Dancing in the Moonlight

Moving away from here

2008-04-29T16:50:00.001-04:00

I've set up my own little slice of internet over at www.adamsalsman.com. Photos and music reviews are there.

If you're an RSS reader, hit up this:
adamsalsman.com/music/feed/

That's all from here!

The E.P. Roundup

2007-09-18T11:15:00.000-04:00

I've got a bunch of EPs sitting here in my listening queue, and I figured it'd be best to just get them all out in one. Without further ado:

Baker: Three Songs (EP)

In anticipation of their Oct. 5 full-length album debut (to be available on Topshelf Records), this Boston quintet slid out this 3-track sampler which encompasses three of my four favourite Baker tunes (missing is 'Gotta Get Out of This City).

The production value is top notch, as I expect nothing left from these musical geniuses/perfectionists, and foreshadows a strong, well packaged, and, I dare say "Freakin' Awesome" debut.The highlight of the EP is "Fingers," which also is the source of their first music video (available on their Myspace page and, I would assume, will be part of the interactive content on the CD).

A Fine Frenzy: Demo (EP)

This was found on iTunes shortly after the internets gave up their bounty and showed me the beauty and talent that is A Fine Frenzy (which is really Allison Sudol, using the "Five For Fighting" Artist naming scheme).

The EP pulls the radio-friendly, hyper-catchy "Rangers," the heart-wrenching "Almost Lovers," and low-key, non-album track "The Well" and showcases what the debut album "One Cell in the Sea" is all about: beautiful, at points, ethereal, piano-driven indie-pop tunes.

The album has since released and will be featured more prominently when I get off my posterior.

Lucius: Lucius (EP)

I know very little about this group, except that 1) they are Boston-based and 2) their vocals are handled by a pair of ladies.

While at Harpers Ferry for a Baker concert, I noticed free CDs. Being one to never look gift music in the mouth, I grabbed it, and then sat on it for a month or two.

After popping it in iTunes, I was pleasantly surprised by what I found: a dark, somewhat minimalist group, using just enough to convey the song and rebelling against the new standard of "wall of sound," for the most part.

The two stars of the EP are "Get On, get Going" and a surprisingly good, different take on the Beatles' "Happiness is a Warm Gun."

I've been, as of yet, unable to find any additional information about these gals, but with fall approaching, I'm hoping some news will surface.

Mieka Pauley: Mieka Pauley (EP)

How excited was I to find this in iTunes late last year?

Ms. Pauley is another Boston native I discovered one fall night at the Paradise Lounge. I was there to see Jim Boggia, but placards for her then-upcoming concert were all over the place. Intrigued, I grabbed one and later found her to be amazing.

The 7-track EP has 6 studio tracks, and one live version ("Stronger"). I'm not certain how many of these tunes will be appearing on her upcoming release, "Elijah Drop Your Gun," but any fan of the woman-and-her-guitar format will, most assuredly, love every track. The highlights are "Run" and "Invincible".

Matt Nathanson: Slow, But Speeding (EP)

Matt Nathanson (here-to-fore known as Matty Nate) is one of my all-time live-performance artists. His stange presence is warm, inviting, and manages to make you feel like it's just an audience of one, even in a sea of a thousand.

The three tracks which comprise this EP were bundled with Matty Nate's recent release "Some Mad Hope." The tracks offer a sample of tunes off of 'Hope' in an all-acoustic, all-Matty-Nate form. Of the three, "Detroit Waves," is my favourite as it does the best job of showing Nathanson in his quiet singing voice as well as his from-his-toes, strong-emotion wail.

Griffin House: Lost & Found

2007-07-17T12:22:00.000-04:00

In recent history, two albums have found their way onto my truly elitist "Desert Island Records" list. Joe Strummer's Streetcore, and this album, Griffin House's Lost & Found.

And, yes, it *is* that good.

Remember, "Along time ago in a blog entry far, far away," I was praising Glen Phillips work while noticeably ignoring Kim Richey and Griffin House? Yeah, I'm still sorry for that. And that's not an offense against Glen.

Griffin House masterfully crafts beautiful, realistic, emotional songs, all wrapped in his acoustic guitar and bundled up in his wonderful voice.

Does it sound like I'm tripping over myself to give this guy praise? Well, it should. I honestly feel he's that good, and after having seen him solo and live recently, my feelings were completely confirmed.

Any way, the album. 11 tracks, just shy of an hour. 100% wonderful. Sorry, there I go again.

Outside of saying "the whole album," some excellent tracks include "Ah Me" (even if it deals with a crumbling relationship, it's musically brilliant), "Waterfall" (which has found some commercial success, no pun intended, for oral-b), "The Way I Was Made" (a pride-inducing tune which traces his origins back to his grandparents), and "New Day" (which just slowly builds to this beautiful, optimistic ending).

In the end: I could trip over myself for another hour and a half singing this guy's praise, but I'll just leave it at "I think most anyone would, could, and should enjoy this album. On repeat."

On the web: There are a few shows of the Weekly Review Traveling Roadshow (House, Richey, Phillips) on archive.org. This one is the best of them.

Also available are photos from his concert at Harpers Ferry, in Allston, Ma. on my website: Griffin House photos @ AdamSalsman[dot]com.

Technorati Tagged: Griffin House | Acoustic | Desert Island Album | 2004

Patti Smith: Twelve

2007-07-11T14:25:00.000-04:00

And then there is the other side of an album of covers. Patti Smith's "Twelve." Yes, the "Twelve" refers to the number of tracks.

From Jimi Hendrix to Tears for Fears, Nirvana to the Allman Brothers, Smith manages to at least break even, if not come up a little bit ahead by the time of the album.

When doing a cover (just one or a whole album), you have to take in to account how the fans will respond. If you end up just doing an uninspired, flat out cover (see: Bryan Ferry's "Dylaneseque") you could alienate the fan-base. If you do too much experimentation and alteration, you may be heralded for creative, but again shunned for destroying a "classic."

Smith plays it safe. There's not a lot of stretching the musical boundaries (except for the banjo in "Smells Like Teen Spirit;" It works!), but she does some faithful work to bring her back to the front of pop culture.

Where I feel "Are You Experienced?" failed a bit in Smith's hands, she manages an even-keeled "Everybody Wants to Rule the World." "Gimme Shelter" is belted out with some serious force to give Mick a run for his money, but Paul Simon's "Boy in the Bubble" feels a bit awkward.

Where she does things so very right is the Beatles' "Within you without you," Nirvana's "Smells Like Teen Spirit," and the Allman's "Midnight Rider."

In the end: Again, this is the good side of a cover album. It feels like Patti Smith took special care in picking these songs and worked them up to play nicely with her voice. Like I said, it's no world-shattering re-imagination, but it's 12 songs from the pop-vernacular performed for us with Smith's unique vocal strains. Worth at least a once-through.

Technorati Tagged: Patti Smith | Cover Album | Rock | 2007

Bryan Ferry: Dylanesque

2007-07-11T13:39:00.000-04:00

Bryan Ferry covers Bob Dylan. It'd at least be an interesting match up, right? One would think.

Yeah, not so much.

The entire process seemed uninspired, unimpressive, and downright insulting to Bobby Dylan's work.

The problem may stem from having absolutely no attachment to Bryan Ferry or any of his work, my complete dislike of his voice, or just that these all seem to be bland interpretations of some major and minor Dylan tunes.

And, to be honest, I didn't think anyone could screw up "Watchtower." The song has been covered, altered, re-imagined, had the re-imagining become the definitive version, covered, altered, and replayed so many times. I don't think you can be a band without covering "All Along the Watchtower." Hell, even Battlestar Galactica did.

Yet, here is Bryan Ferry, shoving this pitifully lame, soulless version of a Dylan uber-classic.

In the end: The whole thing feels awkward and clumsy like a 15 year old unhooking his girlfriend's bra for the first time. There are good cover albums out there, there are bad cover albums out there, and then there's this one. Please, do us all a favour and pick up Patti Smith's "Twelve." At least she tried to mix things up a little bit.

Technorati Tagged: Bryan Ferry | Cover Album | Rock | 2007

Trisha O'Keefe: Star Burns Brightest

2007-05-17T12:39:00.000-04:00

Today is my day of musical love affairs.

As you may know from previous entries, I enjoy, and I dare say, love, Trisha's music. That love affair, thankfully, can continue.

Her latest album, Star Burns Brightest, runs more tracks and more time than her two previous releases combined, and that's a great thing. Star runs 1:11.5, with 17 tracks.

Something I find with many independent artists is that their albums tend to feel over-produced. Not so with this one. Clearly, just the right amount of polish was applied to create a gem of a disc.

The pop-rock-ish-ness (say that 3 times fast), is nicely offset by some solid bluesy sounding riffs (Hear Me Out, Sorry Now?), wonderful use of piano and beautiful lyrics (I Want It All -- A favourite), and, hell, even a nice harder-rockin', straight forward 4-piece setup (Fire and Brimstone). Some of the quieter tunes (most specifically Passing Me By) do a good job of tearing at the ol' heart strings, while others, equally quiet, fill the heart with hope (I Could Get Used to This).

Hearing some of the tunes she did acoustic on Live! in their full instrumentation (Never Enough, BirdSong, Nobody's Love, Wasting My Time)is a treat and a half as I've been grown to know and adore these songs over the last year. And who doesn't like hearing new ways of presenting beloved songs?

Also, kudos to her production staff.

In the end: It's a great album that plays perfectly to O'Keefe's greatest strength (her voice), and leaves most of the modern day rock album bullshit behind. She's going places, I think, so get on board early. Listen, digest, repeat.

Technorati Tagged: Trisha O'Keefe | Small Artists | Rock | 2007

Amanda Marshall: Everybody's Got A Story

2007-05-16T12:21:00.000-04:00

If this were the late 90s/early 00s (all over again), I feel like people should be clamoring harder about Amanda Marshall. Sadly, she snuck by my radar a few years back, and I only recently discovered due to a blog post on one of the music blogs I frequent.

Marshall's "Everybody's Got A Story" is completely planted in the pop/rock field of the aforementioned time period. A few years later, it clearly sounds as though it were a period piece, but that makes it no less enjoyable. On the contrary, if you can suspend your current musical sensibilities, this is one hell of a fun album.

The title track is reminiscent of any number of tracks off of Natasha Beddingfield's last album, just clean fun pop. Colleen (I Saw Him First) is a cute, mellow tune about two life long friends arguing over a boy. Sunday Morning After is a great tune for anyone who's partied, perhaps, a little too hard on Saturday night; I think we can all relate to at least part of this tune.

In the end: The album feels like a throwback to an earlier time, because, really, it is. It definitely illustrates how the face and sound of pop music has changed, but it's still an enjoyable piece, one that has a few tunes to keep your foot tapping. And, hey, if nothing else, she's cute.

Technorati Tagged: Amanda Marshall | Pop Rock | 2002

Feist: The Reminder

2007-05-16T11:40:00.000-04:00

Feist, oh darling Feist.

My love affair with this album started with a video for "1, 2, 3, 4" which Caitlin posted at her internets music musings blog, Beginning to See the Light. I mean, really, metallic blue tube top pants suit? Genius.

Anyway, I heard the song, and then played it a dozen more times. So simple, so beautiful, so wonderful.

So what did I do? Well, two things: immediately (and illegally) downloaded it and the proceeded to purchase it because it's so damn good.

That's right. I bought the album. Baby don't buy an album unless it's good. It's a good start.

The album starts a little slow, with "So Sorry," most assuredly a break up tune. But, like a label pairing of opener and headliner, it's good... just differently so.

I Feel It All and My Moon My Man (sounding remarkably Spoon-ish), however, kick things up. Mind you, kicking it up on this album isn't exactly rock and roll. It's just... pardon the pun... Feistier.

The whole album roller coasters up and down like this, but never wavers in quality.

There are some truly amazing tracks, ones that just jump out at me. My Moon My Man, as mentioned, is evocative of Spoon which immediately kicks it up in my book. Sea Lion Woman feels like it could have been ripped either from Nina Simone or Paul Simon (during his African tribal beats days). 1, 2, 3, 4 is just a light, airy tune, something you almost feel like you might here on a summer night, with your legs dangling off of a dock, making small waves in water of some secluded lake, dusk just approaching. The rough simplicity of Intuition gives the song a feeling of intimacy, as though this were just some acoustic demo being played for the first time in your buddy's basement.

In the end: Fans of Jem (unplugged), Cat Power, or even that darling Jenny Lewis, will definitely enjoy this one. It teeters on the pop/acoustic/alternative edges, but never offends sensibilities; only warms them. Check it out, or, as Han Solo once said "Don't be a fool!"

On the web: As mentioned, Caitlin has the video for 1, 2, 3, 4 on her blog. I'll post her KCRW session tomorrow. Also, here are two tracks from her Radio performance a couple days ago: Feist: Live on Radio 1

Technorati tagged: Feist | Stripped Down | Female Vocalist | 2007

Bear McCreary: Battlestar Galactica Season 2 (Score)

2007-04-17T12:47:00.000-04:00

I won't lie. This is a chance for me to write about two things I love: BSG and TV/Film scores.

Bear McCreary, for 3 seasons has been tasked with producing the scores to Battlestar Galactica. Building on what was created by Richard Gibbs in the Miniseries, McCreary's work has touched on nearly all aspects of world music to create a lush, exciting musical background for TV's best SciFi (and, arguably, best drama).

Season 2's disc starts out with a rework of the old (70s) Battlestar Galactica's theme to play the part of the Colonial Anthem, and suddenly, what was once hokey is now a beautifully orchestrated and arranged piece of music.

Many of the album's tracks, including A Promise to Return, Allegro, Reuniting the Fleet, and Worthy of Survival, all build on themes which McCreary original composed in Season 1. They tend to feel a bit repetitive in the scheme of things, but are no less beautiful.

Some of the more original tracks are the reason this is one of my most listened to albums week after week. The musical theme for the not-allowed-to-happen relationship between Roslin and Adama is beautiful, crafted to convey love, and also containing a pinch of the pain that comes from knowing that love will never be.

Meanwhile, the main theme to episode 16 in Season 2 is Black Market, which meshes hard rock with beautiful middle eastern tones to create what I can only describe as "bad-ass."

Of course, my hands-down-favourite track on the disc is Prelude to War. The track builds in a way which can, in fact, be described as preparing for battle (or, yes, a prelude to war). The use of drums and strings in the piece create a tense, high energy 8.5 minutes which, if you ever have watched the show, make you wish you were in the cockpit of a viper. I know I drive my car that way.

In the end: Obviously this is a niche piece. I get that. But, if you've never seen BSG but still enjoy TV/Movie scores, check it out. Of course, if you're as hooked as I am, you'll do anything you can do to get any and every piece of BSG action.

Technorati Tagged: Bear McCreary | Battlestar Galactica | TV Score | 2006

Amy Winehouse: Back to Black

2007-03-22T09:18:00.000-04:00

What an amazing juxtaposition Amy Winehouse's music is:

Without the vocals, this music could be pulled straight from the 50s. But then, Winehouse starts singing, with a voice that, too, could be pulled from ths 50s, but blasting lyrics which are cleary modern. My favourite example is the beginning Me and Mr. Jones: "What kind of fuckery is this?"

Quite honestly, I think this is a beautiful album, that, as I mentioned, seems to play these sounds that people know from a "better day" and lyrics which, at points, are harsh, direct, and occasionally obscene.

The album also manages to show some pain, which seems clear based on some googling and the self-destructive path that Winehouse is on. Then again, every good artist has a lot of pain inside.

I'm currently enjoying Me and Mr. Jones (for the aforementioned lyric), Love is A Losing Game (a beautiful but sad song), and Rehab (A seemingly self-mocking tune).

In the end: You know, I won't lie, if you don't listen to closely to the lyrics, a lot of song scould definitely be playing in the background during more... intimate times. It's a great package who's only fault is that it finishes at 35 minutes.

Technorati tagged: Amy Winehouse | Female Vocalists | Jazz | 2006

Casey Dienel: Wind-up Canary

2007-03-14T14:06:00.001-04:00

Oh women and their pianos, will you ever not be a weakness of mine?

After taking a look at the music section in the Boston Globe, I found a note that Ms. Dienel (a former Boston native) would be playing in town. Well, gee, she looked cute, and that was enough for me to check out her myspace page. Which led me to the opening track of Doctor Monroe. Four notes in, I was sold. I hadn't even heard her voice but I knew, somehow, it would be good.

And so it continued. Wind-up Canary is 12 tracks spanning just shy of 50 minutes, and contains a lot of the playfulness that a similar songstress uses, that being Nellie McKay.

Unlike your standard woman-at-a-piano music, Dienel's work isn't just about longing, pain, and heartbreak, but also some fun narratives and keen observations. Plus, she ends up involving a banjo at one point, and I can't lie: I'm a sucker for a banjo.

Doctor Monroe, Baby James, Frankie and Annette (and, please, tell me you don't here the Ballad of Brenda and Eddie hidden in there), and All or Nothing are, perhaps, the most telling tracks of both the albums seriousness and light-heartedness.

