Miike Snow asks is crossover appeal a Bad Thing?

About 8 years or so ago there was a band out of Australia by the name of DIRTY VEGAS. By all accounts they were a respectable little band with a nice mix of pop music and dashes of electronica in their early work. Not terribly groundbreaking but entertaining in it's own way. Then through some luck and effective product placement the band hit it big with the single "Days Go By". Now this was just at the dawn of the electronic as RnB movement so the sound was still fresh and auto tune had not killed singing entirely.

Why am I recounting a tale of a one hit wonder band to you now? Because as I was cruising through my various music collections I came across MIIKE SNOW. This Swedish three piece makes highly disposable pop music that has enough sneaky hooks to be something that is a good soundtrack to doing mundane work. Here's where the question about crossover appeal gets asked. The band has also, under another moniker, worked for the likes of BRITNEY SPEARS and other pop luminaries trying to dirty up their sound. Do we punish these lads for their association. Is their own music tempered by their collaborations and brushes with the mainstream. Can we even separate the two things and more importantly, should we?

While watching a recent episode of the wonderful TV show "Chuck", I was struck by the song playing in the background. I knew it sounded familiar so I went on-line and found the name of the particular Miike Snow song. "Silvia" has a catchy piano line and builds tension very nicely over the course of the six minutes it's around. Will I remember it in a month when I have moved on to other things. I doubt it. Just like it took me about 15 minutes to remember Dirty Vegas, I'm sure the same will happen when another sugar coated, pop infection comes along to remind me of Miike Snow. But even a little bit of their original thoughts influence the greater pop collective then I think we are all better off...

(mp3) Miike Snow -- Silvia

The Philistines Jr. make an oddball, wonderful sound

You can often tell a lot about a band by the producers they choose to help them craft their sound. U2 was elevated to a whole new level when it teamed up with Brian Eno. Nirvana built their sound largely in collaboration with Butch Vig only to deconstruct it with Steve Albini. Rick Rubin is maybe more famous then some of the artists he has produced. What is kind of interesting is when these producer's make their own records. Eno dives into orchestral electronica, Vig created GARBAGE, Albini has SHELLAC. Which brings me to Peter Katis and THE PHILISTINES JR.

Who is Peter Katis? Well, he has had a hand in recent efforts by the likes of FRIGHTENED RABBIT, THE NATIONAL, and TOKYO POLICE CLUB (all three of which were on my top 20 of last year). So when I found out he had his own band with his brother it begged checking out. What the brothers Katis have created is an odd, engaging and gorgeous piece of music.

In many ways, The Philistines Jr. remind me of POLARIS (who served as the house band for a great show called the "The Adventures of Pete and Pete") in that they find lyrical inspiration in the mundane aspects of life. Songs given as advice to the youth in the world and ruminations about bus stop etiquette mix with deeper thoughts about war and politics in an unusual symmetry. Musically, their are baroque pop moments melded with indie rock staples. Glockenspiels and drums and theramins flitter in and out. Everything seems to have a purpose and yet the elements are so disparate. The highlight of the record, "My Brother Tom, The Green Beret" is a sublime piece of heaven sliced as a perfect pop song. The whole exercise if alive with new sounds and thoughts after each listen. "If A Band Played in the Woods..." is a remarkable record and one that should remove these brothers from the shadows of music producer anonymity.

(mp3) The Philistines Jr. -- My Brother Tom, The Green Beret

Examples of the Perfect Pop Song (Part Nine)

It has been a long held belief of mine the INXS is one of the criminally overlooked bands of the 80's. Sure they had commercial success, but they were often dismissed when it came to critical praise. Two things worked against the band, Micheal Hutchence's suicide robbed the band of their voice at a time when they were ready to graduate to their more experimental phase . Second, the band went and made that ridiculous reality show to find a new singer. Had these two things not happened, I think we migth view them differently. Here they are in their heyday:

Oh Me Oh My...Bright Eyes!!

For a long time it was hip to like BRIGHT EYES in that hipper than thou, kids with thick rimmed glasses sort of way. People praised Conor Oberst for his obtuse lyrics (in some circles going so far as tabbing him the next Dylan). Then they sort of disappeared. The austentaciousness of releasing separate albums at the same time smacked of Prince/Ryan Adams level narcissism. (Note to bands: one good record is always better than two mediocre ones. We as listeners don't have time or the energy to sift through the rubble to find the hidden gems.) I admit that I never really gave "Cassadaga" much attention since at that point I had kind of removed myself from the alt-folk universe.

Oberst has gone on to record with other monikers, in fact this latest release is said to be the last under the Bright Eyes handle, and has explored some new directions but I imagine most people expected him to eventually to return to his roots, so to speak. Well, "The People's Key" is his take on the eventual resting place for this incarnation. Using snippets of spoken word lectures about life in alternate universes and a larger synth presence, "Key" is the final combination of the dueling versions of the band. "Shell Games" is a straight up pop song not unlike BEN LEE's finer work. "Approximate Sunlight" is that navel gazing, slow folk we have come to expect, but that is suddenly jettisoned for the political ramble of "Hallie Selassie". "A Machine Spiritual" has that kind of off key minor style that has developed over time to be copied by a ton of other lesser artists. "Triple Spiral" returns to the poppier sound, as if a blatant attempt to garner airplay (if such a thing even exists anymore). The closer, the elegiac "One For You, One For Me" is what U2 was aiming for on it's last record with a fine mixture of synth, R and B, and spiritual seeking of acceptance.

If this in fact the end this musical thought for Oberst, it's a nice coda. Not as adventurous as his earlier work, but a mature re imagination of his style that will lead him into new ventures invigorated by the possibilities of what may come...

Funeral Party is buzzing

I can say with a fair amount of honesty that my first blush with FUNERAL PARTY was a little dismissive. Usually, when I stumble across a new band I size them up and make some level of determination. There are those I fall in love with right away, those that I have luke-warm feelings toward and those that I simply do not find interesting. Columns A and B have hope, but it is rare when a column C band makes their way into any real airplay on the ole iPod. Funeral Party are the exception.

As part of the art-punk movement that seems akin to what FOALS and THE KLAXONS have been doing for awhile, Funeral Party are set to take on people's perceptions with their debut full length, "The Golden Age of Knowhere". Combining dance rhythms with a heavy dose of raging guitars and screaming vocals, this collective takes the best of the RAMONES and amps up the fist pumping. Opening with the cacophony of clashing guitars and drums, "New York City Moves to the Sound of LA" is a warning shot across the bow of the other coast. "Car Wars" and Finale" are more radio friendly with their choruses that are meant to be sung and hooks to spare. The middle portion of the record owes more to the post punk revival (ala BLOC PARTY) with a wash of keyboards taking center stage in "Postcards of Persuasion" and "Giant Song". The title track serves as the closing salvo of adrenaline that I'm sure serves as the closer to their live shows.

I can't tell you if I enjoy this record because the exuberance of the band is obvious or if repeated plays just wore me down. Either way, it's a great debut from a really cool new band.

