Sire Records Just Say...Series (Part Two)

1988 brought the second installment of the Just Say Compilation series, "Just Say Yo..." and with it new discoveries into the world of music. At this point I was a Sophomore in high school and still very much a socially awkward, bookish geek. I had only two saving graces that got me through high school. 1) I was fortunate enough to hang out with others who were more socially adept than I and who, in exchange for my acumen in History and English, provided me with a social setting and 2) I was starting to amass quite a CD collection. At that time I was developing into a walking collection of mix tapes and obscure tracks from favorite bands. This made me somewhat of an anomaly a cooler than thou nerd. This compilation served me well in a couple of key areas.

First, at the time, the DEPECHE MODE "Behind the Wheel/Route 66" version was in scarcity in the states. Our local alternative station, the once mighty KROQ, was playing the Mode like it was going out of style and so I gained many points for having what was at the time a unique take on this song. Second, the BOOK OF LOVE mash-up of "Tubular Bells/Pretty Boys and Pretty Girls" was something of a minor club hit and so having this made me seem like I was truly on the cutting edge. Finally, the MORRISSEY track "Will Never Marry" gave me depth that I did not possess at the time. (Disclaimer: these are all somewhat fuzzy memories at best, so if you might have been present for my adolescence at the time please spare others from revealing the truly embarrassing truth...it's better for me to live in my dreamworld.)

(mp3) Depeche Mode -- Behind the Wheel/Route 66 (mega single mix)

(mp3) Book of Love -- Tubular Bells/Pretty Boys and Pretty Girls (Regan's House Medley)

Tracklisting for Just Say Yo...

1) Ofra Haza -- Galbi

2) Morrissey -- Will Never Marry

3) kd lang -- Black Coffee

4) Depeche Mode -- Behind the Wheel / Route 66 (mega single mix)

5) The Wild Swans -- Bible Dreams

6) Erasure -- Chains of Love (Truly in Love with the Marx Bros. Mix)

7) Book of Love -- Tubular Bells/Pretty Boys and Pretty Girls (Regan's House Medley)

8) Martini Ranch -- Hot Dog

9) Throwing Muses -- Mexican Women

10) A House -- Call Me Blue

11) The Mighty Lemon Drops -- Inside Out (Live)

12) James -- What For

13) The Soup Dragons -- Kingdom Chairs

14) David Rudder/Charlie's Roots -- Bacchanal Lady (Extended Remix)

Sire Records Just Say... Series (Part One)

One of the major problems facing the music industry these days is the ability for bands to release their own material without the use of the old record label apparatus. This has been a benefit to those of us who seek out new music on a regular basis but it does have one drawback. Back in my youth I could rely on certain record labels releasing material I was guaranteed to enjoy. 4AD, Sub Pop, Merge, and Sire records all released records that matched my sensibilities to the point that when I saw the logo I bought it without question (and was rewarded more often then not). In the case of Sire records, the best and biggest new wave bands were signed here throughout the 80's (Depeche Mode, Echo and The Bunnymen, The Smiths) so their catalogue was essential to shaping me as a musical youth. For a string of 5 years the label released a compilation CD highlighting artists for the year. The "Just Say..." series is a who's who alternative rock (mostly from Europe with a little US thrown in). There are actually seven volumes but since I only own five I will have to limit this to a five part series of posts.

The first album, Just Say Yes.., released in 1989, gave me my first real taste of Echo and James. I bought the record based on my knowledge of Depeche Mode and the Smiths (and the prospect of a rare Smiths song was worth the purchase alone). Despite all the big names it was two minor acts that I wore out. I absolutely fell in love with THE MIGHTY LEMON DROPS track, to the point were I sought out their albums with a furious passion and may have actually threatened a store clerk when he said he had to special order them. The other band that caught my ear was FIGURES ON A BEACH, who are actually from Boston. I was convinced these guys were going to be huge and proceeded to stake my fledgling reputation as a music snob on their merits. Two albums later they were gone, but I managed to get over it.

So here are those two tracks for your listening enjoyment. If you want any of the others drop me a line and I will oblige.

(mp3) Mighty Lemon Drops -- Out of Hand

(mp3) Figures On A Beach -- No Stars

Tracklisting for JUST SAY YES...

Depeche Mode - "Never Let Me Down Again" [Split Mix]
Echo & the Bunnymen - "Lips Like Sugar" [12" Mix]
The Mighty Lemon Drops - "Out of Hand" [Extended Version]
James - "Ya-Ho"
The Smiths - "Work Is a Four-Letter Word"
Figures on a Beach - "No Stars"
Wild Swans - "Young Manhood"
Ice T - "Somebody Gotta Do It (Pimpin' Ain't Easy!)" [Remix]
The Ramones - "I Wanna Live"
Replacements - "Can't Hardly Wait"
Throwing Muses - "A Feeling"
Aztec Camera - "How Men Are"
The Casual Gods - "Cherokee Chief"
Erasure - Hideaway [Little Louie Vega Mix]

Sappy Stuff For My Wife!!

Today is our fourth wedding anniversary (and my 150th post) so I thought I would post a bit about it. My wife does a far better job quantifying her sentiments here than I do so I will leave it to others... (fyi: the photo here was taken just after our first dance, so you can imgaine why I look like I'm about to die of embarassment and my wife is cracking up)

(mp3) Amas Veritas --Alan Sivestri

Our recessional we used at our wedding

(mp3) All I Want Is You -- Mary Beth Maziarz

I lobbied for the original by U2 as our first dance song but my wife pointed out that would mean I would have to dance for 7 1/2 minutes (and folks that's just not happening.) But the words still capture what she means to me to this day.

Track By Track: Review of REM's Accelerate

I don't usually do full length album reviews (opting more for snarky comments and reminiscing about bands that are long gone) but with the new REM album I felt it was a good time to deconstruct an album in it's entirety. I am glad to see the band put together a solid album and take some effort and time to sound like the band we all know and love. It fits well with their later work (and borrows sonically from "Automatic For The People", "Monster" and "New Adventures in Hi-Fi"). It may be lesser than those albums, but it is certainly better than any of the post Bill Berry work they have done. So here it is track by track:

Track 1 -- Living Well is the Best Revenge

Within the first 15 seconds it is obvious that the band came to rock. Gone are the slow strings and mellow keyboards, "Living Well..." blasts through with a great guitar and bass combo. Lyrically, Michael Stipe seems to be taking on his critics directly (Don't turn your talking points on me, history will set me free. The future's ours and you don't even read the footnote now!)which is something he tends to not do, opting to be a bit more obtuse in his observations. This song could be a long lost cousin of "It's The End of the World As We Know It (and I feel fine)."

Track 2 -- Man Sized Wreath

After my initial listen through the album this turned out to be one of my least favorite tracks. It just seems like the song is missing a really good hook. After a few more turns around the album I accepted it as the band's attempt to write a punk song (short, choppy drums, thick guitars, little or no chorus) but I still skip past it in most cases.

