Friday, April 12, 2013

The Black Angels - Indigo Meadow (2013)


Contrary to what many believe about modern psychedelic music, the genre isn't all about peace, love, and dancing hippies. From the very beginning, The Black Angels have challenged these notions with a darker, more sinister edge. Since 2008, I've seen the band play a number of times and each show has been a memorable experience. One year, during a performance at SXSW, the crowd broke into a violent mosh pit. While at the CD release show for their 2nd album, there was an incredible light show and strange film footage displayed while the band played. For a moment, the visual effects mixed with their trance-like rhythms made me feel as though someone had slipped me some acid. And at a third concert, I was almost certain that they played a Joy Division cover, only to discover it was an original called "Manipulation". With that being said, The Black Angels are not your typical flower power psych-rock band. Their sound walks a blurry line between retro and otherworldly; steeped in blues, yet drenched in reverb and studio experimentation, with simple yet extremely effective tribal rhythms that send you into orbit.

Indigo Meadow marks the band's fourth studio album of their career and the first new record in 2 and 1/2 years. Despite the wait, the band stayed busy with a hefty amount of touring, and various side projects. (Guitarist - Christian Bland formed another psych-rock band with The Revelators. While lead singer - Alex Maas, did some recording with the lead singer of the Heartless Bastards - Erika Wennerstrom, in a group called Sweet Tea.) Also notable is that The Black Angels recorded Indigo Meadow as a four piece rather than a 5-6 piece band for the first time in their career. In 2012, original member/guitarist/bassist - Nate Ryan quit to pursue other projects.

Writing for Indigo Meadow took place in Austin between January and June of 2012. In that time, thirty songs were written in total. According to interviews with both Alex Maas and Christian Bland, this was the first album that they actually sat down and "crafted" the songs together before going into the studio. Whereas before, most of their new material was developed from jamming at soundchecks, and in the studio. As a result, the songs on Indigo Meadow are much more concise than on past efforts. Following the writing of the album, the band went to Sonic Ranch Studios in the West Texas border town of Tornilla. There, they geared their time more towards experimenting and getting the weirdest sounds possible out of their instruments. The sessions ended in three weeks, resulting in 16 finished songs.

Like every Black Angels album, Indigo Meadow sounds best when played LOUD! It features a fair amount of the groovy buzz-saw guitar riffage, thunderous bass lines, ghostly vocals, and tribal 4/4 drum patterns that fans have come to know and love; as well as a monstrous mixed bag of noises that often left me scratching my head at times. Backwards tape loops, multi-layered vocals - processed to sound like organs, and a ton of sounds that just left me clueless as to how they were made, were just a few of the minor details that I started noticing after several listens. There is no question that this is an album that gets more interesting with repeat listens, and that the band are obviously progressing musically. But often these added textures mixed with the concise 60's influenced songwriting come off sounding cluttered, and as though there is too much happening at once. As a result some of the better songs ("Twisted Light") suffer for it, while other not-so-great songs ("The Day") seem to hide behind the shield of unnecessary noise.

Still there is a solid chunk of songs you'll probably love on this album. The aptly titled - "Evil Things" and the last two minutes of closing song "Black is Black" feature explosions of fuzzy guitar lines, banshee howls, and deep bassy groove that recall their first album - Passover. On other numbers like the creepy and hypnotic - "Holland"; the haunting first single - "Don't Play with Guns", and "I Hear Colors" (which ranks as one of their most "psychedelic" songs to date); the band seems to have stuck their head into a whole new realm musically. Similar to their last album - Phosphene Dream, The Black Angels have continued to draw from 60's garage rock, early Syd Barrett era Pink Floyd, The Zombies, The Doors, and of course The 13th Floor Elevators. Prime examples include "You're Mine" (a catchy little cannibalistic love song set to a time-travel palette of rhythm) and "Love Me Forever" (which features ringing Rickenbacker guitars and an interesting break that sounds like something that could have been on Pet Sounds).

Indigo Meadow, although currently my least favorite album by The Black Angels, is still an interesting listen with several must hear songs. This could end up being an album that reveals itself more and more over the coming years, the way that their 2nd album Directions to See a Ghost did for me. Still, it'll be interesting to see where the band goes from here. And as always their amazing live shows are a must see!

 out of 5



For all the latest Black Angels info, check out: http://theblackangels.com/

Saturday, April 6, 2013

Wilco Saved My Life One Night.