(mp3) Funeral Party -- Finale (LINK REMOVED BY REQUEST)

Examples of the Perfect Pop Song (Part Eight)

I don't care what anyone says, I will always have a soft spot in my heart for TOAD THE WET SPROKET. They will always remind me of college and all the awkwardness that went into that time of my life. Here is there big hit...enjoy!!

Oh Liam, Beady Eye is not what we needed

Okay so I am an OASIS fan. I have enjoyed their work even if it was at times derivitive of THE BEATLES. It was kind of the collective deal we made with them. The Beatles were gone and Oasis was what they could have been if technology had allowed Lennon and McCartney to blast the volume up to 11. When Noel and Liam Gallegher announced that they had had enough of each other (talk about awkward Christmas moments) we all thought Noel would be the one to go on to some form of new career. After all he was largely credited with the success of the band as the principle song writer and musical genius (similar to what PAUL WELLER has done with his time.)

So along comes BEADY EYE. For those who don't know, this is the rest of OASIS as imagined by Liam Gallagher. He has taken the reigns of the songwriting and singing all the songs. Of what I have heard (about four songs), I can say it is now clear that Noel was in fact the driving force. Beady Eye's songs not just mimic The Beatles, they openly ape even the post fab four with nods to JONH LENNON'S solo work as well as WINGS. "The Roller" has all the markings of "Let It Be" era musical cadences mashed up with "Instant Karma's" pacing. "Four Letter Word" opens with "Live and Let Die" flourishes before settling in to another Oasis style rock song. "Bring The Light" is Liam's ode to early Beatles as a rockabiliy act.

(I can say that I listened to these songs more than once before writing this and at one point thought about skipping this whole enterprise in it's entirety.)

It's not that the music is bad. The work is very well played and very professional. It's just so devoid of any individual voice. It's more like a cover band than a genuine muiscal entity. Maybe the full length will be better. Let's just say at this point I'm not holding out much hope.

(I don't feel right offering up a song. If you're interested I'm sure they are available in various places.)

Best Coast/Wavves remind us about Summer

So it is unseasonably warm here in Southern California (which is like rich people complaining about the quality of their caviar but I digress) and as if to remind us that summer is right around the corner BEST COAST and WAVVES have released a split ep to commemorate their upcoming tour.

"Summer is Forever" is surprisingly cohesive for two bands who although alike do have some striking differences. Best Coast is a female led LA collective that contributes two sprightly songs. "Crazy for You" sounds like it is a long lost outtake from one of those old Beach Blanket Bingo type movies complete with all the teenage angst that came from the boy who wouldn't look the girl's way. "When You Wake Up" has a nice pop shimmer to it and vaguely reminds me of THE BREEDERS in their poppier moments. Again the sound of summer love is alive and well here.

As if in response WAVVES, the San Diego indie rock outfit, provides the male perspective to summer. "King of The Beach" is a surf rock, lo fi anthem that sounds as if it should be played over some killer surf footage. "Stained Glass (Won't You Let Me Into Your Heart) is by far the darkest thing on the ep. The song revels in its discord as the narrator pleads with the girl to see things his way. It seems a bit out of place until you realize that it may be that the end of summer brings about fruitless promises of long lasting love.

What makes the whole thing work is the commitment both bands make to crafting images with their sound that make you fill in the blanks on the story (even though there isn't one). For those of you shoveling snow it will serve as a welcome reminder that someday you too will see the sun again.

(mp3) WAVVES -- King of the Beach

Examples of the Perfect Pop Song (Part Seven)

I will have some thoughts on Liam Gallagher's new band BEADY EYE in the coming days, but here is the first song from OASIS that made me fall in love with the band. Too bad it all ended so badly..

Sometimes you just need some Kick Ass Rock and Roll

So there are those times when I want my music to provide a specific emotional release. Traditionally, happier sounding songs can have a mood enhancing effect. Sad songs can heighten a sad sensation. Angry songs about angry things can increase the vitriol in my demeanor. Whatever it is, music can have the effect of moving us in a given emotional direction. I say this because I feel that there are times when I just want some kick ass, balls to the wall, rock songs. I have in the past spoken about music that passes "The Driving Test". Music that sounds better in the car then it does at home or work. Music that is meant for driving in open roads, sung at the top of your lungs even if it is out of key.

Chicago's THE LAUREATES make exactly this kind of music. It's raw and full of raging guitars. they have released a couple of records and their latest ep "No Kontrol" is available for free through the band's website. The title track swings with dueling guitars and driving bass line. It establishes the band's sound as somewhere between THE REPLACEMENTS and THE WHO. You kind of imagine the band slamming away on stage followed by everyone sitting down for beers on the tour bus afterward. The surf rock twang of "Get Sensitive" sounds like a long lost HUSKER DU track and gives way to the slightly mellower "Disconnected" and the Springsteen-esque "Beauty Spies." The ep's closer is the bluesy romp of "Cooler Birds".

As a bonus on the bands site are killer covers of REM, THE BREEDERS, and THE ROLLING STONES among others. Seriously if your are in need of some low down, dirty rock and roll on a Friday afternoon after a hard day, this is the band for you.

Visit the band's site here.

The Low Goodness of Kurt Vile

It may not be a name that jumps right at you but KURT VILE is an artist to take seriously. Prepping for his second full length release, "Smoke Ring For My Halo", Vile makes the kind of introspective catchy rock that reminds me of PETE YORN mixed with the more folky moments of TOM PETTY. You can almost hear the pops and crackles from a vinyl record permeate through his music.

The two teaser tracks released reinforce his love of obscure lyrics and simple, straightforward song structures. "Jesus Forever" has a catchy melody (even if it is somewhat obscured by the intenti0nally lo-fi approach to his recording process) but I especially enjoyed the other released track, "In My Time". Opening with a soft strum of an acoustic guitar and a singing style reminiscent of Dylan and his more lucid moments, the song glides into the chorus rather than hitting you over the head with a chord change. As the song builds an electric accompaniment adds depth to the song as the author reminisces about lost time and getting older. It is apparent to me that Vile is one of those old soul types who looks beyond simple songs to find deeper meaning in it all. I am very interested in experiencing the whole album.

(mp3) Kurt Vile -- Jesus Forever (care of the good folks at Matador Records)

Examples of the Perfect Pop Song (Part Six)

THE CURE's "Just Like Heaven" is about as close to a perfect four minutes of music as you can get. The fact that it was pretty much the go to song for their one off award show performances for the bulk of the career only sealed the deal. I had forgotten just how damn catchy it was even after all these years...

Why I'm Torn over Sleigh Bells

Okay, so I have listened to SLEIGH BELLS debut record a few times upon the wife's recommendation and have been unable to make up my mind if I like it or not. I can see the attempt here to marry MY BLOODY VALENTINE, CURVE, and 80's heavy metal as an intriguing idea on paper. Upon first listen I found the odd construction of some of the songs sonically off putting. "Tell 'Em" just sounds like a mess of riffs thrown together with little or no hook or thread. Elsewhere on the album, like "Kids" and "Riot Rhythm" sound like they are copping what M.I.A. has quite frankly done better on her earlier records.

