From Deep In The Record Collection

You ever buy an album because it was in the used CD bin and you remembe liking a song or two off it when you first heard the band? Somehow my record collection is full of obscure bands that I picked up in college because they were a) cheaply priced in the used CD bin at one of my favorite indie record shops (which sadly have all but died out but that's a pos for another time) and b) something I had played on radio show and enjoyed the first time I heard it so I figued I might as well own the whole album (besides what's $4.00 going to do me any way?) So as I went trolling for new music to post on the blog I came across a golden nugget from an Australian band called THE EARTHMEN. So I thought I would re-live this record and share some it with you.

I did some research and apparently these guys are no longer together. Either that or they are playing in other bands and I couldn't track any of them down. I did find an article written by the bands guitarist in 1997 where he mentions the band but other than that they seemed to have vanished into the ether. So I'm left with this record, "Teen Sensations", and about a thousand quetions as to what happened.

Musically the album is a great slice of lo-fi pop with just enough feedback to qualify as indie. "Cool Chick #59" was the single and is a great pop song with a nice guitar hook. This would not be too far away from alot of the stuff coming out of the UK right now. The song that I first experienced, and for me the album highlight, is "Blonde". What starts out with a nice little acoustic riff develops into a ridiculously catchy song thanks in large part to the great bass line and drum beat that anchor and propel the music. The song is a simple song of unrequited love that is not too far off of what most young men might say when they are in love, but the beat and bass make it damn hummable.

So I feel like I found something new today. A record I had forgotten snuck it's way onto my IPOD and for awhile the band lived again. Not a bad way to spend a day in my estimation.

(m4a) The Earthmen -- Cool Chick #59

(m4a) The Earthmen -- Blonde

Zencast #3

Another stab at the world of podcasting. Still getting used to the software and trying to still find a bit of a rhythm to the whole thing but I'm trying so bear with me. This is all music that I had on my work laptop. Before I'm accused of being a total slacker who is endangering the education of the youth of today let me explain. Whenever I have a few free minutes I check out some of my favorite blogs and have, over time, found some really good stuff. Other songs are from students whose taste I trust. It gives me some decent music to listen to while working. And really what's so wrong about that. I thing there is some good stuff here and as always I hope you enjoy it and always appreciate feedback.

Your Moment of Zen Podcast #3



Tracklisting

The Boxer Rebellion -- All You Do Is Talk
The Reindeer Section -- Sting
Shout Out Louds -- You Are Dreaming
Canasta -- Chance At Greatness
Amazing Pilots -- All My Wasted Days
Nada Surf -- If You Leave (OMD Cover)
Brave Captain -- I Pledge Resistance To The Flag
Chemical Brothers (Featuring Midlake) -- The Pills Won't Help You

Interpol vs. Editors: The Ian Curtis Steel Cage Match

Note: I know this is not the most original post but I feel compelled to add my two cents to the discussion.

Joy Division was one of the most respected bands in the history of music. They had an original sound and a distinctive feel all their own. Ian Curtis could command the room with his voice and you could clearly see that, even early in their career, he was not comfortable being in front. Looking back you can see why they would be so influential on music today. I bring this up because the two bands that sound the most like Joy Division, INTERPOL and THE EDITORS, have both released new records which are great examples of the divergent paths bands take with their influences.

Now I've only taken a cursory listen to each album (Interpol's "Our Love To Admire" and The Editors "An End Has A Start") but my initial reaction is to prefer the Editors record. This is probably blasphemy in some circles because Interpol is looked upon as one of the new musical heavyweights and their record has received almost universal acclaim. But The Editors last record, "The Back Room", was a pleasant suprise and seemed to always creep onto playlists with regularity. I also must admit that Interpol's last record, "Antics", left me lacking in interest, I felt they had hit a rut and were starting to repeat themselves. So I took on the Editors record first.

What I liked about The Editors' album was it took the bands fomula and broadened it without sacrificing their sound. Lead Singer Tom Smith sounds more like Curtis then Interpol's Paul Banks. His voice is a little deeper and richer. The single "Smoker's Outside the Hospital Doors" has a nice magestic quality to the music and the next three tracks are all blistering anthems that will play well live. The middle section has some quieter moments then it picks up at the end with the brilliant "Escape the Nest".

Interpol's latest is supposed to be a departure from their formula. Although not a radical change there are some touches of newness that make it interesting. "Pioneer To The Falls" is about the most depressing song I have heard in a while. (Death and coping with loss are both common themes for both bands, something they seemed to have inherited from Joy Division as well). I didn't really care for the single "The Heinreich Manuever" (maybe with more listens it will grow on me as other Interpol songs have) but I did find "No I in Threesome" and "All Fired Up" to be the kind of slightly off kilter rock I have enjoyed from them in the past. I did find the Interpol record a more challenging listen whereas the Editors went down a lot smoother the first time around. It's certainly possible that with time I will bore of the Editors and gravitate to the Interpol record.

This is essentially the problem. These records (and, by extention, bands) are interchangeable. They have very little that distinguishes them from each other so it really comes down to which gets a higher profile (my bet is Interpol) and more tour support. I guess when it comes down to it I could just go back and listen to Joy Divison instead.

(mp3) The Editors -- Smoking Outside Hospital Doors

(mp3) The Editors -- Bones

(mp3) Interpol -- The Heinreich Manuever

(mp3) Interpol -- All Fired Up

What The Kids Are Into Today

A former student of mine e-mailed me with a recommendation to check out TIGERCITY. Being one who tries to keep his finger on the pulse of the music of the youth of today I dove in head first into the deep end on this band and was pleasantly suprised. These guys play a groove driven white boy soul with a real 80's feel. There are hints of Joe Jackson and Howard Jones in the vocals and a musical feel very similar to PHOENIX. Great for a Saturday night house party. Thanks Carly for the heads up!!

(mp3) Tigercity -- Other Girls (highly rec.)
(mp3) Tigercity -- Cloakrooms
(mp3) Tigercity -- Timecard

The Blues Ain't Nuthin' But A State Of Mind

I've been kicking this post around for awhile trying to figure the best ways to do it. I'm not pretending to be a music historian, but I appreciate the roots of modern music. I see the value of visiting the forerunners of modern music as a way of seeing how music came to be. This article is not intended as a history lesson (altough the former History teacher in me certainly understands the value of analyzing popular music of an age to see the social climate in a nation). This is merely an look at what some people are doing today with the roots of music. So we take a look at two artists who are taking different roads to understanding the blues and presenting it to the alternative rock masses.

G LOVE AND SPECIAL SAUCE came out of Philadelphia with a slide guitar in hand and songs about drinking and women. What made their music so unusual at the time was how unique it sounded compared to the other stuff on the radio. "Cold Beverage" and "Baby's Got Sauce" were filled with the kind of grooves that make you sit up and take notice. I had forgotten about these guys until a friend of mine played their first album a few weeks back and I rembered how great it was. It has that front porch swing sort of feel to it. You can almost imagine these guys hanging out and playing just for the fun of it.

