ex Of All Your See."
The cowpunk moniker sticks. It's ragged and rough in spots. It's noisy. The back of the record says "Play this album real loud." It's under 40 minutes long, so it starts, kicks ass, says see you next time.
Where bands often find themselves in ruts or bored by what they do, the Old 97s seem to revel in it. They don't break much new ground these days, but they seem to have found their groove. There are good songs in that groove. Growth isn't always needed. Knowing what you are good at is an excellent skill to have.
Tuesday, May 27, 2014
Deathfest in Charm City
On Sunday my wife and I spent the day in Baltimore at the Maryland Deathfest. I am not usually a big fan of festivals. My attention span has gotten super-low as I get older. But this year I saw that Windhand and Uncle Acid & The Deadbeats were both playing the same day, so I took the plunge and got tickets.
I've written about Uncle Acid before. I've written about Windhand before. Both bands are perfect examples of what is good about the current metal scene. Windhand do their thing slow and heavy. Uncle Acid play Sabbath-inspired melodic rockers that go fast-slow-fast. I was at first chagrined that Windhand was playing first at 1:30, but Uncle Acid wouldn't take the stage until 7:40.
Never fear! The festival remained engaging the entire time. Sure, Jodi and I spent plenty of time hanging out in one of the quieter zones of the festival, but that's just because we had to get out of the sun and off our feet. Across the board it was a great experience. Interesting music, interesting and friendly people, crazy tats, scary tee shirts, awesome vibe.
We arrived about 12:30. Plenty of parking available right by the gates. Security checked IDs and gave us can-drink-wristband, then we had our tickets checked and got a let-us-in-wristband. Jodi had to open her bag and show what was in it. I had to lift up my tee shirt to show I wasn't packing knives or anything troublesome.
We had an hour to kill so we wandered through the copious merchandise area. Lots of vendors, some from metal record labels, were all selling tons of tee shirts, books, bongs, vinyl, CDs, posters, stickers and patches. Every metal band on the planet seemed to have a tee shirt there. I scored a sweet looking Windhand shirt and grabbed a sticker for my guitar case. Jodi enjoyed their set so she went back and got herself a tee-shirt, which she plans on cutting the sleeves off of.
Vinyl-wise, I wound up getting an import 7" from Satan's Satyrs, a local DC band produced by my band's producer Don Zientara. I also got a re-released double LP of ASG's Win Us Over from the Relapse Records table. I could easily have spent a shitload more but for once restraint was in place.
Since we had nearly 8 hours to spend there, we would have to get something to eat. I got a couple hot dogs for lunch, then got some excellent Thai food from one of the vendors. There was plenty of beer and drinks to be had, but I was sensible and stayed with a ton of water, except for one A-Treat soda I couldn't resist.
But what about the music!?! The bands leaned more brutal than I go for. Windhand and Uncle Acid were definitely the high points for me. Jodi remarked afterwards that Uncle Acid were very different than the other bands. They almost felt out of place. The one that stood out to me was Pseudogod. They are from Russia and look particularly scary, covered in red paint and looking like stand-ins for The Devil's Rejects. We watched Inquisition and then Soilent Green for a while. Both were obviously great at what they did, but it was not quite my thing. I dug it though.
Windhand started the day off perfectly. Jodi asked me if we really would need ear plugs. We were standing in front of one of the speakers and as soon as the drums started going we just grinned at each other. The reverberations seemed to be going right through us. I can only imagine what was happening to our organs. Windhand played 30 minutes and were fantastic. Sorry they only had that short of set. When Jodi got her tee shirt I realized their singer was working the merchandise table. I thanked her for a killer set and shook her hand. Doing the doom slow-heavy thing their songs tend to bleed into one another, but that's part of the charm. They set a mood of heaviness that just knocks me out. Tremendous band.