Things change however with the single "Infinity Guitars" which finally shows a semblance of a hook in the music. "Run The Heart" are "Rachel" are a mash-ups of LUSH and hip hop beats that in a weird way almost makes sense. I wish this was the more dominant sound on the record because I think it is more interesting than the big chunky guitars that the band seem to favor. Somewhere in here is a good sound I just don't think they found it. My concern with this band is that they get the misguided notion that bigger and louder guitars will translate to an edgier sound when I think the more textured approach would benefit them in the long run. So in the end I still feel conflicted and maybe that is what they wanted from me all along.

(mp3) Sleigh Bells -- Run The Heart

NEW Mogwai!!

It's odd to say that in many ways Scottish Post rockers MOGWAI have become predictable. One would have thought that this far into their career, releasing their seventh record entitled "Hardcore Will Never Die, But You Will", that the band would start to tinker around and experiment with their sound more. But true to form the band mines similar territory as their last two records. (ed note. I kind of ignored their last album outside of the single "The Sun Smells Too Loud").

The opener, the misleading "White Noise", is a simple guitar and piano drone that leads us to "Mexican Grand Prix" which borrows a synth line from STEREOLAB over hushed vocals and KRAFTWERK like computerized voices. As is usually the case with Mogwai, the bass is the real star of the song. "Rano Pano" is the lead single and has all the earmarks of the harder, darker sound similar to MY BLOODY VALENTINE playing 70's classic rock. "San Pedro" could actually be a radio hit since it clocks in at under 4 minutes and has a nice hook (too bad there are no vocals to go with it). The closing half of the record has a lot of M83 touches to it with the finale "You're Lionel Ritchie" starting as a Disintegration-era CURE song before building to a massive wave of guitars, bass and drums.

"Hardcore Will Never Die, But You Will", is not going to add any fans to Mogwai's base. At this point, I don't think they care. I think what they do care about is refining, honing and polishing their sound for those who have already drank their brand of Kool-Aid.

(mp3) Mogwai -- Rano Pano

Examples of the Perfect Pop Song (Part Five)

One hit wonders are often good examples of the perfect pop song. A song captures a specific hook or phrase and becomes an instantly catchable ear worm. "Breakfast at Tiffanys" by DEEP BLUE SOMETHING is that marriage of a great chorus that you can't stop humming.

The Last Battle -- Why Did I Wait So Long?

Sometimes bands slip by you. In this day and age of digital publishing it is easy to miss something even when it is right under your nose. Such is the case with THE LAST BATTLE. From the absolutely wonderful 17 Seconds records comes this Edinburgh collective who specialize in acoustic folk with an emphasis on mood and atmosphere. Their songs use a variety of instrumentation to highlight the intertwining vocals of Scott Longmuir and Arwen Duncan. You can almost see the band playing in some coffee house or small pub over in the corner.


Their debut record "Heart of the Land, Soul of the Sea" contains songs about longing and death and love. The recently released single "Natures Glorious Rage" starts with a simple mandoling strum then builds and builds to an intense high before quietly fading out. They have also put out a one off single for new years entitled "365 days" which is a more playful tune that sounds as if it was recorded in one take. Don't make the same mistake I did and sleep on this band. Go and immerse yourself in their excellent material.

(mp3) The Last Battle -- Cutlass

Go Here to Check out their stuff.

Introducing...Derby

Something is in the water in Portland, Oregon. All they seem to produce is pop groups who know their way around a hook. DERBY are a fivesome out of the Northwest who, similar to JONAH (previously featured right here), write classic pop songs that have some sounds reminiscent of 70's artists mixed with a 60's sheen to them. The two teaser songs sent to me from their second full length record "Madeline" show the two sides of the band.

"Madeline" is a mid tempo tune that while not super memorable at first listen grows on you over time. It has a nice build to it as the lead singer opines about how the title character is slowly shoving those she loves away. Better is the more rocking "Don't Believe in You" which is a nice marriage of THE SMITHEREENS and TOM PETTY that gives the song a great retro vibe. The guitars have that nice crunchy sound that would be great coming off a piece of vinyl that hisses and pops. If the rest of the record sounds like this, it will be a hidden treasure.

(mp3) Derby -- Don't Believe in You

Examples of the Perfect Pop Song (Part Four)

If you haven't figured out that I'm a sucker for a grear guitar line then you haven't been paying attention. THE CHURCH'S "Reptile" fits that bill perfectly. It also has a great guitar solo and the simple video highlights the greatness of the song.

NEW!! The Decemberists

2011 is already shaping up to be a very good year musically. Kicking it off is the new release from THE DECEMBERISTS entitled "The King is Dead." Lead singer and principle songwriter Colin Meloy has long held affection for two of my favorite bands, REM and The Smiths. Although musically this new material leans in the direction of the former the imprint of Marr and Morrissey is also evident in the lyrics.

The opening country swing of "Don't Carry it All" gives way to "Calamity Song" which apes "Don't Go Back To Rockville" almost a little to closely for comfort.
"Rox in The Box" tells the tale of a working man trying to do the best he can over a accordion and acoustic strum. "This Is Why We Fight" and "Down By The Water" are the clear standout tracks which both benefit from a heavier guitar presence. "Fight" also has a nice big sing-along chorus that sounds like it will easily be a live staple when they hit the road. (I already detailed my love for "River" and the presence of Peter Buck earlier last month).

The duets between Meloy and Jenny Conlee bring a nice quiet respite the record. You can almost smell the summer rain and the flowers coming through "June Hymn" and a longing in the closing coda "Dear Avery". Although it's probably not Meloy's most intricate lyrical work he still knows how to put a couplet together to evoke emotion. After the disaster that their last record was, "The King Is Dead" is a return to form for the band and a harbinger of a new commitment to making pop confections that in true Smithian fashion make you think and feel at the same time.

(mp3) The Decemberists -- January Hymn (Not my favorite but it seems to one that will keep me out of trouble)

Happy New Year!!

I have never been one for New Year's Eve celebrations. Of course, once you have kids the thought of staying up pat midnight when you face the real prospect of your offspring waking up at 5:30am the next day doesn't seem so appealing. But for those of you that do stay up to see the ball drop, have a safe and happy New Years Eve and we will see you in 2011.

(mp3) Death Cab For Cutie -- The New Year
(I think the lyrics just about capture the spirit of the evening)



So this is the new year.
And i don't feel any different.
The clanking of crystal
Explosions off in the distance (in the distance).

So this is the new year
And I have no resolutions
For self assigned penance
For problems with easy solutions

So everybody put your best suit or dress on
Let's make believe that we are wealthy for just this once
Lighting firecrackers off on the front lawn
As thirty dialogs bleed into one

I wish the world was flat like the old days
Then i could travel just by folding a map
No more airplanes, or speed trains, or freeways
There'd be no distance that could hold us back.

There'd be no distance that could hold us back [x2]

So this is the new year [x4]

IMHO: The Top 20 Records of 2010 (Part Two)

And now for the ten best records of 2010 (at least according to me...)

