Here's a video from an old show to remind you how great it's going to be!
Saturday, June 23, 2012
Braddock Station Garrison Rides Tonight
My band, Braddock Station Garrison, is playing the Old Firestation #3 in Old Town Fairfax, VA tonight. If we play anything like we have the last couple practices then this will be epic in an At Budokan kind of way. Show starts around 9pm. Hope to see you there!!
Here's a video from an old show to remind you how great it's going to be!
Here's a video from an old show to remind you how great it's going to be!
Thursday, June 21, 2012
New Records this Week: Meh
Most weeks there is usually something new I wind up buying. Not this week! The big releases that were on my radar were the Fiona Apple and Smashing Pumpkins records.
I was ready to drink the kool-aid and get the Fiona Apple record because that's the sort of thing a music geek does, right? And she usually works with producer Jon Brion who is one of my favorite artists (and likely somebody you never heard of). Well, not this time in either case. I listened to clips and found myself saying "no" to the question of whether I would listen to it again. This is against the tide, I reckon, reading all the reviews saying how great it is. Whatever.
Same thing with The Smashing Pumpkins. I have never been the biggest SP fan but I did go to college in the 90s so I have Siamese Dream and Mellon Collie... and for some strange reason MACHINA. The requisite tracks from the first two records show up on the mega-90s-mix (currently > 1200 tracks [and yes there are Fiona Apple tracks in the mix]) on my iTouch, but I don't listen to those records anymore. I am listening to samples of the new record right now and I remain unimpressed. Perhaps I lose some street cred but meh. If I want an old band crunch-ifying things and being noisy I'll go with the new record from The Cult. Yeah, now we are talking!
I do respect both Fiona Apple and Billy Corgan. Especially Billy Corgan because he is from Chicago and likes Rush. They make records they want to make and that is awesome. They just don't do it for me and there isn't anything wrong with that. I hope they sell a shitload.
I was ready to drink the kool-aid and get the Fiona Apple record because that's the sort of thing a music geek does, right? And she usually works with producer Jon Brion who is one of my favorite artists (and likely somebody you never heard of). Well, not this time in either case. I listened to clips and found myself saying "no" to the question of whether I would listen to it again. This is against the tide, I reckon, reading all the reviews saying how great it is. Whatever.
Same thing with The Smashing Pumpkins. I have never been the biggest SP fan but I did go to college in the 90s so I have Siamese Dream and Mellon Collie... and for some strange reason MACHINA. The requisite tracks from the first two records show up on the mega-90s-mix (currently > 1200 tracks [and yes there are Fiona Apple tracks in the mix]) on my iTouch, but I don't listen to those records anymore. I am listening to samples of the new record right now and I remain unimpressed. Perhaps I lose some street cred but meh. If I want an old band crunch-ifying things and being noisy I'll go with the new record from The Cult. Yeah, now we are talking!
I do respect both Fiona Apple and Billy Corgan. Especially Billy Corgan because he is from Chicago and likes Rush. They make records they want to make and that is awesome. They just don't do it for me and there isn't anything wrong with that. I hope they sell a shitload.
Tuesday, June 19, 2012
Half Point Review: Top 5
Since we are at the half way point, here is the Top FIVE of 2012 (so far!):
Clockwork Angels by Rush. Yeah duh.
Weather Systems by Anathema. See the previous post. Perfectly constructed and emotionally resonant prog.
Les Voyages de L'Âme by Alcest. Beautiful French progressive rock. Musically probably the prettiest record of the year.
What Kind Of World by Brendan Benson. Power pop master with his best record yet. Just great, catchy songs.
Port of Morrow by The Shins. Great comeback from James Mercer. I thought the Broken Bells stuff was kind of dull so I am glad to see him back under The Shins moniker.
Clockwork Angels by Rush. Yeah duh.
Weather Systems by Anathema. See the previous post. Perfectly constructed and emotionally resonant prog.
Les Voyages de L'Âme by Alcest. Beautiful French progressive rock. Musically probably the prettiest record of the year.
What Kind Of World by Brendan Benson. Power pop master with his best record yet. Just great, catchy songs.