Five and a half hours later Uncle Acid & The Deadbeats took the stage. They were worth the wait. This is their first US appearance so it was especially exciting. This is the kind of music a motorcycle gang would dig. Jodi heard one kid having a fit for whatever reason, saying something about this Sabbath cover band not helping. HA! That's an easy descriptor. But they are doing Sabbath better than Sabbath is doing Sabbath these days. They played 45ish minutes and it was outstanding. I fled back to the merchandise table before their set ended in hopes of getting a tee bit I couldn't score one because all they and left were mediums and extra-large. Meh. The music did sound better from way back though. I had ear plugs in for most of the day and while it helped with my tinnitus, it took something away from the sound. Sacrifices for hearing the next week, right?
We left after they played. Candlemass and My Dying Bride still were up but we were both beat and had to drive back from Baltimore. But it was a great day. A very interesting experience. Depending on the band splaying I would go again. I think there would need to be at least two bands I am really into before investing the day again. I was impressed with the overall competence and arrangement of the whole shindig. Kudos to the producers!
Here's a few more sights from the festival!
I've written about Uncle Acid before. I've written about Windhand before. Both bands are perfect examples of what is good about the current metal scene. Windhand do their thing slow and heavy. Uncle Acid play Sabbath-inspired melodic rockers that go fast-slow-fast. I was at first chagrined that Windhand was playing first at 1:30, but Uncle Acid wouldn't take the stage until 7:40.
 |
| Programs! |
We arrived about 12:30. Plenty of parking available right by the gates. Security checked IDs and gave us can-drink-wristband, then we had our tickets checked and got a let-us-in-wristband. Jodi had to open her bag and show what was in it. I had to lift up my tee shirt to show I wasn't packing knives or anything troublesome.
We had an hour to kill so we wandered through the copious merchandise area. Lots of vendors, some from metal record labels, were all selling tons of tee shirts, books, bongs, vinyl, CDs, posters, stickers and patches. Every metal band on the planet seemed to have a tee shirt there. I scored a sweet looking Windhand shirt and grabbed a sticker for my guitar case. Jodi enjoyed their set so she went back and got herself a tee-shirt, which she plans on cutting the sleeves off of.
 |
| Swag! |
Vinyl-wise, I wound up getting an import 7" from Satan's Satyrs, a local DC band produced by my band's producer Don Zientara. I also got a re-released double LP of ASG's Win Us Over from the Relapse Records table. I could easily have spent a shitload more but for once restraint was in place.
Since we had nearly 8 hours to spend there, we would have to get something to eat. I got a couple hot dogs for lunch, then got some excellent Thai food from one of the vendors. There was plenty of beer and drinks to be had, but I was sensible and stayed with a ton of water, except for one A-Treat soda I couldn't resist.
 |
| Pseudogod |
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| Soilent Green |
 |
| Windhand |
 |
| Uncle Acid & The Deadbeats |
We left after they played. Candlemass and My Dying Bride still were up but we were both beat and had to drive back from Baltimore. But it was a great day. A very interesting experience. Depending on the band splaying I would go again. I think there would need to be at least two bands I am really into before investing the day again. I was impressed with the overall competence and arrangement of the whole shindig. Kudos to the producers!
Here's a few more sights from the festival!
Saturday, May 3, 2014
All Request Hour: Timber Timbre's Hot Dreams
My friend Joe Apple sent me a Facebook message asking if I would review an album he recommended. I am all up for that. Joe has good taste in music and the record he recommend was one I had not heard of: Hot Dreams by Timber Timbre.
Timber Timbre is a Canadian indie-folk act led by singer/songwriter Taylor Kirk. It's very atmospheric, very elaborate sounding. The record starts off vocally sounding almost like an old Rick Nelson record, but about halfway through the album owner "Beat The Drum Slowly," the reference becomes Richard Hawley, a fine English singer/songwriter who spent some time in Pulp. Hawley is a guy I once said was music to drink Scotch to. This record is very much in that spirit. It reminds me of a less sinister Nick Cave record.