THE JON SPENCER BLUES EXPLOSION came at the blues in a whole different way. Channeling Elvis and Sonic Youth at the same time, Spencer and his band tore up the stage playing revival style, high octane shows. You didn't just see them play, you saw them bleed the music onstage. On record, the sound never quite translated but you still got some of the passion and energy. Spencer attacks the songs with such venom that you can't help but get sucked in. The Blues Explosion made for a tight rhythm section for Spencer to have free rein to explore the blues with his guitar and his disctinctive wail of a singing voice. If you like THE WHITE STRIPES you will love these guys.

(m4a) G Love and Special Sauce -- Cold Beverage

(m4a) G Love and Special Sauce -- This Ain't Living

(mp3) Jon Spencer Blues Explosion -- Dang

(mp3) Jon Spencer Bues Explosion -- Wail

(mp3) Jon Spencer Bues Explosion -- Do You Wanna Get It?

(mp3) Jon Spencer Bues Explosion -- Not Yet

Happy 4th of July!!

I have many fond memories of the 4th of July. Growing up it was fireworks and barbeque in the backyard. As I got older there were two 4th's that I look back on with some fondness.

1) A few years back a friend of mine invited myself, my wife (then girlfriend) and another couple to Hungtington Beach for the day and evening fireworks. We had a really nice time except that halfway through the day my friend and his new girlfriend disappeared for 2 hours (later admitting they went back to the car for a little afternoon delight). Is this good etiquette? Is it okay to abandon an outing you planned for a quickie?I look back on this fondly because in the end there was a nice moment staring into the sky with my wife in my arms and thinking...this is good.

2) Two years ago we invited another couple to the Dodgers/Angels game in Anaheim. Baseball is a key aspect of American culture and seems to fit well with the 4th of july experience so this was a definite highlight for me. It also became a great 4th memory because a) The Angels beat the Dodgers, which is always satisfying and b) my friend Dan, a diehard Dodger fan acutally admitted in public that Angel stadium was better than Dodger Stadium.

So the 4th of July has been a good holiday for me in the past. So however you celebrated I hope you have fond memories of this fourth to look back on.

In case you didn't get to see fireworks in your area!!

(mp3) Neil Young -- Rockin In The Free World
Nothing says Independance day then questioning the government that is responsible for keeping us free. I'd go on a rant here but it's late and I might run out of space.

(mp3) John Philip Sousa -- Bullets and Bayonets
I love a good marching tune!!

A Love Letter

My wife is a loyal reader (and who has the added bonus of putting up with my crap on a daily basis). She and I have had lengthy discussions about my music snobbery and her need to listen to country and as I call it "mopey chick rock". We have debated the finer points of both Nirvana and Jimmy Buffett (this occured in one very long car ride that ended with me agreeing to accept Buffett into my life in exchange for her willingness to listen to my Ipod on a more regular basis.)So here are some of her favorites as of right now.

(mp3) This Is The Sea -- The Waterboys

My wife grew up in Long Beach and has long loved the sea. She also is secretly in love with Kelly Slater (a surfer who is about a thousand times better looking then me). This song is from the soundtrack to the film RIDING WITH GIANTS. The film is brilliant and the song is vintage Waterboys. I actually like this one a lot myself.

(m4a) The Secret Life of Daydreams -- Jean-Yves Thibaudet

This is a song from the soundtrack to PRIDE AND PREJUDICE, which my wife has watched about 10 million times (the Keira Knightley version). As a married man I have seen many a chick flick. I enjoyed this because of Ms. Knightley presence and the wonderful use of setting and cinematography. This track is a very pretty little ballad that she plays for our two boys when they are getting out of hand. Music to soothe the savage beasts.

(m4a) Jimmy Buffett -- Banana Republics

I am of two minds on this guy. I really want to dislike him. Everything in my indie rock soul says I should hate him. But then my wife will put his songs on (usually during long drives) and I can't stop humming the damn things. Although the song I most associate with her is "The Wino and I Know" this one is actually enjoyable.

(mp3) Brothers on a Hotel Bed -- Death Cab for Cutie
Just when I think my wife's musical taste is beyond redeeming she comes up with a passionate desire for a truly brilliant song. This song is about heartache and loss of love. It's about the disconnect between two people who are drifting apart. It's a frightening reminder of what could happen if I don't sometimes step back and take stock of how lucky I am.

for my wife...whom I love more than anything in the world.

These guys are a riot

So one more post before I call it a night. My wife and I have very similar tastes when it comes to comedy. We both throughouly enjoyed shows such as ARRESTED DEVELOPMENT, SCRUBS, and THE KNIGHTS OF PROSPERIETY (which was cancelled way before it could find an audience). So you can imagine why we would enjoy FLIGHT OF THE CONCHORDS. Kind of like a folkier version of Tenacious D (only much smarter and more subtle) these two guys haev a new HBO show that is really funny. Here are a couple of their videos to give you a taste. Check it out, you won't be sorry.


Video for "Inner City Pressure -- This could have been a lost PET SHOP BOYS song. I love the robotic voice chorus...it kills me.

Video for "She's So Hot, BOOM" -- Nothing like white boy rap. Even the Reggae call outs in the middle of the song are spot on parody brilliance.

Looking for Some New Music

I realized that I had gotten a bit fixated on older material recently. Although reminiscing is fun every once and a while its good to see if there is anything out there worthwhile I hadn't heard before. So I surfed around PUREVOLUME for some unsigned California bands. Here is a sampling.

CONTROLLING THE FAMOUS are from nearby Echo Park (in LA) and have a nice groovy sound that relies heavily on bass lines and dual vocals. They kind of sound the way LA looks, a little off key from what you would expect. "Highway Parking Lot" is probably best thing I heard, a nice little guitar riff and a simple bass line give the song a real drive to it. They have one song for download and you can order a couple of their ep's of the site.

FUTURE OF FORESTRY caught my eye becuase I liked the band name, their record was produced by the guy from FAILURE, and they are from San Diego, which has produced a lot of interesting music over time. I have to say that my initial listen was a little underwhelming. I mean they sound like every other alternative band that started out liking COUNTING CROWS and LIVE, then bought a copy of "OK Computer" and said, "screw it we can be like that too". Which is too bad because I wanted to like them, they look like well meaning boys. Maybe with more listens I will appreciate them more.

THE SPORES are an intriguing little three piece outfit out of LA. Fronted by Molly McGuire (who according to her bio has worked with about everyone cool in LA) the band could be what Juliana Hatfield had doen if she had allowed synths in her trio. McGuire has a nice voice and the music is rock with some 80's synth touches. "(Don't) Kill Yourself" is a trsight up modern rock song that would be right at home on the radio, the other two are more experimental (with hints of Laurie Anderson style spoken word). I was really impressed by this and and certainly going to look into these guys more.