Port of Morrow by The Shins. Great comeback from James Mercer. I thought the Broken Bells stuff was kind of dull so I am glad to see him back under The Shins moniker.
Sunday, June 17, 2012
Half Point Review: Surprises
Yesterday was about disappointing records: albums that I was excited about and had high hopes for but was disappointed in. Today's list is the opposite: albums I hadn't reckoned on that really stood out. and surprised me in how much I liked them. So here goes!
Weather Systems by Anathema - Anathema are a British band that used to do doom metal but as they got older they decided to forego that and move more progressive. I saw the two brothers Cavanagh that lead the band open as an acoustic act for Blackfield last year. They put on a great show; I got their latest record which I thought was pretty good. This one, however, is just fantastic. Very melodic, very memorable, very acoustic and piano-based and string-y but propelled along by a great rhythm section and well chosen bursts of electric guitar. The brothers trade vocals and are augmented by a lady singing some of the time. The record is about dying, about the fear that engenders and the ultimate hope that something lays beyond for us. A really touching and beautiful record and has a great chance to be my favorite of the year.
Go Fly A Kite by Ben Kweller - I once saw a teenage Ben Kweller open for Jeff Tweedy, starting his set with a sort of cover of "Ice Ice Baby." Since then Ben has grown up and become a pretty good power-popper. This record is finally the realization of his talents. Very catchy and with great songs.
United We Stand by BRAD - Stone Gossard's sort of side project already had a blog write-up a month or so ago. It's a very 90s sounding record and I still mean that in a good way.
Leaving Atlanta by Gentleman Jesse - I think I read about this on some website. Gave the samples a listen and thought they were good. Here's a record I just keep coming back to. Very Nick Lowe sounding, Elvis Costello, REM-y from back when Peter Buck played Rickenbackers. All the songs move...I don't recall there being a ballad on the record.
Tomorrow I will finish this exercise with my initial top 10 of the year. Will your favorite be there!?! One way to find out!
Weather Systems by Anathema - Anathema are a British band that used to do doom metal but as they got older they decided to forego that and move more progressive. I saw the two brothers Cavanagh that lead the band open as an acoustic act for Blackfield last year. They put on a great show; I got their latest record which I thought was pretty good. This one, however, is just fantastic. Very melodic, very memorable, very acoustic and piano-based and string-y but propelled along by a great rhythm section and well chosen bursts of electric guitar. The brothers trade vocals and are augmented by a lady singing some of the time. The record is about dying, about the fear that engenders and the ultimate hope that something lays beyond for us. A really touching and beautiful record and has a great chance to be my favorite of the year.
Go Fly A Kite by Ben Kweller - I once saw a teenage Ben Kweller open for Jeff Tweedy, starting his set with a sort of cover of "Ice Ice Baby." Since then Ben has grown up and become a pretty good power-popper. This record is finally the realization of his talents. Very catchy and with great songs.
United We Stand by BRAD - Stone Gossard's sort of side project already had a blog write-up a month or so ago. It's a very 90s sounding record and I still mean that in a good way.
Leaving Atlanta by Gentleman Jesse - I think I read about this on some website. Gave the samples a listen and thought they were good. Here's a record I just keep coming back to. Very Nick Lowe sounding, Elvis Costello, REM-y from back when Peter Buck played Rickenbackers. All the songs move...I don't recall there being a ballad on the record.
Tomorrow I will finish this exercise with my initial top 10 of the year. Will your favorite be there!?! One way to find out!
Saturday, June 16, 2012
Half Point Review: Disappointments
I was thinking whilst in the shower that it is halfway through the year and I should talk about my mid-point favorites of 2012. But then a song came on DC101 and I decided to do a Disappointments list first. Usually I am quite positive here, only occasionally taking some record or someone to task. I am not really saying these albums are bad, it's more a case of high expectations on my part that were not satisfied. Looking through iTunes is surprising the number of records that came up.