In the end: I've got room in my heart for another Boston gal, and Casey happened to slide on in. This may not be Grammy award winning music, but it's fun, it's enjoyable, and it's better than the shit that does win Grammys. To me, that says "good record."

On the web: Behold the power of MySpace. And if that frightens you, there's always her Official site.

Technorati Tagged: Casey Dienel | Female Vocalists | Piano | 2007

KT Tunstall: Acoustic Extravaganza

2007-03-13T16:11:00.000-04:00

Another Rock N Roll crush is my Scottish heartthrob, Ms. KT Tunstall.

On the heels of her wildly successful, awesome, amazing, and wonderful disc Eye to the Telescope, KT goes the more acoustic route, doing an "Unplugged"-style disc comprised of 10 tracks. It's fairly standard fair for Ms. KT, but she handles it well.

Tunstall throws us a few ropes with the inclusion of some as-of-yet unreleased songs, including my personal favourite, Ashes. Change also manages to pick up some haunting atmosphere done on the acoustic guitar.

In the end: Sure, standard fair from Tunstall is still far above most of what we have these days, but it still feels fairly standard. It's a great way to get some new material out to the fans without doing a full album, but it really doesn't help to understand the direction she's going. If you like KT, you'll adore this.

Technorati Tagged: KT Tunstall | Rock | Acoustic | 2006

Trisha O'Keefe: Live!

2007-03-13T15:45:00.000-04:00

I've got a back log of things to report on, so let's start with a pair of acoustic albums. First up, my darlin' from Philly, Ms. Trisha O'Keefe.

After picking up her All the Honest Liars, listening to it, and then saying my peace. Well, sometimes people listen.

If you recall, I said:
"Not having seen her live yet, I don't know if her look matches with the rock sound she strives for, but listening to it, I feel like she should be accompanied by just an acoustic guitar more often than she is."

And, lo and behold, Live!, who's greatest failure is it is only 6 tracks long. Over the course of the tracks (recorded at the Tin Angel), Trisha manages to turn an acoustic guitar into a sprawling rock conerct while still maintaining the intimacy of a coffee shop. In my mind, it takes a great talent to do that.

Take a listen to Never Enough, Nobody's Love, and Drowning Me Slowly for a good sampling of this gal's range.

In the end: Acoustic fans will love it. Rock fans will love it. Anyone who likes Trisha, of course, will love it.

On the web: The EP is only 6 bucks on iTunes. Or, if DRM frightens you, hit up ItsAboutMusic.com and get it in wide open and clear Em-Pee-Three. Also, only 6 bucks. You won't be let down.

Technorati Tagged: Trisha O'Keefe | Small Artists | Rock | Acoustic

Regina Spektor: Soviet Kitsch

2006-12-04T11:31:00.000-05:00

I know it's hard to believe, but I heart Regina Spektor.

Regina's last indie release (which was later re-released on her Major Label) is a schizophrenic romp through the musical genius that is Ms. Spektor. It seems to bridge her brave and creative anti-folk beginnings and her pop-rock endeavours of the present and future, as heard on Begin to Hope.

The beautiful Kitsch is heavily piano-driven pop/rock/folk/anti-folk album with a lot of character and spunk, filled with the charm that is Regina Spektor and the staying power of most any Zep album.

Poor Little Rich Boy plays on the starkness of the instruments, with just a quieted piano and two drum sticks banging on a table, exquisite; Us is, perhaps, your top 40 pop track of the album, with an upbeat tune and lyrics; Sailor Song is a favourite simply for the chorus lyrics of "Mary ann's a bitch," and either you get the joke, or you don't; And the album finishes with Somdays, which is beautiful, sad, and yet up-lifting, ending the album on this bittersweet note.

In the end: Many people enjoy this album more than Begin to Hope, and they have every right to. It's more imaginative and inventive. If you enjoyed Hope, you'll most likely love Soviet.

On the Web: The Hype Machine helps people help themselves. If you can find the remix of Us on there, it's worth the download.

Technorati Tagged: Regina Spektor | Anti-Folk | 2001

The Beatles: Love

2006-12-01T12:43:00.000-05:00

The year was 1994. I didn't know a thing. Some would say I still don't.

My grandmother (a brisk 15 years younger than my grandfather) had suggested we all go to some special presentation at Andover High featuring this band who "imitates" the Beatles. Who the hell are the Beatles, my 14 year old mind wondered.

That night, I saw an impressive show. These four guys up there playing fun, if soft, pop tunes. I went home with stars in my eyes. Over the next year, I began gobbling up Beatles CDs, making my mother take me to Lechmere to get the Anthologies as well as any of the other albums I could find. I had to have them all.

Since then, I've collected much of their solo works, projects, etc. Word of Love came down from the "blog-o-sphere" a few months ago, and I won't deny I was a bit giddy. The thought of the Beatles Producer, George Martin, as well as his son, mixing and remixing tunes from the orginal source material seemed genius. But I was also hesitant.

That brings us to now. What the producers Martin have done is mesh 36 Beatles tunes into 25 tracks of musical bliss. The cross fades, the joiners, the edits, they are all perfect.

Love runs a full 78 minutes, with 2 "track breaks," and takes the audio from all released material. I've yet to find any audio I don't actually recognize, but with the layering of music and effects, I've not gotten through it all yet.

Saying "listen to these tracks" on a Beatles album is like picking apart a Monet. You just don't. The album works as a whole, and that is how it should be taken.

In the end: Do I need to say anything? The Beatles Love is genius in it's composition (even if it may feel a bit like a grab for cash) and respectful to the source material. Overly obsessive purists may be upset, but just about everyone else will be in Love.

And, yes, I made the joke.

On the web: The Hype Machine may be a bit hit-or-miss as everyone loves Beatles tunes, but some digging will get you some of the tracks.

Technorati Tagged: The Beatles | Remixed | Classic Rock | 2006

Gwen Stefani: The Sweet Escape

2006-11-28T13:05:00.000-05:00

Oh, dearest "Bubble Pop Electric" Gwen, where did I go wrong with you?

I hearted No Doubt. Your first solo album, while a bit too pop-tastic, had some 80s charm to give someone like me a moment or three of giggles.

Now, though, my ska-pop princess, you give us The Sweet Escape. And, I think one listening put me into a diabetic coma. In the bad way.

Gwen's Escape takes the sugar sweet bubble gum pop of her last album, and dunks it into frosting, leaving it to dry on a bed of powdered sugar. She even makes beats that would make a decent hip-hop/rap background become annoying sugar-rap.

The one "saving" grace of the album is the first track, Wind It Up, and only due to it's sampling of the Lonely Goat Herder song from The Sound of Music.

Yeah. She sampled the Sound of Music, and not even the title track.

In the end: While Gwen's first solo outing was charming, if simple bubble-pop, Escape just feels rushed, uninspired, and painfully targeted towards that 'Tween to late Teen crowd. Little style, no substance. Certified Coaster Gold.

On the Web: Let's remember Gwen in a good way, and listen to a mashup of her 'Hollaback Girl' and Beck's 'Tambourine Girl'. Also, if you really want pain, hit up the Hype Machine.

Technorati Tagged: Gwen Stefani | Bubblegum Pop | 2006

Regina Spektor: 11:11

2006-11-16T11:34:00.000-05:00

Sometimes I wonder if I've managed to impress upon people how much of an amazing talent Regina Spektor is.

After discovering her latest album, Begin to Hope, I went back to explore her previous works. It turns out that Hope is actually her most pop-ish album.

11:11 takes a much more jazz-like approach, with aspects of poetry, a beatnik sound, and a feeling of improv. One song is heavily reminiscent of Mike Myers' reading scenes in "How I Married an Axe Murderer."

The album doesn't carry the Top40 pop tune(s) that Begin to Hope does, and I think that's for the best. I think 11:11 may be most indicative of her work and talent, even if it feels a little rough.

Rejazz, with it's heavy bass, creates an atmosphere of a smokey jazz club in the 40s; Flyin', a very basic song (just her voice and the sound of someone banging on a single drum), is playful, but sadly short; 2.99c Blues is my favourite track, banged out on a piano with Spektor playing a lot with her vocal range; and I Want to Sing features the only instrument Regina needs: her voice.

In the end: This album is a bit erratic, but beautiful and smokey, with a very high replay value. If you've discovered the joys of Regina Spektor, you best not have missed this album.

On the Web: Hit up the Hype Machine, and check out a bootleg of hers from last year, courtesy of my gigasize account.

Technorati Tagged: Regina Spektor | Jazz | 2001

Apologies to Subscribers

2006-11-15T14:58:00.000-05:00

Apparently, if you subscribe to the LJ feed of this found here, you got the most recent 10 or 15 reviews all resent to your friends page.

This seems to be the work of the switch from blogger to blogger beta. Silly LJ, tricks are for kids.

The Dears: Gang of Losers

2006-11-15T14:36:00.000-05:00

Coworker/Musical genius extraordinaire, Matt (who can be found at both hardcorbeau and Sound Effects) passed this off to me to give a listen (or 36) to.

Besides being a well-constructed, alt-rock album, Gang of Losers also feels like it borrows from a number of classic rock sources. I've been banging my head against the wall trying to catalogue them all, but the only one I definitely know for certain is the similarities between Sinthtro and the beginning of the Moody Blues tune "Your Wildest Dreams." While some may not see this as a good thing, I think they manage to pay homage to classics while crafting their own tunes. Maybe it's intentional. Maybe it's not.

What to listen for? The whole disc. Barring that, Sinthtro into Ticket to Immortality, Death or Life We Want You, Whites Only Party (which you can check out the video to it here), and I Fell Deep.

As is also the habit of bands these days, the album has a pair of bonus tracks which are home demo of Whites Only Party and an acoustic version of There Goes My Outfit.

In the end: This ain't Dylan's Modern Times, but it doesn't need to be. It's a solid album, front to back, and makes me want to pick up the back catalogue of this Canadian group. And, hey, I don't even *LIKE* hockey.

On the Web: Hype Machine offerings abound.

Technorati tagged: The Dears | Alt-Rock | 2006

Joanna Newsom: Ys

2006-11-15T14:06:00.000-05:00

What an absolutely oddball, yet wonderful surprise it has been to stumble upon Joanna Newsom.

The album, as simultaneously discovered in Uncut and from some interwebs blogs, has been a favourite at both work and on the iPod. With it's folk undertones and ethereal, fluttering, almost mystical feel, Ys takes it's time (and then some) to play out each of it's 5 tracks.

That's right. Ys (which, by the way, is pronounced 'Ees') is 5 tracks weighing in just under an hour.

The tracks don't drag, though. Rather, they build upon themselves to create a vivid musical mosaic. With songs constructed mostly by harp, Newsom pulls us through such an amazing journey that even Tommy would be wowed.

In the end: This is different from much of what I listen to, but you can't help but enjoy, appreciate, and get lost in the tales that Newsom composes on Ys.

On the web: Hellooooooooooo Hype Machine. Also, here's a bootleg from a performance of hers last year:
2005-04-14 - Academy 2

Technorati tagged: Joanna Newsom | Folk | 2006

Cee-Lo: Cee-Lo Green ... Is the Soul Machine

2006-09-29T13:15:00.000-04:00

This guy can do now wrong, remember that.

Cee-Lo is betterknown as one half of the super star that is Gnarls Barkley, who's singles have ignited music and radio this past summer. But, did you know Cee-Lo started out with Goodie Mob before heading solo? I didn't.

Soul Machine, his second album, helps to showcase his vocal talents and skills. He's not world-class singer, but his music is tailored to compliment his voice, just right. The hip-hop, rap, and R&B comparisons are a given, but there's this fun pop attitude that seems to permeate the album. You, the listener, get the feeling that he had a lot of fun making this and it helps to bring you into the albums sound.

Soul Machine, the lead off musical track, has a beat meant to drive his point home: Cee-Lo is the Soul Machine; I'll Be Around was a radio hit a few years back, and listening to it, you can hear why: it crosses genres, has not offense lyrics, and hell, it's just a great tune; My Kind of People slows things down, showcasing the piano and the brass section, which all help to lend a certain latin feel to the tune; Evening News takes the album to a more adult arena, singing in the same way as a certain old time cartoon song.

In the End: While I'm told this is not as good as the "His Perfect Imperfections" album, I think it's a great disc. Some of the language gets a little rough, but it's to be expected from the genre. If you enjoyed St. Elsewhere, check out this one.

On the Web: Hype Machine? Audience. Audience? Hype Machine.

Technorati Tagged: Cee-Lo Green | Gnarls Barkley | Goodie Mob | 2004

Justin Timberlake: Futuresex/Lovesounds

2006-09-29T12:51:00.000-04:00

I suffer so you, my adoring audience, does not have to.

Justin "I tear at Janet's wardrobe" Timberlake's latest effort, Futuresex/Lovesounds is the kind of thing that ranks above Madonna's last album -- BARELY.

While I don't like Justin Timberlake the musician, I can't help but enjoy him as an entertainer. He does have a certain charm, I accept, but charm only goes so far, J.Tim. And it just wasn't enough to make this a good album, or, hell, even a tolerable one.

Sexy Back, the radio single, actually has a great beat, but I am just not impressed with the vocals. At all; I feel like he's too white too properly pull off [Another Song] All Over Again; And Pose has the same thing going on as Sexy Back - great tune, vocals don't impress me. The addition of the Dogg-Father is the only saving grace on this tune.

In the end: No. Someone(s) will enjoy this one, but not me. This guy says two thumbs down. You don't have to put it in the microwave, but don't listen to it either.

Technorati Tagged: Justin Timberlake | Pop Music | 2006

Sia: Healing is Difficult

2006-09-20T14:16:00.000-04:00

After absorbing the beauty and splendor of Sia's Colour the Small One, I had every intention of blowing through all of Zero 7 as well as this disc. I won't lie: I failed miserably.

Thankfully, a co-worker had me put a mix together for her sister, and Fear off of this very album was on it. 8 months later, I finally got through the album. 7 times. And, while I feel Healing ebbs and flows, it is a solid album.

Before trying to make it in the Americas with Colour, Sia followed up her work with Zero 7 with a solo album, this very disc. While this disc would never have made it mainstream, and thus give Sia the attention she deserves, it is a great piece of musical and artistic work.

Somewhere between the heavy samples, some great bass lines, and studio instrumentation, she finds a home to nurture her voice and blow her listeners away. Hidden behind all of that are influences of blues, jazz, hip-hop, 90s R&B, lounge sound, and some good ol' rock. Sia's ranged voice allows the collision of these different elements to be both fun and amazing.

Lyrically, Fear is my hands-down favourite on the disc (and comes in second or third musically); Following it is Drink to Get Drunk which wins for title alone, but also for a solid beat and more great lyrics; I'm not Important to You has a 90s/ambient feel to it, and mixed with Sia's airy vocals on the chorus, make this a must-listen; and Sober and Unkissed is a depressing title, sure, but the jumps between acoustic and electronic in the tune keep you interested.

In the End: This is a great album. Far less mainstream America than Colour the Small Ones, Healing is Difficult really shows Sia's range and talents and should be immediately digested by anyone who knows this gal's work.

On the Web: Besides The Hype Machines usual entries, I've also go her KCRW sessions for download, via gigasize.

Technorati Tagged: Sia | Zero 7 | 2002

Kasey Chambers: Carnival

2006-09-19T10:08:00.000-04:00

You know, I'm starting to think I start off too many of these the same way, but...

Sean's been speaking of Kasey Chambers for a few years, but I've had so many things I've wanted to listen to, I seem to keep forgetting about her. Enter Large Hearted Boy. Each week he digs out the highlights of CD and DVD releases, and I noticed Kasey in the list. So, of course, I jumped and downloaded it, and I have to say that I am glad I did. It's no Top10 album, mind you, but it's enjoyable and has solid replay value.

The album (I know nothing of the rest of Kasey's catalog) straddles that pop-country line that I may have mentioned I don't enjoy. I'd like to amend that statement to "I don't enjoy unimaginative pop-country."

As most albums seem to these days, Carnival comes in just over 45 minutes with a total of 12 tracks. Chambers, at least on this disc, seems to channels a country-ish, more soulful version of another beloved songstress, Lisa Loeb. And, believe it or not, that's a pretty good thing.

The lead of track, Colour of a Carnival, I bounce between enjoying and being turned off by the chorus lyric that just goes "Around and Around and Around and Around;" I get the need for the lyric in the song, but it just takes me out of the song. The Rain is a pretty average tune, but whips out the slide guitar in the background. That alone gives it a thumbs up from me. Railroad has a certain sinister sound to it that drew me right in and has been put on repeat on the ol' ipod. You Make Me Sing has a sultry undertone, with vocals just one or two steps away from Jazzy/Smokey vocals.

In the end: It's a solid album, definitely one of the better ones of Ought Six. Being unfamiliar with the rest of her catalog, I can only say that Carnival has a little something from everyone and is worth at least one listen.

On the Web: These reviews, and this whole part, would be useless without The Hype Machine.

Technorati Tagged: Kasey Chambers | Country | 2006

Bob Dylan: Modern Times

2006-09-15T15:53:00.000-04:00

Something happened in 2001 to Bob Dylan. It's called Love and Theft.