So I'll play this little game again next month or so just to try to stay hip to what is out there right now.

Random Ned's Atomic Dustbin Post

You ever have bands that, as you peruse your collection you stumble across and go, "Wow, I totally forgot how much I like them?" This seems to be happening to me more and more. Case in point is NED'S ATOMIC DUSTBIN (a serious candidate for best ridiculous band name). When I first came across these guys they looked like the California skaters who hung out at Venice beach because they had nothing better to do then skate and drink. But then I found a copy of their first record "Bite " (later reworked and called God Fodder) and I really dug the whole two bass player thing. "Grey Cell Green" and "Kill Your Television" had great hooks and a nice, vaguely political passion to them. (Kinda like a teenager who wants to get involved in politics by going door to door with a petition because they think it will make a difference).

It wasn't until their tour in support of the record ARE YOU NORMAL? that I got to see them in their real element. The band had such energy and a real connection with the audiance that I really left impressed by the band as a whole. Unfortunately the band couldn't get a real foothold in US radio and was forced to change their sound to meet more commercial desires. By the time they released BRAINBLOODVOLUME the band had lost most of the two bass sound and adopted a more traditional rock sound (even going as far as to use acoustic guitars!!) The only saving grace of that record was "All I Ask Of Myself Is That I Hold Together" which retained some of the orignal fire of the early days. Rumor has it that they are working on a new record so maybe their will be something else to add to my collection that I can overlook and underappreciate.

(m4a) Ned's Atomic Dustbin -- Grey Cell Green (from Bite)
(m4a) Ned's Atomic Dustbin -- Kill Your Television (from Bite)
(m4a) Ned's Atomic Dustbin -- Intact (from Are You Normal?)
(m4a) Ned's Atomic Dustbin -- All I ask of Myself is that I hold Together (from
Brainbloodvolume)

ADDENDUM: This post was conceived about a week and a half ago and it is a mere coincidence that Song, by Toad namechecked them in his recent post. I am not trying to copy him in any way shape or form. It's just that we apparently have the exactly same record collection...sorry about that man.

If at first you don't succeed...

So in an effort to procrastinate to the point of mental instability I recorded a second podcast. I hope this one is better than the last, at least the music is a little more upbeat. Anyway, short post since I have to go prepare to teach tomorrow. You can either download the cast or listen to it on the right. Enjoy!

Zencast #2 -- Dance Music for a mundane life

Tracklisting

Faithless - Mass Destruction

Kasabian - Club Foot

Dj Shadow vs. Keane - We Might As Well Be Strangers

RJD2 - Since We Last Spoke

Tricky - Antimatter

Massive Attack - Safe From Harm

Avalanches - Flight Tonight

Thom Yorke - The Clock (Surgeon Remix)

When The Soundtrack is Better Than The Movie

I have a ton of soundtracks. I'm a bit of a soundtrack junky. Music and film go hand in hand to the point that most of us can remember a film simply by hearing a song on the radio (Peter Gabriel's "In Your Eyes" anyone?). For a time in college I actually made films solely around pieces of music. I made a short film on fear just to use Nine Inch Nails version of the Joy Division "Dead Souls" because it fit so well with what I saw and heard in my head. (This last statement should not be taken as a refernedum on my relative sanity during college...come on we all had a dark period!!!) Anyway, I even have soundtracks to movies I never saw simply because they had a nice collection of songs that I thought would be worth having. So here are two examples of this phenomenon.

The film TWIN TOWN was released in 1997 and from what I gather (having never actually seen the film) it might be the Welsh verison of Trainspotting (which came out around the same time and also had a brilliant soundtrack). All I do know is that any collection with PETULA CLARK'S "Downtown", MUNGO JERRY'S "In the Summertime", and STEREOLAB is something I had to experience. Then I found the DODGY track "Good Enough". I had been familiar with them but never found anything of theirs that I enjoyed. But this song was brilliant. It is so bouncy and catchy. It had summer written all over it. I have no idea how it fits within the context of the film but I always go back to this song every so often when the weather turns warm.

On the other end of the emotive scale is the soundtrack to PERMANENT MIDNIGHT. The film is probably best known as the one time Ben Stiller tried to be serious. Again, I never saw the film but my understanding is that it's about a writer with a drug problem who went on to write the series ALF (and who says the drugs don't work!!) The soundtrack is an odd mix of mopy alternative rock and high energy trance music that makes for a weird duality to it. It's very uneven but has good stuff from THE CRYSTAL METHOD, MOBY, and GOMEZ. The most intiguing track here is a song by GIRLS AGAINST BOYS called "EPR". I found the whole two bass players thing very cool at the time and I actually bought a record of theirs based solely on this song.

So soundtracks can be great places to find music, even if the movie is a piece of crap.

(m4a) Dodgy -- Good Enough (from the Twin Town Soundtrack

(m4a) Girls vs. Boys -- EPR (from the Permanent Midnight Soundtrack)

Imitation is the Sincerest Form of Flattery

It is well documented that I have very few original ideas. After listening to the wonderful work of Song, By Toad's initial podcast I felt like it was high time that I dipped my virutal toe into the Podcasting waters to see what might happen. The result for me at least is a little underwhelming. After all, its been about 10 years since I was a college radio dj so those skills will take time to find again. But I hope you enjoy the music at least. I promise next time I will do better. You can either download it or listen in the player on the right hand side of this page.

Cheers

(mp3) Your Moment of Zen Zencast #1

Tracklisting

Bloc Party -- Kreuzberg

Heatmeiser -- Get Lucky

Jens Lekman -- Jens Lekman's Farewell Song

The Decemberists -- Here I Dreamt I Was An Architect

Pernice Brothers -- Saddest Quo

Votxtrot -- The Start of Something

I Miss The Prentension in Rock

Music today is way to humble. Everyone seems so content to just make a couple of records, goof off on the road and then call it a day. This is not how it's supposed to be. Rock musicians are supposed to be bigger than life. I came to this conclusion when I went back through may catalog and stopped on THE SMASHING PUMPKINS. Everything about Billy Corgan and Co. was prententious. They claimed to be outcasts and misfits in the world but ended up being as famous as some movie stars (I mean they were on the Simpsons for Christ's Sake) Corgan claimed to be awkward and shy but dated Courtney Love. All the while they made music that was over the top and bombastic and yet with an undercurrent of doubt about their place. They were sonically more adventurous then NIRVANA or PEARL JAM, but still melodic enough to be able to score more than a few commercial radio hits.

The band fell in the VH1 Behind the Music trap as drugs, broken relationships and infighting tore it apart to the point where their so-called reunion album out soon is only a shell of the original band (mostly Corgan trying to cash in on the name to make up for his sorry solo album). But at their height they were certainly influential. You can hear elements of "Gish" in a lot of the shoegazer rock out now. Their albums could be a heavy as anything the QUEENS OF THE STONE AGE can muster. All in all, a very versatile and quality band who werer certainly full of themselves...and that's okay.