10. VAMPIRE WEEKEND -- CONTRA
More varied in style and sound than their debut but without any loss of their pop sheen, the boys moved out of indie darling status. Channeling parts of Paul Simon, tribal African sounds and pop hooks out of the sixties, Vampire Weekend established their cred as a creative force. Whether it was the urgency of "Cousins" or the straight forward pop of "Giving Up The Gun" or the laid back bass line that anchors "Run", the record is a constant surprise from track to track. A record that was expected and yet unexpected at the same time.

9. THE ALBUM LEAF -- A CHORUS OF STORYTELLERS
Early in the year I predicted this would be a record of the year candidate and I wasn't far off. Pastoral and easy going in it's execution, Album Leaf made a record for lazy days of pondering the past and the future. "We Are", a rare vocal track, epitomizes the quiet and refined nature of the songs. In many ways this record is what THE BEAT BAND used to do at their height and is welcome addition to records I will be enjoying long after the year is over.

8. THE UNWINDING HOURS -- THE UNWINDING HOURS
Like The Album Leaf, this UK duo made a record that is so unusual in its use of small sounds that build to larger themes. "Knut" is probably the single best song I heard all year and it was on that alone I bought the record. The way it crescendos using only a four line refrain is breathtaking. "Tightrope" is a achingly beautiful ode to a lost love which one presumes is found on the acoustic hush of "Solstice". In an odd way it's an album that celebrates love in all its forms.

7. UNDERWORLD -- BARKING
A welcome return from one of my favorite dance bands. More song structured than their early work and yet maintains all the madness of the dance floor. "Scribble" takes drum 'n' bass into the mainstream while "Diamond Jigsaw" is the song New Order was trying to write for the past ten years. What could have been a throw away by a no longer relevant band in a no longer relevant genre is a tour de force of all that is good about techno/electronic/dance music. And we all need something to dance to every once and awhile.

6. KID CANAVERAL -- SHOUTING AT WILDLIFE
If Ra Ra Riot had not given up the punk edge they would sound a lot like this. Ramshackle and urgent, these Scots make pop music that demands you pay attention. You can almost hear the wheels coming off on the cracking "Good Morning" and "Smash Hits". I cannot wait to see what they come up with next and if it will be as good as this debut.

5. DELOREAN – SUBIZA
Who would have thought that a group of Spaniards would make a record with barely intelligible singing and songs that are part dance, part rock. part ambient work so well? A study in the power of collaborative sounds, "Subiza" soars and flies through a collection of synths and beats that are unlike anything I have heard. To compare them to anyone does not do them justice. In any other year this may have been the album of the year on the strength of it's sonically adventurous nature. A breathtaking work not to be missed.

4. BAND OF HORSES -- INFINITE ARMS
Band of Horses have been kicking around for some time now quietly tweaking their roots rock formula waiting to grow into their place as a premier American band. Although "Infinite Arms" didn't make them household names, it did finally match the lyrical and musical beauty many of us saw glimpses of on their last record. "Laredo"is a swinging tune that anchors the first part of the record along with the bar blues of "Compliments." The record's strength really comes from the quieter songs like the starry night gaze of "Infinite Arms" and the after supper sitting on the porch idyllic "Evening Kitchen" which both evoke times long gone. The closer, the epic "Bartles & James", is a slow building rock song reminiscent of THE JAYHAWKS at their best. It's a record of constantly changing sounds and depth not seen in most modern music.


3. ARCADE FIRE -- THE SUBURBS
The next "greatest-band-on-earth" hit the big time with their third album. At first the record is not as dark as the first two until you really dig into the lyrical exploration of the death of the modern dream. A cry for help from the artist class as it is swallowed up by commercial consumption, "The Suburbs" is a wide ranging critique on who we are and what we really want out of life. Musically the record builds on the sound the Canadian collective has created for itself. Their is a punk rock edge to "Month of May" juxtaposed with the 80's techno pop of "The Sprawl". A statement record by a statement making band that will be viewed as the moment Arcade Fire took on the big boys of rock and roll.

2. FRIGHTENED RABBIT -- THE WINTER OF MIXED DRINKS
I have no excuse for not naming "The Midnight Organ Fight" the record of the year last time around. (Seriously, Coldplay...what was I thinking?) and there is a fair amount of certainty in me that I may regret not giving this record top billing this year. There is no doubt that three records in, Scott Hutchinson has transcended into a troubadour poet who can now write beyond his own emotional scope. Where "Fight" was a deeply personal record, TWOMD is a more globally emotional record. From the opening fuzzy guitars of "Things" to the stomp of "Nothing Like You", the Frabbits and the leader are now writing songs to be sung by the masses. My first impression was that the band was trying hard to expand sonically on this record which is most evident on tracks like "The Loneliness and The Scream" and the epic "The Wrestle". "Mixed Drinks" is the sound of a band losing itself in new sounds and finding their voice at the same time. Now if they could just release a record a year they would eventually gain the top spot.

1. THE NATIONAL -- HIGH VIOLET
This really should be a 1 and 1a sort of thing (especially since I am writing this wearing a Frightened Rabbit shirt.) The National, however, get the nod mostly due to the fact that I simply could not stop listening to this album the whole year. Opening with the killer "Terrible Love" and moving through the political paranoia of "Afraid of Everyone" to the social malaise of married life in "Conversation 16", the album covers so much lyrical territory it's hard at times to stay up. Each listen to each song brings new visions and new experiences. "Bloodbuzz Ohio" starts off as a pretty typical National song led by the intense drum beat and Matt Berringer's baritone until slowly the song moves into a melodic place the band has never seen before. "England" and "Vanderlyle Crybaby Geeks" are in place as a calmer coda to the a rather rocking album. Jettisoning the jazz undertones of "Boxer" for a more direct approach has made the songs tighter and more focused. "High Violet" is a mature work of a highly confident collective that is at the height of it's game and hands down my favorite album from one of the my new favorite bands. Move over U2 and REM, THE NATIONAL are in the discussion.


Happy New Year everyone!! Here's to a great musical 2011.

IMHO: The Top 20 Records of 2010 (Part One)

We actually have twenty very worthy records to talk about this year. Without a record from the big boys this year (U2, REM, Radiohead, Pearl Jam, etc.) It was a bit of a wide open year musically. I found myself gravitating to newer bands willing to take risks. And yet, some old friends found their way onto the list by then end of it all.

20. BROKEN BELLS -- BROKEN BELLS
I would have pegged this record higher when I first heard about it. On paper, the combination of Dangermouse and James from the Shins would have been a no brainer for a top ten record, but over time I drifted away. "The High Road" is the perfect balance between the two but it seemed hard for them to reproduce over a large number of songs. If this is more than a one off collaboration it could bear considerable fruit for years to come.

19. JUNIP -- FIELDS
The new band led by Jose Gonzalez takes his hushed folk approach and beefs it up. It's dark and eerie in some places (similar to BON IVER) and sunny in others. The record does start to drag a bit at the end but "In Every Direction" is a sneaky blues romp for the indie folk hipster.