I like the line that opens the title cut "I want to dance, I want to dance, I want to dance with a black woman." Lyrics like that grab the attention. Lyrically it's an interesting record. "Curtains!?" is a great cut; opens with a heavy beat and keyboard with sharp electric chords on the guitar, a quiet break in the middle before ending loudly. "Bring Me Simple Men" reminds me of Urge Overkill covering "Girl, You'll Be A Woman Soon." The music feels like it could be a soundtrack to a spaghetti western or a Tarantino movie. "Resurrection Drive Part II" is another such cut, but in this one I can see sinister looking hippie-chicks dancing behind a thumping beat and weird violins scraping. Maybe I am just weird.
What I like about it is the mood it creates. It is an incredibly interesting record. And that's good praise. So many records are dull; this one holds the attention. When one song ends here I am eager to hear what is coming next. Thanks, Joe, for the recommendation!
Here is the title cut "Hot Dreams."
Timber Timbre is a Canadian indie-folk act led by singer/songwriter Taylor Kirk. It's very atmospheric, very elaborate sounding. The record starts off vocally sounding almost like an old Rick Nelson record, but about halfway through the album owner "Beat The Drum Slowly," the reference becomes Richard Hawley, a fine English singer/songwriter who spent some time in Pulp. Hawley is a guy I once said was music to drink Scotch to. This record is very much in that spirit. It reminds me of a less sinister Nick Cave record.I like the line that opens the title cut "I want to dance, I want to dance, I want to dance with a black woman." Lyrics like that grab the attention. Lyrically it's an interesting record. "Curtains!?" is a great cut; opens with a heavy beat and keyboard with sharp electric chords on the guitar, a quiet break in the middle before ending loudly. "Bring Me Simple Men" reminds me of Urge Overkill covering "Girl, You'll Be A Woman Soon." The music feels like it could be a soundtrack to a spaghetti western or a Tarantino movie. "Resurrection Drive Part II" is another such cut, but in this one I can see sinister looking hippie-chicks dancing behind a thumping beat and weird violins scraping. Maybe I am just weird.
What I like about it is the mood it creates. It is an incredibly interesting record. And that's good praise. So many records are dull; this one holds the attention. When one song ends here I am eager to hear what is coming next. Thanks, Joe, for the recommendation!
Here is the title cut "Hot Dreams."
Wednesday, April 30, 2014
Aimee Mann and Gord Downie Side Projects
Aimee Mann has long been a favorite songwriter of mine. After Til Tuesday, who were a fine 80s band in their own right, she made two outstanding power-pop solo records: Whatever and I'm With Stupid. If you watched Melrose Place (I didn't) you probably heard "That's Just What You Are" off the latter record. She also got a lot of exposure doing songs for P.T. Anderson's Magnolia, a movie that was written with Aimee Mann in mind, and which featured all the characters in the movie singing "Wise Up." The rest of her solo output has been good but not great. Her 2012 record Charmer is probably the best of the post-Magnolia output.
Now she has teemed up with Ted Leo to form The Both. Ted Leo is considered an indie alternative (whatever that means) artist but labels aside he's a singer/songwriter. I never really got into him that much, but after hearing this record, I should give him another shot. The Both is a great collection of power pop gems. Mann is on bass and Leo on guitar and they take turns on the lead vocals. Both sound great, but it's even better when they harmonize. At first glance it seems to be a trifle, just a one-off side project of two established artists having fun, but the songs are so well written and so well played it isn't fair to dismiss it as such. My two favorite are "Milwaukee" and "Pay For It," both of which bounce along merrily with great melodies, clever lyrics and super production. What I like best is that Mann has never had a guitar player working with her as intense as Ted Leo. His playing makes the songs roar to life. They are playing the 930 Club on Friday night and I am hoping to go.