Track 3 -- Supernatural Superserious

The first single is the poppiest thing on the record (so it's a natural lead out into the world). a song about lost identity and searching to find a place, it's an obvious allegory for Stipe's own attempts to reconcile his private and public life (something he has been more open about in the past few years then in his younger days). I like it, but it's not a great REM single.

Track 4 -- Hollow Man

The album really gets moving with what starts out as a quiet acoustic song and then finds a real groove. The chorus is absolutely breathtaking as Stipe seeks out meaning in his life. Buck and Mills mine some really familiar territory musically here (there is even the standard descending REM guitar line that is their trademark) and the result is a quintessential REM song. One of the clear highlights of the set.

Track 5 -- Houston

A song about Katrina and the aftermath, "Houston", is a direct attack on the government and it's response and the need for the people of New Orleans to look beyond the ruin and rebuild. One of the band's finest lyrical efforts and musically it is one of two tracks that could be an outtake from Automatic For The People. The electric guitars and the organ comes and goes like waves (an intentional trick given the song's topic). You just sense the narrator's dread as he looks around and wishes he were somewhere else.

Track 6 -- Accelerate

We're back to the rock songs with the title track. I can't say it's very memorable but it sounds great in the car (although the fact that it may be about suicide is certainly a downer).

Track 7 -- Until The Day Is Done

The best song on the album. This is the other Automatic clone, from a musical standpoint, so it's up to the lyrics to carry it. What seems on the surface to be another song about the hopeless nature of the country (a reoccurring theme on the record), it becomes an uplifting song about the ability of man to carry on even in spite of all that he faces.

Track 8 -- Mr. Richards

Could this be addressed to Mr. Bush (or Karl Rove)? A dirge-like number that is definitely a message to those who hold antiquated opinions.

Track 9 -- Sing For The Submarine

A song that hearkens back to early REM (Stipe even throws in an homage to "Feeling Gravity's Pull"), this is a very abstract collection of random lyrics. The song never finds it's groove and left me very unsettled. Somewhere here is a great song (and may get new life live) but I think a little more work on this one would have helped.

Track 10 -- Horse To Water

Of the rock tracks on the album this is one of the best. Stipe is playing the part of a stubborn believer who will not accept the opinion of the masses. This will be a great song live. On this and "Living Well..." Stipe hits the right mix of vitriol and passion and is matched with Buck's big guitar lines and Mills falsetto harmonies.

Track 11 - I'm Gonna DJ

Most people I've read HATE THIS SONG. I can't say I love it but it's not gonna kill me. It's a nice little rock song that will get people up and dancing at the concerts. I'm sure there were better songs that could have been added to the record but it fits with the overall sound and lyrical direction of the album.

New A Classic Education!!

A CLASSIC EDUCATION have just posted a new track on their myspace site. I swear the more I listen to them the more I like them. The new song, called "Badlands and Owls" continues with the ethereal, dreamy sort of indie rock that I heard on their first few tracks. Kind of a mix between BAND OF HORSES and MODEST MOUSE but with more strings. Do yourself a faovr and head over to give this song a listen. I can't wait for a full length album from these guys.

Out of respect to the band I won't post the song, just enjoy the tracks from their site.

Zencast #11 -- The New Cast

So it has been ages since I did a podcast so I thought I would focus this episode on new material that is coming out (or has recently come out) for the 2008 year. Lots of highlights here, including a track from the new REM cd (which I will review in full later this week). Also of note is the new song from DEATH CAB FOR CUTIE, which will probably be the biggest record that will hit the blogosphere this year. So sit back, relax and check out what's in store for the new year.

Zencast #11 -- The New Cast

Tracklisting

REM -- Until the Day is Done

Counting Crows -- Hanging Tree
Death Cab For Cutie -- I Will Possess Your Heart
Tokyo Police Club -- Juno
The Charlatans -- Missing Beats (for a Generation)
Portishead -- Machine Gun
The Breeders -- Bang On
Black Francis -- I Sent Away
Billy Bragg -- O Freedom (thanks to Song, By Toad for this one)
Nick Cave and the Bad Seeds -- Lie Down (And Be My Girl)

A Sports Junkie's Dream

So I spent a good portion of today watching a variety of sporting events. The afternoon started with the San Diego Padres beating up on the Dodgers (which warms my heart). From there it was on to the FINAL FOUR. Usually, I prefer college basketball to the pros because college has more pageantry and the players still look like they enjoy themselves. However, the year has been something of an anomaly because the NBA has been so competitive and the LAKERS are actually good again (which makes me sound like something of a fair weather fan, which I am not). But I did anticipate a couple of good college games given that the four teams playing all were very good and had a load of talent on the floor. But Memphis blew UCLA off the court (the score was not even close to the way the game actually played out) and then Kansas opened up a serious can of whoop ass on North Carolina, so I soured on the hoops in favor of the ANGELS game. (For those who have not read this blog for very long, I have a long standing love affair with baseball and the LA Angels in particular). I will eventually share my thoughts on the Halos chances this year but tonight it was just a joy to sit in the chair and watch a little baseball. Fortunately the Angels won so my sports ended on a positive note...

Which brings me to the real reason for this post. I must have seen this commercial about 100 times today (can't really Tivo sports so commercials are a byproduct). Nike has always used music very effectively in their commercials and this is no exception. It got to the point that I was actually humming the song while watching the games. Ah, the power of subliminal advertising. Now please excuse me while I go buy some cross trainers and a Tiger Woods hat...

If you're curious the song is by Saul Williams. Here it is in audio format for your continued listening pleasure.

(mp3) Saul Williams -- List of Demands (courtesy of Slave To The Details)

Pop Music Backlash

So I have equally immersed in the new REM and COUNTING CROWS' records for the past two weeks. Which has made start to jones for something off kilter and random. This happens to me from time to time when I feel I might be trading in my indie roots for the Adult Album Alternative crowd. This is also a by product of my age and my inability to go to four shows a week like I did when I was younger. It just becomes easier to buy and enjoy music that's safe.

So in an effort to fight mainstream pop complacency (which I think also can be treated with some sort of antibiotic) I submit to you LONG FIN KILLIE's Hands and Lips ep. These guys were a Scottish band that released a couple of records in the 90's under the Too Pure label. Too Pure housed a lot of really avant garde artists and shoegazer type bands so I naturally gravitate to this music when I feel like something odd or unique. LONG FIN KILLIE seem to travel in the same atmosphere at dEUS (from yesterday's post) so if you enjoyed them you will probably dig this. Folks who enky early MOGWAI might also want to kick the tires on this ep.

(mp3) Long Fin Killie -- Hands and Lips

(mp3) Long Fin Killie -- Angel

(mp3) Long Fin Killie -- Nation

(mp3) Long Fin Killie -- Clinch

What is "Weekly Christmas"?