(m4a) Smashing Pumpkins -- Siva (from Gish)
The first thing I heard from them and still one of the best. Just a perfect mix of a wall of guitar and Corgan's nasal whine (which became more pronounced in his singing as he got older). I love the quiet interlude in the middle of the song and then the sudden blast back.

(m4a) Smashing Pumpkins -- Rocket (from Siamese Dream)

Although not the greatest song on this record (that would go to Cherub Rock), live the song shows its true power. The refrain "I shall be free" sung over and over by a crowd is something to hear.

(m4a) Smashing Pumpkins -- Never Let Me Down Again

Yes it's the Depeche Mode song. But I love what they do with it, turning it into a quiet meditation rather than a dance song. It takes guts to remake something so radically and the result is worth it.

Australia's Answer to U2

It's hard to remember but INXS were probably as big as U2 and REM at the height of the 80's alternative tock movement. Here was a group that seemingly had the entire package to bring above gloal superstardom. Beginning in 1982 the band released a string of records that contained radio friendly rock songs fueled by the presence of lead singer Michael Hutchence who rapidly became a huge sex symbol and iconic figure in the MTV era. By the late 80's INXS were on the top of the world with their album KICK but restlessness began to set in. I actually saw these guys on the following album's tour, X, and was blown away by the combination of energy and yet an all business approach to the music (not unlike what U2 experienced around RATTLE AND HUM). In fact there are a lot of comparisons to both bands creative arcs. While U2 went off to record ACHTUNG BABY, INXS tried to augment their sound with the slightly more adventurous WELCOME TO WHEREVER YOU ARE. But while U2 continued to succeed in the US, INXS struggled for most of the 90's to remain relevant. Hutchence became something of a tabloid regular and eventually committed suicide in 1997. From there the band seemed to fade away (I refuse to admit the exsistence of the reincarnation of the band recently where Hutchence was replaced by a singer selected like "American Idol". It's just not right)

What INXS left was a suprsingly diverse catalogue. Going back into their material you see a band that had an affiinity for pop, rock and blues tendencies. Most people are familiar with songs like "New Sensation", "Never Tear Us Apart" and "Original Sim" but the entie catalogue shows a band that liked to experminent with horns and keyboards along with the traditional guitar attack. I think these guys were vastly underrated and upon reflection can be placed with all the big name acts of the time.

(mp3) INXS -- This Time (from Listen Like Thieves)

A good example of an overlooked song from their first really big album. I love how simple the chorus is and yet becomes instantly memorable.

(mp3) INXS -- Communication (from Welcome To Wherever You Are)

Faced with the creative leap by U2, INXS tries to expand their sound and lyrical vision. You can hear a bit of desperation but after listening to it now I appreciate the attempt to stretch.

(m4a) INXS -- The Stairs (from X)

When I saw them live this was the song that transforemd the show from a simple rock concert to something communal and special (this only happens with large arena shows). The song just keeps building and building and Hutchence plays the tension of the lyrics beautifully. It was here that I realized they were more then just pretty faces. (highly recommended)

What the Hell happened to...Jimmy Eat World

I have to admit I was very skeptical when I received JIMMY EAT WORLD's 2001 album BLEED AMERICAN (later changed to just a self-titled album due to 9/11 paranoia). I never gave them much attention because they were in the whole "emo" crowd that I truly hated. It got worse when the band actually had a radio hit ("The Middle"). Then a funny thing happened. After trying to ignore the band I actually listened to the whole record one evening driving in my car from school to my house. That is when I discovered how much this band rocked. The songs just kept coming with one hook after another. This was the ultimate toe tap record. Every song seemed to cause involuntary toe tapping and fake drumming on the steering wheel. For the next couple of weeks I listened to it over and over and got more and more hooked by the band. These guys were the best flat out power pop group since the Posies (who they owe a great debt to in sound and lyrical similarity) Besides, any band that name checks Jesus and Mary Chain as a danceable band gets bonus points in my book.

So when the band released their follow up, FUTURES, I was understandably psyched. Although the album had its moments, it just wasn't the same. The band seemed to be trying to hard this time out. The songs didn't have the same bit and hooks that the previous record did. It was too polished, too radio friendly. It did not pass the toe tap test. Then the band seemed to disappear.

I'm sure they are working on some new material and have been out on the road previewing their stuff. I hope it's as good as BLEED AMERICAN. The world needs more music to drive by.

(mp3) Jimmy Eat World -- If You Don't, Don't

What every drunken guy has said to a girl at 3am in the morning he has wronged either physically or emotionally. Musically a very sunny song, but underneath there is some real heartache.

(mp3) Jimmy Eat World -- Authority Song

Just a pop gem. It's like some sort of indie sock hop anthem. Probably my favorite song on the record. Should have been a huge hit but commercial radio is run by idiots who know nothing.

The Unmitigated Genius of Leonard Cohen

There are some artists that simply cannot be categorized or put into a neat little package. As I was fully absorbing the new THE NATIONAL CD I found myself drifitng towards a comparison to LEONARD COHEN (moslty due to the similarities in vocal style) but the comparison isn't quite apt. Cohen has been writing and singing for about 40 years and has penned more than a couple of classic songs. Known primarily for his lyrics (and his dry sense of humor), Cohen has the sound of a late night bar that is just about to close for the night. The music of his best work has a sensual quality to it that is jsut a little dirty. You can almost see the smoke and the glass of scotch next to him as he sings.

My first exposure to his work was through the film "Pump Up The Volume", an overlooked teen rebel story that used his song "Everybody Knows" as kind of an anthem of dissaffected youth. I actually have found his later work having a little more depth and variation in theme and style. "Hallelujah" is proabably better known for the Jeff Buckley version but the original more than holds it's weight as a plea for fogiveness from a lover who has been wronged. "Tower of Song" (also the benficiary of a great cover by The Jesus and Mary Chain) has started to take on a new lyrical significance as I get older (particularly the line "I ache in the places where I used to play..."). Do yourself a favor and take a moment, poor a glass of your favorite beverage and enjoy the sheer brilliance of a poet and a true lyricist.

(m4a) Leonard Cohen -- Everybody Knows

(m4a) Leonard Cohen -- Hallelujah

(m4a) Leonard Cohen -- Tower of Song

Killing Time with The Shout Out Louds

Had a few minutes of work to kill on a Saturday so I started poking around the net and fell upon the newest single from THE SHOUT OUT LOUDS. I really liked their last record, HOWL HOWL GAFF GAFF, and so I was pleasantly surpised to see new stuff. Apparently, they were dropped by their label and just signed with Merge so the record will be delayed for awhile here in the States. (lucky Europeans, always getting cool stuff to buy first!!)