I was a little late getting into the music of Wilco. It wasn't until 2002 and the release of Yankee Hotel Foxtrot that I slowly began to take notice. In the following year, I ended up buying and obsessing over the rest of the group's catalogue - Summerteeth, Being There, and their first album - the sadly underlooked alt-country classic - A.M. Around this time I considered myself a serious songwriter, spending hours each day preparing for gigs, and working on new material to try out with the band I was playing in. A.M. was on constant rotation and a huge inspiration to my writing at this time. But little did I know, A.M. (notably "Passenger Side") may have also saved my life one night.

While living in Boston, I'd occasionally travel home to the Eastern Shore of Maryland to visit my family. Depending on traffic, the trip took anywhere from 7 to 13 hours. So to save time, I'd usually leave at midnight on a Thursday or Friday and arrive in the early morning hours of the following day. Some thought I was a little nuts to do these drives on my own, but I really enjoyed them. It gave me a chance to clear my head, and catch up on a ton of new music. One early morning, I started drifting off at the wheel and heading straight into a steep ditch. As I was hitting the grass, I woke up to the sound of Jeff Tweedy singing the opening lines to "Passenger Side, making it back on the highway just in time.

Hey wake up!/ Your eyes weren't open wide
For the last couple of miles/ You've been swerving from side to side
You're gonna make me spill my beer if you don't learn how to steer

Tuesday, April 2, 2013

David Bowie - The Next Day (2013)


A couple years ago, The Flaming Lips released a single begging the question - "Is David Bowie Dying?". Despite plenty of reports and photos proving otherwise, you couldn't help but wonder just what had happened to the Thin White Duke. One of the all-time forces in music for the last 40+ years  hadn't released a new studio album since 2003's Reality, and hadn't toured since collapsing onstage around the same time. Was David Bowie really dying? A closer look showed that he was still very active and a man about town in New York City, but that Flaming Lips song title kept popping up in my brain.

Then, just when I thought 2013's list of new music releases couldn't get any better, David Bowie made the announcement that fans had been waiting for. On his 66th birthday (January 8th), he posted a new music video, and the first single from his upcoming album - The Next Day. Life was good again!

Recording the album as though it were a top secret mission, David Bowie had everyone involved sign non-disclosure agreements, stating that - not a word would be mentioned to anyone regarding what was going on in the studio (including their own children!). Co-producer - Tony Visconti (who produced The Next Day as well as several of Bowie's finest albums), said that recording started with a week long session in late 2010, resulting in a dozen instrumental backing tracks. Bowie would then take the songs with him and spend a few months at home laboring over melodies and lyrics, and then reconvene sessions with the band. These 2-3 week recording spurts went on for about two years. 

So what does the 27th studio album from David Bowie sound like?

Like everything you've ever loved about his music (minus his techno and metal phases) all rolled up into one compact 14 song collection. Where his last batch of albums were a hodge-podge mixed with tired sounding arrangements that screamed "skip to the next track"; along with a small batch of memorable tunes per album; The Next Day is full of tighly-wound pop hookery and experimentation that remains a memorable listen from start to finish.

On The Next Day, Bowie is joined by a host of familiar faces whom he has worked with in the past - including guitarist - Earl Slick, drummer - Sterling Campbell, bassist - Gail Ann Dorsey, guitarist - Gerry Leonard, and most notably multi-instrumentalist and producer - Tony Visconti. Visconti has always been a master of capturing that mixture of dirtied-up glam rock with a sexy swagger; and he manages to bring these elements out remarkably well on The Next Day. The entire album sounds surprisingly fresh, yet every now and then, you catch a whiff of different periods of David Bowie's career. From the Ziggy Stardust glam rock era, just listen to Earl Slick's Mick Ronson-like, scuzzy guitar solos on the blistering rocker "Set the World on Fire"; while on "Dancing Out in Space" the band transforms into The Spiders from Mars as they sing androgynous doo-wop background vocals. You can go even further back to the 60's with the catchiest song on the album -"Valentines Day"-  a track that could have easily been stripped down to sound like something off of Bowie's bubblegum-pop debut.

And finally there is the influence of Heroes, the classic 70's album from the beloved Berlin trilogy, that combined epic balladry and freewheeling experimentation. Besides featuring an altered cover from the album, a few numbers from The Next Day wouldn't sound out of place on Heroes. The complex and frenzied "If You Can See Me" sides with the more experimental side A of Heroes, and showcases these ace musicians constantly jumping time signatures and keys in perfect unity. The result is almost panic-attack inducing! Perhaps the strongest song on the album is the tear jerking melancholy first single - "Where Are We Now?". On the ballad, Bowie sings of a "man lost in time", and name drops several of the places where he would hang out in Berlin . (see music video below)

There are plenty of other highlights on the album. Bowie's voice sounds as strong as ever on the continuously building epic - "You Feel So Lonely You Could Die" and the trippy "I'd Rather Be High"; in which he sings from the perspective of a soldier in World War II. The Next Day closes with the progressive-rock leanings of "Heat", which manages to walk a tightrope between claustrophobic and an ocean of bliss.