One of the cool things about working in college radio during the mid 90's was the fact that no matter how small your station was (and we didn't get much smaller than the station I ran) you got treated very well by the record companies. In many ways the 90's were a great time to be around music because even the major labels had a need to seem hip and indie. Every label had a college radio promo guy or girl and these people spent their days dealing with those of us in college radio who for lack of a better word, were music snobs. We had a tremendous influence on the shape of new music simply with our play lists. Since I was close enough to LA to count it only added to my cache and for a short while my opinion genuinely seemed to matter (this would translate into a short career as a promo guy myself...but more on that later)

Anyway, the best thing was that every week there were packages of records that would be sent to the station for us to listen to. My friend Scott called it "Weekly Christmas". Every Tuesday I would travel to the mail room and pick up a huge bag of packages. We would tear through to see what was new for the week. Some packages were more valued than others. For some reason, packages from ISLAND RECORDS always held personal favor with me. It seemed there was always something good in those packages. That's how I found dEUS.

I can't say I really listened to the whole album very much. I was really only enamoured with a couple of songs on it. But the ones I liked I really liked. dEUS had that beat poet, jazz dissonance thing going for them which made their songs jump out at you. The record was also very dark both lyrically and musically. Crunching guitars meshed with violins and a scream/shout singing style that was just short of hard to listen to. Then the band would find a groove and all of sudden it all made sense. I may have played "Suds and Soda" about three dozen times on my show in a six month period of time. I absolutely loved that song probably because it reminded my a bit of CAMPER VAN BEETHOVEN whom I also love. I have not heard anything else since their debut record back in 1994 but I understand they are still around. So a couple of tracks from a gift of "Weekly Christmas"!

(mp3) dEUS -- Suds and Soda

(mp3) dEUS -- Via

Like a well worn sweater...

There are some bands that just don't change. They just don't have it in their DNA. They have a formula that brought them success and they simply cannot break away from it. They may play a bit with some new instruments are try a new producer to shake the mix up but they still end of sounding the same every time. This is not always a bad thing. After all, many bands have made a career in this variations on a theme approach. A prime example are THE COUNTING CROWS. This was one of those American Bands of the 90's (along with Blind Melon, Live and Toad The Wet Sprocket) that made a name for themselves with a heart on their sleeve lyrical sensibility married to a folk rock approach that owed a lot to Neil Young. Counting Crows are still around and are set to release a new record and based on the first few leaked tracks, it is very much their formula. They have taken a Jekyll and Hyde tactic this time around with a rock side and a country side but really it's all just their songs. Simple, plaintive and comforting. I admit I missed them and I'm glad to have them back. Now if I could just find my favorite sweater from college I'll be set...

(mp3) Counting Crows -- You Can't Count on Me

(mp3) Counting Crows -- When I Dream of Michelangelo

Has This Ever Happened To You?

So I intended to take the easy way out today and post some U2 or Sinead O'Connor (or even, Lord help me, a Cranberries song) in celebration of St. Patrick's Day.

But then a funny thing happened around 2:00am in the morning about three days ago. What I describe here happens to me all the time. It's a by-product of spending most of my adolescence and adulthood immersed in music. What I want to know is if I am the only one afflicted by this condition.

It starts out with a slight nagging sensation. Sometimes its a piece of a song lyric. Maybe a guitar line or a drum beat. On those truly difficult cases its a bass line. It just gets stuck in my head. I start repeating it over and over. I can't place it yet. I try to seek out the next line in my head. I hum the tune (or at least the portion rattling around my cranium at that particular instant) endlessly searching for the connective tissue that will point me in the right direction. By midday I descend into a kind of manic state. Will I ever figure out what song it is? Was it something I heard recently or is my subconscious jarring my musical interest in a long lost gem? Will I ever figure it out or will it just dissipate as quickly as it came?

Normally, in the best cases, I figure it out in a day. Maybe two at the worst. I have yet to be totally stumped by my brain but this latest incarnation of this game almost drove me insane. Mind you, I suffer these melodic torture treatments silently. After all, those are the rules. Sharing only makes others endure my suffering. If I share the odds on someone knowing the song are slim at best. Certainly someone with a limited musical selection would be useless in cases such as these because the tune is often some toss off album track. Rarely is it obvious.

Then the miraculous happens. A light clicks on and the sound in my head grows. The next line or piece falls into place. I connect the sound to a picture (usually album artwork but sometimes a singer standing on stage). I am filled with a rush of accomplishment. I have a concrete clue to work from. Then its into the racks of Cd's. I pay no attention to other albums (to do so can be fatal, it causes the brain to shift to other treasures. I have no time for the live bootleg recording of a 1987 REM concert...I'm on a mission Damnit!) Then there it is, nestled in corner of a shelf. The CD that contains the song that has haunted me. I have found it!!!! HALLELUJAH!! PRAISE THE LORD!!! THE NIGHTMARE IS OVER AND I CAN SLEEP AGAIN.

(all that for a song from a anonymous New Zealand band called THE CHILLS...and it wasn't even the single.)

(mp3) The Chills -- Background Affair (from Soft Bomb)

one more for good measure

(mp3 The Chills -- Male Monster From The Id (from Soft Bomb)

Why History Matters

So HBO is running a mini-series about the life and work of John Adams. Adams was an influential founding father of the United States serving as a member of the Continental Congress then later as the Vice President under George Washington and the 2nd President of the United States. While not as celebrated as Washington, Jefferson or Franklin, Adams clearly had a tremendous impact on the shape of this country. It reminds me of why I enjoyed teaching US History so much for the nine years that I did it. People often asked me why I taught history. It's boring and slow and has little impact on my life. My response was always the same. History, particularly US history, is full of important men and women facing tough moral and ethical questions and their choices impacted the course and shape of our nation for all time. Imagine what the United States would have been like if Lincoln had not been President to guide the US through the Civil War. Imagine what might have been had Franklin Roosevelt not met the Great Depression head on with a plan of action. What would our future be if Kennedy had not stood in front of the Berlin Wall and challenged the Soviet Union? Where would this country be if George Bush hadn't taken us into war? (okay so that's not a great example of leadership but will move on...)

The point is that those who do not learn from the past are doomed to repeat it. Those who do not study the past are robbing themselves of the collective wisdom of those who came before them. To do either is foolish.

(mp3) The Bell -- I Am History (courtesy of Discodust)
(mp3) Propellerheads -- History Repeating (courtesy of Lost In Your Inbox)
(mp3) The Good, The Bad and The Queen -- History Song (courtesy of Twelve Major Chords)

Notes From The Hill

A few thoughts upon my return from lobbying the state Congress on behalf of education.

1) I don't believe I actually saw a single Congressman today. They were all out to lunch when we got to their offices and were unavailable. Glad to see my tax dollars are hard at work paying for a good meal. I'd hate to see anyone starve.

2) State Capital Buildings are like museums. Until you get upstairs then they look more like insurance offices. Very bland with outdated magazines all over the place.