The first single, "Tonight I Have To Leave It", does sound an awful lot like "In Between Days" the THE CURE (not that that's a bad thing) and the rest of the tracks I heard do seem very Cure-esque. But since the last Cure record kinda sucked then this is a fitting substitute. I guess it pays to procastinate at work after all.

(mp3) The Shout Out Louds -- Tonight I Have to Leave It (from Our Ill Wills)

Whatever gets you on the radio

I would like to apologize to Paddy Casey. It's my fault, I'm the one to blame. You should have been huge in America (much like I guess you are in Ireland, or at least that's what your official site says...) I should have paid more attention to you and your music when I was hosting a show on the local college station in San Bernardino, CA. Had I noticed how good your music was and how pasionate you were about your messages in your lyrics maybe I would have played you more than once. Maybe the promo copy of the CD you sent with the above mentioned clever title wouldn't have been shoved behind the ten DAVE MATTHEWS BAND cd's I own. So I'm here to make amends. I'm writing to you to say I'm sorry and I hope the new album works out. I'm posting these songs as a tribute to all the singer songwriter's I ignored when I was searching around for music that was cooler. I should have just played the hell out of your record. you should have been famous instead of the SMASHING PUMPKINS. God knows you're a better singer!

So dear readers join in my quest to allow PADDY CASEY'S music to be heard. Here are a couple of acoustic tracks from his debut album, Amen (So Be It), released in 2000. And if anyone knows Paddy tell him I'm sorry.

(m4a) Paddy Casey -- Criminal
(m4a) Paddy Casey -- Whatever Gets You True

Bring That Beat Back Part Two

Back in college (and still today) I became fascinated with the whole dance/rave culture. Now, one would assume that this also meant that I hung out at a lot of clubs and took a fair share of mind bending substances (which outside of the occasional binge on rum and coke, would be false). But I was intrigued by the sounds of rave/house/dub music of the time. I discovered many of the big bands of the scene (Chemical Brothers, The Orb, Orbital) to be widly original and wildly different in their approach to making dance music. Then I got my hands on the first UNDERWORLD album.

DUBNOBASSWITHMYHEADMAN was unlike anything I had heard. The back story on these guys is actually pretty interesting (read it here). What struck me about these guys was the more pop centered approach to their sound. Whereas, the Chemical Brothers had a hip-hop influence and the Orb and Orbital were more straight forward dance (with hints of Dub), UNDERWORLD took a pop approach to dance music. "Dirty Epic", even at 9:00 and change, is still a pretty traditional pop song. "Cowgirl" is a full on rave-up anthem, (just close your eyes and you can practically see the glow sticks). Other parts of the record seem more Dub and dance oriented but there is still some song structure that was absent in other dance music. I still find myself gravitating to this record when I look for dance music in my collection.

With subsequent releases the band dove into more dance style production (most notably their signature tune "Born Slippy" which was featured in the film Trainspotting) and are said to be releasing a new record this year.

(m4a) Underworld -- Dirty Epic (from DUBNOBASSWITHMYHEADMAN)

(m4a) Underworld -- Cowgirl (from DUBNOBASSWITHMYHEADMAN)

Songs for Doing Dishes

I find myself letting my Ipod randomly play while I work. Normally I have playlists for any and all occasions but when it comes to simple household chores I just let the shuffle take control (kind of a bastardization of the Ipod Roulette game many people play). Anyway, while doing dishes this evening I came across a couple of songs I just had forgotten about:

The Editors -- Bullets
I really liked this album. I'm not entirely sure why. They sound a lot like INTERPOL and all the other pseudo-JOY DIVISION bands out there. But this song really struck me. It has such as sense of unrgency to it.

West Indian Girl -- Miles from Monterey

Ever buy an album striclty because of the record label? Well I got this one simply because they were on Astralwerks and I was looking for something very dancy at the time. Boy was I wrong. Still, after initially resenting being lied to by a reliable label, I settled into this nice piece of brit-rock. Kinda spacy...but still very enjoyable.

Polvo -- In the Hand, In The Sieve

When I was in college there were two cities arm wrestling for the title of "next big indie scene" following the Seattle explosion. One was Portland, Oregon; the other was Raleigh, North Carolina. Each had a ton of bands and a relatively unique setting. Out of Raleigh came Polvo (who seemed to mesh Sonic Youth and Pavement into a new, yet familair sound.) A while back I hunted this album down and listened to it again. Although not as impressed as I was the first time I heard it (my tastes have changed a bit since college), it still reminds me of when indie music took chances.

So go do some chores around the house and discover long lost gems on your MP3 player.

Are Greatest Hits Evil?

My friend Dan and I have had this running debate for awhile now. Is buying the greatest hits of a band a cop out or a smart investment? On one hand true fans of a band should already have all the songs on the greatest hits so the purchase is somewhat redundant. On the other, if you never bought any of the bands records then the greatest hits might be a good bet to get all the necessary material in one place. Also, if you are a fan of said band wouldn't the greatest hits be a handy collection to have so you don't have to fill your Ipod with all the records? (come on people this is a profoundly important question that is begging for discussion...)

Take 21 SINGLES by THE JESUS AND MARY CHAIN. This is a great example of the pros and cons of a greatest hits record. JAMC are no doubt a very influential band (one worthy of a much deeper post then this). But if you are trying to introduce someone to their particular brand of brilliance then wouldn't a career retrospective be a better way then say trying to identify the one record that would be a good start? (again, this is a philosophical argument, not a debate on whether PSYCOCANDY is better than HONEYS DEAD). On the other hand, are you robbing the new listener of the subtleties of the band by stripping away the album tracks and opting for the safer, more commerical material?

I tend to fall to the Greatest Hits are good side of the arguement (but I have changed my mind back and forth depending on the band and the realitve quality of the collection). The tipping point in reference to this album was because it made me revisit some material that I had not really given a fair shake, namely the last two JAMC records. I completely dismissed STONED AND DETHRONED when it came out because it was such a departure from the traditional Jesus and Mary Chain sound. Some might even call it their acoustic, grown up record (complete with a radio friendly duet with Mazzy Star's Hope Sandoval). But reviewing the two songs on 21 SINGLES (the aforementioned "Sometimes Always" and the mellow, full on Beach Boys vibe of "Come On") made me realize that that record was pretty damn good. The last three songs are from their last album MUNKI. Which, although more in line with the older sound, was crucified by the press and sold very poorly (at least here in the States). Again, thanks to the greatest hits fomula, what we hear now is a band that is trying to recapture some of the original attitude but with the benefit of age. In this case it makes them seem almost defiant, as if to say that regardless of age we still kick ass over all those that try to sound like us. Would this be the case without the earlier material to compare so readily available?

Anyway, the debate will rage on with no clear answer to the question. I welcome any thoughts...