Bobby's fans all cried, and many, like myself, thought "Hmmm, this could be it for Mr. Dylan," and then went back to looping Blonde on Blonde and Highway 61 Revisited so we could remember Bob in a good way.

This year, however, we were surprised. A blog post somewhere had audio from this disc (specifically, Thunder on the Mountain) and I took a listen. Bob has died. Bob has risen. Bob is come again.

Rising from the ashes of Love and Theft, Modern Times is the Dylan-Phoenix. 10 tracks, coming in just over an hour, Times has already cracked into my unorganized Top 10 of the year.

The moment you hear Thunder on the Mountain, the lead off track, you know Bob "Visions of Johanna" Dylan is back; Spirit on the Water is musically and lyrically beautiful; Rollin' and Tumblin' just screams half of the tracks of Highway 61 Revisited, which may make it his least original track on Times, but it's so damn good; the last track, Ain't Talkin' ends the album on a down note, but it's still an amazing track.

In the end: Dylan's back, folks. He may have lost his touch live, but hot damn, he's proven a) why you show respect to Dylan and b) why you can't keep good musician down. Do yourself a favour and get this album.

On the Web: The Hype Machine has so much Dylan, it hurts.

Technorati Tagged: Bob Dylan | Top 10 | Folk Rock | 2006

The Wreckers: Stand Still, Look Pretty

2006-09-15T15:22:00.000-04:00

I love Michelle Branch. Her music, her varied and random TV appearances (including a favourite, Buffy, The Vampire Slayer), and how beautiful she is. So, it's not a huge leap for me to follow her to this pop-country side project, even if the whole "pop-country" genre hurts my soul.

Michelle Branch, joined by Jessica Harp, combine to form the Wreckers. Two beautiful woman, who are clearly very talented. And yet, the combination brings a very average album. Don't get me wrong, this isn't bad, despite it's pop-country feel. But, really, the Wreckers are like the Battle of the Network Stars: Individually, talented; Together, bland.

The disc, Stand Still, Look Pretty, barely fills have a CD, sliding in just under 45 minutes, spread across 12 tracks. The ladies' voices play well together, but I can't help but think they would do better somewhere without that country twang.

Leave the Pieces, the lead off track, does feature a violin (in that country feel) which I enjoy, and it does a good job of starting the album off; Stand Still, Look Pretty, ye olde title track, may actually be the best on the disc, with a very simplistic construction; I listen to Rain, and i feel there's this amazing jazzy/bluesy song hidden just beneath the surface; and Crazy People, while not particularly memorable, was the only track left and I needed one more to mention.

In the end: Michelle Branch completists, New Country fans, and anyone willing to take a leap will enjoy this. I'm not saying avoid it, but there are better albums that came out this summer. Give them a chance.

On the web: I'm at a loss to find anything on the mighty interwebs to offer for this band. Perhaps that's a sign?

Technorati Tagged: Michelle Branch | The Wreckers | Country | 2006

Ray LaMontagne: Till the Sun Turns Black

2006-08-31T12:44:00.000-04:00

I seem to talk quite a bit about seasonal albums. Be they Winter albums, or Summer albums, or, in this case, a Fall album.

I'm a fan of LaMontagne's work, which I first became aware of in episodes of Rescue Me. His voice has this deep, soulful pain in it that just draws you in. On his latest effort, he does this even more, with a lot of blues and jazz taking the place of the usual folk and rock.

The first time I listened to the disc, one thing came to mind, over and over again: Van Morrison's Astral Weeks. It's almost uncanny, at points, how much this album either channels, steals, or pays homage to Van's early (and, arguably, best) work.

Key tracks would have to include Be Here Now, Empty, Truly, Madly, Deeply, and the title track, Till the Sun Turns Black.

In the end: This album, much like Astral Weeks, flows amazingly, from start to finish. LaMontagne definitely knew what he was doing when he put this together. If you're looking for a beautiful, low key album to really begin the Fall and slow things down, this is the album for you.

On the web: The Late Greats has Ray's NPR Studio performance in it's entirety. And, if I haven't mentioned it enough, you can find more great tracks at The Hype Machine. Also, there's my review of his Live from Bonaroo 2005 EP.

Technorati Tagged: Ray LaMontagne | Blues | Van Morrison | 2006

Christina Aguilera: Back to Basics

2006-08-30T10:19:00.000-04:00

I think you should know that I secretly... ok, not so secretly... love Christina Aguilera. Outside of a very obvious physical attraction, I actually think she's very honest, very talented, and has such a beautiful and powerful voice.

This album, Back to Basics, takes some very interesting twists and turns, combining hip-hop/R&B beats, 30s and 40s dance music, and her usual kickass, high octane voice into one of this year's best female vocalist albums.

The intro, aptly called "Intro (Back to Basics)" makes you think this is going to be a heavily-processed electronic beats album. But my girl's too good for that. She swings it around quickly, with mixes of gospel, hip-hop, smokey jazz samples, and hints of funk. The album closes on a similar note, with voicemails from fans talking about how much they love Christina. It's a bit heavy handed, but it works well as a coda to the album. Or, should I say, first disc.

That's right, there are two discs in this package. What a deal!

The first disc flows nicely, keeps good pace, works well as a great poptastic album for late in the summer. The second disc, while lacking flow, is, at points, painfully beautiful. Aguilera passes on a lot of the electronic production, sampling, and heavy beats, opting for studio instruments creating a soulful, powerful addition to an already amazing album.

On the first disc, spin up "Makes Me Wanna Pray," "Back in the Day," "Ain't No Other Man," and "Without You." On disc two, you'll want to hear "Candyman," "Nasty Naughty Boy," "Hurt," and "Mercy on Me."

In the End: This is the first Christina album I've listned to front to back. It's wonderful, it's crackling with vocal power, it's got a great sound, and it's got one of my future wives. All that makes this a great find, even if it is closer to the bubble gum pop-tarts than I usually go. Christina's smokin' hot, and so is "Back to Basics."

On the Web: Most of what I've mentioned is, as always, available on The Hype Machine.

Technorati Tagged: Christina Aguilera | Female Vocalists | Pop Music | 2006

Baker: Happy Birthday

2006-08-11T09:59:00.000-04:00

Knowing someone in the band can be good or bad. In this case, it's good, because it made me aware of good music.

Happy Birthday is a short EP, just 4 tracks coming in just over 13 minutes, which is the worst thing about the album. And anyone who's a fan of rock 'n' roll will enjoy this.

Reputation is a drums-powered tune, that starts things off nicely. Gotta Get Out of the City begins with what I can only describe as an amazing Zep-inspired guitar riff, followed by a great pop/rock tune. Telescopes has a more mainstream pop sound, at points, almost borrowing from the late 90s alt-pop sound. Finally, Plans builds off of a simple bells and tambourine intro, exploding into a full band accompaniment, with the organ taking center stage in the chorus.

In the end: The band is just starting out, but once they've got a full disc of tunes, they will rock the house. It's the kind of rock music everyone can enjoy, not because it has no spine, but because it's solid. Jump on early so you can say "I remember when...."

On the Web: You can stream the band's EP off of their myspace page. There are also photos from their benefit show back in March in my fotki collection.

Technorati Tagged: Baker | Boston Music | Rock N Roll

Kelly Clarkson: Breakaway

2006-08-10T13:07:00.000-04:00

Little Miss "First American Idol" managed to do something that none other has been able to: Kelly Clarkson has grown out of the shadow of "Idol" and become a genuine, enjoyable pop star.

Breakaway is a just-shy-of-45-minutes guilty pop pleasure for American culture. No one wants to admit they enjoy it, but any one of her not-saccharine, broken heart tunes makes you want to tap your foot and sing along. Sure, you won't catch anyone belting Breakaway, but you're guaranteed to hear Since U Been Gone or Walk Away being hummed, sung, tapped, drummed.

Some of the tunes are over produced poptastic music, but others are gems, straddling some pop-rock or pop-jazz lines, trying to channel the femal-vocalists of yesteryear. Addicted brings up a strong feeling of Fiona Apple, while Walk Away showcases her raw power as she definitely comes in the vicinity of Christina Aguilera's voice, powered down a notch or two.

In the End: If you get past some of the painfully cutesy love songs, Breakaway manages to do something that most top40 pop albums don't do -- transcend some musical barriers and appeal to a broad group of people. It's not so much that it's not offensive, it's just strangley enjoyable. Even if Clarkson was once an "American Idol." I'll forgive her... for now.

On the Web: As always, Hit up the Hype Machine for tracks. Also, pay close attention to Paula's Smokin' Kelly's Doobie, a mash-up containing Paula Abdul, Deep Purple, Kelly Clarkson, and the Doobie Bros.

Technorati Tagged: 2004 | Kelly Clarkson | Pop Music | American Idol

Spoon: A Series of Sneaks

2006-08-04T09:58:00.000-04:00

I've been having a hard time getting through this album, but I'm not sure why. Something just hasn't clicked on this disc the way it did on Gimme Fiction.

That's not to say it's a bad album, there's just no hook. There's not a song or two that you walk away with really stuck in your head, unlike Fiction's Sister Jack or I Turn My Camera On

All that being said, the album *does* play well as background music, with the exception of 30 Gallon Tank which is just noticeable enough to not be ambient, but not noticeable enough to be a great tune.

In looking things up, I've found this is from 1998, which gives me a lot of hope, as they've obviously matured, improved, and experimented to reach the quality and skill of Gimme Fiction.

In the end: Any Spoon fan will obviously be about this. If you jumped in late, like I did, you may feel a bit disappointed.

On the Web: You can find 33 bootlegs from Spoon on on archive.org.

Technorati Tagged: Spoon | Background Music

Joe Strummer & The Mescaleros: Streetcore

2006-08-02T13:40:00.000-04:00

A coworker and I were discussing his latest CD purchases when he presented this gem to me to listen to and enjoy. I knew Joe Strummer's name from my love of The Clash, but was only aware of his solo works due to tunes in soundtracks, most notably, "Gross Pointe Blank."

It took me a while to actually pay attention to Streetcore as I would listen to it at work and zone out. But, one afternoon on a drive home, I actually started paying attention to it and found it to be a truly wonderful work.

Coming from a guy who was the voice of The Clash, you half expect some aging punk star trying to stick to glory days. But Strummer's sound seems have matured just right with a nice blend of punk, raggae, acoustic, and good ol' rock 'n' roll.

Coma Girl starts the album off in a fairly straightforward rock way. It's construction is pretty average, but it's still got a great beat. And then gears get changed on the next tune, Get Down Moses which has a wonderful raggae sound. Long Shadow switches gears again, changing into an acoustic rock tune, and, if Strummer were alive now, would be such a great ending to an Unplugged set. Arms Aloft switches back close to the rock 'n' roll, but definitely leans towards a more Alternative song construction/sound. It's both playful and enjoyable.

In the end: If you only know The Clash, you don't know enough. This album proves a few things:
1) Just because you were in successful band many years ago, your solo works may not suck.
2) Up until the end, Strummer's voice held that same power he had in the old days, but it is now smarter, more focused.
3) You should have gone to amazon by now and bought it.

Know it. Love it. Listen to it. Repeat.

On the Web: You can find all the tracks I've mentioned and so much more off of The Hype Machine.

Technorati Tagged: Joe Strummer | Rock | The Clash

PJ Harvey: Stories from the City, Stories from the Sea

2006-07-27T10:44:00.000-04:00

My on-again, off-again affair with Polly Jean (PJ) Harvey began in the Summer of '96. Magic the Gathering's Alliances set had just released. Batman Forever had come out the previous summer, and on the sountrack was a tune by U2 that I finally decided I must have. I went to Newbury Comics Saugus with my mother, one of my many "pseudo"-cousins and her friend. I got a pack of Alliances and the soundtrack. I must have played the U2 tune hundreds of times.

But, then something else got my attention. Well, many somethings, but in the context of this review, it was the PJ Harvey tune, "One Time Too Many."

It was much harder than anything I was listening to at the time. The guitar was rough, very rough; her voice heavily distorted. But there was a sexual energy to it all. And a solid beat, if slightly hidden by distortion.

Being poor and ignorant at the time, however, I did not follow up with any more of Harvey's work until 2001 when I begin my first N. American tour with U2. Seeing that she'd be opening for them, I picked up her latest album, this one, and played it on loop. It was good, but nothing impressive. Or so I thought at the time.

After seeing her live, and listening to a large portion of her catalogue, I found that this gal really knew what she was doing. I came back to Stories and found I was a huge fan of it.

On the album, PJ has anger, love, hate, some longing, and beauty all in her voice. It's clear she's more comfortable with the louder, alt-rockin' side of her voice, but she holds her own on the quieter vocals.

The lead off track, Big Exit, does it's job being a loud, rockin', attention getting tune that keeps your head bopping. Good Fortune, the second track, has a simplistic but steady rhythm section that raises it from an mediocre ditty to something much better. The duality of Kamikaze, where Harvey goes from quieter, sweet-ish voice, to loud, expressive and back again, makes this another track to listen for. And, anyone familiar with Jay & Silent Bob Strike Back will immediately recognize and enjoy This Is Love.

In the End: From what I understand, this is PJ's "poppiest" album, and that really kinda says something to the rest of her catalogue. But I think this does a good job of straddling her normal style and the pop-rock genre without compromising her integrity and being able to bring in people who wouldn't normally listen to her.

On the Web: MusicisArt has tracks from PJ's recording sessions dubbed The Black Sessions.

Technoratu Tagged: PJ Harvey | Female Vocalists | Soundtracks

Jem: Finally Woken

2006-07-27T10:10:00.000-04:00

It'll be hard for you to believe, I know, but Jem came to my attention by way of my friend Sean. Yes, another album he made me aware of. Go fig.

Getting past that, my first impressions were ones of enjoyment, of being impressed, and being curious where she'll go next.

The album plays with interesting sonic accompaniments to Jem's sweet, sometimes smokey/jazzy vocals, and the end result is something beautiful and fun.

Yes, fun. Some of the songs have a certain playful tone to them, such as Finally Woken and Wish I.

On other tunes, there's almost a sense of urgency in the music, the lyrics. 24 and Falling For You immediately spring to mind.

Turn your listening skills to 11 on the following tunes: Come On Closer, Finally Woken, Just A Ride (whose lyrics should be listened to by all), and Flying High (where Jem is not accompanied by any electronica, just studio instruments).

In The End: Yes, this is a few years old. That doesn't make it any less enjoyable. Jem's sweet vocal talents, the album's excellent production, and the track order all make this album work just right.

On the Web: The Hype Machine comes through again with a number of great tracks, including Just A Ride.

Technorati Tagged: Jem | Electronica | Female Vocalists

Nick Drake: Bryter Lyter

2006-07-11T15:39:00.000-04:00

One of the things I've learned from my musical sage, Sean, is that albums, like weather, are seasonal. Nick Drake, it seems, is sensational at creating autumnal albums.

Much like Van Morrison's Moondance, both this album and Pink Moon convey the autumnal season sense. A cool, brisk evening. Leaves falling. You can feel the fall morning frost.

That being said, this album feels like it fails a bit where Pink Moon succeeded. Coming two years before Moon, I feel like Drake may have seen where to take things differently to get it right.

Bryter Lyter gets it right enough to get it overall, but falters in a few spots. Hazy Jane II just doesn't work quite right inside of the context of the album; neither does Sunday.

On the other hand, Hazy Jane I, One of These Things First, Poor Boy, and Northern Sky seem to nail that sound right on the head.

In the end: Even being a lesser Nick Drake album puts this far above anything else out there. Enjoy Pink Moon first, then this one.

Technorati Tagged: Nick Drake | Folk Rock

Ray LaMontagne: Live At Bonaroo 2005

2006-07-07T10:06:00.000-04:00

Once again, Ray is an artist I was introduced to through Sean. LaMontagne has a sweet sound, powered by guitars and his smokey voice.

For my first voyage into the world of Ray LaMontagne, I figured I'd see how he was live with this 6-track collection from the 2005 Bonaroo Festival. If his recorded skill is half what his live talent sounds like, this guy can go places.

The 6-track EP bounces between sad sounding and up-tempo diddies. Trouble, Empty, and Forever My Friend keep the album up-beat with on-the-road bluesy/folky sounding tunes, while Burn, Shelter, and Jolene bring it down-tempo with very bluesy/almost-gospel sound.

In the End: This is a beautiful primer for the works of Ray LaMontagne. His songs are constructed musically simple and lyrically genius. His live stuff showcases his true skill, I feel. If you can, listen to some of the songs listed above as well as "All the Wild Horses" and his cover of "Crazy."

On the Web: While I have no bootlegs currently of Ray, you can find a number of tracks for download off of The Hype Machine.

Technorati Tagged: Ray LaMontagne | Rock | Bonnaroo

Ryan Adams: Gold

2006-07-05T09:39:00.000-04:00

It seems I am about 5 years behind the time. I've been trying to find the time to take this album down, but I just now got to listening to it, front to back. Turns out I've actually heard most of these tunes in random places before because the rest of humanity has known about him for a while. Sorry, I've been under an Irish rock called U2 for a while.