This is without question David Bowie's best album since 1995's Outside, and possibly his best since  Let's Dance from 1983. Still, I wouldn't call The Next Day a classic Bowie album, but it's definitely among his stronger releases - a rewarding piece of pop excellence that only gets better with repeated listens.

Side Notes:
According to Tony Visconti, it may not be too long before another album is released. In one interview, he stated that the band recorded 29 songs for The Next Day, and there are tentative plans to start working again later this year........... Also, make sure to get the deluxe version of The Next Day! The bonus tracks are essential, most notably the driving rocker - "I'll Take You There", which could have been a single.

 out of 5

Tuesday, March 26, 2013

Sean Rowe at Laurie's Planet of Sound, Chicago - 3/20/13


Sean Rowe's The Salesman and the Shark finished at #6 on my list of favorite albums of 2012. His blend of heart wrenching ballads sung in his unique bass-y vocal style, was just what I needed to listen to during a year that seemed heavy on electronic-music, garage-revival bands, and "too-cool-for-school" hipster rock. Sean Rowe fits in with the group of timeless and classic singer-songwriters, with a sound not far off from the early works of Tom Waits, Leonard Cohen, and other giants.

Both of his albums are excellent and worth owning, although I definitely prefer The Salesman and the Shark. Each go perfect with a tall glass of scotch, and a sexy blonde by your side who's ready to break your heart at any second. The Salesman and the Shark is full of slower, almost crooner-like tunes but also features a few rave-ups that wouldn't be too far off from Tom Waits Rain Dogs phase.

Sean Rowe came to town the other day to play a show at Lincoln Hall with a couple other songwriters. But beforehand, he stopped by Laurie's Planet of Sound in Chicago to perform a short acoustic set. I was thrilled to hear about this, especially since this great record store is only a short 10 minute walk from my apartment! When I showed up, I was expecting a packed audience, but was amazed to find out that I was the only one there!! One more person showed up, and Sean delivered a beautiful 5 song acoustic set, which included a taste of new music he's currently working on, a killer cover of Willie Dixon's classic - "Spoonful", and two more from his amazing last album.

Anyway, I filmed the whole set (which you can view below). Make sure to check out the first video for a very zen-like moment! During the performance of "Signs" (one of my favorites), Sean sings one of his pivotal lines:

I heard a train go by and I thought of you

Just as he sings this line, you can hear the subway train go overhead of the store. Really beautiful stuff!

New Song

Signs

New Song ("Razor of Love")

Bring Back the Night
Spoonful (Dixon)

Friday, March 22, 2013

The Latest Guided By Voices Singles - Ranked



A Quick Backstory

It took me until 2009 to finally "get" Guided By Voices. After reading about the band's breakthrough album - Bee Thousand in several music magazines and seeing it listed as one of the greatest indie rock albums ever, I bought the CD in 2002. After several listens, there were a few songs that stood out to me (most memorably "Echos Myron"), but the rest sounded like fluff. I stored the CD away and wouldn't return to it again until several years later. Flash forward to 2005-  I decided to give it another chance, and this time around a few more tracks starting standing out but it was still very strange to me. My brain and ears just weren't ready yet. I almost sold it back to a used CD store for a measly buck or two, but then decided to return to it another day, just in case. A couple more years passed and I woke up one morning with a strange song in my head. It was one of the greatest songs I'd ever heard and quickly dug through all the music I'd listened to in the past month or so, but nothing was coming to mind. This beautiful chorus kept repeating through my hungover and hazy brain:


She runs through the night as if nobody cares
She screams and she cries and ignores all the stares
She wants me to go but I'm never going there
The Goldheart Mountaintop Queen Directory

Did aliens from another planet implant this melody in my mind so I could record it with my own band? Was I going insane? It didn't make any sense! Weeks later I randomly put Bee Thousand back on my stereo for the first time in a couple years, and there it was..... Eureka! Somehow this song which I hadn't paid much attention to before, jumped back into my life. From that point on, Bee Thousand began making complete sense to me. I scoured through every Robert Pollard and GBV release I could find and they have been one of my favorite bands ever since.

The Rankings


Since reuniting the band's "classic" lineup in 2010, they put out not one but three really great albums in 2012 - Let's Go Eat the FactoryClass Clown Spots a UFO (my favorite of the year), and Bears for Lunch. This year, they are planning to release two new albums beginning with English Little League on April 30th. To lead up to its release, they are putting out a new single every 2 weeks until it comes out. These singles which are available on 7" as well as for download have convinced me that English Little League just might top about everything they released last year! Here are my rankings of the new singles with some brief notes.