3) True Story: A legislative aide for one of the Republicans we visited actually referred to Governor Arnold as "The Govenator" (To be fair it was slip of the tongue for which she was highly embarrassed, but it was still funny)

4) Educators (especially those in administration) love to thank each other. Seriously I counted 45 thank yous in one speech. If the speeches were to be believed approx. 4000 people worked on a day and half conference held in one location and catered by the hotel staff. This took tremendous amounts of planning and I would like to take a moment to thank myself for attending.

5) A friend of mine referred to our lobbying efforts as "ball-washing" and "ass-grabbing". Just about sums it up for me.

6) Since I heard this about 800 times it bears repeating, California is the 8th largest economy in the world and is 46th in education spending. Do these numbers add up to anything but a load of crap?

7) People who speak in public (myself included) strive for one of two avenues for their speaking; get people laughing or get them yelling in support. Wouldn't it be nice if people just spoke like normal people into mics so we could actually understand what they are saying for a change?

8) Two guys hiked from Vacaville to Sacramento to protest these education cuts and got more press time then a collection of over 500 school administrators. So I guess it's true that actions speak louder than words.

9) When Republicans speak of supporting public education and then one of their leaders chooses to honor a women who, while sitting on city council, decided to home school her four children, doesn't that send mixed messages?

10) A final story: At a reception on the first evening my friend Garrett and I were sitting on the patio drinking a beer and we noticed two older gentlemen sitting at another table. They leaned over and politely introduced themselves as retired school administrators who had served collectively over 75 years in public education. I asked them why they were here and one replied that he still believed in the cause after all these years. I turn to my friend and we both have the same thought...will that be us in 30 years and is that a good thing or a bad thing?

(mp3) Maximo Park -- Apply Some Pressure

(mp3) The Dead Kennedys -- California Uber Alles

Look Ma I'm A Lobbyist

I've always had a passing interest in government and politics. While in college, I started out as a Political Science major with the intent of working in government is some capacity. Now as an educator I have been sent to our state capital with the intent of speaking with various congressmen on the perils facing our schools if they go through with their proposed budget cuts. I won't bore with the gory details (but if you live in California you should definitely worry about how this will affect the overall quality of your children's education), but I do find it interesting dealing with politicians.

By and large, politicians are not the slimy, used car salesmen that they are made out to be. Sure, there are some of those type in operation, but most are simply party men and women who have been conditioned to say little of importance and try to do their best to avoid saying something stupid. So this leads to stagnation and a dearth of new ideas. What it also leads to is deadlock and lack of compromise on a number of issues so real people get hurt due to all this inaction. So here I am, ready to go to battle tomorrow armed only with my conviction that what I believe is right and facing the daunting task of talking with little or no hope of it meaning anything...STAY TUNED!!

(mp3) Brave Captain -- I Pledge Resistance To The Flag

(mp3) The Boxer Rebellion -- All You Do Is Talk

Random Sloan Post

As referenced on numerous other postings, I have a slight thing for the power pop groups (see previous posts on THE POSIES and MAGNAPOP) so it was just a matter of time when I got back into SLOAN. Sloan was supposed to be Canada's answer to WEEZER right down to the shaggy hair and geek chic glasses. But where Weezer fell apart after their first record and have never seemed to reconcile their poppier tendencies with their desire to emulate KISS (at least musically), Sloan have just continued to mine the three chord, three minute pop song. Their first album, "Smeared", is by far my favorite. This is because the band was still playing with their sound a bit and you can hear the variance in sound (a little fuzz and distortion added that is missing on the later records). Lyrically, the songs tend to be the tried and true unrequited or lost love, which makes them classical in pop music stature. Enjoy!!

(mp3) Sloan -- Underwhelmed

Their first single and probably their most recognizable song. Just enough of a smirk in the lyrics to match the power of the guitars.

(mp3) Sloan -- Median Strip

This song has a kind of anthemic quality to it from the guitar intro to the bass only accompaniment in the verses.

(mp3) Sloan -- Coax Me (courtesy of Nellies Life)

This was off the second record and is more akin to their overall sound.

Wanted -- New Direction for Huge Commercial Band

So I stumbled across this article about the upcoming COLDPLAY record and it got me thinking...when is it a good idea for a huge band with lots of commercial success to change and when is it a bad idea. You look at various bands (U2, Radiohead) who have made radical shifts in musical style with greater commerical and critical success while others (REM, New Order) stayed the course and saw their relevance disappear. But as is the case with the first two examples, eventually fans started to slowly tire of the experiementalism and the bands slowly returned to their roots. In the case of u2, with all the applause that came with Achtung Baby and Zooropa their was equal disdain for POP. Eventually they returned to their signature sound on the last two records and saw their importance to the rock world return. Despite what people say about Radiohead and their experimental nature, I would argue that the most recent album is the closest thing they have done to THE BENDS than any other record (which, despite everyone's claim that OK COMPUTER is their favorite, still outsells anything else in the band's catalogue)

So what is COLDPLAY to do? They say they are moving away from their sound for a grittier, darker approach (cribbing a bit from the U2 Playbook with producer Brian Eno on board). Rolling Stone says that this is a good thing but I argue, what was wrong with the band in the first place? Will this new direction rob the band of their commercial appeal for the sake of chasing "artistic integrity"? Did the music on the first three records not have any art to it because it sold? Can a band find a balance? Well, the article at least got me listening to their music again.

DISCLAIMER: I know it is frightfully uncool to like COLDPLAY and I might very well lose my Cool Music Blog Registration Card for this post, but I defy anyone who has heard "Clocks" not to get goosebumps

A Couple of songs from the last album just to remind you were the band left off (unfortunately I only have this record on my computer at this time, but you can pretty much find anything on line)

(mp3) Coldplay -- Square One

I thought this was the highlight of the last record.

(m4a) Coldplay -- Your World Turned Upside Down (live in Hollywood)

I was at this show and I thought this song was brilliant. Too bad I can't find a better quality of it.

Gazing at My Shoes (Part Two...The Podcast)

The shoegazer movement of the 1990's was the UK answer to the Grunge scene in America. Both broke around the same time and both contained artists that were original followed by a lot of imitators who took the scene more seriously than the music. Those early bands, MY BLOODY VALENTINE, THE JESUS AND MARY CHAIN and RIDE (pictured) set a tone and feel with their sound. They weren't interested in theatrics or flashy stage shows, just playing music that they felt passionately about. They all set out with the intent of pushing the boundaries of what guitar based music should sound like. Although most of these bands had critical success here in the States, many of them failed to make any commercial dent. Most bands today seem to shy away from this sound, opting for a more radio friendly mix of rock and pop that plays well in car commercials, which only seems to reinforce the unique nature of what these bands were doing. This podcast is just a small sample...