The interesting sound of Adams ends up being sweeter Bob Dylan, with hints of country built in. At points, the music is almost painfully Dylan-esque. It's a wonderful sound that you should all mock me for not enjoying sooner.

Gold keeps a nice rhythm, rising and falling in what feel like, all the right places, and adding a banjo for good measure. Because, really, when does a banjo make a song worse? The answer, obviously, is never.

New York, New York starts the album off in a nice pop-rock way, with a love song to ol' NYC. I've heard Rescue Blues so many times, and it never stops being beautiful. When the Stars Go Blue is a tune I know from the Corrs/Bono performance moons ago. I didn't know it was Ryan Adams' at the time, however, and his version is much better. The slow country feel of Wild Flowers works just right, I feel, and gives me a feeling of a being at a house in a wide open field.

In the end: holyshitw00t! Ryan Adams' Gold is amazing. Front to back, it's a solid album. Anything more or less than that just wouldn't do justice. This guy is amazing, and, from what I understand, his more recent work is even better.

On the Web: Archive.org currently has 68 Ryan Adams bootlegs for legal, free download.

Technorati Tagged: Ryan Adams | Rock | Archive.org

Lily Allen: Alright Still

2006-07-03T10:33:00.000-04:00

I've told a number of people about this before, but Lily Allen really feels and sounds like the female version of The Streets.

That Brit-Hop charm? Check.
The every-day lyrics? Check.
Solid, bopping beats? Check.

So, there you have it. Lily Allen is the lady-fied version of The Streets. Except she can actually sing as well as do the fun talk-sing-brit-hop thing.

As is the case with so many artists in recent times, The Hype Machine gave me access to this amazing talent. I forget what got me to listen, but I'm quite glad I did. This gal is a load of fun.

Smile is a fun little tune about feeling good about yourself after a break up; LDN which takes a head boppin' look at that which hides just beneath the surface; Shame for You has a feel to it that screams angry Tori Amos or Fiona Apple; Alfie is a goofy little tune about the singer's fictional brother who always smokes pot.

In the End: The album straddles a few genres, and does it well. There's something for a lot of people on this album, and you should give it a go. She's another great new star rising.

On the Web: Lily's on myspace *and* you can find a bunch of tracks off of The Hype Machine.

Technorati Tagged: Lily Allen | Brit-Hop | The Streets

Guster: Ganging Up on the Sun

2006-06-30T09:34:00.001-04:00

Huh. Who would have thunk it? Guster grew up, and I like the adult they've become.

You, we docile listening masses, get the idea that this is going to a much more grown up place with the sampling we got off of One Man Wrecking Machine, the EP they dropped a few weeks back. I didn't realize how true that was until now.

Sun has a dark edge to it, musically. Singer/Guitarist Adam Gardner's vocals seem much more honed. Where, in the past, he went for loud and mostly in tune, he's quieted down (along with the tone of the album) and shown how beautiful a voice he actually has.

The album's production is of a much higher quality than any of their other's, which I feel is a mixed blessing. They get their fan base and energy from a certain unpolished edge, yet some of their greatest songs could do with a bit more polishing. For this collection, howevere, I think the production level is right on par with content: quite high.

Satellite is a funky tune with a great guitar sound; Manifest Destiny really reminds me of a Ben Folds tune with the use of piano; One Man Wrecking Machine is already the first radio single, and it's enjoyable, perhaps the most pop on the album; and Ruby Falls is, perhaps, their longest song to date, running just over 7 minutes, and it takes it's time to build beautifully.

In the End: This is Guster's most mature sounding, well-produced album to date. It's got more than enough to appease the long-time fans and bring in some new folks to the Guster fold.

On the Web: Learn all you can about Guster on Wikipedia. Also, archive.org is up to 228 Guster Bootlegs available, for legal, free download.

Technorati Tagged: Boston Music | Guster | Archive.org

Nelly Furtado: Loose

2006-06-29T09:37:00.000-04:00

Into every year is born an album so plain, so boring, so uninventive, so uninfectious, it does not deserve to even be called "Pop."

Last year it was Madonna's 'Confession' album, this year, it is Nelly Furtado's Loose. I had high hopes going into this because she is talented, but the album ended up being a horrible Frankenstein monster of hip-hop, pop, and dance.

Besides the album as a whole, tunes to *AVOID* include Maneater, on the grounds that no one should have a song called that ever again; Hall & Oates perfected it. Promiscuous Girl fails musically, lyrically, and doubly so due to guest "singer" Timbaland. In God's Hands is a crappy pop tune that could possibly have been pulled of by guilty pleasure darling, Kelly Clarkson, but goes no where with Furtado. All Good Things sounds like it's the one tune that could have some real hope, but the implementation just destroys it.

In the End: Please. Don't even waste the bandwidth. Demand higher quality from artists who are so obviously talented, such as Ms. Furtado. This album is an insult to the music community.

On the Web: I Am Fuel, You Are Friends has a MUCH better version of All Good Things, with backing back Coldplay's Chris Martin. Also, Shoes Are For Work has Furtado's cover of the Gnarls Barkley Tune Crazy.

Technorati Tagged: Nelly Furtado | Coaster | Chris Martin

Zero 7: When It Falls

2006-06-28T14:19:00.000-04:00

After the cry-fest of Six Feet Under, I purchased the second soundtrack album which contained a the Sia track, Breathe Me. After all of that, I figured, what could be better than even MORE Sia? Enter Zero 7. Zero 7 is really the combination of Henry Binns and Sam Hardarker, with a series of regular vocalists, including the lovely and talented Ms. Sia Furler.

The album, however amazing the participants are, is less impressive; It's not horrible, either. It's 11 tracks, just shy of an hour, plays in the back of your head, but never fully realizes itself.

None the of the tracks stood out as particularly good or bad, but the album did flow well. Or, at least, seemed to, when I noticed track breaks. The ambient nature, as well as the way the Binns and Hardarker play the sonics around the vocals, makes this album feel ethereal.

In the End: This is a great album to read to, work to, really, just about any task that requires thought. Like I said, the music will play in your head, but it will never distract you from the task ahead.

Technorati Tagged: Zero 7 | Sia | Background Music

Ellis Paul: The Speed of Trees

2006-06-27T13:55:00.000-04:00

Like the masses, I was introduced to Ellis Paul as his music played in the Jim Carrey/Renee Zelweger vehicle, Me, Myself, and Irene. He'd been around for a while before, but got some major recognition from that.

Then there was a lull. Hadn't heard anything from him, until about two years ago, when the guy was playing at a coffee house/church in Marblehead, Ma. For 10 bucks, I had a nice, intimate venue. He played for 2 hours, joined everyone afterwards for coffee and cookies, and was a pleasant, approachable musician, happy to talk his trade with anyone who would listen or wanted to share.

Being obsessive compulsive, I went out and started buying his music. Speed of Trees was my first album.

Paul's pop-folk instrumentation, in conjunction with his soft, emotive voice, creates a soothing, wonderful sound that is both relaxing and enjoyable. The only thing that is disturbing about him is, that, from some angles, I *swear* he looks like Liam Neeson. Then again, if the worst thing you have against a musician is that he looks like a Jedi Master, you must be doing ok.

Maria's Beautiful Mess kicks off the album, slowly, softly, but with great, intimate sound; a musician and their guitar, what is better? Give In, Give Up makes wonderful use of an electric guitar in a folk setting. Roll Away Bed is a fun, pop-sounding tune about a the singer sharing a bed with someone who doesn't share so well. Breaking Through the Radio has a great, open-roads kind of feel; one listen and you'll agree.

In the end: Ellis Paul is a great, if well-kept, musical secret. His folk sounds, mixed with some pop and rock sensibilities and warm personality create a sound, a musical environ that makes you like his music and want to hear more.

Technorati Tagged: Ellis Paul | Soundtracks | Folk

Juliet Lloyd: All Dressed Up

2006-06-26T13:45:00.000-04:00

Juliet came as a surprise for myself and for Sean. The same night we went to see Candice Jarrett, we discovered this new talent, Juliet Lloyd, was the night's opener. She put on a good show, even pulling off a Zep cover that evening.

The album, All Dressed Up, showcases her talents as well as her weak spots, but, in the right hands, these can be ironed out.

Dressed suffers from something I consider to be consistent in smaller musicians: over-zealous production. It's too clean. The vocals too clear. On almost every song, Lloyd's voice, while beautiful, completely overwhelms the instruments, and I find that to be a bug, not a feature. It should all work together. That being said, the album is a solid effort, if for no other reason than to get her name out there.

Ever After leads of the album with a jazzy-bluesy kinda tune about, you guessed it, love. Right after, we get a tune, Left Behind, that has a feel to it that gives me, anyway, an image of someone(s) at the end of a movie, perhaps romantic comedy, perhaps drama, driving down a highway, the camera panning out and you see them rolling on a long road. Sometimes I get great visuals with songs. Lullaby manages to be the tune that really gets the simplicity and cleanliness of the audio right, with Juliet and her piano being all that's required. Sun Burned Sky intrigues me, if for no other reason than the lounge/latin beat.

In the end: The album's lyrical and vocal content are great, but I feel the production leaves something to be desired. Maybe it's just that jazzy stuff doesn't really deserved to be recorded, just performed live. Maybe the producer was young. Or, maybe it was an anomaly. It's a solid disc, still, and deserves some attention, if only for young Lloyd.

On the Web: Photos from a Juliet Lloyd performan at the Paradise. Also, you can hear her music on her myspace page at myspace.com/julietlloyd.

Technorati Tagged: Juliet Lloyd | Jazz | Boston Music | Small Artists

Bad Ronald: Rad Ronald

2006-06-26T13:39:00.000-04:00

Bad Ronald seem to straddle a line between rock and hip hop, with plenty of hilarity in lyrics. It's not the kind of thing you might expect me to listen to, but that's ok.

These guys came to my attention during a camping trip, and it was clear, from the get go that these guys were never going to be Grammy winners. And, if you're ok with that, then you'll be all set.

It's not entirely what one might call "worksafe" lyrics, but, to give you an example, let us show John the Marine's favourite line from I Need Love: "I need NyQuil and a blowjob to get me to sleep." It's funny. Inappropriate, but funny.

The lead off song Let's Begin manages to convey the feeling they did in the music video, that of a kid's program. Trust me, if you see the video, it'll totally make sense. Bad Idea, discusses some of the bad ideas men have had regarding sexual encounters. Hand on the Wheel really gives you that "leanin'-back-hand-on-the-wheel" kinda feeling. Bank just has this feeling to it, this smiling, happy feeling, and you can't help but groove to it, as though the singers are trying to sing you a smiler.

In the End: This album is ridiculously fun. The content may keep some people from listening to it, but if you can deal with people singing about sexual encounters and drugs, you can really enjoy some, if not all of this album.

Technorati Tagged: Bad Ronald | Rock-Hop

Kate Bush: Hounds of Love

2006-06-22T11:05:00.000-04:00

I love Kate Bush. Ever since a fateful day in 1987 when my brother put Hounds of Love on the ol' turntable, I've been one of the faithful in the church of Kate (I avoided a very bad joke, yes).

Like all of her work, Kate bounces between, experimental and alternative, with hints of pop and rock. She likes to play with sounds, be they electronic, orchestral, or her own voice.

I don't know if Hounds of Love is her best work, but it is, far and away, my favourite. That being said, it's hard to pull out a few tracks to listen to, however, I shall endeavour:

Running Up That Hill (A Deal with God), where the singer talks about making a deal with, you guessed it, God. Big Sky has a certain pop-appeal and a killer beat. Under Ice makes use of a very deep stringed instrument, perhaps even a standup bass to create a certain sinister (dare I say Russian?) feel. And Jig of Life runs at a pace akin to a nice Irish jig, making use of many of the sounds you'd find in one.

In the End: Kate Bush's 1985 album Hounds of Love managed to be created in the middle of the 80s and maintain minimal connection to the decade of big hair. It's experimental, but in a way that would work even today. This is a truly great album. At one point or another, I'm certain everyone's heard music off of Hounds. Give the rest of the album a chance.

On the web: You'll find a bunch of Kate Bush music linked to from The Hype Machine.

Technorati Tagged: Kate Bush | 80s Music

MF Doom: MM.. Food?

2006-06-21T13:06:00.000-04:00

My enjoyment of rap and hip-hop increased ever since I found the DangerDoom album The Mouse & the Mask. Between Doom's rhymes and Danger's mixing, they are a perfect mix. So what kind of stuff does MF Doom come up with on his on? Some damn good work, actually.

Mm..Food? maintains two themes through out the album: On one level, we have a food theme (all songs are food titled, some deal majorly with food-related lyrics), and on the other level, We have a mixed/edited episode of an old Fantastic Four episode featuring Dr. Doom as background filler. The album runs fifteen tracks, coming in just under 50 minutes. And it's a lot of fun.

Hoe Cakes is the tune that brought this album to my attention, and it just has a great beat; Bonus points for a reference to King Koopa. Guinnesses is a great tune, just for the title alone; it's a slower track featuring Angelika, and it just makes you want to lean back into pimp pose. Rapp Snitch Knishes, keeping with the Dr. Doom theme, has Mr. Fantastik as a guest, and has a great sampled guitar riff running in the back.

In the End: This isn't going to appeal to everyone, I know it. But if you want to hear some good rap / hip-hop that isn't offensive but just GOOD, I would strongly suggest this album.

Technorati Tagged: MF Doom | Hip-Hop | Fantastic Four

Brandi Carlile: Brandi Carlile

2006-06-21T12:12:00.000-04:00

After all of these albums, I've come to a conclusion: I am, apparently, the written word for my friend Sean.

Yet again, Brandi comes to my attention thanks to him, in the form of her opening for Train a few months back. I had been previously impressed with Train's live performance, and Sean couldn't stop extolling the amazing skill of young Ms. Carlile, and she did not make a liar of him.

Brandi's self-titled album has a sound, that, if it weren't so clean, you might think you were listening to someone from the singer/songwriter period of lte 60s and 70s. I hear Bobby Dylan, James Taylor, a hint of Joan Baez, and, is that Bonnie Raitt too? I think it might be. I'm not certain of her influences, but if Bonnie Raitt went to a Folk/Rock sound, I think her name would be Brandi Carlile.

Follow, the lead off track, is one of my favourites. It's constructed well, good lyrics, and a great sound. Closer to You has a slight country feel to it, but good country, not this modern country, and also earns high marks in my book. the darkness of Tragedy mixed with the simplicity of just her and her acoustic guitar makes for a very powerful song.

In the end: This is a quiet album; don't expect any song to make you want to throw the horns. But Carlile is a young and talented musician who I think has a serious chance to be something big and amazing. Be one of the people who can say "I remember when..." and give the album a listen.

On the Web: Some distant, so-so photos of Brandi and Train can be found on my fotki site Also, as with The Fray, I have a recording of Carlile at the WBOS Earthfest. Check it out:
Brandi Carlile: 2006-05-27 - MDC Hatch Shell, Boston, MA

Technorati Tagged: Brandi Carlile | Singer / Songwriter

Lewis Black: The Carnegie Hall Performance

2006-06-20T12:20:00.000-04:00

With my particularly surly mood today, I needed someone who could rival my own rage, so I brought out one of my favourite Jews, Mr. Lewis Black.

On his latest comedy disc, Black takes jabs at the usual political idiots, social events and world events, gay marriage, and more.

The whole performance is not, I think, one of his better ones, but he hits a solid stride towards the end of the second disc, managing to connect from Gay Marriage issues to Terry Schiavo. Which, you have to admit, is a decent leap.

As Eddie Izzard points out, any comedian coming on stage is a "shit begininng." It's awkward, you're on a large stage, you've got to warm up a big audience. So it feels it starts slow.

Some of his better points come out during bits about Information (there's too much, and yet, simoultaneously, none due to the news channels), That's Fucked Up (How the President's facial expressions never match what he's talking about), and Terry Schiavo (the absurdity of the whole situation).

In the End: If you're going to listen to Lewis Black, I'd suggest starting with Rules of Enragement or The White Album. All of Lewis' stuff is excellent, but even in a list of excellence, some are better than others, and Carnegie starts off a lot slower than I have come to expect from Lou.

Technorati Tagged: Lewis Black | Comedy

The Clash: London Calling

2006-06-20T10:01:00.000-04:00

The Clash's London Calling is an album I feel I took advantage of for years.

We've all enjoyed/heard/loved at least one track off of this album, be it the title track, Rudie Can't Fail, Lost in the Supermarket, or Train in Vain. We know these tunes. At least I know I do and I feel strongly that everyone else should.

After finally getting off of my ass, and dropping the whole 10 bucks on this a couple of years ago, I couldn't believe I hadn't owned this sooner. For the tunes we all know, it was worth the purchase, but also for the ones I (sadly) hadn't heard. Tunes like Jimmy Jazz, Spanish Bombs, Brand New Cadillac, and Lovers Rock.