Neck of the Woods by Silversun Pickups. This is the record the song I heard this morning is on and triggered this post. I really liked SPs first two records, I found them memorable and melodic and a bit of an extension of what Smashing Pumpkins were doing in the late 90s. This record just doesn't work for me. It feels like they are being too serious and trying to branch out from what they do well. There's no crunch here, or not enough that makes it memorable.
The Dreamer by Rhett Miller. Here is another solo record by the front man of the Old 97s, one of my favorite bands. One of the things I like about RMs solo records is that they have been uniformly power-poppy; which is especially cool in that the 97s are a great alt-country band. The band's records usually have one or two acoustic type songs. This new Rhett record sounds like a collection of songs that should be the last song on a 97s record. Again, it's sort of dull and uninteresting. A real shame because Rhett is a great songwriter and a great performer. I have tried to emulate his stage antics with the 97s in my own stage antics.
Among The Leaves by Sun Kil Moon. Mark Kozelek used to be in a band called Red House Painters. He was also the bassist for Stillwater. Both RHP and SKM are not really bands, but pretty much outlets for his vision. The first SKM record, Ghosts of The Great Highway, is sensational and is the reason I will buy any SKM record that ever comes out. This one is a bit drab sounding. And some of the song titles are like someone getting too cute: "I Know It's Pathetic But That Was the Greatest Night of My Life," "The Moderately Talented Yet Attractive Young Woman vs. The Exceptionally Talented Yet Not So Attractive Young Man," and "Not Much Rhymes With Everything's Awesome At All Times." Those song titles, plus track number 11 which is called "Track Number 8," belies the somberness of the record. I think it is kind of pretentious.
Driving Towards The Daylight by Joe Bonamassa. Listening to this one as I type so maybe I will change my mind while writing. I really like JB, think he's a great guitar player, but I have to be in the right mood for him. Perhaps I just wasn't there when I first heard this record. Perhaps it's that I have recently started to appreciate JoeB and the fact that he had a new record coming out had me especially jazzed.
Wrecking Ball by Bruce Springsteen. Here's the doozy. This album just isn't good. Especially when the reviews rave about it; it's bad. The production is really what does this one in, that and the atrocious hip-hop thing near the end. It's way overproduced. Correct that: way way way way way overproduced. One review said this is Bruce's angriest record. If that's so then maybe it shouldn't sound so slick and über-produced. I am seeing Bruce at Nats Park later this summer. Maybe the songs translate better live. If I produced it and this was a record about economic injustice I would have stripped the thing down and just let the amps crush. If you are trying to be angry then a thick sheen of veneer over it is a bad idea.
OK, enough with the negativity, man. I'll start talking about records I loved tomorrow.
Neck of the Woods by Silversun Pickups. This is the record the song I heard this morning is on and triggered this post. I really liked SPs first two records, I found them memorable and melodic and a bit of an extension of what Smashing Pumpkins were doing in the late 90s. This record just doesn't work for me. It feels like they are being too serious and trying to branch out from what they do well. There's no crunch here, or not enough that makes it memorable.
The Dreamer by Rhett Miller. Here is another solo record by the front man of the Old 97s, one of my favorite bands. One of the things I like about RMs solo records is that they have been uniformly power-poppy; which is especially cool in that the 97s are a great alt-country band. The band's records usually have one or two acoustic type songs. This new Rhett record sounds like a collection of songs that should be the last song on a 97s record. Again, it's sort of dull and uninteresting. A real shame because Rhett is a great songwriter and a great performer. I have tried to emulate his stage antics with the 97s in my own stage antics.
Among The Leaves by Sun Kil Moon. Mark Kozelek used to be in a band called Red House Painters. He was also the bassist for Stillwater. Both RHP and SKM are not really bands, but pretty much outlets for his vision. The first SKM record, Ghosts of The Great Highway, is sensational and is the reason I will buy any SKM record that ever comes out. This one is a bit drab sounding. And some of the song titles are like someone getting too cute: "I Know It's Pathetic But That Was the Greatest Night of My Life," "The Moderately Talented Yet Attractive Young Woman vs. The Exceptionally Talented Yet Not So Attractive Young Man," and "Not Much Rhymes With Everything's Awesome At All Times." Those song titles, plus track number 11 which is called "Track Number 8," belies the somberness of the record. I think it is kind of pretentious.