(m4a) The Jesus and Mary Chain -- Sometimes Always

(m4a) The Jesus and Mary Chain -- Come On
(m4a) The Jesus and Mary Chain -- I Hate Rock and Roll

Sort of Breaking News

Maybe you've already seen this or maybe not (I got it from Indie mp3 who got it from XFM UK). Apparently New Order bassist Peter Hook confimed that he and lead singer Bernard Sumner are no longer working together. Sumber posted his response saying that New Order will continue on without Hook. (How that is possible is beyond me). Anyway, since the last two albums have been less than inspiring, maybe it's for the best. But with Johnny Marr running around with Modest Mouse, what will Sumner do if both New Order and Electronic no longer exsist?

Couple of links

Indie MP3 has the whole story and links to Peter Hooks blog (where all the hoopla started)

In a weird coincidence The Vinyl Villian just posted an excellent review of Technique that you should read.

Holy Crap...This is Brilliant

So a quick post (proper one tomorrow I promise).

I'm sure by now many of you have heard some if not all of the new THE NATIONAL record BOXER. All I can say is that "Fake Empire" might just be one of the greatest songs in the last five years (I'm trying to not to dive too far into hyperbole here because that would be very un-zenlike) If you haven't heard it yet then by all means grab this song (and any others you can find even though the record comes out May 22nd.) It's is absolutely amazing. Forget for a moment that THE NATIONAL have already made a completely original and fabulous record with their last, ALLIGATOR, the guys seemed to have really pushed themselves into a whole new sonic realm. Anyway, give this a listen...you won't be disappointed.

The National -- Fake Empire (Thanks to Stereogum for the link)

Happy Mother's Day

To all the mothers out there (especially my wife who has double the pleasure with 16 month old twin boys)...

We should always be Momma's boys. I could never understand why being called a Momma's Boy on the playground growing up was such a bad thing. After all, wasn't that who you ran home to when things went really good or really bad? Aren't will still seeking out our mother's opinion (even if we outwaordly reject it as medddling) on major decisions? Quite simply, Mom's make the world go round. I am very glad my two boys have such a great mom and I hope all of you take a moment today to call your mom...

(mp3) Votxtrot -- Mothers, Sisters, Daughters, and Wives

I HATE MY F***ING COMPUTER

My wife has been complaining about our computer for months now. (Since she reads this right know she probably has a huge smirk of I TOLD YOU SO on her face right now...) Since it has never got me I have had no real reason to be concerned. Until tonight. After working on a new post for about half an hour... my damn computer crashed. Post Gone. Lost. Forever forgotten. So I have yet another reason to want to scream at the heaven's and curse all the known gods of all the known religions. I thought technology was designed to make life easier, not more frustrating. Screw it, I'm going back to using the big lined paper and extra wide pencils we used back in first grade. At least they were reliable...

In the meantime.

(mp3) Bloc Party -- Storm and Stress

A Sign of the Apocalypse?

Just saw this when I was perusing the news and a shiver went down my spine:

Bono and the Edge will score Spider-Man: The Musical
From World Entertainment News NetworkApril 21, 2007 10:15 AM EDT

LATEST: U2 stars BONO and THE EDGE have confirmed that they will pen the soundtrack for new Broadway show SPIDER-MAN: THE MUSICAL.
The rockers will work with Tony-Award winning Lion King director Julie Taymor for the theatrical extravaganza.
A spokesperson for Marvel Studios says, "This project will delight Spider-Man fans."
Auditions for the main roles of Spider-Man Peter Parker, Mary Jane, spider-woman Arachne, villain The Green Goblin and Daily Bugle publisher J. Jonah Jameson will begin this July (07). (AT/WNTSU/MT)

Which leads me to a question. What do you do when your favorite band of all time appears to be slipping? I posted a while back on the rapid decline of REM, but this is different. Whereas REM's decline seems to be due to more a loss of interest in their music because of other outlets, U2 seems to be actively trying to kill their careers. After all, am I the only one that is a little tired of St. Bono? I mean, trying to help the poor is great - but come on, you're a rock star, not a UN Ambassador. Now this! Set aside for a moment that the idea of a SPIDERMAN musical is flat out absurd, but to attach your names to this crap is really testing my patience. Then again, these guys could release a record of bird noises and I would probably buy it. But this is a stretch. Imagine what it would be like if these guys just concentrated on making good music...

Here's what I thought was the best song from their last record.

(m4a) U2 -- Miracle Drug (from How To Dismantle An Atomic Bomb)

A man drives a plane into the Chrystler Building...

Soul Coughing was a great band that got almost zero attention during their brief career. What started out as free form jazz mixed with hip hop and slam poetry became a even more hypnotic mixture of a myriad of musical styles prior to the demise after just three records. I cannot think of a band with a more varied musical catalogue of influences that stilll managed to be completely unique.

1994's Ruby Vroom still is the purest mix of jazz and poetry that gave the band it's following. The whole record feels like a late night jam at a nightclub. Mike Doughty was the band's singer a and primary writer (he has since gone on to a moderately successful solo career). His words seem to lack cohesion until you start to really dig into them. "Is Chicago, Is not Chicago" has all the earmarks of a great jazz classic (complete with the upright bass line). "Down To This", which samples an old WWII song, hints at the electronic undertones that would later domiante their music.

1996 brought Irresistable Bliss, a more radio friendly album designed to broaden the fan base. While a strong record, it seemed to lack some of the avant garde nature of the first album. Still, "Super Bon Bon" and "Soundtrack to Mary" are irresistable in their own ways.

The band's last release was 1998's El Oso. This was a very radical deaprture from the first two records with a much greater reliance on electronic beats to compliment Doughty's poetry. "Circles" was a minor radio hit but really mislead people from the rest of the record. Songs like "St. Louise is Listening" and "Maybe I'll Come Down" showed a greater depth in writing and instrumentation. Unfortunately, the band broke up soon after.

What was great about Soul Coughing was the compete freedom to their musical approach and Doughty's abstract poetry. It's kind of a shame he has homogenized himself a bit since going solo (under the Dave Matthews Imprint) and morphed into just another singer/songwriter (although an above average one). Still, these guys are worth listening too simply because they truly don't sound like anyone else.

(m4a) Soul Coughing -- Is Chicago, Is Not Chicago (from Ruby Vroom)

(m4a) Soul Coughing -- Super Bon Bon (from Irresistable Bliss)

(m4a) Soul Coughing -- St. Louise is Listening (from El Oso)

(m4a) Soul Coughing -- Circles (from El Oso)

Bring That Beat Back

Okay so time for a confession. I CANNOT DANCE!!! I am inflicted with the same disease that most middle aged white males have...complete lack of rhythm. The only way I would ever find my way on to a dance floor was after many, many, many drinks and a total loss of any sense of proprierty. This however would seem to cotnradict my love of dance music. I enjoy almost all forms of electronic music and stocked a good portion of my CD collection with Chemical Brothers, Fatboy Slim and Prodigy throughout the 90's. This also lead to a true appreciation for hip hop. Being out here in California, you get exposed to alot more rap and hip hop than other places I imagine. So I offer you a couple of unusual tracks that I stumbled across cleaning out my CD shelves a few days ago.