In the end: Can you really say anything about this album but "smashing," "amazing," "shut up and buy it," and so on? This is The Clash. While not one of my desert island discs, this is one of those true classics. Up there with Clapton's Slowhand, The Beatles' Revolver, and so on.

On the Web: Over at The Hype Machine you can find tons of Clash tunes. Also, I've added to YSI a bootleg from 1980 (the year I was born!) at what labeled "Capitol Radio": The Clash: Capitol Radio 1980 Perhaps the show is this one?

Technorati Tagged: The Clash | Classic Albums

Van Morrison: Astral Weeks

2006-06-19T12:21:00.000-04:00

After reading American Scream: The Bill Hicks Story for the 3rd or 4th time, I was really interested in what my favourite comedian/social commentator/satirist saw in this album, so I hit up Newbury Comics and grabbed it for 9 bucks. What a steal!

Astral Weeks turned out to be one of those amazing albums that I would classifiy on my desert island collection.

After his work with Them, Van Morrison headed off into a solo career and produced his best, yet least known, work. The music. The lyrics. The rise, fall, and rise again of things. The album, as Hicks found, is very cyclical. It is life itself, beginning with birth and ending with death.

On an 8-track album, it's hard to say "listen to these," especially when the album is meant to be listened to, start to finish. But, "Astral Weeks," "Sweet Thing," and "The Way Young Lovers Do" are all quite enjoyable outside of the context of the album.

In the End: If you've ever liked Van Morrison for "Moondance," "Bright Side of the Road," or "Brown Eyed Girl," then go one step further, please. We're talking a desert island disc, something I swore I would not use lightly.

Technorati Tagged: Van Morrison | Desert Island Discs

Candice Jarrett: Powerful Beyond Measure

2006-06-16T09:39:00.000-04:00

Candice, as with so many of my other musical discoveries, came to my attention via the Pants, AKA, Sean. He dropped me a note and said we had to go to The Paradise Lounge and see this girl he found on myspace. Ok, I'm down with that.

What resulted was me discovering two artists I would quickly spend money on and drop to the iPod, only to listen to them over and over again. Candice and Juliet Lloyd.

Candice really impressed me with her musical talent and her ability to be just one person but make the stage feel smaller, more welcoming. Also, she is the first and only person I know to have covered Billy Joel's piano man... on an acoustic guitar.

On such a small disc, it's hard to say "listen to these tunes," but I would suggest pointing an ear towards these tunes:
Changing My Mind, if, for no other reason, this lyric - "there are so many songs about how you should yourself / sung by a girl who weighs 95 pounds"; 20-Odd-Years has that non-inspirational inspirational tunes; it makes you want to live with a lyric such as "it's been 20-odd-years since i've seen the sun rise / it's been 20-odd-years since i felt i was alive"; Take These Chances has an experimental kind of sound to an acoustic tune in the realms of some of Dave Matthews' guitar playing. And she scats a little at the end.

In the End: These are 7 superb acoustic tunes that show a talent on the rise. Support her, her music, and musicians like her. Please.

On the web: As many smaller artists do, Candice has a myspace page at www.myspace.com/candicejarrett with 4 tracks available for listening. Also, I have photos from her gig in boston on my fotki site.

Technorati Tagged: Candice Jarrett | Small Artists

The Bens: The Bens (EP)

2006-06-16T09:28:00.000-04:00

It's a shame the Bens only put out a 4-track EP because this is a great super group. Ben Lee, Ben Kweller, and Shatner-producer extraordinaire, Ben Folds merge to form Voltron... errr... The Bens.

On a marketing point alone, this is great. Put together people with the same name and call the group that name (See: The Donnas). What's better is that each of these guys brings real talent to the collective. The end result is this beautiful piece of work.

Just Pretend is a sweet sounding ballad that, in my mind, harkens back to the days of radio where a few guys would huddle around a an old-timey microphone and sing. If you've seen Barenaked Ladies in the last few years, picture their acoustic interlude set.

Xfire (or Crossfire) has this weird, yet fun 80s synth pop rock sound that makes me want to pull out the day-glo.

Stop! plays with contrasting between chorus and verse, with the verses being very monotone sounding, almost flat, and then the group just kicks it up and rocks out on the chorus. It just think it helps to illustrate the fun these guys had.

Bruised Feels like a Ben Folds tune more than anything else, maybe because it features his vocals prominently. But it's a beautiful tune which states the obvious fact of "Love just leaves you bruised."

In the End: I'd love to hear more from these guys. They are oozing with talent, and it should be cultivated into something more than a measley 4-track EP. If it's all we get, GET IT. If you've ever liked any of these guys, this is must have. Otherwise, just listen and learn how a super group should be.

On the Web: Download a live track of the Bens covering the Divinyls tune, "Touch Myself" off of Mocking Music.

Technorati Tagged: The Bens | Super Groups

Aaron Brady: The Optimists

2006-06-15T08:37:00.000-04:00

I feel like I gave Aaron the shaft last time I talked about an album of his. I know the guy and like his music but didn't want to seem that I was just praising his album because he's a buddy. I'm past that feeling now.

Aaron's latest release, The Optimists, is something I feel like I've been waiting years for. I've heard him perform some of these songs at an instore appearance last fall and heard a few more drift through his myspace page.

On Optimists, I feel like Aaron really brought his A+ game. There's a lot of heart and soul in these songs, a lot of energy, a lot of thought, and it feels like a lot of his self as well. He's crafted some great Top40 tunes (which are always key for smaller artists) as well as some deeply thoughtful tunes that show the man's talent.

I'm having a hard time limiting to "key tracks," but I'll give it a go:
What Are You Trying to Tell Me is the third track on the disc, and the first one that features him how I think he works best: acoustic; Living It Up is my hands down favourite track - it's got a great beat, fun lyrics, and is wonderfully infectious; We Don't Understand has a very percussive sound, but is so very beautiful (I get choked up a little, ok?); and The Optimists is Aaron's very "political track," as he told us before performing it last fall. Simply amazing.

In the End: This is an solid and intelligent entry into the Summer's pop-rock genre. With just a little push, this album could go from hidden gem to beloved summer rock album. Give it a listen, tell a friend. We spend all this time and money on talentless hacks, let's put some of that energy behind someone who actually has the talent to back the hype.

On the Web: Sadly, I know of no bootlegs / rarities / whatever on the web for a bonus browsing experience, but you can check out a few of the new tracks on his myspace page: myspace.com/aaronbrady.

Technorati Tagged: Aaron Brady | Best of 2006 | Small Artists

Nick Drake: Pink Moon

2006-06-15T08:03:00.000-04:00

Everyone brandishes the term "Desert Island Disc" these days about so many albums, the phrase, I feel, has lost all meaning. I promise that I will try to use it respectfully in this and future writings, but, Nick Drake's Pink Moon needs to be on everyone's list.

What's really amazing is that the 11 tracks that come in just under 30 minutes, are more amazing than most of what's been produced in the last 10 years.

Pink Moon is from 1972, a decade when music was still music. You'll find nothing synthetic on this disc; only a musician and his guitar, my kind of music.

Music has mood. Music has emotion. Music has feeling. A guitar can convey so much without lyrics, and Drake managed to do that so well on this album. There's a certain sadness, sorrow in the notes he plays across the entire album, but it's not depressing. Just good.

Pink Moon, the title track, kicks off the album, and should be familiar to almost everyone as it has appeared in a number of commercials; Which Will has a very soothing, calming effect due to the beautiful intermingling of Drake's voice and his guitar; Know has a bluesy feel (as bluesy as you can get with one acoustic guitar) and contains only the lyrics "Know that I love you / Know I dont care / Know that I see you / Know Im not there;" and From the Morning feels as though it brings the emotion on the disc up a bit, an upbeat finish to this too-short work

In the end: This album belongs in the same pantheon of records as Zep's IV, The Beatles' Abbey Road, Dylan's Blonde on Blonde, and the Who's Who's Next. If you like music, good music, then you're missing out on something simple, pure, and beautiful.

On the Web: I'll dig up something from my archive later and post tonight.

Technorati Tagged: Nick Drake | Desert Island Discs

Guster: One Man Wrecking Machine (EP)

2006-06-14T11:00:00.000-04:00

Local boys Guster threw out a 5 track EP, One Man Wrecking Machine, in anticipation of their forthcoming album, Ganging Up On the Sun. Is it worth the 7 bucks? Totally.

It's got a three new tracks, and two bonus tracks. The bonus stuff is worth it for the demo version of their hit Two At a Time, which has lots of fun casio keyboard effects at the beginning. The other bonus track, Good Feeling, I'm not familiar with, but it's a beautiful piece performed live.

The new tunes are:
One Man Wrecking Machine is a simple pop-rock tune. It'll need to be radio edited for airplay, but it shows how the sound of Guster has matured over the years.
Days reminds me of a number of Beatles tunes, but I'm hardpressed to come up with a name. But it's my favourite of the new tracks.
Ruby Falls is a long tune, especially for these guys, weighing in at 7 minutes. The thing that catches your attention on this tune is the emotion that the guitar is loaded with in the chorus.

In the end: If you want a cheap way to test the Guster waters, this is the way to go. If you're a fan, you should own this. Really, this is a great sampler of a great Boston band. You won't be disappointed, and it'll only cost 7 bucks. That's less than a martini and most Boston bars.

On the web: Archive.org comes to the again with 219 (and climbing) Guster bootlegs

Technorati Tagged: Boston Music | Guster

Francine: Forty on a Fall Day

2006-06-13T12:41:00.000-04:00

Back in 2000, when I was just a wee intern at the Boston.com, I was working on the now defunct "mp3.boston.com" (don't try to go there). We tried to do what is, in theory, a wonderful idea, but in practice, was about 4 years too early. Bandwidth wasn't at the point where EVERYONE could download massive files quickly and home storage needs were just creeping into the triple digit gigabyte counts. But I digress.

A CD came across my desk, like so many others, of a local band, in this case, Francine. I gave every band a listen, even though I'd come to know that 98% of them just sucked. The harder a band tried, I noticed, the less impressive they were.

I popped the disc into my linux box at work, affectionately called oakgrove, and ripped it. What happened next gave me hope, a strong belief in local music:
Here were 16 tracks of a surf-rock nature, coming from a Boston band, and they were GOOD, with 5 out of the box, Top40-sounding-ish tunes that were fun. Needless to say, I listened to the album non-stop for a month.

My favourites include Set of Dune, which, I believe, actually has to do with someone's work on the set of the movie Dune; Trampoline, with an infectious, simple drum beat that just brings foot tapping to any party; Jet to Norway just opens with such a great guitar riff that you know you'll want to pull some air guitar; and Pop Warner, a story of taking a lady friend to a pop warner game, the song gets bonus points for lyrical reference to "Joan Jett's 82 version of 'Crimson and Clover'".

In the end: I felt this from the beginning, and continue to feel it now: This album has mass appeal. It doesn't sell out to the lowest common denominator, but even they would be hard pressed to find a track or two they don't like. Clayton Scoble's vocals compliment the feel of the music just right.

On the web: Grab this album, and their two others, at qdivision.com. Sorry, no bootlegs from them... yet.

Technorati Tagged: Boston Music | Francine

Anthony Stewart Head: Music for Elevators

2006-06-13T10:02:00.000-04:00

For those of us who got our geek/sci-fi/horror fix from the WB in the late 90s and early 00s, the name Anthony Stewart Head conjures images of Buffy the Vampire Slayer's Watcher exraoridnaire, Rupert Giles. And now you're thinking "Great, another actor who thinks he can sing."

The good news is, he can sing. The guy's got a great voice. The bad news is, however, this format is not the right venue for him.

Just shy of 70 minutes, Music, Head's vocals and George Sarah's synthetic compositions just don't blend quite right. It's really just a case of the parts being better than the whole.

Owning My Mistakes has some power to it, which gives you an idea of Head's range, but it gets lost in synthesizer hell; We Can Work It Out (a Beatles tune) is actually assembled fairly simple and haunting, but doesn't quite do the original justice; This Town in the Rain has a fun, jazzy beat which helps to make this one of the more enjoyable tunes on the disc; and Staring at the Sun (not a U2 cover) has a nice Moby-like quality which is also enjoyable.

In the End: This isn't something the average person is going to know about, or really, care about. If you're a fan, however, this is worth the purchase, strictly from a completist perspective.

On the Web: I dug up a bootleg from a few years back of Head performing at some convention:
Tony Head @ Motor City Banquet

Technorati Tagged: Anthony Stewart Head | Buffy the Vampire Slayer

The Fray: How to Save A Life

2006-06-12T15:04:00.000-04:00

Have you ever wondered what Coldplay would sound like with David Gray at the helm, all the while, bringing their sound up a few notches?

Wonder no more. I give you The Fray.

This band, from Colorado, and I believe currently based in Hell-A, blew through Boston a few months ago, and then again a few weeks ago at the WBOS Festival for the Earth. These guys put on a great, energy packed show, and are just starting to have their star rise.

That being said, let's look at the album:

Coming in at just over 45 minutes, "How to Save a Life" is a series of 12-piano driven indie-rock tunes with some punch, some heart, and a lot of enjoyment. It may not blow you away, but it will certainly impress. And, like I said, if you enjoy Coldplay or David Gray, this album's a no brainer.

She Is kicks the album off with a lot of gusto, energy, and the requiste piano-rocking. Following that is the big radio hit, Over My Head, and it sufficiently straddles pop-radio usefulness and musical integrity, which so few pop-radio tunes have. Heaven Forbid sounds frighteningly like a Coldplay tune, while something in the guitar for this song eerily reminds me of that Glen Frey tune, You belong to the City. The piano and vocals on Look After You are sweet and caring, and tug at my heart strings just a bit.

In the end: If Coldplay had matured it's sound, that name would be The Fray. Thankfully, they didn't, so we can enjoy these guys just a little bit more. Grab it off of Amazon or just go see these guys and get it signed, too.

On the web: I discovered a recording from the WBOS Earthfest back in late may, so I've converted it to MP3 and offer it to you:
The Fray: 2006-05-27 - MDC Hatch Shell, Boston, MA

Technorati Tagged: The Fray | Coldplay | Piano Rock

Fiona Apple: Extraordinary Machine

2006-06-12T11:49:00.000-04:00

I had caught, on some interwebs radio station, the title track to Fiona Apple's latest, and really enjoyed the jazzy-lounge feel of the music. It evoked a feeling of Nellie McKay, and we all know how I feel about her. So I grabbed the disc, and have been very slowly digesting it for a few months now.

And my review is in: This is a great album.

The whole album, even on the fluffier-sounding tracks, has a very dark musical theme following Apple's sometimes angry, sometimes depressing lyrics. With her smokey, emotive vocals, the disc just comes together nicely.

Key tracks include the title track, Extraordinary Machine, the hip-hop-esque Tymps, Parting Gifts, which is very simple, just her and a piano, and it's absolutely beautiful, and the album closer, Waltz, a waltzy tune that just seems to bring an optimistic close to an album with such dark undercurrents.

In the End: Fiona Apple really seems to play with her instruments, either by adding more, or limiting herself to just the piano, and knows how to put them together magnificently. Being familiar with only her big radio hits, this was a pleasant, welcome, and enlightening find. If her other stuff is half as good as this disc, I may have to go drop a few bucks at Newbury Comics.

Technorati Tagged: Fiona Apple | Piano Rock

DangerDoom: Occult Hymn

2006-06-09T10:19:00.000-04:00

At this point, anything that has "DJ Dangermouse" and "MF Doom" listed as participants is gold, 24kt gold. Just assume that, and you can't go wrong. I promise. This small collection of remixes, skits, and new tunes only adds to why these two guys rock.

The EP, really, in all its glory, pulls off two skits, 3 remixes, and 2 new songs.

The Skits: The opener features Master Shake just talking/singing over a beat. If you know ATHF, you know how much fun this guy can be. The second skit plays out like a short 40s/50s radio episode, chronicling the actions of the White Shadow trying to get DangerDoom to be a member of his crime cartel. It's a nice distraction, but would work better on a longer album.

The New Tunes: Perfect Hair II is a sequel, of sorts, to, you guessed it, Perfect Hair off of "The Mouse and the Mask." It's a mix of beats, rhymes, and spoken word, and is, perhaps, my least favourite of the tracks. Meanwhile, Korn Dogz is at the top of my list for tunes on the album. For all PH2 does wrong, KD does right. It feels like less of a throw away from the album and more that they just couldn't quite fit it, for time needs.

The Remixes: The mixes presented on this EP for the tunes release on "The Mouse and the Mask," El Chupa Nibre, Sofa King, and Space Ho's, definitely wouldn't have fit on the album, but are fun. They all have a certain ... 70's game show sound/feel. I know that's a real odd way to describe them, but, none the less, that's exactly how I would describe them.

In the End: This is a great album, but, really, only for those of you who are already fans of "Mask." If you've not heard that disc, this may feel a little disjointed and unimpressive.

On the Web: Download the album for free and LEGALLY from Cartoon Network: Occult Hymn.

Technorati Tagged: MF Doom | Dangermouse | Cartoon Network

Glen Phillips: Mr. Lemons

2006-06-08T13:03:00.000-04:00

Glen Phillips, of Winter Pays for Summer fame, has returned to us with collection of 11 new songs, and all I have to say is: Thank the Gods.