18. MERSAULT -- ALL CREATURES WILL MAKE MERRY
The Scottish have made a cottage industry recently of adventurous, thought provoking and slightly off kilter bands. Mersault takes a lo-fi approach to their music, often disguising their vocals through filters and effects. It does not hamper the feel of the songs, instead bringing emotional depth in a whole new way. "Crank Resolutions" is hands down one of the best single songs of the year.

17. BROKEN RECORDS -- LET ME COME HOME
I feel I never gave this record it's proper due. Sophomore albums are very hard things to gauge. Are they departures from the signature sound? Are they retreads of a beloved debut? Broken Records take their sound a deepen it clearly aiming for a more anthemic feel as they move out of the underground and into mainstream. Early prediction for record three...big time success. For now revel in the beauty of "The Darkness Rises Up" and "The Leaving Song".

16. KAISER CARTEL -- SECRET TRANSIT
There is always one surprise that comes out of left field. This year, just the fact that I gave this band any of my time is a shock in and of itself. The wife has been on these guys for awhile and seeing them live made me a believer. Like a reincarnation of THROWING MUSES, this duo writes catchy songs about love and loss. "Worn Out Nervous Condition" has the kind of blues stomp that rivals anything else out there right now.

15. JIMMY EAT WORLD -- INVENTED
There are some bands that eventually settle in and just start churning out a new solid album every three years or so. You can count of Jimmy Eat World for songs that sound great in the car and are full of catchy melodies. Not terribly adventurous but "My Best Theory" is a great rock song and demonstrates that sometimes there is comfort in the familiar.

14. NO AGE -- EVERYTHING IN BETWEEN
Fuzzy, dirty and urgent seem to pop in my head when listening to this record. This LA duo take on modern punk rock with a nod to Jesus and Mary Chain along the way. The searing "Fever Dreaming" and the droning "Glitter" highlight this collection of deeper than they first sound songs and seem to signal a new creative force at work.

13. RA RA RIOT -- THE ORCHARD
If No Age are the future of the underground, the RA RA RIOT are the future of pop music. The Orchard is a no excuses unabashed pop record designed to hook you into their way of thinking on sheer joy alone. "Boy" has a bassline that dares you not to bob your head and the simply beautiful string use on "Shadowcasting" makes you ache in the teeth. Just a fun, playful record that should be played every summer.

12. TOKYO POLICE CLUB -- CHAMP
I admit I should have liked this one more. It has all the pre-requisites for a great album. A mix of big choruses, big guitars and just enough self-deprecation in the lyrics to not be take to seriously. But over time the record lost steam. It may be the one record this year that over time gains more momentum for me...at least I hope. It's not say it's a bad record, just less than what it could have been.

11. ABE VIGODA -- CRUSH
This LA band is a hodge podge of sounds (early U2, some Joy Division, some goth rock) all rolled up into one. When they soar, like on the 80's inspired "Pure Violence", they absolutely lock in. "Throwing Shade" is a synth heavy dance romp that at first seems out of place but over time grows catchier. When they settle in on an overall sound and theme they could be something special.

Coming Soon Part Two...

Examples of the Perfect Pop Song (Part Three)

There are a lot of people out there that dismiss ECHO AND THE BUNNYMEN when talking about the great alternative bands of the 80's. I happen to think they were very underrated and "Lips Like Sugar" is a great example of why. Great guitar, great singing, perfect pop song.

Post Punk Icons Wire Return

I can't really tell you why I grabbed this record when I saw it. I don't have a lot from their catalogue in my collection and outside of the single "In Vivo" I can't name a tune they have made in their long career. But for no real reason I did give their latest record, "Red Barked Tree" a listen and I am feeling better for it.One of the seminal bands of the post-punk movement, Wire have left their imprint on a lot of bands that make music today most notably BLOC PARTY.

Like those lads, Wire travels in songs that are simple in their construction and are based largely on repeating a simple lyrical refrain or guitar line over and over. Opening the record with the subdued "Please Take" is kind of a tease as it does not hint at the raw aggression that is to come. "Two Minutes" is the lead single and seems to be a nod to Blur's "Parklife" which in turn was a nod to Wire's early work. Although the record lacks the urgency of the band's early work, the maturity in songwriting and playing serves the band well. Will this record catapult them into a new audience of younger punk and indie kids? I doubt it. But it's a good record that deserves attention

(mp3) Wire -- Two Minutes

New REM Single..brings back old times

REM is in many ways like a long lost friend. You keep in touch with them but sometimes you lose track. Then one day you think to yourself, "you know I haven't heard for so and so in a while I should give them a call". Well, REM called the other day and reminded me why they are such a good friend.

"Discoverer" is the lead single from the band's newest record, "Collapse Into Now". By the sound of this song, the band is continuing to rebuild their sound after it all fell apart when Bill Berry left (never underestimate the impact a drummer has on a band.) From the opening guitar line by the suddenly ubiquitous Perter Buck (as referenced earlier by his work with THE DECEMBERISTS and TIRED PONY) to Micheal Stipe sounding oddly defiant in his singing, the band seems ready to at least give the whole big ass stadium band thing another whirl. They have said in interviews that the new album is similar in many ways to "Automatic For The People" which in my book is a good thing. "Discoverer" seems more akin to their work on "Green" but if those are the reference points then we might be in for a treat in 2011.

download the track for free here.

Examples of the Perfect Pop Song (Part Two)

There are many songs in the REM catalogue that could fill this category but "The One I Love" is certainly one of them. From the opening drum beat, to the great guitar hook, the song is about as close to perfection as you can come.

Enjoy the video below:

Chapel Club and my wish for cold weather

Okay people, it's frickin December. Could I please get some weather that doesn't require me to wear shorts and flip flops. Which leads me to today's musical find. CHAPEL CLUB are the kind of band I would listen to when it's cold outside. The band reminds me a ton of THE OCEAN BLUE mixed with elements of the shoegazer movement. These London based chaps are releasing their new ep, entitled "Wintering", in preparation for the debut full length in 2011. The four songs here highlight the different stylistics impressions of the band and serves as a nice primer for new listeners.

The opener, "Roads", is a fuzzed out drone of a song that pays homage to SWERVEDRIVER and SLOWDIVE, including the full effect guitar bending sound made famous by the later on their seminal "Souvlaki Space Station." "Teluride" builds slowly through a wash of feedback to find a dreamy pop song hiding on the other side. "Bodies" has the feel of a dark night drive along a snowy road, with the gentle guitar line serving as the falling snow. The closer, the eight minute "Widows", seems to be lifted from THE CURE early catalogue with it's slinky bass line pushing the song along.

As an added bonus, the band has made another song available on their site for free download. "The Shore", which one would guess will be the lead single from their record, seems more aggressive in it's sound yet maintains the imagery outlined in the song title. Whether it's the birds at the open of the track or the way the song washes sound over the listener, the band excels at creating mood pieces that pass as pop songs. Take some time with these guys and definitely check out their full length next year.

Download The Shore from their site here.