My most favorite band on the planet not named Rush is also Canadian: The Tragically Hip. I have written about them extensively before (here and here and here) so my admiration is well known. Their singer is the amazing Gord Downie. He has mellowed out a bit as he has gotten older, but he is still one of the most mesmerizing performers I have ever seen. He seems to go into a trance when singing. Hip shows are always an amazing experience.
He has just released a collaboration with fellow Canadians The Sadies called Gord Downie, The Sadies And The Conquering Sun. The Sadies are another band I never quite got into; they were always a bit more eclectic than I had patience for. I was honestly surprised when I heard about this record. Downie has done a few solo records himself, all of them interesting but all of them again eclectic and therefore not as interesting to me as Hip records. The fact that he was making a record with another band was a bit disconcerting. What about the Hip? Why does Gord feel like he needs to work with another band? Are they breaking up! GACK!!
Hopefully a break-up isn't imminent. For the time being, to get a Gord fix, this will have to do. The best track is the kick-off track "Crater." Noisy and gritty guitars drive the tune. "Los Angeles Times" is a nice mid-tempo number with a good Clarence White-esque guitar solo at the end. Ltrically it's typical Gord Downie; sort of weird, sort of obtuse, sort of rambling but clever in every way. If this was a Hip record it would be a good Hip record, but not as good as the classics. Perhaps Gord just wanted a break from his band; collaborating with old friends and seeing what happens. I hope he doesn't forget where home is.
Here's the FANTASTIC video for the FANTASTIC "Milwaukee" by The Both:
And not quite fantastic but still extremely cool, here's "Crater" by Gord Downie and The Sadies.
Now she has teemed up with Ted Leo to form The Both. Ted Leo is considered an indie alternative (whatever that means) artist but labels aside he's a singer/songwriter. I never really got into him that much, but after hearing this record, I should give him another shot. The Both is a great collection of power pop gems. Mann is on bass and Leo on guitar and they take turns on the lead vocals. Both sound great, but it's even better when they harmonize. At first glance it seems to be a trifle, just a one-off side project of two established artists having fun, but the songs are so well written and so well played it isn't fair to dismiss it as such. My two favorite are "Milwaukee" and "Pay For It," both of which bounce along merrily with great melodies, clever lyrics and super production. What I like best is that Mann has never had a guitar player working with her as intense as Ted Leo. His playing makes the songs roar to life. They are playing the 930 Club on Friday night and I am hoping to go.My most favorite band on the planet not named Rush is also Canadian: The Tragically Hip. I have written about them extensively before (here and here and here) so my admiration is well known. Their singer is the amazing Gord Downie. He has mellowed out a bit as he has gotten older, but he is still one of the most mesmerizing performers I have ever seen. He seems to go into a trance when singing. Hip shows are always an amazing experience.
He has just released a collaboration with fellow Canadians The Sadies called Gord Downie, The Sadies And The Conquering Sun. The Sadies are another band I never quite got into; they were always a bit more eclectic than I had patience for. I was honestly surprised when I heard about this record. Downie has done a few solo records himself, all of them interesting but all of them again eclectic and therefore not as interesting to me as Hip records. The fact that he was making a record with another band was a bit disconcerting. What about the Hip? Why does Gord feel like he needs to work with another band? Are they breaking up! GACK!!Hopefully a break-up isn't imminent. For the time being, to get a Gord fix, this will have to do. The best track is the kick-off track "Crater." Noisy and gritty guitars drive the tune. "Los Angeles Times" is a nice mid-tempo number with a good Clarence White-esque guitar solo at the end. Ltrically it's typical Gord Downie; sort of weird, sort of obtuse, sort of rambling but clever in every way. If this was a Hip record it would be a good Hip record, but not as good as the classics. Perhaps Gord just wanted a break from his band; collaborating with old friends and seeing what happens. I hope he doesn't forget where home is.
Here's the FANTASTIC video for the FANTASTIC "Milwaukee" by The Both:
And not quite fantastic but still extremely cool, here's "Crater" by Gord Downie and The Sadies.