Phillips, as you may recall was part of the The Weekly Review Traveling Road Show, which I happened to catch last fall. His brand of acousti-rock mixed with his vocal stylings help to bring Mr. Lemons from "just another release" to "great new album."

All that being said, the album does slow down a bit from his last one, but in this case, it is not a bad thing. Especially when Phillips gets to I Want a New Drug. Yes. *THAT* song. Glen's cover of the Huey Lewis and the News tune is inventive, enjoyable, and imaginative, giving an old tune new life.

Outside of sweet 80s pop-music covers, Glen's own Everything But You" leads off the album on the right foot, with an up-tempo, head-boppin' feel. The song really hooks you, and after it, you're more willing to take the musical ride Phillips creates for you.

Last Sunset is a wonderful tune with fellow Road Shower, Kim Richey, preaching the virtues of slowing down as this may be "our last sunset." You can't disagree with them, doubly so with the instrumental and lyrical simplicity they use to convey the message.

Also worth a listen, Waiting, The Next Day.

In the end: This is the guy's third album away from Toad the Wet Sprocket, and it really feels like he's just getting warmed up. If that's the case, he's got brighter horizons ahead of him. Pick this up, enjoy, and be happy in the knowledge you're supporting GOOD music.

On the Web: Live, legal bootlegs of Glen Phillips

Technorati Tagged: Glen Phillips | Toad the Wet Sprocket | archive.org

Regina Spektor: Begin to Hope

2006-06-01T15:22:00.000-04:00

As seems to be the pattern these days, I picked up on this disc thanks to the almight power of the interwebs. One of the many music blogs I subscribe to had a few tracks by Ms. Spektor, and something about the tune "Us" caught my ear and my interest.

The lovely Regina has a sweet, slightly raspy voice that works with the electronic, rock, and softer piano that all accompany her on the album. At points, she almost channels aspects of Bjork, which, in this case, is *NOT* bad.

Fidelity, On the Radio, That Time, and Summer in the City are must-listen-to tracks off of Begin to Hope.

In the end: Any artist who has come out of no where to become a daily listen for me has got to have some skill, if I do say so myself. I've not picked up any other albums yet, but if this is any indication, I'll happily plunk more money down for her stuff.

On the Web: A few tracks are still available for download off of Good Weather for an Airstrike, including On the Radio, Summer in the City, and a great remix of Us.

Technorati Tagged: Regina Spektor | Piano Rock

The Streets: The Hardest Way to Make a Living

2006-05-10T21:47:00.000-04:00

On this, The Streets third album, Mike Skinner gives us a blend between the sophomore genius of A Grand Don't Come For Free and the frosh Original Pirate Music: A very loose story line and yet a varied musical sound.

The british rapper/hip-hopper sound is strangely enjoyable. Skinner's lyrics are simple, yet emotive while the music and beats he's laid underneath it perfectly accentuates the thoughts and feelings he's trying to convey.

The album comes out of the gate sluggish with the good-but-not-great Pranging Out, but it turns around quickly on the fun and witty War of the Sexes, where you learn that "cigarette lighters were invented before matches" is a great piece of small talk with a woman.

Skinner's life view on Momento Mori (Latin: "Remember that you are mortal.") gives us something to tap to while taking us through a quick trip of his materialistic mind.

While When You Wasn't Famous is the first single off the album (and is worth it), the best lyric on the album comes from the melancholy sounding Never Went to Church, about Skinner's dad, with:
"Two great European narcotics:
Alchol and Christianity.
I know which one I prefer."

Admit it: that's a great lyric.

In the end: This latest offering from the Streets definitely is lyrically strong and musically well-built, but the disc lacks the cohesive feeling of A Grand Don't Come For Free, which was the perfect vehicle for Skinner's spoken sing/rap. Pick up Grand first, then you'll enjoy this album.

Technorati Tagged: The Streets | Mike Skinner | Brit-Hop

Gnarls Barkley: St. Elsewhere

2006-05-03T13:23:00.000-04:00

I'm proclaiming now: this will be the sleeper hit of pop music's summer.

Hip-hop artist Cee Lo and producer/dj extraordinaire DJ Dangermouse come together to create a solid album that runs between the hip-hop and R&B lines, complete with head boppin' beats, a Top40-friendly track or two, and a solid theme running behind the album.

Aside: For those that don't know, Dangermouse (not to be confused with the 80s british cartoon hero) is one of the brilliant artists behind the DangerDoom album (with MF Doom), The Mouse and the Mask and the genius who gave us the unnofficial release, The Grey Album. With the work he's put out, he's sure to be a rap/hip-hop super producer in the not to distant future.

The big radio play tune, Crazy, is the one of the best head boppin' tunes, will rule the summer radio, and shows the keen ability of music to cross genre gaps. The Boogie Man is a haunting tune who's lyrics that remind me so very much of the Sesame Street book "The Monster at the End of this Book," but not silly. Feng Shui has a certain 90s early hip-hop/rap sound to it that goes down smooth and just does such a great job of unconciously making you move to the music.

In the end: Look. I already said. This will own the summer radio waves and prove Dangemouse to be a key player in rap/hip-hop/R&B circles. The albums got solid beats, some amazing lyrics, and a genius organization. Listen to Crazy and Feng Shui. You'll be all over this album in no time.

Technorati Tagged: Gnarls Barkley | Dangermouse | Cee Lo | Hip-Hop

Jewel: Goodbye Alice In Wonderland

2006-05-01T14:34:00.000-04:00

After seeing the video for the first track, Again and Again, I was quite happy. It was good to know that her experimentation with sugar pop from 0304 was just a fad. She's back to her folk-ish, acoustic-guitar driven adult pop. It's not the most inventive, not the most exciting, but she does a good job at what she does best.

With 13 tracks coming in just under 55 minutes, Jewel reminds us what she's good at, and that her soft rock talents have been missed.

Alice in Wonderland has a feeling, a strong "summer" feeling. If albums have seasons, this one belongs in the early summer just as spring turns warmer. It conveys that airy feeling you get, sitting on a porch, afternoon sun streaming in, light breeze across your face. It's no Zep IV, but it's good.

Arguably, the worst tracks on the disc are Again and Again and the title track Goodby Alice in Wonderland.

On the other side, there's the good stuff: Long Slow Slide reminds me, a bit, of a track off of Van Morrison's seminal work, Astral Weeks; Good Day bounces between singing and narration, with a soft beat in the back. It's a bit cutesy, but it really works; something about Last Dance Rodeo sticks with me. It's not the greatest tune, but the lyrics stick with me, especially the use of the "You're no longer human // you're an insatiable hole" lyric.

In the end: This is a great summer album, as I mentioned and it continues in Jewel's tradition of creating soft, somewhat soulful music. It plays nicely in the background, and does not offend the musical sense when it's brought to the forefront.

Tehnorati Tagged: Jewel Kilcher | Summer Albums | Folk Rock

The Bouncing Souls: The Gold Record

2006-04-28T14:03:00.000-04:00

Let's start out with some honesty:
I don't know anything about the Bouncing Souls. I've never listened to them before. I've never wanted to.

As a favour, I yoinked the album for a friend and sent it off to him. On a whim (and some insistence from him), I gave it a listen. Turns out, I maybe should listen to them a bit more.

The album keeps a solid speed, going for that 90s punk sound, but a little cleaned up. Which, yes, I realize that "punk" and "clean" should *NOT* be in the same sentence, but it's the best description I've got. It's 12 tracks that roll in just shy of 45 minutes, which I'm told is nearly TWICE as long (time wise) as a normal Souls album. Despite borrowing from the rock and punk sounds, the album has a very mature feel to it.

Letter From Iraq gives you a good idea of the groups views while being a solid tune; Lean on Sheena does a great job of covering an Avoid One Thing tune; For All the Unheard just has such great musical construction and good lyrics (not to mention sounding a bit Tom Petty-ish); and the lead off song The Gold Song is just good old guitar rockin' goodness.

In the End: This is a great surprise. I've been through the album 6 or 7 times now and adore it. It's got a great blend of simple, guitar heavy rock and thoughtful and/or fun lyrics. If this is your first jump into the Souls music, I think you'll be happy. If you already know them, you'll be in love with this album.

Technorati Tagged: The Bouncing Souls | Punk Rock

Arctic Monkeys: Whatever People Say I Am, That's What I'm Not

2006-04-19T09:35:00.000-04:00

There's something enjoyable and rocking about this, the first release, from the Artic Monkeys. It moves, it kicks some butt, forgets to take names, and at points, is reminiscent of some earlier British punk.

All that being said, this is not the second coming of the Beatles's "Revolver" as many reviewers have claimed. Everyone needs to do artist comparisons to get the point across. Well, I'm going to try not to do that.

Like so much I listen to (and at points drawing from punk-ish sounds), this is a very guitar-driven album. There's no synthetic sounds here (well, none I can detect), which is always nice to hear in the over-processed, uber-electronic world. The use of "stereo" makes me smile as it brings me back to older albums. The chaps bring out a solid selection of 13 tunes that Rock, Roll, Pump, and Kick Ass musically.

Highlights on the disc include I Bet You Look Good on the Dance Floor, Dancing Shoes, and Perhaps Vampires is a Bit Strong....

In the end: Don't believe the hype, but, at the same time, this disc is good. There's not much new or inventive you can do, so how well you do it is the key. And the Arctic Monkeys do this album excellently.

On the Web: Download a *great* demo, Cigarette Smoke off of BadmintonStamps.

Technorati Tagged: Arctic Monkeys | Rock

Editors: The Back Room

2006-04-17T12:20:00.000-04:00

We here in the States are, too often, behind the times when it comes to music. KT Tunstall's album "Eye to the Telescope" was out a year before it released here, and now we have the Editors with "The Back Room," available in the UK since last July, it dropped in March here.

This four-pack of British musicians offers up, on "The Back Room," 11 tunes that almost make me think where Coldplay could have evolved to if they hadn't been so busy doing the exact same sound for 6 years. Actually, the more I listen to it, everything about the Editors is a more mature sounding Coldplay.

The album is heavily guitar-driven, layered on top of simple but effective drumb beats, coupled with some mild synthetic sounds, nothing too obnoxious. Lyrically, it is not complexly built; this is not the lyrical equivalent of Blonde on fucking Blonde. That being said, these chaps do manage to put out a powerful lyric or three throughout the album, including such gems as "Look at us through the lens of a camera, does it remove all of our pain?" from Camera and "Oh, if fortune favours the brave I am as poor as they come," from Lights.

Including those two tracks, I highly enjoy All Sparks, Open Your Arms, and Munich.

In the end: Anyone who's remotely thought Coldplay was good can easily grab on to this album, but don't let the comparison turn you off. These guys are unbelievably good, and definitely worth a checking out.

On the Web: See photos from their show at the Paradise Rock Club (July 30, 2006).

Technorati Tagged: Editors | Brit Rock | Coldplay

Stereolab: Fab Four Suture

2006-04-04T13:33:00.000-04:00

There's a scene in High Fidelity where John Cusack is talking to some cut music reporter in Championship vinyl and in the background you can here Stereolab's Lo Boob Oscillator playing. This was my introduction to this wildly experimental brit band.

After this sampling, I went and splurged on 3 or 4 of the bands albums, all of which were fun and enjoyable. This latest album maintains that sound, but, really, does nothing new or interesting, which is depressing when you have a band who does so much experimentation.

It's even hard to pull out tracks that are memorable or enjoyable. The whole album flows like a ... well, like space aged bachelor pad lounge music ... that just keeps going. It's almost like a dj's dance set, where each tune is skillfully faded/mixed into the next.

In the end: Anyone who likes Stereolab will adore this album hands down; anyone curious about where they were going to take their sound... well, let's just say nothing's changed. If you're looking for good background music, this album will do the job for you.

Technorati Tagged: Stereolab | Electronica | Background Music

Jack Johnson: Sing-A-Longs & Lullabies for the Film Curious George

2006-03-24T14:02:00.000-05:00

What makes an album a success? Does it need to wow you? Does it just need not to suck? That's the question I'm wrasslin' with as I try and decide how I feel about this soundtrack album from Mr. Johnson.

On the plus side, it's up to Jack's usual standards, which is enjoyable and quality. On the minus side, I don't get anything new or exciting from him. It feels like he's doing the same content for the 4th, 5th album. I think I'm getting exhausted by Jack Johnson the artist.

All that being said, this is a good collection of foot tappers, quiet guitar tunes, and some childrens' songs. If I had seen the movie, I think I would have said this compliments the content well.

The first single off the album, Upside Down, is the nearly prototypical Jack Johnson, with just a jungle beat in the back to tie into Curious George. We Are Going to Be Friends is a White Stripes cover, and I think Johnson did a good job. The Three R's feels like a forced environmentalist song, but you can't deny the solid beat.

Guest Stars G. Love, Matt Costa, and Ben Harper all share a similar sound to Johnson's, so they fit in well on the album, with the G.Love tune Jungle Gym being the best of the three duets.

In the end: It is a good soundtrack album, and it is a good Jack Johnson album. If you're not tired of the sound Johnson has been pumping out for the last few years, this is a must have, doubly so if you've got youngin's.

Beth Orton: Comfort of Strangers

2006-03-23T09:53:00.000-05:00

My first expedition into the world of Beth Orton has been a very positive one.

"Comfort of Strangers" was suggested to me by Sean, and on that alone, I dropped the 12 bucks for the disc. I can't say I've been disappointed with it.

Orton keeps a nice pace throughout her songs, usually using a 3-piece set of bass, drums, and acoustic guitar. The simplicity of song construction and the wonderful sound of her voice (at points, channeling some Fiona Apple and Abra Moore, or, perhaps, it's actually vice versa) have created a set of 14 tracks that truly are pleasing. The sound is mostly soft-rock, with influences of country and folk.

Worms, the kick-off track, has a nice beat, clear lyrics, and makes for wonderful foot tapping, even if it is called worms. Rectify, reminds me of a number of Marc Cohn songs, and, as such, places it high on my list of favourites. Conceived brings a sound that is draws from a number of those soft, female-lead singer/songwriter tunes of the 70s; it's beautiful.

In the end: Anyone with half an ear for music should enjoy this album. Orton keeps the singer/songwriter sound alive with simplicity rather than doing what most musicians rely upon these days, the grand studio equipment and synthesizer.

The Magic Numbers: The Magic Numbers

2006-03-22T13:45:00.000-05:00

The Magic Numbers seem to be an anomaly to me:
I find their sound unoriginal and the instrumentation is nothing to write home about, yet... I can't help but enjoy the album. I think the group put together a cohesive piece of music that gets you tapping your foot at points and the lead singer has a voice that you can't help but think he's feeling happy, or at least smiling hard while he's singing.

And maybe, at this point, that's where music is at: It's no longer original. It can't be. How you present your derivative and unoriginal content is what can make you seem as original as possible while not actually being it.

Mornings Eleven does a nice breakdown in the middle, shifting the pace way down and bringing it back up; Love Me Like You harkens back to a sound I can't place and yet I feel certain it came out many times in the 70s from softer rock bands; and Wheels on Fire is so painfully slow, yet quite beautiful and the harmony on the chorus sticks in your ear.

In the end: The whole album maintains a sound that I strongly feel is reminiscent of early 70s soft rock. The flow within the album is great, but don't take any track other than "Mornings Eleven" out of context or it may not work properly.

Technorati Tagged: The Magic Numbers | Indie Music

Jenny Lewis & the Watson Twins: Rabbit Fur Coat

2006-03-22T13:00:00.000-05:00

Jenny Lewis is the frontwoman of those indie rockers, Rilo Kiley. The Watson Twins are, as you may have guessed, twin, formerly of Slydell. Together, this trio manage to craft some amazing lyrics and sonics.

The direction of this album from Lewis's previous works in Rilo Kiley is both stunning and amazing. The sound blends a bluegrassy sound from what I imagine would be the Appalachian region and a classic country sound (think Patsy Cline). Some tunes venture closer to the soft-rock realm, but not too much.

Most tunes are Lewis originals, but the cover of the Traveling Wilburys' tune "Handle With Care," featuring Conor Oberst of Bright Eyes and Ben Gibbard of Death Cab For Cutie, is handled well, and honours the original.

The Big Guns, Rise Up With Fists, Rabbit Fur Coat, and Handle With Care all tickle the senses just right and show the range and strength of this solo release.

In the End: I have a feeling Rilo Kiley fans may not ALL jump on this, which is a shame, but the album has strong appeal. The sound is different and the Watson Twins harmonize well, adding great depth. The mainstream appeal is not really there, but that's ok. This disc should end up on everyone's "Must Listen" lists of 2006.

Michelle Lewis: This Time Around

2006-03-20T16:00:00.000-05:00

Maybe I'm a sucker for a beautiful face; maybe I'm a sucker for a woman and an acoustic guitar; or maybe I just like music. Any which way, I really dig on this album.

Growing up, my mother (and by extension, me) listened to many guitar samplers from Windham Hills and Narada, so I truly appreciate the simplicity and complexity present when an artist uses only two instruments: their voice and their guitar.