Introducing...Clockwork Radio

CLOCKWORK RADIO are a five piece band from Manchester (apparently by way of Egypt according to their website.) The band plays a pretty straight ahead form of rock with some nice flourishes of guitar and an odd bass line here and there. They have released their second ep, "The Soul Harmonic", for free download off their bandcamp page.

The ep's four tracks highlight the bands eclectic approach. "Desire" has a bit of a middle eastern blues feel to it in the open before finding a nice groove for the rest of the track. "Please You" takes the band into a slightly more epic place similar to say THE TEMPER TRAP. "Solitaire" opens with a great bass line that makes the this the most upfront rock song on the ep. This is also the song closest to their Manchester Brit Pop roots. The closing title track takes advantage of the piano line to come off very Beatle-esque.

The ep gives me hope that they could definitely grow into something worth keeping an eye on.

Download the record for free here.

Teen Daze & the bedroom pop movement

I have always marveled what can be accomplished with home recording equipment these days. Sounds that are fully formed and seem more polished than ever before are emanating from singular recording sessions with small groups of musicians. Take TEEN DAZE, a Vancouver collective (or is it one guy, I can't really tell) who make sunny, shimmery pop music that is reminiscent of THE BYRDS and THE MAMAS AND THE PAPAS in the layered vocals and clean guitar lines. Their latest ep, "Beach Dreams", is the kind of lo-fi wonder that makes me wish I had learned to play the guitar myself.

You can almost feel the sun basking on the shoulders of the singer as he intones to his love that they should fall into each other's arms on "Let's Fall Asleep Together." "Beach Dreams" sounds as if it's using the rhythm of the ocean as its metronome as it recalls the end of summer and all the lost opportunities that come with the end of the season. "Cliff Jump Love Song" has that fevered pace that comes with the adrenaline rush of diving into the unknown. "Water" sounds as if it is drowning in on itself and yet still has that childlike love of the ocean in it's spirit.

This is a marvelous piece of pop confection that will last those of your battling winter wonders (like six feet of snow) with the promise of sunnier days to come.

Visit the Bandcamp site here to pay what you like for the ep...

Examples of the Perfect Pop Song (Part One)

No commentary with this just an example of a perfect pop song. Sit back, relax and enjoy this (especially Harriet Wheeler's almost perfect vocals...)

Kanye West and his Magical Autotune

Say what you will about KANYE WEST. Is he an arrogant blowhard? Yes. Is he an insecure narcissist who needs attention constantly to feel appreciated? Yes. Is he a creative force that changed the course of hip-hop like few others? Hell, yes he did. Kanye could have gone the path of so many of his colleagues and churned out club banging hits about sleeping with strange women and taking stranger drugs (or vice versa). Instead, he chose to explore his musical boundaries and has slowly taken his music away from rote hip-hop to something altogether different.

Two songs from his newest album, 'My Dark Twisted Fantasy", highlight just how much his music has changed. Starting with the previous album, "808's and Heartbreaks", Kanye has added vocoders and autotunes to his vocals and distorted the beats and synth lines warping them into almost unrecognizable sonic tapestries. Now he extends that to "Runaway" to include strings and other instrumentation to create an orchestral song of defiance for his critics. "Runaway" is cinematic in scope and sound and from his live performances of the song, almost cathartic in nature.

Then there is "Lost in The World" where our mercurial one teams with another tortured soul, folk troubadour BON IVER. Now rap crossovers are not new, but even this paring seemed odd at first. But you can see why they work so well together. Both write songs about despair and loneliness and both favor their material with a bit of macabre sense of humor. Here the song comes off as part appeal for understanding and part cry for salvation. I think I have played it four times writing this and still find new things about it that I enjoy.

So yes, West is all the things described above but what he is not is another boring MC.

(mp3) Kanye West -- Runaway (courtesy of TSURURADIO)

Introducing...Trophy Wife

TROPHY WIFE are a band out of Oxford, England who recently unveiled their debut 7' single (which by the way is still a great invention in my mind). The two songs on highlight the best of what the band is about. The A Side, "Microlite" is a summery piece of pop pie with a nice acoustic strum to it. If you hunt a bit there is even a pretty in it's own right acoustic version floating around.

But it's the B-side that really grabbed me. "Take This Night" has a rubbery bass line that screams dance and a drum shuffle that is just soft enough to be a later in the evening come down off the dance floor type of song. This seems to be a direction other UK bands have taken (like THE STONE ROSES without the drugs and the attitude). The song just kind of rolls along until you don't realize it but it has infected your brain and your humming along. If they find a way to consistently split the difference between these two sounds then I have high hopes for their full length record.

(mp3) Trophy Wife -- Take This Night (link care of The Music Ninja)

Abe Vigoda (the band not Fish from Barney Miller)

It takes some guts to name your band after a TV actor and do it with no sense of irony or any real reason why. On top of that, if Abe Vigoda was attached to some form of music I can assure you it would not sound like this.

ABE VIGODA is a LA based band that specializes in slightly over the top rock that takes a heavy dose of stadium guitars and meshes it with 80's keyboard sounds and falsetto vocals to create a quite striking blend of rock music. Their latest record, "Crush", has elements of songs that could have been lifted from a John Hughes movie (the opener "Sequins" and the lead single "Throwing Shade to name a few). In many ways they remind me of THE PSYCHEDELIC FURS who specialized in this sort of melodrama.

When they take a more straight forward rock approach the results are just as appealing. The title track will play very well in amphitheatres as a sing along for all the boys and girls to pogo to. "Repeating Angel" is a Bowie knock off (which is a bit of a misstep in my opinion but at least they are true to their muses). But that is the only real odd song in the collection. Now, I don't think it's a record for everyone. The lead singer's vocals can slip from time to time. But if you are in the mood for some nostalgia then this might just do the trick.

(mp3) Abe Vigoda -- Throwing Shade

No Age keep the Indie Spirit Alive

I recently started listening to NO AGE when I saw that they opened for PAVEMENT and SONIC YOUTH. Now when two heavyweights in the indie/alternative world put a band on their bill, it makes me take notice. Their latest record, "Everything In Between" is so chocked full of goodness that it almost made me skip a beat when I listened to it for the first time.

For a mere two piece outfit to create such varied and creative music is a testament to their talent. It is no wonder that Dean and Randy met at famed LA Record Store Aron's since their records are rife with their influences. From the Jesus and Mary Chain drone of "Life Prowler" the the Peter Hook style bass of "Glitter" to the punk fuzz of "Fever Dreaming" it's like listening to a record collection on crack.

No Age have the unique ability to morph their sound without compromising the basic ideal of the music. It's as if their songs are celebration of the underground and the notion that if you have passion it doesn't matter what you sound like. Their is so much power in the drums, notably on the slightly poppy "Valley Hump Crash" and the balls out rock of "Shred and Transcend" that the whole thing threatens to come apart.

The more I listen to the record the more I find the nuances and the textures. With each listen I realize this is a band the be reckoned with; if that's even what they want.