Danny Saber is a producer/remixer that has made a name for himself remixing artists like Garbage and Electronic. The track I have posted here, Indian Summer, is from a collection entitled "Dope on Plastic Volume 4", which I actually bought for another track but came to appreciate this one as probably the second strongest on the record, mainly for its use of a sitar as the primary instrument of melody. Just a great song that would fit nicely into a Guy Ritchie film (if he still made movies that is...)

The reason I spent money on the Dope on Plastic collection was for the Blueboy track "Remember Me". This appears to be one guy who had this one song and was scarcely heard from again. (at least that's what my research indicates). Anyway, I first heard this song on KCRW (probably the msot influential college radio station on the west coast) and had to track it down. This is a classic 3am song (as in it will infect your brain to the point where your awake until 3 humming it.)

I spent a few months as an intern at London/FFRR records and got a lot of good dance music swag. Two songs from their promo CD "Special Brew" that I played the hell out of in college where Prodigy's "Voodoo People" (remixed by the Dust Brothers of Beck's Odelay fame) and Method Man's "Release Yo Delf" (remixed by the Prodigy). Of course Prodigy went on to a mroe aggressive rock based appraoch later on but this remix is the quintesential dance floor song. The Method Man track gave me a glimpse of the whol Wu Tang Clan vibe and if I ever get up enough courage I will tackle their music in another post.

So there you have it, dance music for people who can't dance.

Cheers

(m4a) Danny Saber -- Indian Summer

(m4a) BlueBoy -- Remember Me

(m4a) Prodigy --Voodoo People (Dust Brothers remix)

(m4a) Method Man -- Release Yo Delf ( Prodigy remix)

Another Big Thing Coming

Well Bloc Party seems to have fizzled. Midlake never found any love outside the blog universe. With the exception of the Shins and Modest Mouse (bands with prior success) the big things from the blogs seem to not be doing very well this year. So along comes VOXTROT. This Austin, TX band has a couple of well received eps under their belt and now they are preparing their deubt full length album to be released in May. Voxtrot does the indie rock / pop thing very well. So in the spirit of making snap judgements based solely on one song, I have included their new song"Kid Gloves" for your critique. This could be an outtake from the latest Shins album with less obscure lyrics. A litttle derivative but still very catchy. Better still is the band's cover of New Order's "Love Vigilantes" (anyone with the guts to cover New Order gets bonus points in my book) What is left to be seen is if these guys are equal to their hype.

(mp3) Votxtrot -- Kid Gloves

(mp3) Voxtrot -- Love Vigilantes (New Order Cover)

Random Josh Rouse Posting

There are literally thousands of sensitive singer songwriter types that get signed every day. If these bards didn't exsist, where would Grey's Anatomy, Scrubs and other TV shows get their music? But I submit to you one Josh Rouse, a singer/songwriter who is actually worth your time and adoration. Rouse has been kicking around for a while now with little to no notice by the commercial media. All he does is release great pop records that tap into a well of emotion and longing. His voice is just this side of a whisper and carries with it a certain meloncholy that would be reminiscent of either Morrissey or Nick Drake (and yet he doesn't really sound like either one of them)

Rouse's best record is probably a release from a couple of years back called UNDER COLD BLUE STARS. This was my introduction to him and I just remember listening to this album over and over. I couldn't quite put my finger on why I kept coming back to it, I just know I couldn't get the songs out of my head. Rouse borrows from the traditional pop songbook when it comes to theme; love and loss.

Rouse's 2005 album, NASHVILLE, is also a strong record. (this is what you love about artists like this, no real suprises but a guarantee of at least 4 songs of worth on every record. You can't say that about every artist out there). The standout track here is probably, "Winter In The Hamptons", which could have been an outtake from the Smiths, STRANGEWAYS HERE WE COME. The guitar hook is very Marr-esque in its delivery.

So there you have it. No flash or excitement. Just three great pop songs from someone you should get to know.

Josh Rouse -- Ugly Stories (from Under Cold Blue Stars)

Josh Rouse -- Dressed Up Like Nebraska (From Nebraska)

Josh Rouse -- Winter In The Hamptons (From Nashville)

There are also some live tracks for Download at Josh's MySpace Page

When An Artist Should Be Picky

There is always the belief among fans of an artist or a band that we are entitled to hear as much of the music as possible. We devour b-sides, live tracks, alternate versions and one off cover songs like red ants at a picnic. We feel a god given right to critique every piece of music, however underproduced, because we know better than the writer of the song. My argument is this, there is a reason some material never makes it to a record...because it's crap. It didn't work in the studio so it was set aside to be reinvented later. When these things hit the internet they spoil the artist's work because they are falsely given the same treatment as a proper release.

Which brings me to Ryan Adams. I think Adams views himself as the Prince of the No Depression set. He has a pathological need to release everything he records. He threw out three records last year (0ne of which was a double album). It was creative overkill. Imagine what might have been if rahter than rushing three records into stores (not for capital gain like some other overindulgent bands, but for creative validation of his genius at writing in a variety of areanas and genres) he took his time and cultivated the best of those sessions into one album? How might that record have done in comparison. I know that Adams appears not to be interestedin commercial success, but from a pruely creative standpoint would it have been better for him to take his time.

Most Adams fans dismiss GOLD as too glossy and overproduced. But does it not contain arguably his best work? Can you think of anything off the last three albums with the delicacy and grace of "La Cienega Just Smiled" or "When The Stars Go Blue"? Maybe this makes me a commercial hack, but I actually like it when artists take their time. It's almost always worth it.

(m4a) Ryan Adams -- La Cienega Just Smiled (From Gold)

(m4a) Ryan Adams -- The Shadowlands (From Love is Hell)
This is a simply beautiful song, with gorgeous instrumentation. My wife absolutely loves it.

(m4a) Ryan Adams -- How Do You Keep Your Love Alive (From Cold Roses)

I wish the rest of this record could have been this good, this heartbreaking and this well thought out.

The Great REM Debate

I stumbled across quite a discussion that shot up on a couple of my favorite blogs recently regarding REM. (which seems appropriate given their recent induction into the Rock and Roll Hall of Fame) Song, by Toad posits that REM was once a great band that has fallen on hard times. I cannot disagree with his thesis, after all has anyone actually listened to their last record? It's as if Micheal and the boys were asleep for half of it waking up just in time to record "Leaving New York" (which I believe was probably a left over from prior recording sessions that some A and R guy unearthed and said, why not at least give me one good single to play with...)