Lewis and her sometimes-present band craft some beautiful tunes, most notable, in my mind, is Never Cried For You, where she's joined by a simple drum kit, stand up bass, and a horn, most likely a muted trumpet. It's got such an infectious beat, and voice just finish the grab for your ears.

She "pops out" ever so slightly on "Searching for Something," the tune that would come closest to a radio hit, but also is the least impressive on the disc. Interesting how that manages to be the way with good musicians.

Great tracks include Caroline, San Francisco Bay, and Had You Once.

In the end: For the folk/acoustic rock people, this is a no-brainer, and you should follow links off of http://www.myspace.com/michellelewis immediately. If you can enjoy music that is simple and complex at the same time, give this a go. If you have no musical taste at all, why are you reading this?

Teddy Geiger: Underage Thinking

2006-03-20T15:39:00.000-05:00

Who's Teddy Geiger?

He's a bright eyed 17 year old musician who got himself a role on the "dramedy" Love Monkey, which was then cancelled by CBS. The show was amazing, and so was Teddy, who played "Wayne," a young musician just making it big. Funny how life imitates art, yes?

Well, Master Geiger is now set to debut his first label release, "Underage Thinking," tomorrow. And here's what you need to know:

Take 2 parts John Mayer, 1 part Gavin Degraw, and 1 part "flavour of the week" and you've just about got Teddy Geiger. Solid lyrics, for a seventeen year old, good musical sense and talent, infectiously catching pop tunes. Geiger sticks to two instruments to drive his music: the guitar and the piano.

Any one with half a Top 40 radar will immediately recognize the tunes with IMMENSE radio play attractivity:
For You I Will (Confidence), Love is a Marathon, Air Dry, and These Walls, in that order. For the more acoustic set, Try Too Hard is the perfect match.

In the End: Between Geiger's painfully deep blue eyes, sometimes-saccharine sweet lyrics, and relatively young age, teenage girls will be begging parents for this album. If you can get past the obvious teenie bopper appeal, you can see a talent on the rise, one who may have a more mature, more intelligent album 2nd or 3rd release out. Those are the discs I look forward to. But this is a good start.

The Subways: Young For Eternity

2006-03-15T14:14:00.000-05:00

This British trio does two things right:
1) They make solid, guitar-driven rock
2) They don't try to hide their Britishness at all.

There's some punk(old and new) rock, the typical "indie" sound, and even a hint of what I feel is Smashing Pumpkins.

I think I need to get past using the term "rock" to describe music, as it's the default description, just like "uhm" is the default pause word. Let's see if I can finish this without using "rock."

Billy Lunn's got the voice that would almost have fit in during the Punk revolution, except it's almost too melodic, to honed. The backing vocalist, Charlotte Cooper, reminds me of a british Yeah Yeah Yeah's singer.

I Want To Hear What You've Got To Say starts out almost Death Cab For Cutie-ish, with simplistic vocals and an acoustic guitar, then kicks it into higher gear.

Rock and Roll Queen (I can use rock if it's the song title) kicks it right from the gate, with the drummer doing the best week keeping a clean, simple beat behind the guitar's antics.

No Goodbyes cools things off a bit, later in the album, but not in a bad way. Even if you're album is only 40 minutes and 13 tracks, singing hard as Lunn does can take it's toll. And this song allows him to rest, to harmonize nicely with Cooper, and show a bit more range of the band.

In the End: Fans of fast, short, dirty rock, a la punk, will enjoy this immensely. The album paces nicely, taking you on a musical ebb and flow. The near-screaming at points may turn off a few, but if you can stomache Bristish sing-screaming, you'll love this. And, really, who doesn't love to hear some singer belt out "holiday" in that way only a Brit can?

Casey Desmond: Casey Desmond

2006-03-15T13:10:00.000-05:00

Casey, a 19 year old singer/songerwriter out of Boston, has a some solid pop/rock chops.

Soulful lyrics, spiritied instrumentation, and a beautiful voice. The self-titled disc is a collection of 13 tracks that showcase hher wide range of skills. Sadly, that showcasing also seems to sacrifice a small amount of cohesion as she bounces genre to genre: there's rock, pop-rock, folk, and country. This is a case of the parts being better than the whole.

Not to say it's bad, because it's not, but one oof the things I look for in an album is a sense of cohesion, a reason these X tracks fit together. It's my one complaint with The Police's "Synchronicity" - Mother does not fit in with the rest of the album, and it's always ruined my listening experience.

Looking at the pieces of this album, I come close to saying "all of them," but let's single out the following:
Did We Make It, a Top40 pop ditty that taps foot and has solid hook; Two Girls, another solid tune with a very country beat; The Child, while being a bit electric, has the kinds of lyrics that make this song lean towards a folk sound; and Sorry Ain't Enough, has two things going for it: 1) A truly top40 pop tune that will get all the 16 year old girls happy with glee over the lyrics, and 2) it has a heavier rock beat.

In the end: While as a whole, I find the album jumpy, the content of the album is pretty damn good. Once she decides which direction to take an album, I have a strong feeling she'll be a force to reckon with.

On the Web: You can buy the album off of cdbaby.com or her myspace page (http://myspace.com/casedesmond). There are also a few songs for streaming there, in case you want to try it out.

Technorati Tagged: Boston Music | Casey Desmond

Nellie McKay: Pretty Little Head

2006-03-14T15:57:00.000-05:00

Nellie McKay's sophmore effort has yet to actually be released.

Well, then, how am I even reviewing it? The power of the interwebs.

After reading up on the album in Wired, I was able to get my hands on a copy of the disc. And, feeling guilty, I'll probably buy two copies if/when it actually gets released.

"Pretty Little Head" balances with her previous effort, "Get Away From Me," nicely. I feel, lyrically, the first album was stronger, but the musical ranges on this disc show growth and a better understanding of how to deliver her music, including a guest appearance by Ms. She-Bop herself, Cyndi Lauper. The assist by Lauper doesn't feel forced, but almost like a natural pairing with the piano songstress.

The lounge-y feel that McKay brings remains strong, but she also embraces some more pop, rock, and jazz sounds to make a most enjoyable collection of 23 tracks. Yes, 23.

Which was the problem she had with the label. They wanted to cut it to 16 tracks, she said no, was vocal about it, and they dropped her, just two weeks prior to the record's planned release. Review copies had been distributed, so the McKay fan base has been able to check it out.

In the end: If you liked her first, you'll adore this. If you haven't heard McKay's work before, this may almost be a better entry point. When the album DOES release, please support her and pick this up. Her music and talent should not go to waste.

Scamper: Leave Your Glasses On

2006-03-14T15:40:00.000-05:00

Scamper, a Boston-based band, is good stuff. Always a good way to start.

Their live show is well thought out, with fun, synchronized jumps, witty banter, and good stage presence.

The album, "Leave Your Glasses On," has a sound to it, that when you're done, you can't help but wonder "Why didn't these guys get signed?"

Picking up on that 90s sound somewhere between new surf rock and the Weezer sound, but better, these guys put together a thoroughly rocking and enjoyable, listenable, foot-tapable set of 10 tunes. Just know, the guys aren't breaking any musical barriers or changing the face of the world, only making good, guitar driven music.

Sophie, Wait Wait, What a Shame, and Needless to Say are all highlights of the album.

In the end: These guys are further proof that small, local bands need our help. They have a great sound that would fit all over the radio dial excellently, and can even appeal to my mother, who has a hard time listening to anything new. It's good, clean fun. Check these guys out.

On the Web: Scamper.net is their interwebs home, with pictures, reviews, and their own podcast. And this isn't just some dumb marketing tool. The Scamper Podcast runs about 30 minutes and features some of the best band promotion while you don't even realize.

Leona Naess: I Tried To Rock You But You Only Roll

2006-02-27T15:02:00.000-05:00

I'm a little late, I know, but this may be one of the best albums of 2002. Yes. 2002.

I came to this album through a friend's myspace page, and I've been addicted since.

Leona has a voice that is both feminine and powerful; she's got a great range and the production on the album is not overdone. Her voice is like the perfect cheesecake: sweet, addictive, and absolutely beautiful. Or so I think.

From the first song, "Mexico," to the last song, "Promise to Try," she really keeps the quality very high, which is surprising for any album that really would be considered pop in this day and age.

My personal favourite is "Mayor of Your Town," which has a certain lovey kind of feel to it, but moves with a solid beat.

In the end: A good mix of pop/rock sensibilities, solid lyrics, and an amazing voice mean one thing: Check this album out. It's worth the 50 minute run time.

The Corrs: Home

2006-02-17T08:23:00.000-05:00

I love this family band. Three sisters and a brother form and Irish pop/rock band. How can that go wrong I say?

Well, their album In Blue showed how it could go wrong: It was too overly electronic. When you have four amazingly talented musicians/singers, you don't do what U2 did (and some fans feel they should have done), which is to go so overly produced, A la Pop.

This album feels more them. Very Irish. As well it should, though, since their goal of this album was to take some modern and some classic Celtic tunes and put their beautiful spin on them. While this can make it feel folky, it doesn't make it any less great.

And, let's take a moment to appreciate this band, because, really, we all should. We've got four siblings, all musically gifted, and all very attractive, even the brother. You have to admit, those Irish genes are really working overtime in this family.

Home moves at a much slower pace than a lot of what I've been listening to lately, which made it hard for me to get through it at first, but between the strong Celtic feeling and the orchestral feeling created by the band, I was drawn in.

In the end: We're not going to see a lot of mainstream radio play on this album, which is always sad, but America doesn't like too much folk-ish music on it's radios, especially ethnic folk. But if you can appreciate celtic music, or even just the sound of a violin and a drum working together, you can enjoy this album.

Yeah Yeah Yeahs: Fever to Tell

2006-02-17T08:06:00.000-05:00

It's loud. Really loud at points. I think that's a solid way to start.

We're not breaking any musical barriers with this album, but there's still something endearing about this collection of 11 tracks. Lyrically simple, musically simple, yet it still feels sonicly rich.

For the most part of the album, you're dealing with intense guitar-driven rock with a lead singer who can scream and sing equally well. The two tunes that bring it down a level ("Maps") or three ("Modern Romance")feel quite beautiful after you've pushed through such loud tunes as "Rich," "Man," and "Black Tongue."

Aside: At one point towards the end of "Maps," you can hear a riff being played out on guitar, and I swear this is the same riff played in Kelly Clarkson's "Since U Been Gone." If it is, someone's a thief, a fan of the Yeah Yeah Yeahs, or both.

In the End: Alternative guitar-driven rock. That's my 4 word synopsis. It's the alternative part that's going to push some people away, and it's probably for the best, as some squares would call this "noise." I think the Yeah Yeah Yeahs have found a good balance of sonic and musical talent that can keep them going for a while.

Trisha O'Keefe: All the Honest Liars

2006-02-14T15:04:00.000-05:00

Sitting on myspace, as I do, one tends to get slammed with friend requests from every damn person in the 'Verse. Including musicians. Now, I'm a sucker for a beautiful face, but that's not reason enough for me to put them on any friends list. I consider that endorsing someone or something and I have enough integrity that I at least ask that you be a good musician.

Trisha, here, was both (myspace.com/trishaokeefe). This gal has a great set of pipes, with some serious power and yet a sound that could easily send her to the top of any pop/rock chart, without being candy coated. Or, she could be an equally guilty pleasure, not unlike our Kelly Clarkson.

Anyway, the disc, "All the Honest Liars," is a small collection, only 9 tracks and weighing it at just under 38 minutes. And I feel that those two things are the worst part of the album: there's just not enough.

The album has a solid rock feel, with lots of electric and distorted and plenty of rock chick vocalization. The musical content ranges from up tempo rock love-ish tunes (a la "Easy to Fall"), break up tunes (a la "Dear John"), and even broken heart tunes (a la the very simplistically produced "Wait a Minute).

Not having seen her live yet, I don't know if her look matches with the rock sound she strives for, but listening to it, I feel like she should be accompanied by just an acoustic guitar more often than she is.

The album is well produced, well organized, and this (21 year old) gal has a solid range.

In the end: I think most people would be able to listen to AND enjoy this album. I think she's got a great set of pipes and a great look and could be chart gold, if she were handled right. All we are saying, is give Trish a chance.

Technorati Tagged: Trisha O'Keefe | Small Artists | 2003 | Rock

Clap Your Hands Say Yeah: Clap Your Hands Say Yeah

2006-02-14T12:56:00.000-05:00

Based on a random IM from Marc, I went out an purchased this album. Not the best way to start off a love affair, I know, but it's gotta begin somehow.

The first track, "Clap Your Hands!," put me off. I was a little afraid this was gonna be something very... goofy. But it went up hill from there, I swear.

This is one of those diamonds in the rough: The band has obvious talent and a definite chance at a future, but they need to pick some sort of direction. The albums a bit disconnected.

On the album some tracks of note are:
- Let the Cool Goddess Rust Away
- Over and Over Again
- In This Home on Ice (which, i'm sorry, the chorus sounds more than vaguely like a Who song which involves the words "Kids" and "Alright."
- Upon This Tidal Wave of Young Blood
This last one is very eery, if interesting. It seems to be an anti-war song, with the lead singer chanting "Young Blood" over and over again. Later on he chants "Child Stars" over again. Well, singing-chant. It's a really wild tune. And it ends VERY abruptly.

In the end: This will totally be out too far for some people, which is a shame, as it's a really great look and a band at it's beginning with lots of promise. Those who like to experience new stuff, snap this up quick.

Spoon: Gimme Fiction

2006-02-09T12:55:00.000-05:00

I wish I had listened to this last year so I could have put it on my Top5 of '05. Sadly, I missed out on a great album.

After hearing a number of soundtracks with Spoon on them, I decided to give this album that Marc had been talking about a chance.

The tunes vary in speed, styles, and sound, but they all feel connected, which is always nice on an album.

"The Beast and Dragon, Adored," opens things up solidly, if very simple. Basic drum beat, piano, and guitar, and it just moves nicely. "The Two Sides of Monsieur Valentine" has all the sounds of a great alt-rock radio hit.

The more I listen to this album, the more I feel it's not about being complicated, musically, but being quite simple in the instrumentation to create a lush sound.

The Beast and Dragon, Adored, I Turn My Camera On, Sister Jack, and The Infinite Pet all get higyh replays on the ol' iPod.

As for the Bonus Disc that comes with it, there are just four tracks:
- Carry Out Kids
- You Was It
- I Summon You (Demo)
- Sister Jack (Piano Demo)

And they offer a nice, if short, accompaniment to the 11 tracks of the regular release.

In the End: This may be a little out there, but not so far out there as to be inaccessible by the masses. Give some of the songs I picked out a shot, I think you, the loyal masses, will enjoy it.

Technorati Tagged: Spoon | Indie

Spoon: Sister Jack (CD Single)

2006-02-08T13:09:00.000-05:00

This is a brief one as it's a 3-track disc.

The title song is one of my favourites off of the "Gimme Fiction" album (which will be reviewed in these parts later this week). It's got a simple rock progression, and anyone who loves good rock and roll, will like the tune, 'Nuff Said.

Also on here are a remix of another true favourite off of the album, "I Turn My Camera On." While I feel the remix isn't the best of remixes, it's listenable and still maintains enough of the original for me to bop my head happily.

Finally, the last track is "Sunday Morning, Wednesday Night" which is nothing more than an acoustic guiatr up front, with an electric guitar in the background (with some echo, of course), and then the vocals in the middle. It's simple, but different.

In the End: Let's face it, if you bought the single, you like the band, the album, or the song. I don't need to convince you. If you were going to buy a single as a way to get into the disc, though, I would suggest either "The Beast and Dragon, Adored" or "I Turn My Camera On."

Sia: Colour the Small Ones

2006-02-08T12:54:00.000-05:00

Except for that whole "taxation without representation" of yester-century, I really feel the British can do no wrong. And when it comes to music, I feel this doubly so.

Sia, the breathy sometimes-vocalist for Zero 7, dropped her first US release with this album, and despite my initial misgivings, I find that it is actually a really great collection.

Sia, for many TV fans, became famous with the inclusion of her song "Breathe Me" in the series finale of Six Feet Under, which left many, including myself, with very moist eyes. It is both beautiful and haunting, and truly conveys a deep emotion.

But one hit does not an album make.

Also on the album, "Sunday," is a very enjoyable tune, with her vocals drawing the listener in and something in it that just evokes a feelings of later Beatles tunes. I just can't quite place it ....

Another great tune, "The Bully," find Sia switching from breathy to sweet sounding which allows us to get a feeling of her range.

The album contains some limited audio experimentation, including two rather dull remixes on the hit the label is hanging the album on, "Breathe Me."

In the End: If you're buying or trying this because you loved "Breathe Me" on Six Feet Under and just want the remixes, save your money. If you're going after this to see what this gal's range is, then it is money well spent. For anyone else, check out "Breathe Me." If you like it, you'll like the album. I say it's worth a listen.