(mp3) Zencast #10 -- Gazing at My Shoes

Tracklisting

My Bloody Valentine -- Soft As Snow (But Warm Inside)

My Bloody Valentine -- Only Shallow

Ride -- Leave Them All Behind

Sonic Youth -- Dirty Boots

Spacemen 3 -- Take Me To The Other Side (Live)

Swervedriver -- Rave Down

Th' Faith Healers UK -- This Time

Slowdive -- Some Velvet Morning

Snowpony -- Easy Way Down

Catherine Wheel -- Salt

m83 -- A Guitar and a Heart

p.s. here is a site with a great live show by RIDE from Italy in 1992. I think it's a great example of this style of music played live.

Gazing at My Shoes (Part One)

A prelude to my next podcast in the form of a quick post of a song from one of my favorite shoegazing bands, MY BLOODY VALENTINE. Now there are literally thousands of posts a month on the greatness that is MBV so I won't give you the whole story but it's safe to say that for those of us who listened to music from the UK throughout the 90's, MBV and THE STONE ROSES were the two most frustrating bands around. Both made brilliant music and then seemed to disappear as they struggled to make a follow up album (which, unfortunately, the Roses did years later with the mediocre "Second Coming"). Kevin Shields and Co. are still taunting us with the potential for another record but I'm not holding my breath. So here's something to remember them by (more to follow tomorrow with the podcast...)

(mp3) My Bloody Valentine -- Soon (from Loveless)

Not To Get To Far Ahead Of Myself BUT...

So, songs from the new REM record, "Accelerate", are starting to make their way into the world in the finished studio form. The first single "Supernatural Superserious" gives me a sense of hope. As detailed on this and other blogs about 6 months ago, REM seemed to have lost a bit of their cache mainly due to their pitiful last record "Around the Sun" (to the point where it is the only REM album I do not own). So why do I have hope...well because this song has all the REM trademarks that made them a great band. The Peter Buck guitar is back (still a little to clean for my tastes, I like a little fuzz in it), the Micheal Stipe lyrics are still a bit obtuse (I think it's about a lost teenage love or something like that) and the great Mike Mills harmonies are thankfully back in full force. Maybe it's the fact that they realized that their relevance had wained and they needed to pull it together or maybe they just had some fun for the first time in a while in the studio but maybe, just maybe, we have the Great American Rock Band back!!!

(mp3) REM -- Supernatural Superserious (Thanks to Pop Tarts Suck Toasted)

Band Crush -- Lotion

A quick post tonight because I'm really tired. Here is another in a long list of bands I loved while in college and found recently when searching through my CD collection.

Had this band been in exsistence today, I believe they would be all over the blogs. People would be hailing them for their sound and their original take on the old alternative rock formula. Unfortunately, the band broke up in 1999 after three records. What they did release, particularly their first album "Full Isaac", was melodic, intense and full of moments of real excitement. Although not the most original, Lotion managed to transcend the alternative genre with just enough off kilter bass lines and a slightly nasal vocal delivery to make me come back to their music often. Lyrically, the songs travel in a world of awkward teenage boys pinning away over girls they can't have or when they do get the girl they don't know what to do with them. It's almost emo before emo was even a phrase. I particularly enjoyed "Around", which is a simple acoustic song with very little lyrics but just keeps building and building to a crescendo by the end of the song. Elsewhere on "Tear", the band comes closest to a stadium rock feel with a great bass, guitar power chord combo over a driving drum beat.

The band moved in a poppier direction with "Nobody's Cool" with soemwhat diminishing returns. Their sound was very much a sample of most of the music coming off the SPINART label (one of my favorite indie labels) and had a feel remiscent of BUFFALO TOM with a slight SUPERCHUNK feel. Very good stuff indeed.

(mp3) Lotion -- Tear

(mp3) Lotion -- Around

Pain+Love = Brilliance

I often think that I missed out not being of age to fully understand the music of the 1970's. I didn't really get into music until well into my high school years (late 80's, early 90's) so much of the 1970's was a mystery to me. I had an aunt who gave me THE EAGLES "Hotel California" when I was like 8 and although I enjoyed the music I didn't get the lyrics (which in restrospect is probably a good thing). When I hit college I began to slowly dip my toe back into music history to try to understand where my favorite bands got their inspiration. REM and U2 turned me on to THE VELVET UNDERGROUND. NIRVANA and PEARL JAM got me interested in NEIL YOUNG. SOUNDGARDEN begat LED ZEPPELIN and so on. I can't really remember how I found FLEETWOOD MAC's "Rumours". I did spend at least one afternoon a month at a local record (and by record in this case I do mean the actual vinyl) store diving into the stacks for anything of interest which is probably where I came across this record.

Most people know the story of the FLEETWOOD MAC (if not here is the Wikipedia link for the tale) but what strikes me even to this day about this album are three things:

1) The music is just absolutely perfect in every sense of the word. Back then bands would take forever to make a record and the studio was more of a lab than a location. Today, bands rip through a session in a few weeks and often put out material that has a shoddy or half finished sound. Fleetwood Mac took their time, thought about every song and every step and the results are an album with no visible flaws. What was the last record you bought made recently with no filler?

2) The lyrics and songwriting are heartbreaking. For some reason, great music comes from pain and misery more than joy. We identify with the pain that these singers are going through (mostly because the entire album is a prolonged break-up story). I doubt the record would be as good if the writers were in a happy place. Stievie Nicks and Lindsay Buckingham are giving us a peek into their souls and allowing us to truly feel the pain of their deteriorating relationship. All in the context of truly brilliant pop songs that are memorable for their feeling and their sound.

3) The sounds recorded in the 70's just sound fuller and richer (even digitized for today's consumption) than anything today. Now, this might be due to the use of analog tape or just the quality of musician but their is just more depth to the sound. It has a distinct sound.

Does this mean music recorded today has no merit? Of course not! But it doesn't hurt to take a trip back in time every once and awhile to see what influenced the music of today.

(mp3) Fleetwood Mac -- Go Your Own Way

This has to be one of the ultimate break-up songs. There is so much anger and bitterness here and yet the music makes the song irresistable. This is my favorite song of their entire catalog.

(mp3) Fleetwood Mac -- The Chain

This song has such a great guitar, bass and drum interchange in the second half. Here is the best example of the band as professional musicians.

Zencast #9 (The Indie Cast)

I'm not entirely sure I like the end product of this particular Zencast. I had high hopes a week ago for a new podcast; I felt good and I had a clear idea in mind of what I wanted to do. Then I sprained my ankle playing basketball and spent the better part of a week hobbling around in pain (putting me in a less than festive mood). So I held off doing a podcast till I felt better. Then I changed the playlist about three times depending on my mood for the day until I settled on this line up. The feel is somewhat indie rock (which is rapidly becoming the most overused tag line for music ever) but I think the songs are really top notch. As for my contribution, well, you be the judge...