Flunky Minnows (Pollard) b/w Jellypop Smiles (Pollard)
(Available for Download on 2/19)
5 out of 5

"Flunky Minnows" is a GBV classic and by far the best song found across these singles! This power pop gem immediately needs repeated listens. Despite a great title, "Jellypop Smiles" is a lo-fi dud featuring a reverb drenched recorder, but does offer a nice gloomy contrast to the peppy flip-side.




Xeno Pariah (Pollard) b/w Little Jimmy the Giant (Pollard)
(Available for Download on 4/2)
5 out of 5

"Xeno Pariah" is an instantly catchy power pop nugget and the opener to English Little League. The song sounds like a brighter and poppier cousin of "She Lives in Airports" from last years Bears for Lunch album. While "Little Jimmy the Giant" is a rockin' little number that was recorded in 1983. The song was originally released as a solo acoustic demo on the Suitcase box set, but here features electric guitars and a full band. 




Islands (She Talks in Rainbows) (Sprout) b/w She Wore Blue and Green (Sprout)/Full Framed Luberon (Pollard)
(Available for Download on 3/5)
4 and 1/2 out of 5

If you love Tobin Sprout as much as I do, this is the single for you!  "Islands", which marks the first A-side written solely by Sprout is a harmony-laden, dreamy track that is quickly becoming a favorite of mine. While "She Wore Blue and Green" is a sing-your-kids to sleep folk song. Pollard's - "Full Framed Luberon" is one of his numerous deranged experimental messes filled with grating guitars, and        
exhausting reverb heavy shouting.


Trash Can Full of Nails (Pollard) b/w Build a Bigger Iceberg (Sprout)
(Available for Download on 3/19)
4 out of 5

Although the A-side is my least favorite of these five singles, it could be one that makes absolute sense when heard in contrast with the rest of the new album. This tune leans heavy the prog-rock side with its' irregular battle march beat. The Tobin Sprout penned "Build a Bigger Iceberg" is an excellent psych-pop tune that features a breezy sing-along chorus.


Noble Insect (Pollard/Sprout) b/w Waves of Gray (Sprout)/See You Soon (Pollard)
(Available for Download on 4/16)
4 out of 5

"Noble Insect" captures a return of the side project - Airport 5, featuring Tobin Sprout providing all of the instrumental parts while Pollard sings the main melody. The second side showcase Sprout and Pollard trading off a pair of songs on the piano; with "Waves of Gray" being a short and jumpy number, while "See You Soon" mixes Pollard's raw pop brilliance with experimental weirdness.

Download the songs at gbvdigital.com

Monday, March 18, 2013

Veronica Falls at The Empty Bottle, Chicago - 3/14/13


Sometimes it takes seeing a band in concert to decide what level of fandom to gravitate towards. As someone who can't live without music, I literally love hundreds of bands and artists in all different genres. Between LPs, CDs, cassettes, and downloads; I feel the need to keep thousands of albums in my possession. Some of which are sadly only listened to a few times while others I've been obsessed with for more than a decade. Still with others, I'll go years without listening to, and then suddenly fall in love all over again. The bands and artists that span my collection range from: groups I like but have no desire to see in concert; groups I enjoy but would think twice before before picking up that third album; and then there are the ones that reach a peak in my musical obsession where they can do no wrong. Sure, some of their music is better than others, but you learn to love all their albums equally, as though they were a brother or sister. In cases like this, I don't feel the need to listen to music samples on iTunes before pre-ordering a new release; and I take every opportunity I get to see these artists in concert (Guided By Voices, Ryan Adams, The Black Angels, Wilco, and David Bowie all come to mind). 

Veronica Falls were a borderline band for me: I was one step towards becoming a fan for life, and one step towards being happy with the occasional new release. After falling in love with their debut single in 2010 ("Found Love in a Graveyard"), and everything else they've put out since, I finally got the chance to see them in concert. This time I made sure to get my tickets early, after just barely missing them at South By Southwest a few years back. I'm still fairly new to Chicago, so it was a pleasure to not only catch the band but also to see them at The Empty Bottle. With an excellent beer selection (including $3 Lonestar) and decent prices, a photo booth, arcade games, pool tables, great sound, this intimate rock club might be my favorite venue ever! The crowd was largely comprised of young and skinny, fashion conscious hipsters, so I didn't quite fit in, but who cares.