Driving Towards The Daylight by Joe Bonamassa. Listening to this one as I type so maybe I will change my mind while writing. I really like JB, think he's a great guitar player, but I have to be in the right mood for him. Perhaps I just wasn't there when I first heard this record. Perhaps it's that I have recently started to appreciate JoeB and the fact that he had a new record coming out had me especially jazzed.
Wrecking Ball by Bruce Springsteen. Here's the doozy. This album just isn't good. Especially when the reviews rave about it; it's bad. The production is really what does this one in, that and the atrocious hip-hop thing near the end. It's way overproduced. Correct that: way way way way way overproduced. One review said this is Bruce's angriest record. If that's so then maybe it shouldn't sound so slick and über-produced. I am seeing Bruce at Nats Park later this summer. Maybe the songs translate better live. If I produced it and this was a record about economic injustice I would have stripped the thing down and just let the amps crush. If you are trying to be angry then a thick sheen of veneer over it is a bad idea.
OK, enough with the negativity, man. I'll start talking about records I loved tomorrow.
Tuesday, June 12, 2012
Quick thoughts on new records
Maybe I'll try this as a new feature: Tuesday is my favorite day of the week because that is when new albums come out. So I'll make passing notes on the albums I download. Sometimes I will have listened to them, sometimes I haven't yet. Got it? Good...GO!
The Tallest Man On Earth - There's No Leaving Now - This is Swede folky Kristian Mattson. This record has more instrumentation than his last record. He's a one man band kind of thing. Has a very distinctive sounding voice. And he's a bit of a spaz when he is performing, which I dig.
drivin n cryin - Songs From The Laundromat - Hey wow a new DNC ep! Who knew? I maintain that Mystery Road, Fly Me Courageous, and Smoke are one helluva good 3-record-run. This one is more mellow. If all you know of DNC is "Straight To Hell" you need to get out more.
The dBs - Falling Off The Sky - This is kind of what REM might have sounded like if they kept being a power pop band. They have a bunch of guys in the band that music nerds like me will recognize (Chris Stamey, Peter Holsapple). Good day for Georgia bands with DNC and dBs having records on the same day.
Ryan Monroe - A Painting Of A Painting On Fire - Evidently he's one of the guys in Band Of Horses not named Ben Bridwell. This gets filed under the category Steve-Clicking-Through-eMusic-Looking-For-Things-to-Download-because-he-still-has-credits. That said, and not having listened to it yet I expect it to be my favorite record of the year. Stay tuned.
Rush - Clockwork Angels - I really have nothing to say about my feelings regarding this record that the following image doesn't accurately depict:
(thanks to #whenindc for them not knowing i have stolen that image)
The Tallest Man On Earth - There's No Leaving Now - This is Swede folky Kristian Mattson. This record has more instrumentation than his last record. He's a one man band kind of thing. Has a very distinctive sounding voice. And he's a bit of a spaz when he is performing, which I dig.
drivin n cryin - Songs From The Laundromat - Hey wow a new DNC ep! Who knew? I maintain that Mystery Road, Fly Me Courageous, and Smoke are one helluva good 3-record-run. This one is more mellow. If all you know of DNC is "Straight To Hell" you need to get out more.
The dBs - Falling Off The Sky - This is kind of what REM might have sounded like if they kept being a power pop band. They have a bunch of guys in the band that music nerds like me will recognize (Chris Stamey, Peter Holsapple). Good day for Georgia bands with DNC and dBs having records on the same day.
Ryan Monroe - A Painting Of A Painting On Fire - Evidently he's one of the guys in Band Of Horses not named Ben Bridwell. This gets filed under the category Steve-Clicking-Through-eMusic-Looking-For-Things-to-Download-because-he-still-has-credits. That said, and not having listened to it yet I expect it to be my favorite record of the year. Stay tuned.