Technorati Tagged: Sia | Zero 7 | 2006

Abra Moore: Strangest Places

2006-02-08T12:40:00.000-05:00

As a younger man, I had high hopes for Abra Moore. I liked her voice, her music, and her. But my hopes and the music industry's whims are two different things.

You may remember her 1997 hit "Four Leaf Clover" from massive radio play that summer. The song is a catchy little diddy that leads off the album, and it interested me enough to by the single, which included "Guitar Song," another track off the album. I thought it was awesome, but I was always broke.

Finally broke down and bought the disc last year, and I was glad I did.

This disc, while not 100% cohesive, is still a great collection of 12 songs by this wonderful artist.

The title track, "Strangest Places," has a nice bop to it, and is reminiscent of something, but I'll be damned if I can place it; a better music person would know.

"Guitar Song" is a wonderful acoustic tune that I fell in love with on the first chord and I believe that anyone else who loves guitar-based music will feel similarly.

The accordian is an underused instrument, but Moore mixes it with some acoustic guitar on "Your Faithful Friend" to give the tune a wonderful, airy feel.

In the End: I think this is a pretty accesible album, with a way to grab most music lovers. There's nothing here to offend or distance people, but it may lack enough experimentation for some. I say give it a go; I adore the album.

On the Web: For those into the Myspace land, check her out at www.myspace.com/abramoore.

The Police: Synchronicity

2006-01-30T14:56:00.000-05:00

Bringing out a classic rock album, because I heart it so much.

I remember being 5 years old listening to this album on Reel-To-Reel. Yes. That's how long I've adored this album.

Synchronicity may very well be a masterpiece, true musical genius. Maybe I'm biased, fine, but just listen to it.

The biggest problem with the CD, that I can see, is that you don't get the same feeling "sides" as you would with the vinyl.

On the vinyl, Side 1 opens and closes with Synchronicity (1 and 2, respectively) to give it a certain sense of connection. Side 2 does something a bit more creepy, opening with "Every Breath You Take," the classic stalker tune and closes with "Murder By Numbers," a song that convinces you that you too could be a killer.

Musically and lyrically, both sides perform well with one painful exception: "Mother. " It's a painful tune that is disturbing in its lyrics and misplaced in its tone and tune. This may be due to the fact that it's the only song on the album not penned by Mr. Gordon (Sting) Sumner.

If you were to ask me what tracks to listen to, I'd say "All but Mother." But, to help just a bit, "Walking in Your Footsteps," "King of Pain," and "Tea in the Sahara" are true shining gems of the album.

In the End: If you've ever remotely been a fan of Sting or the Police and have never listened to this, you're missing out. Samme can be said if you've NEVER heard of them. Please, give music a chance, listen to Synchronicity, and enjoy life.

Beck: Guero

2006-01-30T14:41:00.000-05:00

Do you remember where you were when you first learned about Beck? I do.

Pickering Jr. High School, Lynn, Ma. 8th grade. My friend could not stop singing the "Get crazy with the cheez whiz" line from "Loser," and that was it. I was introduced to the artist known as Beck.

It's an interesting way to learn about someone, sure. But he didn't disappoint. His many works have shown us the good (and bad) he's capable of. Which is why I bought this album. I figured the odds were in his favour for something good again.

I wish that had been so.

Don't get me wrong, though, the album starts out very strong.

The lead off track, E-Pro, had a music video to go with it's nice rocking sound that was wholly Beck. After the opening track, I felt the album stayed strong halfway through; First 7 tracks are good stuff, a cross between some standard pop-rock sounds (Girl, Black Tambourine) and tunes spanning other genres (Hell Yes has hip-hop flavouring, while something in Earthquake Weather makes me think 70s pop).

Beck loses his cohesion, however, after that, and it just doesn't work. Tunes like Farewell Ride and Emergency Exit aren't necessarily bad cuts, just don't feel like they belong.

In the end: Beck fans will most assuredly love this album. Casual listeners will definitely enjoy much of the first half of the album, but will probably lose interest later on. If you can justify buying an album for only 6 or 7 of its 13 tracks, then pick this up.

Stereophonics: Performance and Cocktails

2006-01-27T09:53:00.000-05:00

As previously stated, I love these guys. Marc introduced them to me back in 2001 when Just Enough Education To Perform came out, but I didn't check out their other works 'til recently.

This one comes from 1999, and has some more great tunes. The aforementioned Marc may have said it best when he said, "Kelly Jones could sing off shopping lists and it would be cool."

Moving past that very true statement "Performance and Cocktails" offers 13 solid tracks, ranging from hard rocking tunes (Roll Up and Shine, Bartender and the Thief) to softer (not to be confused with soft rock) rocking (Just Looking, She Takes Her Clothes Off).

The album is great, start to finish, and having listened to it thoroughly, I can see why people were so excited over "Just Enough Education to Perform": It was a great follow-up album to another great album.

In the end: Get off your ass and listen to these guys. I need to check out some of their older stuff, and so should you. Buy this and "Just enough education..." and listen to them both. Now.

KT Tunstall: Eye to the Telescope

2006-01-25T14:30:00.000-05:00

It's not often that I'm AHEAD of the music curve. Normally I'm either straggling behind the curve, or just riding the crest. But not this time, my friends.

Last year (05-Jan), I got an issue of Uncut, where the reviewer was gushing over Ms. Tunstall's talent and how she'd be huge in the coming year.

She seems to have done well for herself in the UK, and her day in the US light would appear to be upon us.

The album is not yet available in the US (Feb 7), but I did the illegal thing last year, and have since ordered the album and 5 EPs/Singles off of Amazon.co.uk. They're due in next week.

However, the album... the album, I adore. It took me a few listens to be 200% satisfied with it, but when the glow hit, damn, it's been worth it.

The whole album is full of good songs that I could gush about for hours and hours, but I'll try not to.

What you should jump on, if you're going to judge this album by just a handful of tracks are "Another Place to Fall," (A somewhat angry tune about one friend, it seems, telling another one to get her shit together as the narrator will no longer be "Another Place to Fall"), the first US single "Black Horse & a Cherry Tree," (Which has the Pop/Rock sensibilities to go far on Top40/Adult/Teanie Bopper radio), and "Suddenly I See," (An upbeat sounding/feeling tune that is sure to get your foot tapping and your head bopping).

In the end: I think this is going to be a break out pop/rock hit of the year. And, I hope, a big one. If not, She's cute, she's scottish, and she's got a good set of pipes. Take 45 minutes from your day and check this out.

Off Topic: Dualdiscs

2006-01-21T21:21:00.000-05:00

As anyone who has purchased music in the last 6 months may have noticed, The Music Industry(tm) has introduced the concept of "Dualdiscs," cramming CD audio on one side of a disc, and DVD audio / DVD features on the other side.

The concept was met with lukewarm reactino, at best. And, as I sit here, listening to the DVD audio side of the Dave Matthews Band's album "Stand Up," I think I figured out what the problem is:

The Music Industry(tm) is full of fucking idiots.

There, I said it. Sorry if I have offended.

Personally, I think the Dualdisc is a keen thing. I think it offers the opportunity to really give fans something more, and *almost* justify CDs still being in the $14 - $18 range. Almost.

But Music company execs are dumbasses and don't know what to do with this great opportunity they've given themselves.

On the DMB disc, for instance, do you know what the "bonus content" is?

A crappy, self-promotional piece about how it is for the band getting back in the studio with a new producer. It was boring. And I like Dave. But that's IT. Uhm ... Excuse me?

Popping the disc into my computer's DVD drive and taking a look, the total disc size is 1.77 gigs. The disc is just barely 40% full. There's PLENTY of room for more stuff. Live performances? Maybe a music video (because, let's face it, the first music video for an album is ready before the final version of the disc presses)?

Oh, and there's a photogallery. Because THAT'S what I want to look at, on a machine meant to show MOVING PICURES.

Another Dualdisc I bought was Bruce Springsteen's "Devils & Dust." This one is not as bland: The DVD side includes bonus, Bruce-solo-acoustic performances of 5 tracks. Good use, in my book. And he intros the tunes before he performs them. It is quite enjoyable. Here, thankfully, the company had half a clue. Also, during each of the album versions of the songs on the DVD side, the lyrics are on screen for you. A keen bonus feature so you don't have to pop open the booklet.

But, gods damn it! There is SO MUCH MORE potential. I know I'm just some mook who loves music, but, COME ON!

I've not purchased any dualdiscs in the last few months, so I'm not certain what is available on the field. Let me look on Amazon, please hold...

-- time passes in real world, but not on blog post --

So, there are 101 Dualdiscs listed on Amazon. And looking through the list, I think I know what my problem is:

Dualdisc is just another way to whore $artist out.

Then again, what isn't these days?

Kate Bush: Aerial

2006-01-11T11:39:00.000-05:00

Kate Bush is one of those artists who likes to do different things. To give you an example, one of her songs on the two-disc album, "Aerial," is called Pi, and it truly does live up to its name: For the chorus of the song, she sings digits of that mythical number, Pi.

I've enojoyed all of Kate Bush's work since I heard the "Hounds of Love" record (yes, record). This album doesn't let down.

Aerial, which, as I said, is a two-disc set, is broken up into "A Sea of Honey" (Disc 1) and "A Sky of Honey" (Disc 2).

The first disc feels like a regular album of different musical tastes and sounds. Its mostly a hit, with "How to Be Invisible" being the only song that doesn't seem to fit her style (*which, yes I'm aware she does not have a hard and fast style*).

The second disc feels like a cohesive album, albeit, a bit ambient. I almost didn't notice this album sweeping through my ears as it played out, but it was a wonderful musical journey.

I'm so glad, that after 12 years, Kate's come up with some new material. I don't think there's really much on here for solid, Top40 radio play, but alternative stations and smaller, independent radio (such as WXRV 92.5 near where I am) will probably play more than one tune off of this.

In the end: If you already like more of Kate Bush's work than the one or two songs you've heard on the radio, then this is for you. If you're opposed to sonic experimentation, you should stay away. There's a lot of fun stuff here, but not everyone will be able to appreciate/enjoy it.

The Beta Band: The Three E.P.'s

2006-01-11T11:17:00.000-05:00

If you've seen "High Fidelity," then you at least know of this album. Or, if you're like me, immediately after seeing the movie you went and bought it. And I really am glad I did.

Thi isn't a standard rock album; there's a lot of experimentation with sounds and instruments. For the most part, this is actually a very good thing. Loops, reverbs, eletronic noises, and acoustic guitars all play an integral part to the sounds this group has created.

Some of the tracks come across as pretty simple rock songs which should have had vast amounts of airplay, but never quite made it.

Top tracks on the album are: "Dry the Rain," "Dog Got a Bone," "The House Song," and "She's the One."

In the end: I think most people would be able to digest a majority of this album without damaging their standard pop/rock sensibilities. Experimental tracks, such as Monolith, heavily harken back to the Beatles' Revolution #9, with no strong cohesion, just sonic bombardment. But don't let that frighten you. This is a good catch.

DangerDoom: The Mouse & The Mask

2006-01-11T11:01:00.000-05:00

This album intrigued me: DJ Danger Mouse and MF Doom ream up for a hip-hop album... and write songs that involve, in some way, Adult Swim characters. Genius. What's more, the album really delivers.

The duo lay some awesome beats, the raps are fun, the guest appearances are hysterical (Meatwad, Brak, Harvey Birdman, etc), and, honestly, the album doesn't end up feeling super gimmicky.

On the album, some of the best tracks are "Sofa King," "Benzi Box," "A.T.H.F. (Aqua Teen Hunger Force)," and "No Names (Black Debbie)."

And, for those paying attention, DJ Dangermouse is the genius behind "The Grey Album" (the musical mashing of Jay-Z's "Black Album" and the Beatles "White Album").

In the end: Hip-hop is always one of those genres I think people are afraid of. Or, at least, don't entirely understand it. I count myself among that group. But the stories of these songs mixed with the charachert guest spots and the great beats make this a very enjoyable album. And, really, Meatwad rapping makes it totally worthwhile.

Technorati Tagged: DangerDoom | MF Doom | Dangermouse | Adult Swim

Damian "Jr. Gong" Marley: Welcome to Jamrock

2005-12-15T11:32:00.000-05:00

I'll start with this:
I've never been a huge fan of Reggae.

I'd listen to Bob Marley, like everyone else, and I want to be Jammin', but it never really took for me.

Then I heard this. While it may not be 100% reggae, I think it would be an excellent entry way to the Jamaican music.

In DC this year, Damian opened for U2 both nights. I was expecting some boring pot-fest, which, mind you, is still good stuff, but this music ROCKED. For the 45 minutes he and his band were on stage, the audience was moving with the music. Even before U2 came on, there was a small sense of community.

I'd enjoyed what I'd heard, so I figured I'd pick up the album. And even on disc, it was good stuff.

Some of the tunes (Confrontation, Welcome to Jamrock) are harder than others (Beautiful, who samples something, but I just can't place it, and Pimpass Paradise), but it moves together well. Confrontation, Welcome to Jamrock, and Road to Zion are my favourites on the album, but that's mostly because they have such great beats.

Something in the lyrics of Confrontation immediately jumped out at me:
"See it deh know the innocent going up in vapors and
propoganda spreading inna the sunday papers
not even superman coulda save you with him cape cause"

Its both a painful visual, and, yes, hearing Superman drew men in. I'm a geek.

In the end: Really, this is a great album. You have to be willing to listen to reggae, but I promise you, this is a great investment, and I plan on picking Young Marley's earlier albums.

Imogen Heap: Speak for Yourself

2005-12-13T09:53:00.000-05:00

Let's start with something I didn't realize:

Imogen Heap == vocal half of Frou Frou

I enjoyed the Frou Frou album, Breathe In, but not so much that I would have followed the individual components of that collaboration around the world. Something in Heap's voice sets me off.

My reasoning for picking this album up was that she's got a *short* track on the latest Six Feet Under soundtrack, and her voice sounded so much different from that on the Frou Frou disc that I thought she was a different person. A person who's voice I enjoyed.

Win some, Lose some, right?

I think its the combination of a heavy electronic background and, at points, SEVERE processing of her vocals that just doesn't work for me. She's got a beautiful voice, but they doctor her up too much in studio.

An album of 12 songs, completely undoctored, with studio musicians, I think would be a wonderful album, and I'd happily shell out the bank for that one.

In the end: If you enjoyed Frou Frou, this is a no brainer. Same sound, for the most part, but Heap does push a bit past the Frou Frou sound. She's got a beautiful voice, and should not be processed. Purchase at your own discretion.

Technorati Tagged: Imogen Heap | Six Feet Under

Glen Phillips: Winter Pays for Summer

2005-11-23T12:54:00.000-05:00

Just as Darius Rucker will always be Hootie to America, Glen Phillips will forever be "Toad" of Toad the Wet Sprocket fame. But, I'll be honest, I tihnk that's ok, because this guy has, in my opinion grown out of the "Toad the Wet Sprocket" shadow. Or, as much shadow as the band had.

After seeing Glen Phillips, Kim Richey, and Griffin House, I was convinced to purchase this solo album of his first, mostly because there was no Richey or House albums available at Newbury Comics. And it was a good 12 dollar purchase.

The lead off track, Duck and Cover does a great job of getting you into the album, and for the most part, setting the pace. It's a mostly upbeat, moving, enjoyable collection of 13 tracks.

Released is a sweet sounding, emotion-provoking tune. The simplicity of his voice and guitar, and the minimal backing insturmentation draw you into the track something fierce.

The closing track, Don't Need Anything, is a sweet and honest tune where he proclaims he "don't need anything that i don't have." For some reason, this track vaguely reminds me of Paul Simon's "Still Crazy After All These years." Except simpler. Just House and his Piano. Its really quite wonderful.

In the end: This is a truly enjoyable album, and, as such, I think it will appeal to a vast amjority of people on one level or another. And he's a smaller artist, so he deserves some support. He's "teh r0x0r."

On the web: You can get bootlegs of both Glen Phillips and his work with Richey/House at www.archive.org/audio .
Glen Phillips | The Weekly Review Traveling Road Show

Technorati Tagged: Glen Phillips | Toad the Wet Sprocket | archive.org

Madonna: Confessions on a Dance Floor

2005-11-16T11:07:00.000-05:00

I'll start simple: This is the biggest piece of shit of this decade.

I'm not saying this for any other reason than that it is true.

I was not impressed with the first single, "Hung Up." It has a mildly head bopping beat, in the same vane as that song they play behind that annoying SNL skit with Will Ferrell and the other guy as annoying clubbers. You don't want to, but you end up bopping.

But I also know that not being impressed with the first track is NOT always indicative of the album's strength. Madonna has put out some good efforts in the past, and I gave ol' Esther a chance.

And my insides have not yet stopped bleeding.

The album is the kind of thing 17 year old eurotrash clubbers on Ecstacy would love. Or, rather, would have loved a few years back. Madonna is just a few years behind the curve on this one.

I cannot and will not offer additional tracks to listen to. Its not worth time or the plastic the disc is pressed in.

In the end: Some people will love this album. However, I'm hoping most of my more regular readers will believe what I say when I suggest you "put this straight in the microwave." This is a coaster.