Wednesday, April 23, 2014
Come to Axum's Lounge! See my band bring it!!
My band Braddock Station Garrison returns to the stage this Saturday, April 26, at Axum's Lounge at 1934 9th Street NW in Washington DC. We are first up at 8:30pm. Being old we like going early. Let the young whippersnappers play at midnight. There are lots of cool restaurants in the neighborhood so come on down and make an evening out of it!We are playing with some great local bands. We are particularly fond of Exit Vehicles. I used to work with Adam many moons ago and am excited to share the bill with his band.
So far we have had three shows with our new bass player Jim. We were very sad to see Patrick leave but it was a good life-altering opportunity for him and his family. Finding Jim was a God-send. He is an experienced touring musician, a great talent, and a really nice guy who fits in perfectly with the rest of us. He brings a unique style to the proceedings. We are lucky to have him part of our little group.
Our CD High Water was recorded and mixed by Don Zientara and is available digitally at iTunes and Amazon and CDBaby and at Bandcamp. It's also streaming on Spotify. We'd be most appreciative if you considering getting yourself a copy. We'll have physical copies and tee-shirts too at our shows.
Here we are doing "Hey Cindy" at our show at Empire in Springfield VA. Come check us out!!
Heavy Round-Up
If you've read here enough you know I have a soft spot for heavy rock and metal. Here's a round-up of some records of that ilk I have been digging and playing regularly.
The back of Old Man's Will eponymous debut says "File Under: 70s rock/blues rock/hard rock." That sums them up just right. Hailing from Sweden they are a modern band doing old school heavy rock. They are another great band on the EasyRider Records (about to become Riding Easy due to legal reasons) label. Deep Purple minus Jon Lord is what comes to mind when listening. "An Ennobling Evening" has that Ritchie Blackmore kind of vibe, heavy guitar licks over a thudding beat and wailing Ian Gillian-esque vocal. "Alidheim" is slow burn, rhythm and bluesy vocals before the bottom-friendly guitar lick kicks in. It's a nice debut by a very promising band. I look forward to hearing more from them in the future.
The Oath are a couple foxy ladies from Sweden and Germany respectively and a couple guys named Fred (no offense) doing a fast, witchy blend of hard rock and metal. German singer Johanna Sardonis has a fascination with evil things and the hereafter; it bleeds into her lyrics. Swedish guitarist Linnéa Ollson can flat out play. Take the also eponymously-named album opener "All Must Die." That title does not express the end is imminent but that it's eventual, and that it might not be a happy eternity awaiting you. Musically it has a nice time shift in the middle. They do that a bunch keeping things especially interesting. The song titles are as expected: "Night Child," "Black Rainbow," "Death Delight" and "Psalm 7" for example. My copy came direct from Rise Above Records and includes a 7" for "Night Of The Demon." The album cover alone gets attention and the music backs up the look. If you dig devilish metal you'll dig this. It's harmless fun, whether or not they believe the shtick.
Less metal and more heavy rock is the wonderfully named British outfit Admiral Sir Cloudesley Shovel and their new LP Check 'Em Before You Wreck 'Em. Another offering from Rise Above Records, these fellows bring more 70s inspired rock. These Brits sound more like late-era Ozzy Sabbath. It's not earth-shattering but it's rock n roll and it's fun. Plus their guitarist calls himself Johnny Gorilla and I respect that. They look like they stepped out of the 70s. Denim and boots and weird birds riding motorcycles. It's fun and sort of stupid but the fun is in the stupidness. 100% respect in that statement. I dig it and if you dig loud guitars and heavy rhythm you will dig this. What's not to like about a song called "2 Tonne Fuckboot"?