A local indie duo known as Love of Everything opened up the show. Led by the soft vocaled frontman - Bobby Burg, he looper layers upon layers of noisy guitar which only got more and more intense as their 30 minute set went on. At one point, he used an old flash camera next to the pickup of his guitar to add some interesting spacey effects. This was my first time witnessing these guys but won't be my last.

Cold Showers were next up and could have been an excellent headliner on their own. Their dark brooding goth tunes were a perfect soundtrack to a vampire party. With echoes of The National, The Cure, and The Smiths, the band sound was full of big pounding drums and cold bass lines, deep baritone vocals, and a guitarist that seemed to be a big fan of Johnny Marr. I was also unfamiliar with this band but really enjoyed their set. 

Veronica Falls closed the show and from the moment they walked on stage, they were
everything I hoped they would be and more! While watching the gig, I came to the 
conclusion that if I were to form any band I wanted starting tomorrow, it wouldn't be too far
off from this group. Two girls, two guys; a nice concoction of dark subject matter with light
and shimmery musicianship; vocal harmonies that were so spot-on you'd think they were lip
syncing; the Velvet Underground influenced chugging guitar rhythms of James Hoare; even the look and movement of the band onstage was all too perfect for words. Compared with the
more polished studio renditions of their songs, there was very little difference (other than the
guitars being slightly out of tune on a song). However hearing these songs live with more
prominent rhythms, louder guitar playing, and seeing the vocals all falling into sync, it really
wasn't an issue. A couple of the songs that they played which were some of my least favorite
on their respective LPs ("Wedding Day" and "Buried Alive") finally clicked with me after
hearing them in context with the rest of the set. As far as the other songs played, with only
two albums under their belt, it already felt like a greatest hits set.

After witnessing this UK band in concert, they have cemented my feelings of being one of my favorite new bands of the last 10 years..... And I will blindly buy everything they put in front of me!

The Set List

Tell Me
My Heart Beats
Beachy Head
Broken Toy
Waiting for Something to Happen
Bad Feeling
Found Love in a Graveyard
If You Still Want Me
Buried Alive
Wedding Day
Teenage
Come on Over

Encore
Stephen
Right Side of My Brain

Check out these bands at the following links:
Love of Everything - http://loveofeverything.bandcamp.com/
Cold Showers - http://www.facebook.com/coldshowersband
Veronica Falls - http://veronicafalls.com/

Monday, March 11, 2013

Eels at The Vic Theater, Chicago - 2/23/13


I'll start this review off by admitting I've been a little out of the loop with Eels over the past seven years. The trilogy of releases in 2009 and 2010 didn't connect with me like with many fans. And the latest - Wonderful, Glorious although a welcome return still didn't floor me like 2005's amazing - Blinking Lights and Other Revelations. Still I really love Mark Oliver Everett (aka: E) and the gang and continue to see them in concert and check out every bit of new music I can find.

On Saturday night, the Eels took the stage in some of the niftiest stage costumes I've seen in a long time - Blue Striped Adidas Tracksuits straight out of the 80's, and Aviator Sunglasses! Band members - E, The Chet, P Boo, Kool G Murder, and Knuckles were not to be messed with as they walked on stage one by one; opening the show with an impending wall of feedback, and bombastic drums that led into the first track off the new album - "Bombs Away". With E playing the rain stick, "Bombs Away" sounded every bit as energetic and fun as the studio version; as was the case on almost all of the songs from Wonderful Glorious.

What I love about the Eels live show is the band's ability to rearrange old songs with every tour. They don't simply play the same songs every night, performing them note for note like the studio renditions. Instead old songs are re-imagined to sound like they were just written last week. Tonight, "Dirty Girl" was played slower with E stretching the syllables out of every note. "Fresh Feeling" was given a more jangly, feel good, summertime vibe. While "Trouble with Dreams" wasn't as punchy but took on a jammier noise rock theme between verses. 

Not only were these new renditions surprising but so were the choice of cover songs. The band showcased their instrumental prowess and delved into Fleetwood Mac's "Oh Well" which featured P-Boo and The Chet trading off bluesy guitar solos and E singing in his perfect raspy growl; and "Itchykoo Park" by the Small Faces which is 60's pop at its' finest and sadly somewhat unknown in America. Between songs, Everett took the time to congratulate each members of the band for a job well done, yelling "Good Job!" into the mic, and sprinting off "the singer's riser" to give celebratory bear hugs.

The Eels put on a great show but also never took themselves too seriously. During band introductions, Everett talked about receiving an "electronic mail" the other day from guitarist - The Chet. In it, The Chet announced that it was the tenth year that the two of them had been playing music together. To mark the occasion, E and The Chet renewed their vows onstage, while drummer - Knuckles performed a romantic impromptu performance of "Wind Beneath My Wings". The gig ended with not one, but three encores including one with the house lights on, and half the audience cleared out of the venue. 