(mp3) Zencast #9 -- The Indie Cast

Tracklisting

Matt Pond PA -- Last Light
Chris Walla -- Geometry &c.
Band of Susans -- Not In The Life
The Killingtons -- Destination Failure
Chin Up Chin Up -- The Architect Has A Gun
Emily Falls -- Carnation
Aeon Spoke -- No Answers
Iron Hero -- Spy Versus Spy
Rogue Wave -- Harmonium
The Stratford 4 -- Autopilot
Voxtrot -- Blood Red Blood

A Teaser For Tomorrow

So I had a podcast done and began to finalize the recording when I looked up a realized it was very late and I have to be at work early tomorrow, so the podcast will be up tomorrow but I wanted to share this song because its just sooo good!!!

I once had quite a few songs by MATT POND PA on my first Ipod but when it crashed I didn't have them saved on my computer so I kinda forgot about them. After rummaging around the net looking for new music I ran across their name and realized that they released a record last year that I totally ignored. "Last Light" has the classic REM meets Cracker style of the early Matt Pond PA records but with a newer weight and energy. Two of the songs, "Last Light" and "Basement Parties" lept out at me and demanded my attention. Poppy and catchy I haven't stopped humming them all night. So I give you these and promise a podcast tomorrow.

(mp3) Matt Pond PA -- Last Light

(mp3) Matt Pond PA -- Basement Parties

My Bank Is Evil ! !

So my bank is trying to steal my money. Now, I worry about money all the time (it's a trait I inherited from my father), so when I get closer to the end of each month the balance watch begins. Trying to balance familial needs with the ever dwindling household monetary supply has become a sort of family charge with my wife and I constantly repeating the mantra "Wait till the first"...over and over again. So when my trusted financial institution tries to steal money I get angry. Which leads to ranting phone calls late at night to some teller who for all I know is really a computer with a semi-sensual female voice. So how does this happen you ask?

Well, I made my deposit in the ATM over the weekend (Mistake 1 if you're keeping count). So this means that the deposit did not take effect until today. No problem I have enough to cover any outstanding debts accrued over the last 24 hours. So when I woke up this morning I saw said deposit right there in my account bright as day (Mistake 2, don't trust on-line statements, they do not tell the truth.) Unbeknown st to me, my bank places a hold on ATM transfers for 24 hours (Mistake 3) so the money I thought I had I didn't really have yet. So when I spent money today I, according to my bank, went into overdraft and triggered an overdraft fee (yes kids, that would be mistake 4). So seeing this as I rechecked my balance tonight (remember, ingrained fear of no money care of my dad) I fired off an angry call to my bank. After three tellers and 1 account manager (who was probably some 14 year old kid who passed Algebra 2 when he was six and acted like I was a blithering idiot for not understanding the banks "very simple and efficient system") I got the bank to rescind my overdraft fee and set the world right. Maybe keeping a piggy bank like when I was a kid might not be such a bad deal after all...

(mp3) Jens Lekmann -- Pocketful of Money

(mp3) House of Love -- Money and Time

(mp3) Straylight Run -- Dignity and Money

Yet Another Weather Themed Post

It seems the weather has been on my mind a lot lately. I assure you that I will try harder in the future to cut out the ridiculously themed posts that are starting to infect this otherwise wonderfully written blog. (okay, you can stop laughing now!). I promise I will have a new podcast up tomorrow or the next day. In the meantime a couple of rainy day songs to mirror our current conditions here in Southern California.

(mp3) Thom Yorke -- And It Rained All Night

(mp3) The The -- Kingdom of Rain (I may have posted this on my last rainy day rant, but it's such a darn fine song I feel I can get away with it twice)

(mp3) The Arrogants -- Another Cold Morning

Death Cabber Goes It Alone

I am often wary of musicians who are traditionally not front men setting out own their own. Chris Walla is one of the principal architects of DEATH CAB FOR CUTIE (which over the past couple of records have quickly become one of my favorite bands) and he is preparing to release his first solo album, "Field Manual". The reason I get wary is that there is usually a reason these musicians don't front their original band (i.e. can't really sing or secretly can't write lyrics to stand up with the music.) While I reserve judgement until I hear the whole record, I have to say that I am encouraged by the three songs I have heard. The first, "Sing Again" is a very harmless slice of alt pop that could best be described as a cross between Death Cab and Guided By Voices (Walla's voice bears a striking resemblance to Robert Pollard with it's slightly smoke filled rasp). The other two tracks available on his myspace site follow an early REM-esque formula. So I can say I am looking forward to this as well as a proper new Death Cab record all in one year.

(mp3) Chris Walla -- Sing Again

Listen to more here

Catching Up With An Old Friend

Many of you probably have the same problem I do. As avid music collectors its easy to lose track of some of your favorite records over time as you continuously seek out new and exciting bands. There's nothing really wrong with this, after all, what was new and interesting is what got us into the record collection business to begin with. But sometimes a long lost friend pops its head out and says hi.

A few days ago my son was playing with a puzzle and kept shouting cow over and over again. For some reason I began thinking about a lyric from an old song "I'm building up my problems to the size of a cow". The lyric is both absurd and poignant. After about a day trying to remember the song (the ole long term memory ain't what it used to be) I finally landed on THE WONDER STUFF. So I pulled out their album, "Never Loved Elvis" and gave it a spin. Man what a brilliant album. From the opening rant of "Mission Drive" to the barroom feel of "Welcome to the Cheap seats" the band hit on all musical cylinders. Mixing Irish folk, country and rock together and relying on the brilliant poetry of lead singer Miles Hun, The Wonder Stuff were a true breath of fresh air. But the real joy was the gem of a track called "Maybe".

When I was in college, this was one of those songs that spoke directly to me and where I was at. I had little or no idea what I wanted to be or do. I was drifting between an interest in politics and a love of music. I fell hard for college radio and never imagined I would end up teaching. (to borrow another "Cow" lyric, Don't you think it's funny when nothings what it seem when your not looking forward?") But "Maybe" hit the nail right on the head. The ambivalence at one turn followed by the sheer conviction as the singer makes up his mind as to what he wants. Hunt seemed to be speaking to me through my headphones. Few songs have that power, even fewer come back to you with the same feeling years later. If you take no other song from me, take this one...you won't be sorry!!

(mp3) The Wonder Stuff -- Maybe

(mp3) The Wonder Stuff -- The Size of a Cow

p.s. apparently some form of the band still exists and is releasing a live album in two weeks. Who Knew?

The Wind Makes Me Anxious

Here in SoCal we get hammered for the utterly boring weather. It's why people move here. they hate the cold or the rain or the snow so they come to LA where it's sunny and 72 degrees 10 months out of the year. When it does get cold here it hits about 50 or so. We had rain two weeks ago and you would of thought the world was about to end. But the one negative barometric feature of Southern California is wind. We get these hot, dry winds called "The Santa Anas". Or we'll get the cold, biting winds we are experiencing right now. Not really cold mind you, but just uncomfortable. They make my skin tense up and make me feel anxious. Like something bad is about to happen. Do I have a point with this rambling mishagosh about weather? Not really. But it does play with your psyche. The wind brings bad news and bad feelings and there's nothing you can do about it so get prepared...