(mp3) No Age -- Glitter

Down the Rabbit Hole with Mobius Band

It all started out so innocently. I was looking for something new to listen to and stumbled across a mention of MOBIUS BAND from Brooklyn and thought I would investigate. This has happened to me before. I start out listening to something and start researching the band's background and happenings. Occasionally I will find a band that is no longer around and has splintered off into various solo and new band projects. So I start looking into those records. Before I know it I have a whole new collection on my hands. Here is the tale of my trip through the labyrinth of MOBIUS BAND.

The original group was a three man collective who made one record and a ton of ep's that are all very, very good. Their first three ep's (entitled 1, 2 and 3) are mostly instrumental but when the vocals are added they are very reminiscent of THE DOVES. The songs have a grandeur that would have played very well live. They also put together a collection of cover songs that can be downloaded for free on their website.

But that is only part of the story. Once the band broke up the various members went off and did their own thing. Which changes the whole tone of the original work. When bands break up you can almost see the divisions in sound take form when the artists start to record separately.

As LOLFM, former drummer Noam Schatz takes the more ambient electronic approach to his music which manifested itself in Mobius Band's early instrumental work. Clearly influenced by KRAFTWERK and LUKE VIBERT, his album is available for free here.

LADIES AND GENTLEMEN is the new incarnation of Peter Sax is probably the most straight forward pop of the three groups. Mixing his vocals with lush female counterparts and keyboards, the sound is similar to THE POSTAL SERVICE. His songs can be found here.

Finally, COOKIES is the pen name of Ben Sterling. The debut single introduces the band as a sing along male/female combo using dance beats and a staccato style keyboard line to push the song along. You get the sense that over time their sound will probably be the most dance hall ready of them all. They can be found here.

So for one night of goofing around I got four bands worth of good material. Not bad for a band very few ever heard of in the first place.

It's Peter Buck's World...The Decemberists Just Live In It

So earlier this year Mr. Buck lent his talents to TIRED PONY and we are getting word out of the REM camp that their new record is rapidly approaching us in mid 2011. But if that wasn't enough ole' Pete hired out his six string twang to the new single from THE DECEMBERISTS, called "Down By The Water".

Here's what funny. When I first listened to the song while working on something else I thought, "man, this sounds a lot like REM" and apparently for good reason. The song would be pretty non descript except for the recognizable plucking (along with some nice background vocals by Gillian Welch). What does this tell us about the new record from Colin Meloy and company? Probably very little, other then they are trying to apologize to their fans for the god awful last album. So sit back, relax and enjoy the guitar work of an old friend.

(mp3) The Decemberists -- Down By The Water

Music and Politics (Issue 2)

We are at the apex (or the nadir depending on your point of view) of election season here in California. I know this because every other commercial on TV is a campaign ad for a candidate or a proposition. Gubenatorial elections are usually sordid affairs but the one we are engaged in right now is particularly heinous in it's stench. Now, in the interest of full disclosure I intend on voting for Jerry Brown. This is in some ways an hommage to my first ever vote when I punched his ticket in the Democratic primary in 1992 in his failed attempt to wrestle the nomination from an upstart Governor from Arkansas you might have heard of. It is also because I have very little faith in Meg Whitman as someone who could Cali out of its economic malaise. It's not that I have much more faith in Brown but here he appears to be the lesser of two evils.

But I do not want to delve to far into my personal politics. People are entitled to their own opinions and their own political affiliations. What distresses me is the lack of true policy debate All they seem to do is lob attacks at one another and avoid any stance on the problems that face us. This in no way suprises me but it did remind me of the power of media to influence our feelings, especially as it relates to our votes.

So here is a video from THE BEATNIGS that seems to encapsulate my somewhat random thoughts. But whatever you do at least vote so you can say you had a voice...

Neil Young Brings The Acoustic Noise

Neil Young has been around so long that a new release just kind of happens. There is no fanfare or hoopla. No TODAY SHOW live in Times Square performance or a retrospective special on VH1 prior to it's release. It just comes out; no single or video. Such was the case with his latest "Le Noise". A few items you should know about this

1) The album was produced by Daniel Lanois.

2) There is no backing band or additional musicians.

3) It is perhaps the noisiest acoustic record ever made.

Let me explain. The album opener is a double shot of crunchy, thick guitar tracks entitled "Walk With Me" and "Sign of Love". Despite the guitar, Lanois recorded the song as if it had been played acoustically so the vocals are clear and straightforward. It gives the songs a worn, bluesy feel. Young is mining the same territory lyrically that he always does in his acoustic troubadour mode, namely lost love and regrets of opportunities past. But unlike "Harvest" or "Harvest Moon", Young's sound choices here change the dynamic. He does put down the electric guitar for the achingly plaintive "Love and War"; a meditation on the relationship between those that go to war and the loves they leave behind and wistful "Peaceful Valley Boulevard" which could have been an outtake from either of the "Harvest" collections.

This sound may be the closest to an amalgamation of his otherwise dual musical personality. When he plays with Crazy Horse, it's balls out rock and roll. When he is by himself, he is more somber and melancholy. Here the lyrics are the latter but the sound is the former (sort of). It's a confoundedly odd listen but after a couple of spins you begin to appreciate both Young and Lanois for their creation. It's a fresh take on both Young's patented sound and a reinvention of the old singer-songwriter format that he helped pioneer. It reminds me why I love his music so much in the first place.

(mp3) Neil Young -- Walk With Me

A Record for a Dreary Day

We don't get much of a winter here in Southern California. Usually, we have to wait until mid November for the temperature to drop below 60 degrees and that usually only lasts for about three months. (I know, I know, bitching about the near perfect weather to people who could very well find themselves is a Noah level rainstorm or a wall of snow the size of the Great Wall of China is probably a bit insensitive, but I digress)

Anyway, when the weather does actually start to turn I start to drift to records that I normally don't during the summer months. This leads to heavy doses of RIDE, MY BLOODY VALENTINE and other shoegaze type bands. One of the curiouser choices is TEENAGE FANCLUB's excellent "Bandwagonesque". On the surface this would seem to be a summer kind of record, given the Byrds-like harmonies and pop hooks and big guitars, but I've always sensed the melancholy bubbling just underneath the surface that makes it more of a dreary day sort of record. Whether it's the lost soul quality of the female protagonist of "The Concept" or the superstition debunking of "Star Sign", the record seems to try to be happy when it really wants to wallow in misery. (or maybe I'm just reading into it since I want it to match the weather...). The best example of this odd sort of dichotomy is in the album closer, "Alcoholiday", which sets these lyrics to a big pop hook and "oooh, oooh"choruses

"Went to bed but I'm not ready

Went to go but it's all hazy

Falling into line but I'm doing nothing

We've got nothing worth discussing"

Anyway, if you don't have this record then get it...right now. Don't worry I'll wait. Drive in the rain or the snow or whatever meteorological challenge awaits you. It's an absolute must for your collection.