Set List

Bombs Away
Kinda Fuzzy
Dog Faced Boy
Oh Well
Tremendous Dynamite
In My Dreams
On the Ropes
Dirty Girl
Climbing to the Moon
Peach Blossom
Trouble with Dreams
The Turnaround
New Alphabet
Fresh Feeling
The Sound of Fear
Wind Beneath My Wings -->Go Knuckles
Itchykoo Park
Souljacker Part 1
Wonderful Glorious

Encore 1 
Brave Little Soldier
My Beloved Monster/Mr. E's Beautiful Blues

Encore 2 
Fresh Blood

Encore 3 
Stick Together
Go Eels

Wednesday, March 6, 2013

A Lost Classic: Evan Dando - Baby I'm Bored (2003)


There are very few singers-songwriters that I can listen to at any time of the day and not get a little tired of. Even the greats- like Bob Dylan, Neil Young - all have small quirks that sound like nails on a chalkboard when played at the wrong moment. Evan Dando hasn't had nearly as much influence or success as either of these guys, some would even characterize his band - The Lemonheads as a lost 90's one-hit-wonder group. Still there's something to be said for being able to write a short, often funny, catchy tune and deliver it with the laid back ease of Evan Dando.

I've seen Evan in concert many times. Each time he rarely spoke to the crowd except for saying "Good night" at the end of the show. He never seemed wasted or like he didn't want to be there though. All of the shows were 30-40 songs long and featured wide ranging covers from Whitney Houston to Gram Parsons to The Misfits. Each song was always sung as if it was his own- never forced, always relaxed, yet always moving. Evan has always seemed to follow the beat of his own drum. Whether taking his time to write and release a new Lemonheads record, or deciding not to show up at record store autograph signings, he has never seemed to treat music as a job. Still when you meet Evan in person or listen to his latest release, it feels like reuniting with an old friend.

Although Dando mentioned in interviews that most of the albums by the Lemonheads in the 90's were basically "solo" albums, to this day Baby I'm Bored (title refers to the sticker on the back of many cars - Baby on Board) remains pretty far out there compared with the Lemonheads oevre.

The hazy, sometimes druggy vibe of the album feels like a dream, somewhere in between falling asleep and waking up. At times there is a dizzying sense of being lost and drifting along. Still, this short and sweet album features just enough quirkiness in the production to keep the album from ever coming close to feeling as though it's dragging along.

As of 2013, it remains the only official solo album released by him. When it came out in 2003, it was his first studio release since The Lemonheads Car Button Cloth, seven years earlier. During that time, which some had called his "lost weekend", he traveled around the world, developed addictions to heroin and alcohol but kicked the habits, and met his wife - a model named Elizabeth Moses. His nomadic lifestyle during these 7 years seemed to have a large effect on the finished product. Pulled together from 22 songs that were recorded in three very different studios, with different producers, and different musicians in each one, gives Baby I'm Bored a fairly eclectic feel, musically. However the songs themselves and Evan's vocals tend to ground it and make it all sound very cohesive.

"I'll tell you what the deal is," he finally says. "This record was just the cumulative process of gathering enough tunes. I threw away way more songs than I've ever thrown away before. We have tons of B-sides and odds and sods and whatever. Because I really wanted to get to the point where I had twelve collections of noises that I could really stand behind 100 percent. I don't think of them as songs. They're just collections of sounds. I waited and waited and waited. I was spending my own money, going into studios, and waiting until I had twelve songs that I really liked and that all fit together as an album....." - Evan Dando (from interview by Matt Ashare/No Depression)

He mentioned that his two major catalysts for finishing this album (which started in 1999), were witnessing the 9/11 Twin Towers attack from his apartment down the street in New York City; and the encouragement from friends Ben Kweller and Ben Lee who pushed him to carry on and finish the project. Besides encouraging Evan, Ben Lee also played a monumental role in the creation of the album, writing two of the record's best songs (and within a week of each other) - the beautiful "All My Life" (featuring the mantra-like chorus: "All my life I thought I needed/ all the things I didn't need at all") and "Hard Drive" (an acoustic song about the constant wheel of life and the feeling of spinning out of control).