Rush - Clockwork Angels - I really have nothing to say about my feelings regarding this record that the following image doesn't accurately depict:
(thanks to #whenindc for them not knowing i have stolen that image)
Sunday, June 10, 2012
Breaking up is hard to do (Matthew Sweet's Girlfriend tour)
Last night the missus and I headed down to the 930 Club to see Matthew Sweet on his 20th Anniversary of Girlfriend tour. This is one of my most favorite albums ever. It's a power pop record but it more interestingly it is a fantastic guitar record. Robert Quine of Voivoid and Richard Lloyd of Television (who made probably the GREATEST guitar record ever) did the unique lead work on the record.
So Matthew does the whole record start to finish. Playing the role of Quine/Lloyd is some fellow named Dennis Taylor and he pulled off the crazy leads quite properly. The rhythm section were Paul Chastain and Ric Menck of another in the category of criminally-overlooked-bands Velvet Crush.
Matthew joked after the first three songs that they got the encore out of the way early. With the advent of CDs most of the "good" material is forced to the front. I guess that's a record company thing. It speaks to the short attention spans or just the inability of folks to find an hour to get cozy with a record. This is nothing new I guess. I am more inclined to enjoy the album as a whole; as a whole piece of art.
My favorite song off the record is not the expected ones: the title track or "Divine Intervention" or "I've Been Waiting" (though all are GREAT). My favorite is "You Don't Love Me."
There's sadness that permeates the entire record because this was written in the aftermath of his divorce. But this song really captures the feeling of breaking up; the real sadness that comes along with it, whether you initiated it or whether you didn't it's still a terrible feeling. I have never had a relationship end that didn't hurt like hell. I really like the part in the chorus where he goes "I think it's okay; if you gooooooo...awaaaaaaaay." Very pretty melody.
The show was a quick one. After doing all 15 tracks of the record they did a new one called "She Walks The Night" (which is really good, actually) and a couple other nuggets: "Sick Of Myself," "Time Capsule," and "We're The Same." There was some DJ thing happening later that night so they had to clear the joint out quickly. The band looked to be having a really good time.
Opening was a nice young British gal named Callaghan. She did only a handful of songs, two covers ("Piece of My Heart" and much to my glee "Folsom Prison Blues") and a few originals. The originals were quite good. I wound up buying her record when I got home from the show. She was up there by herself alternating between acoustic guitar and keyboard and it takes a lot of guts to do that.
Here's some pictures from the show:
So Matthew does the whole record start to finish. Playing the role of Quine/Lloyd is some fellow named Dennis Taylor and he pulled off the crazy leads quite properly. The rhythm section were Paul Chastain and Ric Menck of another in the category of criminally-overlooked-bands Velvet Crush.
Matthew joked after the first three songs that they got the encore out of the way early. With the advent of CDs most of the "good" material is forced to the front. I guess that's a record company thing. It speaks to the short attention spans or just the inability of folks to find an hour to get cozy with a record. This is nothing new I guess. I am more inclined to enjoy the album as a whole; as a whole piece of art.
My favorite song off the record is not the expected ones: the title track or "Divine Intervention" or "I've Been Waiting" (though all are GREAT). My favorite is "You Don't Love Me."
There's sadness that permeates the entire record because this was written in the aftermath of his divorce. But this song really captures the feeling of breaking up; the real sadness that comes along with it, whether you initiated it or whether you didn't it's still a terrible feeling. I have never had a relationship end that didn't hurt like hell. I really like the part in the chorus where he goes "I think it's okay; if you gooooooo...awaaaaaaaay." Very pretty melody.
The show was a quick one. After doing all 15 tracks of the record they did a new one called "She Walks The Night" (which is really good, actually) and a couple other nuggets: "Sick Of Myself," "Time Capsule," and "We're The Same." There was some DJ thing happening later that night so they had to clear the joint out quickly. The band looked to be having a really good time.
Opening was a nice young British gal named Callaghan. She did only a handful of songs, two covers ("Piece of My Heart" and much to my glee "Folsom Prison Blues") and a few originals. The originals were quite good. I wound up buying her record when I got home from the show. She was up there by herself alternating between acoustic guitar and keyboard and it takes a lot of guts to do that.
Here's some pictures from the show:
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