(mp3) Teenage Fanclub -- Alcoholiday

Introducing...Jose Delhart

Like something out of an old western movie about a drifter crippled by the loss of a love and abandoned by his faith in mankind, along come JOSE DELHART. In many ways Delhart is a kindred soul of BON IVER and BECK (in his folk troubadour guise) in that he doesn't just record songs as creates atmospheres for stories to live in. Delhart recorded his latest album, "Little Red Buddha", in a collection of rooms and houses on a 4 track recorder which gives the primarily acoustic songs a worn and tattered sound. Accompanied by a plaintive cello and a banjo, "Broken Hearted Chant" in reminiscent of Damien Rice in it's tale of lost and broken love. "Rusty Nails" has a saloon at 2 am feel with a picking strings approach to mandolin and the great image of "rusty nails in my cross, and I'm crying for you.." as the centerpiece lyric of another love gone bad recount. You can almost see him sitting in the corner of a bar, head down, singing into a whisky glass hoping for his luck to change.

Delhart's debut does suffer a bit from the lack of a tonal shift that would break up the despair but it's hard to argue with his artistic vision that is so fully realized. By the time the sing songy "Trails of Gold" comes along there almost seems to be a light at the end of this particular tunnel. Here's actually hoping Delhart has enough in him to take another trip down that long and dusty path...

(mp3) Jose Delhart -- Broken Hearted Chant

Introducing...Jonah

This band was shot to me by a label rep and sat in the old inbox for a while (my apologies for that btw).

Jonah are a Portland, OR collective who just released second full length album, "The Wonder and The Thrill" and are now running around the US in full tour mode. Jonah specialize in a kind of clean guitar pop that is not unlike britpop run through an Americana funnel. Fans of bands like TRAVIS, KEANE and other new wave of britpop bands will most likely enjoy this record based on the two songs sent my way. The first, "Please Let Go" has a lazy, laid back feel to it with a nice little guitar line that allows the harmonies to be the driving force of the song (not unlike what THE JAYHAWKS used to do at their peak). The other song, "Bees" is a little more uptempo (although one thinks a heavy dose of caffeine might invigorate the band a bit). After a jaunt over to their myspace page other songs off the record have a more experimental feel, including the cachophonous multi vocal drum bash that is "No One Left To Blame", which hints at maybe a darker sound lying underneath all the commercial shimmer of the released songs. It appears that their sound has deepened from their last release and the band sounds tighter and more accomplished, which is always a good thing when it comes to bands making pop music. It's an interesting listen and a band that I will certainly keep an eye on.

(mp3) Jonah -- Please Let Go

(mp3) Jonah -- Bees

My Missed Opportunity with The Grateful Dead

A few days ago I posted about a Counting Crows show that I went to. One of the songs that they played as a cover of THE GRATEFUL DEAD'S "Friend of the Devil". As they played the song I started to reminisce about a lost opportunity that I chalk up to naive youth.

When I was in college I DJ'd at the local radio station. I was the Program Director for a spell so it was my job to build the schedule and find dj's to fill the hours we were live. This also meant that I often had multiple slots to fill myself. One day I was in the office and this older guy walked in. He introduced himself and said he was an adjunct professor in the math department. I was a bit skeptical to say the least. First off, most of the school was unaware we even had a radio station. Second, he was dressed in a ratty t shirt, shorts and Birkenstocks (I have a great memory for these sorts of encounters). Anyway, he said he was interested in picking up a show where he could play some of his favorite music. Ever desperate not to be on the air for 6-10 hours every other day, I agreed to give him an evening slot after my show.

The next week rolled around and sure enough the guy (whose name I forget) showed up wearing a similar get up and slinging a bag of tapes around his shoulder. He had little clue how to operate any of the equipment so I gave him a quick once around the building and set out for the evening. I never even stopped to ask what music he was playing.

The next week he returned, same bag and same blank, yet serene expression. This time I asked him what was on his playlist for the evening. "The Dead" he said, as if that was the only conceivable answer. "Really, never really heard to much of their stuff", I replied. (It should be noted that I am clearly a moron and if I had a time machine I would now go back and punch college me in the jejunum.)

After a couple more weeks, the professor started coming in a little earlier. He would dive into his bag and fish out a tape with scribbling on it. Usually a location and a date. "Try this, I think you will like it." he would say, almost as if the tape was some form of narcotic. Again, moron college me would take the tape, not listen to it and most likely record over it with some crappy college band that no longer exists. (I will now take a moment to let you the reader mentally join in the commensurate ass kicking I deserved.)

What is the moral to this story. Well, clearly the professor knew something about me that I didn't. That my musical landscape was very small and lacked depth and character. Also, that had a been smarter I would have realized that these tapes were bootlegs he had recorded of all the time he had seen the Dead and he was sharing a piece of himself with me. Maybe he thought I would enjoy these tapes. Maybe he thought I wasn't just like every other poser, indie rock kid (although I was). Maybe he just thought they kicked ass and he wanted to share. Maybe he was just a bit weird from all the drugs and the math problems he had done and didn't really know anything about me at all. In any case, I regret not saving any of those tapes. Not because I ever really fond a love for THE GRATEFUL DEAD, but because I might have had I given them a chance...

Here is a link to a live performance by THE GRATEFUL DEAD in 1979 courtesy of the outstanding blog Troubled Souls Unite.

I Forgot How Much I Love Counting Crows

Some bands come and go in your musical conscience. Bands that were once staples of your play lists (or mix tapes if your my age), seem to vanish and are replaced by newer bands with fresher sounds. It's the nature of our listening tastes. Those of us who enjoy the collective nature of music are always looking for the next great sound. But then something happens to remind you why you fell in love with a band in the first place.

COUNTING CROWS will always be the band of my early 20's. I was first exposed to them in college (I can remember digging out "August and Everything After" out of a stack of CD's with my friend Scott, pressing play and being in awe from the first strum of the guitar) and stayed with the band throughout my post college wanderings through the music industry. They were not an especially cool band (often thrown in with THE GIN BLOSSOMS and DAVE MATTHEWS BAND) but had a certain level of success to the point where they are still alive and kicking to this day. I have dutifully purchased all their albums but over time their place on the old iPod has dwindled to just a few songs.

But last night they were rocketed back into my listening galaxy. I went to a special screening of Adam's new movie FREELOADERS (which unfortunately was not very good). Following the movie my wife and I thought the band might play a song or two. Instead the boys brought an hour long set of songs mostly from their second album "Recovering the Satellites", which I personally feel is their best. Duritz still knows how to work a crowd with his speak sing approach to his singing. The band was tight and sounded great. To the best of my recollection the set was as follows:

Catapult

Mrs Potter's Lullaby

Mr. Jones

Goodnight Elisabeth

Angels of The Silences

Hard Candy

Friend of the Devil

Recovering the Satellites

Miami

A Long December

(there may be a song missing but I didn't jot it down like I normally do)

I couldn't resist playing their music throughout the day. It's earnest and true. It's pop and rock and classic in its structure. It is not ashamed to be lovelorn and simple in places. It is the very definition of classic rock and roll and it's brilliant. There was a time I was embarrassed for liking the Crows (they are about as un-indie as you can get), but that's in the past. I love this band and always will. And that is what being a fan is all about...

(mp3) Counting Crows -- Mr. Jones

**Still a great pop song about wanting to be a rock star. I cannot tell you how many times I have sung this in the car at the top of my lungs. You should to, you will feel better for it.