The back of Old Man's Will eponymous debut says "File Under: 70s rock/blues rock/hard rock." That sums them up just right. Hailing from Sweden they are a modern band doing old school heavy rock. They are another great band on the EasyRider Records (about to become Riding Easy due to legal reasons) label. Deep Purple minus Jon Lord is what comes to mind when listening. "An Ennobling Evening" has that Ritchie Blackmore kind of vibe, heavy guitar licks over a thudding beat and wailing Ian Gillian-esque vocal. "Alidheim" is slow burn, rhythm and bluesy vocals before the bottom-friendly guitar lick kicks in. It's a nice debut by a very promising band. I look forward to hearing more from them in the future.
The Oath are a couple foxy ladies from Sweden and Germany respectively and a couple guys named Fred (no offense) doing a fast, witchy blend of hard rock and metal. German singer Johanna Sardonis has a fascination with evil things and the hereafter; it bleeds into her lyrics. Swedish guitarist Linnéa Ollson can flat out play. Take the also eponymously-named album opener "All Must Die." That title does not express the end is imminent but that it's eventual, and that it might not be a happy eternity awaiting you. Musically it has a nice time shift in the middle. They do that a bunch keeping things especially interesting. The song titles are as expected: "Night Child," "Black Rainbow," "Death Delight" and "Psalm 7" for example. My copy came direct from Rise Above Records and includes a 7" for "Night Of The Demon." The album cover alone gets attention and the music backs up the look. If you dig devilish metal you'll dig this. It's harmless fun, whether or not they believe the shtick.
Less metal and more heavy rock is the wonderfully named British outfit Admiral Sir Cloudesley Shovel and their new LP Check 'Em Before You Wreck 'Em. Another offering from Rise Above Records, these fellows bring more 70s inspired rock. These Brits sound more like late-era Ozzy Sabbath. It's not earth-shattering but it's rock n roll and it's fun. Plus their guitarist calls himself Johnny Gorilla and I respect that. They look like they stepped out of the 70s. Denim and boots and weird birds riding motorcycles. It's fun and sort of stupid but the fun is in the stupidness. 100% respect in that statement. I dig it and if you dig loud guitars and heavy rhythm you will dig this. What's not to like about a song called "2 Tonne Fuckboot"?
Here's Old Man's Will doing "Evil Woman"
The Oath and "All Must Die"
YouTube is coming up short on stuff from their new record
so here is a clip from a February show of theirs:
Thursday, April 10, 2014
Pass The Buck
Peter Buck was the first former REM-er to come out with a solo record. He also appears to be the only one planning to do that. Only a year after his eponymous and vinyl-only solo debut, he returns with I Am Back To Blow Your Mind Once Again. The debut was not earth-shattering. It felt loose and fun, things that Peter Buck never really seemed when he was in REM. The follow-up here, also a vinyl-only production, is more of the same.
His primary cohort is Scott McCaughey, he of The Minus 5 and long-time collaborator/pal of Buck. It is kind of a bluesy, boozy record. I don't suspect this record took terribly long to make. It reminds me in terms of feel of the record he and Mike Mills and Bill Berry did with Warren Zevon back in the early 90s as Hindu Love Gods. It's the kind of record that musicians make when they are having a good time. It's not an artistic statement, it's not reaching for something great. It's a portrait of a talented artist doing his thing. It does not quite live up to it's name. But it's a welcome diversion.
Buck does not have the most magnetic voice. It is often drenched in effect but his voice is sort of a natural effect. He was not meant to be a front-man. But that is not a criticism, just a fact. It suits the vibe though. When McCaughey takes the lead vocal on the nice mid-tempo cut "Fall On My Own Sword" it's a noticeable shift.
The first three songs are solid rockers, especially the third one "Life Is Short" where Kurt...somebody. The credits on the back label don't go into much detail. Anyway he gets off a great psychedelic guitar solo that goes on a bit too long, which is perfectly fine.
The Drive By Truckers' Patterson Hood shows up for the most interesting song on the record: "Southerner." It features Buck on a sinister sounding enow guitar while Hood recites the lyrics, capturing what it means to be a southerner of a certain age.