In 2000, Dando began writing and recording songs for Baby I'm Bored, with producer Jon Brion in his Los Angeles studio. Brion who was another major contributor to the album, and best known for his soundtrack work, produced many of the songs, and played a mish-mash of instruments from drums to marxophone. Together they co-wrote almost half of the songs, which gave the finished product a smart, almost Beatle-esque pop finish.  The best of which, a catchy song called "It Looks Like You" has a sunny California country rock vibe, with great harmonies, and some excellent production in the bright layering of acoustic guitars. Why Do You Do This to Yourself"(which could be autobiographical), is a deceptively spare acoustic country song, where Dando seems to channel one of his heroes - Gram Parsons. While, "Stop My Head" and "Repeat" are two slightly experimental tracks you'd likely never hear on a Lemonheads album.

If there were any songs that seemed to be more in line with The Lemonheads circa 1993, it would be those recorded during sessions in Brooklyn, New York. Featuring bassist - Royston Langdon, from the Bowie-loving glam rock group - Spacehog; and guitarist - Chris Brokaw, from the underrated Boston alternative band - Come; Dando is backed by an inventive group of hard rocking musicians. Both Langdon and Brokaw provide some well textured noisy guitar parts on "My Idea"(a co-write between Brokaw and Tom Morgan) and "Rancho Santa Fe" (a song influenced by Heaven's Gate). "Waking Up" is a weird experimental pop tune and another highlight, which Dando wrote with Langdon, and features some out of this world vocal layering.

The last set of sessions for Baby I'm Bored which took place in Tucson; offered a nice contrast with less production, and a more live, rough around the edges sound. Although only spawning two songs ("Hard Drive" and "In the Grass All Wine Colored"), the backing band, which featured members of Giant Sand and Calexico, provided the perfect backdrop for Dando's vocals with their eerie desert sound.

Although the album wasn't a huge seller, there remains to be very few that sound anything quite like Baby I'm Bored. Timeless and effortless sounding, yet to this day it still holds plenty of surprises for listeners, and remains a staple of my collection. There's no doubt that Evan Dando deserved a break after almost twenty years of playing in the Lemonheads. During the seven year wait between albums, Dando took time to live as a human being again - traveling, kicking drugs, and meeting his future wife; the album proves that once in a while good things take time.

Evan went on to put out two more new Lemonheads releases in 2006 and 2009, and one archival release in 2012.

Friday, March 1, 2013

Roadrunner : The Official Rock n' Roll Song of Massachusetts



Is there really any other song out there that makes you prouder to be from Massachusetts than "Roadrunner" by The Modern Lovers?

Although I was born in a different time and place, I spent nearly 8 years of my life in the Boston area, and have always felt a strong connection to the place and the song. Many nights I've spent driving along the pot-hole filled roads of route 9 and 128, past the Stop and Shops. Usually there was always wicked awful traffic, but those long trips in and out of the city gave me plenty of time to listen to life-changing music. I was young, and dumb, and didn't have much money; but I did have the power of rock n' roll radio blaring from my car speakers. "Roadrunner" and the rest of the Modern Lovers' debut album from 76' was a soundtrack to those times.

Jonathan Richman isn't a household name. He's probably best known as the serenading singer in the film - There's Something About Mary. But over the years he has influenced many artists. He's been called the "Godfather of Punk", with songs that have been covered by acts as diverse as The Sex Pistols, Iggy Pop, Frank Black, and David Bowie.

Recently I came across a bunch of articles that there were several bills being introduced to state legislature to pick an official rock n' roll song for the state of Massachusetts. A few years ago, a former A&R rep from Sub Pop Records put together a petition which was presented to Dorchester representative - Marty Walsh. Since then other state representatives have come to the forefront and suggested that "Dream On" by Aerosmith would be a more suitable choice. Of the song, Rep. Josh Cutler calls it "a classic ballad that's all about holding on to your dreams and seizing an opportunity".

I'll admit it's pretty great song, I have a soft spot for Aerosmith and I do like the band's early years. They're awesome in concert, they're uber talented, but where's the connection to Massachusetts? Although they formed in Boston, they weren't all from the state. Whereas Jonathan Richman was born just down the road in Natick. "Dream On" could be about anyone in any town, but "Roadrunner" is total - "I'm in love with Massachusetts!".

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Roadrunner, roadrunner
Going faster miles an hour

Gonna drive past the Stop 'n' Shop
With the radio on
I'm in love with Massachusetts
And the neon when it's cold outside
And the highway when it's late at night
Got the radio on
I'm like the roadrunner
AlrightI'm in love with modern moonlight
128 when it's dark outside
I'm in love with Massachusetts
I'm in love with the radio on

Tuesday, February 26, 2013

Eels - Wonderful, Glorious (2013)


After the rapid fire release of three studio albums in 2009 and 2010, which tested my loyalty as an Eels fan, I was a little slow-footed about listening to this album. In recent interviews, Mark Oliver Everett (aka: E) had talked about having absolutely no songs written and no plan whatsoever when he entered the studio to record Wonderful, Glorious. After one listen to the first single "Peach Blossom", I was prepared for the worst. But to my surprise, Wonderful, Glorious is everything the title suggests, and without question - the strongest Eels album since 2005's Blinking Lights and Other Revelations.