(mp3) Robert Plant and The Strange Sensations -- Let The Four Winds Blow

(mp3) Kansas -- Dust In The Wind

(mp3) Cat Stevens -- The Wind

(mp3) Three Dog Night -- Eli's Coming**

**I feel like this one might need an explanation. Although the song is about a man who uses women with impunity, Eli represents something ominous and bad. I always think of this song when the winds hit. Got this from an old show called "Sportsnight" where one of the characters said "Eli's Coming" to predict bad things happening at his job that night. I guess I connected the two ideas in my warped little head. (Man am I in a weird place right now or what?)

Bouncy Pop for Bouncy People

For some unknown reason I was pulled into the world of bouncy, sunny pop music tonight by my searching. Normally I don't trust anything being pimped by large scale commercial radio. Here on the west coast we have always relied on KROQ (the LA Alternative Station made famous by subjecting the world to Richard Blade and his fake ass) to give us the heads up on the next best thing. This is where I heard Depeche Mode, New Order, and Nirvana for the first time. Sadly, this once great station has gone the way of all radio (the proverbial crapper!!). Someone explain the appeal of Sublime to me. I mean, come on the guy dies like 15 years ago and they still get more airplay to bands a thousand times better.

Anyway, the one guy I still trust from KROQ is Rodney on the ROQ. Rodney is sort of the unofficial musical guru who broke Oasis, Blur and all the big brit acts to the US. Although he is pretty lost as a DJ he still has impeccable taste. To my knowledge, he and Jason Bentley (another very savvy musical programmer with a tilt to the electronic world) are the only DJ's allowed to pick their own stuff. So this is where my search began.

Scouting for Girls are very much the kind of thing I would have worn out when I was in college. Blur type pop with just enough edge to make them cool. Their new single "Elvis Ain't Dead" starts with a fun little synth lick before hitting the heart of the song, a catchy and yet plaintive plea to a girl who made the wrong choice. This song doesn't have a lot of musical depth but it does get stuck in your head. The rest of their music is more in the vein of the usual Brit pop but I would give "She's So Lovely" a listen or two.

(mp3) Scouting For Girls -- She's So Lovely (thanks to Mixtape Maestro)

From there I ventured over to the site for The Sonic Hearts. Another poppy UK band, this time from Liverpool (home of the originators of bouncy pop, THE BEATLES). Employing lost love lyrics and whistles, the Sonic Hearts bear a striking resemblance to a lot of stuff you would hear in the early 60's with a hint of Ryan Adams thrown in for a touch of melancholy. I can almost this coming out of my stereo on a sunny spring day. Very Cheery. If you sign up on their mailing list you get a free mp3 so I would feel bad for posting it here.

Air Traffic are making something of a splash in England (at least that's what their site says) so I felt like this was the next place I should stop and wouldn't you know it, more bouncy pop!! This certainly plays by the more traditional Keane meets Arctic Monkeys by way of The Kinks sort of thing that seems to be getting more and more popular these days. I'm sure they will get a huge push since they are signed to Astralwerks. Tops among the stuff I heard were these two songs.

(mp3) Air Traffic -- Shooting Star (thanks to Keep Hope Inside)

(mp3) Air Traffic -- Just Abuse Me (thanks to Obscure Sound)

So If anyone has any more bouncy Brit pop they care to share, old or new, drop me a line and we can all bounce along together with a spring in our step!!

Bring That Beat Back (Live Edition)

So electronic music can be real hit or miss when it comes to replicating it live. Most DJ's who record albums tend to use their live shows as a chance to mix their stuff up in order to keep the beat going (which is usually what the crowd wants). Some artists use live sets as a chance to extend their songs to absurd levels while others simply stand and play hoping enough lasers and lights will cover up the fact that being studio wizard does not make you an arena rock star. However, there are a couple of exceptions.

I saw ORBITAL live a couple of times and going into it I thought they would be mediocre. Their music is very nuanced and therefore might lose something live. Boy was I wrong! The music breaths in way that it doesn't on record. Though they didn't interact with the crowd the songs spoke for themselves. The brothers Hartnoll use the live set as a chance to play around a bit with tempo and pacing, speeding some things up and slowing other things down. But the highlight of their live set was always their live version of "Halcyon". Already a standout song live it gets an extra punch with a 3 1/2 minute addition of a mash-up (before such things were cool) of Bon Jovi's "You Give Love A Bad Name" and Belinda Carlisle's "Heaven Is A Place On Earth". This thing is freaking brilliant.

Another band that seems to have the live electronic thing figured out is DAFT PUNK. Having just released their second live record, "Alive 2007", this duo handles the show as close to a traditional rock show as an electronic band could. They tend to take a couple of their songs and mix them together. It ends up being quite effective and enhances the songs which on record can tend to drone on a bit. The show ends up sounding like one huge house party (which is most likely why LCD Soundsystem was so happy they played his house) with songs serving a set pieces and musical movements in a dance symphony. I can actually say this sounds like one electronic band I would still pay to see live.

(mp3) Orbital -- Halcyon (live)

(mp3) Daft Punk -- Around The World / Harder, Better, Faster, Stronger (live)

Zencast #8 (The Random Cast)

So I hadn't done a podcast in awhile and with the ridiculously crappy weather lately, staying indoors a putting together playlists is as good a way to pass the time as any. So there isn't really any real binding theme to this one, just 50 minutes of quality music. For those of you are are curious I tend to record these late at night after the wife and kids have gone to bed, which would explain the somewhat laid back, quiet tone in my voice. Normally I'm a pretty animated guy but for some reason when I get in front of a mic I become someone who is auditioning for NPR. I guess the next one I'll try to overload on caffeine before I start recording.

Zencast #8 -- The Totally Random Cast



Tracklisting

1. The National -- Squalor Victoria

2. Nada Surf -- See These Bones

3. The Grants -- I Am The One (thanks Ed at 17 Seconds for this)

4. The Church -- Reptile

5. Starky -- Hey Bang Bang

6. Oranger -- Crooked In The Weird Of The Catacombs

7. Cold War Kids -- Hospital Beds

8. Midlake -- Roscoe

9. The Frames -- Dream Awake

10. Eddie Vedder -- Hard Sun

The First Post of 2008

So I'm not really sure what kind of year 2008 will be from a music standpoint. Part of this is due to the my own laziness. I used to be up on who was releasing new albums when and therefore I could anticipate things before they happened. Sadly, this trait has gone by the wayside (which for a music blog tends to handicap me a bit in the scooping trade) Outside of the new REM record (out April 1st) I can't tell you any record I am in rapt anticipation for. I am also intrigued by the impending release of the new NADA SURF record. On the other hand, this is also a good time to launch back into the record collection and rediscover some old friends since I have nothing dominating my Ipod lately. This is what brought me to the rediscovery of PORTISHEAD. (I know kinda glum way to begin a new year but hear me out on this one...)