The only song I could find on YouTube was "Drown With Me," which features Sleater-Kinney's Corin Tucker on lead vocal, and sounds like it could have come off of New Adventures in Hi-Fi. I didn't look that hard for a video, though.
Buck does not have the most magnetic voice. It is often drenched in effect but his voice is sort of a natural effect. He was not meant to be a front-man. But that is not a criticism, just a fact. It suits the vibe though. When McCaughey takes the lead vocal on the nice mid-tempo cut "Fall On My Own Sword" it's a noticeable shift.
The first three songs are solid rockers, especially the third one "Life Is Short" where Kurt...somebody. The credits on the back label don't go into much detail. Anyway he gets off a great psychedelic guitar solo that goes on a bit too long, which is perfectly fine.
The Drive By Truckers' Patterson Hood shows up for the most interesting song on the record: "Southerner." It features Buck on a sinister sounding enow guitar while Hood recites the lyrics, capturing what it means to be a southerner of a certain age.
The only song I could find on YouTube was "Drown With Me," which features Sleater-Kinney's Corin Tucker on lead vocal, and sounds like it could have come off of New Adventures in Hi-Fi. I didn't look that hard for a video, though.
Wednesday, April 9, 2014
Holdin' Steady
The Hold Steady are one of the best live bands on the planet. There is an incredible energy that fills every one of their shows. As Craig Finn shouts at the end of their live record "There is so much JOY in what we do!" I got to see them for the fourth or fifth time (I forget) on Monday at DC's 930 Club. As always they put on a great show but it did seem a little more subdued than previous. Maybe that was because they are a bit older, or maybe because my wife and I perched from the club's balcony so that we had perfect sound and a perfect view. When I've gone solo I usually get down front, so though the mob at the front didn't seem particularly ornery, perhaps being away from it proved less exciting. The crowds are part of what make their shows more revival than concert. Everybody knows the words to the classics, and the classics were well represented. It was a wonderful show, and if you like classic Thin Lizzy-sounding rock with a madman holding court at the lead singer mic, then you should love The Hold Steady as much as I do.
Their latest record is Teeth Dreams and it is an improvement from their somewhat disappointing Heaven Is Whenever. That 2010 record sounded a bit lethargic to me. It was their first without keyboardist and backing vocalist Franz Nicolay. He brought a lot to the band. It took a record for them to adapt. Steve Selvidge, who used to be in Lucero, is now an official member and he brings a great compliment to Tab Kubler's guitar playing. They share lead duties and it rely ram homes the Thin Lizzy sound for me. A bunch of their solos start together, diverge to wrap around one another, before coming back. The short solo in "Saddle Shoes" is a nice sample of this.
Lyrically, Craig Finn is one of the best around. Maybe THE best. As always his songs are more stories. Tales of losers and drug addicts and lapsed Catholics and teenagers looking to score. It's interesting, it's smart, it simply resonates. His voice is not for everybody, he uses this sing-talk style that folks tend to find grating. I found it grating when I first heard them, but the music draws you in and lends itself to the stories Craig is telling, the worlds he is building in his lyrics. The album closes on a new note, a great nine-plus-minute opus called "Oaks" which features some of Craig's best singing.
Here's a cool trailer for the new record. All hail The Hold Steady!!
Lyrically, Craig Finn is one of the best around. Maybe THE best. As always his songs are more stories. Tales of losers and drug addicts and lapsed Catholics and teenagers looking to score. It's interesting, it's smart, it simply resonates. His voice is not for everybody, he uses this sing-talk style that folks tend to find grating. I found it grating when I first heard them, but the music draws you in and lends itself to the stories Craig is telling, the worlds he is building in his lyrics. The album closes on a new note, a great nine-plus-minute opus called "Oaks" which features some of Craig's best singing.
Here's a cool trailer for the new record. All hail The Hold Steady!!
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