Anyway, the consensus from both the comments on this thread as well as from another outstanding blog, The Vinyl Villian, is that NEW ADVENTURES IN HI-FI might be the best REM record in totality. Again, on this point I don't entirely disagree. NEW ADVENTURES is a record made by four professional musicians at the height of their talent (coincidentally the last with original drummer Bill Berry). However many of the comments seem to feel that MONSTER is a less than steller effort. maybe I have a personal attachment to that album since it was that tour that I finally saw them live. But what make me give it more weight is how it affected the band. While touring for that album, much of NEW ADVENTURES was constructed. MONSTER pave the way for the subtler HI FI. Without MONSTER'S harder edge, NEW ADVENTURES doesn't work (I don't think the band could have made "Leave", "Undertow", or Wake Up Bomb" if this record had followed AUTOMATIC FOR THE PEOPLE) It's almost as if the two records are companions of one another. After that, things go way down hill.

But this brings to mind a larger problem. How do you judge a body of work by a band such as this. Do we penalize them for the fact that their early work was so groundbreaking that it's easy to marginalize? After all, off the top of your head how many bands can you think of that have openly aped Peter Buck's guitar sound? (10,15?) What about GREEN, OUT OF TIME or AUTOMATIC FOR THE PEOPLE. I think those three records (back to back to back no less) show such wide variance of music and such a depth of lyrical accumen that might just be unparalleled in music. (Not even U2, probably my favorite band of all time, can hang with that strong a three album stretch, but that is for another argument.)

I guess my point is this. REM has fallen victim to much the same curse that most great bands do. Time simply passed them by. Their body of work is so great that whatever they do at this point will be poor in comparison to what they once were. Word is that a new record is forthcoming. I'm sure I will buy and listen to it many, many times. But it won't be as good as their early work. How can it?

Having said that, I give you a couple of selections with no relation to this argument. "Turn you Inside Out" off of GREEN is, at least in my mind, the definitive REM sound. (plus it kicks major ass live!!). "Witchita Lineman, from the "Bittersweet Me" single, was recorded during a soundcheck on the MONSTER tour (which is where much of NEW ADVENTURES came from). I like this because you can hear the band working it out as they go. Allowing the song to develop and eventually by midpoint finding the spot when it all comes together and makes it theirs.

Just my two cents...feel free to leave me yours.

REM -- Begin the Begin (Live at Rock and Roll Hall of Fame)

(m4a) REM -- Witchita Lineman (live)

(m4a) REM -- Turn You Inside Out

In the Interest of Being Fair

A few weeks ago I posted a short video of one of my son's taking his first steps. Well in the spirit of equality here is an equally short video of my other son taking his first steps. (twins are sooo much fun!!)Sorry this one has no audio...

Rainy Day Music

I tend to gravitate to certain types of music depending on the weather. Obviously when it's sunyy outsides (which is often the case here in Southern California) I find myself looking for cheerier music on my IPOD. But when the weather turns cold (as it has today) I flip through to some old rainy day favorites. Not suprisingly, most of my raindy day faves are mopey British types with a love for distorted guitars and minor chord progressions. Here are a couple of all time rainy day standards.


RIDE were four guys from Oxford, England who were a large part of the Shoegazer movement (i.e. My Bloody Valentine, Slowdive) and had huge success over there with virtually none here in the states. My first exposure to them was "Vapour Trail" which is pefect for an overcast Sunday because it seems to hint that the sun just might pop out at any minute (metaphorically of course) Although the band went on to a more traditional rock sound later in their career (in fact one of the guys is now in OASIS) this song is just about the best way to introduce yourself to a really good band.

(m4a) Ride -- Vapour Trail (live)



THE EELS are really one guy and a bunch of studio musicians and msot of their music is actually quite upbeat and catchy. However, as I was driving around last night I heard "Rags to Rags" from their first album and was instantly reminded of this guy's extraodinary talent for writing really dark stuff. I also remember this song and one other, "Not Ready Yet", featured on a great TV show HOMICIDE about the family of murder vicitms dealing with their loss. This is the kind of stuff you can only focus on when it rains...

(m4a) The Eels -- Rags to Rags

I welcome anyone' s ideas on their favorite music for overcast skies. Their are literally dozens of other bands I would mention here but we will save them for another rainy day.

The Most Anticipated Record of the Year

Hype is a very funny thing. Bands go through the "Hype" process faster and faster these days that it seems that the next big band is surfacing every day. Usually they receive tremendous adulation for the "original" sound and in depth interviews about their rise to fame. This is then followed by a critical backlash and accusations of over exposure as said new band tries to establish itself as more than a flash in the pan. Used to be that this process happened over several years...now it can come full circle in one album's time.


Why do I bring this up now. Because BLOC PARTY have released their second record, A WEEKEND IN THE CITY. Many other blogs ahve already commented on the record (with some mixed reviews) and seem to be divided into two distinct camps; those that feel that the band has sold out and softened and those that are in rapture based solely on the fact that it's something of a concept record with deep lyrics. I have listened to the record three times now and can honestly say that what I hear is a band that is a work in progress. Don't get me wrong, I loved the first album (I defy anyone to not want to subconsciouly dance to BANQUET or gaze wistfully off into the distance during HERE WE ARE). I firmly believe that these guys will be a force to reckon with for a long time. Much like U2's OCTOBER, WEEKEND is the sound of a band beginning to stretch its legs. Some of the record is reminiscent of the first (I STILL REMEMBER could be an outtake from SILENT ALARM'S recording sessions), other parts are very different (A PRAYER is oddly catchy for a song based on chanting)


What I keep coming back to is the simple fact that these guys can write and play and have a sond that is unique enough to make them stand out from the pack of current "it" bands. Here's hoping we all give them the chance to realize the potential and at the same time appreciate that this new record is really quite good.

(mp3) Bloc Party -- Hunting for Witches
(mp3) Bloc Party -- The Prayer

For Anyone Who Has Kids

There are a lot of milestones that are of importance when you have kids for the first time. (I know, I know this is a music blog so why is he writing about his kids...) Anyway, the first time your son walks is probably one of the coolest experiences you can imagine. Words fail to describe the shear mix of joy and terror that goes through your heart as he cautiously takes a few quick steps then does a face plant into Mom's arms. All I know is, my house will never be the same.

FOR YOUR VIEWING PLEASURE -- MY SON AIDAN'S FIRST STEPS

Been Gone Too Long

So due to a variety of reasons (new job, new kids etc.) I haven't published anything in what seems to be forever. Well, one of my many new year's resolutions was to try to take some time to keep this blog running. Can't guarantee I will be as regular a writer as I was before but I hoep to at least be a little more up to date as the year progresses. So far I have been really into the new SHINS album (which can probably be found on-line if you look real hard) and I'm all giddy with anticipation of the new BLOC PARTY record. So to tide you over here is a nice little song from PETE YORN (currently one of my wife's faves). Talk to you soon.





Pete Yorn -- Ice Age (m4a)