Portishead's first record still sounds fresh and revolutionary. This was a group of risk takers and spawned a whole new form of music that had a huge impact on me during my college years. With its mix of hip hop beats and tortured songstress lyrics, "Dummy" was a complete and utter shock to the musical system. I wasn't prepared for something so unique and yet familiar. (Side Note: On vacation to visit the in laws my father in law received a copy of the Edith Piaf Biopic "La Vie En Rose", the similarities in vocal patterns between Piaf and Beth Gibbons in some places are quite remarkable) Musically, the band stole from a variety of sources; jazz, blues, electronic, even some of Frank Sinatra's more melancholy ballads. the result was nothing short of awe-inspiring. I hadn't heard the record in a while but playing it again tonight just reinforced my belief that this was one of the great albums of the 1990's.

The point is that you never know what my hit you from left field. I wasn't prepared for this album and look what happened. Here's hoping some unknown band comes out with a truly great record this year and shakes things up all over again.

(mp3) Portishead -- Sour Times

(mp3) Portishead -- It's A Fire

(mp3) Portishead -- Roads (probably my favorite off this record)

The End of Year List

So I have been somewhat reluctant to post my end of year list (partly because these types of lists are somewhat cliche, but mostly its simple procrastination). But here is my top 7 (a very zenlike number) of 2007:

1) The National -- Boxer

I fell in love with "Fake Empire" and then slowly grew to the rest of the album. Like nothing else that was produced this year, The National take their own unique sound and deepen the textures on this record. Probably the only album this year that was solid throughout, this is definately a band that will make seriously powerful music for a long time.

(mp3) Fake Empire

2) The Editors -- An End Has A Start

I posted on the great Editors/Interpol debate when these records came out, and my prediction held true. While the Interpol record faded away quickly, this album just kept hanging around. By the fourth listen the Joy Division comparisons faded and all that was left was epic Brit rock.

(mp3) Smokers Outside The Hospital Doors (bonus: This was #34 on Contrast Podcast's end of the year top 50 and you can catch my intro of the song here)

3) Band of Horses -- Cease To Begin

The first three tracks on this record are better than any other album opening group (with the exception of The National). I admit that I dismissed these guys the first time around, but I rarely make the same mistake twice. While the back half of the record drags a bit, there is no denying that "Is There A Ghost" and "No One's Gonna Love You" are tremendous songs full of passion and emotion.

(mp3) Is There A Ghost

4) Rogue Wave -- Asleep At Heaven's Gate

With a greater depth to the music than previous efforts and an even greater Beatles influence, Rogue Wave brought forth a record of mature songwriting that I really warmed to after awile. "Like I Needed" and "Chicago x12" are slices of pop heaven.

(mp3) Like I Needed

5) Radiohead -- In Rainbows

I wanted to like this record more than I do. Sure Radiohead is still one of the premier rock bands around. Yes it's a solid record, but frankly I expect more from them. Are they being punished for past glories? Probably. But I hope that they still have a great record in them, because I think this one was just really good.

(mp3) All I Need

6) The Shins -- Wincing The Night Away

Originally, this was headed for the disappointment file because I was left a little underwhelmend. Then a few weeks ago I went back to it and re-discovered what I first suspected. This is a pretty darn fine album. In clearly an instance where hype almost killed a good band, The Shins made a wonderful mash up of Smiths, Beatles and California pop for a record that is both very British and very American in sound.

(mp3) Split Needles (do yourself a favor and track down the alternate version of this one!!)

7) Shout Out Louds -- Our Ill Wills

This is mostly on the strength on the single "Tonight I Have To Leave It", which is the clear frontrunner for single of the year (Hanging with The National's "Fake Empire" and Votxtrot's "Introduction"). Taking from The Cure and other 80's pop bands to update a great sound is always a good way to get in my graces.

(mp3) Tonight I Have To Leave It

Disappointments

1) Bloc Party -- Weekend In The City

I wore it out for two weeks and haven't been back since. I think they will still be great and it is possible that in 10 years we all look back on this record and re-evaluate it (much like u2's October) but right now I say it was my biggest let down of the year.

2) Ryan Adams - Easy Tiger

I love Ryan Adams and yet he constantly frustrates me. He could be this generations Dylan, but he just doesn't seem to be able to get out of his own way. Not polished enough for commercial success, too polished for indie god status. He just floats and throws out material that has so much potential and yet fall short. I also am disappointed that he stooped to a duet with Sheryl Crow...I know he can do better.

3) Interpol - Our Love To Admire

I am just about done with these guys. After all the talk about the new sound, all I heard was the same thing. Outside of "Pace is the Trick" the record is lifeless and repetative. If the next record sounds like the last two, they may not recover.

Why We Blog...

My wife has started her very own blog (you can visit by clicking here). This got me thinking about the whole blogging phenomenon itself. Why exactly do we blog? What is the purpose of putting our thoughts out there for just anyone to read? My wife's take is that it's sort of an inner monologue that we share with others. I would agree except I think of it as nore an inner argument with our own subconcious. I mean, after all, aren't we just putting a carefully crafted piece of ourselves out for display. It's not like most of us who blog with any regularity really give any in depth insight into our lives and our way of looking at the world. Most of us use it as a vessel to spring forth opinions on which band we think is shit or who is the hottest Spice Girl (count one vote for Gerri over here by the way!)

This is not meant to be critical but merely a short rant about just how seriously we should take this whole blogging universe. I mean, come on, just because I read Perez Hilton doesn't mean I believe everything he writes. And just because someone doesn't care for the head coach of the UCLA football team doesn't mean that blogger should be quoted in the LA Times as a source on anything to do with the coach's job. People are taking these blogs way to seriously. It's meant to be fun and meant to entertain others. So I will continue to write about music and TV because it's pithy and has little effect on the world. Hopefully, you will continue to read and keep writing your own pithy blogs so that we have something to enjoy!! But that's just my opinion.

(mp3) Velvet Underground -- What Goes On (courtesy of Just Press Play)

I think this opening line sums up my feelings about my blog pretty well...

A Dark Night and The Perfect Song

So I was out late tonight on a food run. The streets were dark and I was clad in my usual winter attire (Jeans, T-Shirt, Red 2005 Pasdena High School Sweatshirt that rarely gets washed so it feels great). This is one of those moments when you're driving and just need something to sing along to. There are plenty of ways to attack this situation. Do you go for something poppy and catchy to pass the time? Something aggressive to keep you awake? Actually, I settled on Ryan Adams' cover of the Oasis song "Wonderwall". Why? Because it's quiet, sad and arresting all at the same time. Adams takes what was already a beautiful song and transforms it into a song full of longing and melancholy. It just seemed to fit my mood and the situation. Which got me thinking about the nature of music as the external soundtrack to our day to day lives. We all have music that we work out to or work by. We have music that signifies great moments in our life. But it's the songs that we play when we are traveling through the more mundane parts of our day that really shapes our life. Sometimes the perfect song can make those moments seem a little more bearable...

Ryan Adams -- Wonderwall (From Love is Hell)