Now approaching 50 years of age, E has had a long history of constantly changing up his sound. In concert, he tends to alter studio versions of songs making them unrecognizable to the original. While in the studio he changes out band members regularly from album to album. This time around for the recording sessions, he decided to keep his all-star lineup from the last two tours in tact. Recorded at Everett's new studio in Los Feliz, CA, the songs on Wonderful, Glorious were written with the band. Most came out of jamming and experimenting in the studio; with E sifting through old notebooks to write the lyrics.

“Almost always when I make an album, I do go into it with this concept in mind about what I want the whole album to be about and what I want it to sound like musically in some way,” he said. “The difference in this new album is it’s the first time I think I didn’t have that in mind. I had no plans at all, and that was the plan—to have no plan. And it was a good lesson for me to see that you could do that and come out with something cohesive that did end up having a theme to it. It worked out very organically in the studio as we were doing it. None of it was arranged.” - E (from article by Brad Nelson/Black Book Mag)

With the last few Eels records being said to represent desire, heartbreak, and renewal; Wonderful, Glorious paints a different more optimistic picture. Here, the common theme seems to be standing tall and being joyful in a world full of chaos. And he does it brilliatly from start to finish. On the catchy rocker and second single - "New Alphabet" he sings: "When the world stops making sense/I make a new alphabet". While on the slow and steady favorite "On the Ropes" - "I've got enough left inside this tired heart /to win this world and walk on my feet/no defeat"

It's amazing how well structured these songs are, yet they still have a wild intensity and messy racket about them. Full of life, and filled with infectious grooves; these songs are destined to sound absolutely nuts in concert. Wonderful, Glorious gets even better on repeated listens. "I Am Building a Shrine" is a tribute to love, full of beautiful soundscapes which still have me scratching my head as to how they did that? Other highlights that instantly stuck out to me were Christmas anthem - "Open My Presents", classic - "True Original", and the bouncy - "You're My Friend". But the biggest standout of all is the closing title track which ends the album on a glorious high note. E shouts out to the heavens - "My love is beautiful and here for the taking/It's strong and pure and utterly earth shaking/My love has brought me here to show you it's true/A wretch like me can make it through."

E and his revolving band have always been best when turning tragedy into art. This time, with a new approach, Eels have surprised me yet again. After 20+ years, Everett seems to have finally come to grips with the tragedies in his life, and created a record that is truly inspiring. Wonderful, Glorious has turned me back and made me a fan for life.

 out of 5

Friday, February 22, 2013

Parquet Courts - Light Up Gold (2012)


This is the album I've been waiting for since Surfer Blood released their debut album - Astro Coast in 2010. Light Up Gold is an enormous breath of fresh air in today's music landscape and an early contender for my favorite musical discovery of the year. I admit I'm a little late hearing about these guys and sadly missed their recent show in Chicago, but after hearing this album for the 20th time I can say I'm a fan for life. The buzz behind Parquet Courts has been well deserved and is spreading rapidly with recent reviews in both Rolling Stone and Spin magazine.

To give you some background on these wide-eyed, late-twenty something guys; they started out of the Denton, TX punk scene. While there, vocalist and guitarist Andrew Savage played in the somewhat well known indie groups - Fergus and Geronimo, and Teenage Cool Kids. Eventually they migrated to New York City, where they currently go to school, and work normal jobs. Andrew Savage formed the band with his brother Max Savage on drums, Sean Yeaton on bass, and Austin Brown on guitar and vocals. Shortly after forming in 2011, they recorded and released their debut album - American Specialties on cassette. In August of last year Light Up Gold was released as a limited edition vinyl pressing of 500 copies. The album was then re-released in January on the What's Your Rupture label.

Light Up Gold is more of a full band effort than American Specialties. And even though the album was recorded in their New York City practice space in a quick 3 days and 30 hours, it sounds anything but lo-fi. Musically their sound is familiar but you can never quite put your finger on who their main influences are. Scrounging through my music collection; I noticed some similarities with late 70's early 80's post-punk bands like The Fall, The Modern Lovers, The Talking Heads, and Wire. But they're not close enough to any of these bands to be considered a copycat act. Part of what makes these tunes so addictive is they never hang around in one place too long. Most of the tracks stay under 2 minutes and when they do go longer (as in the 5 minute "Stoned and Starving"), the songs jam along like a rickety old roller coaster ride in a cloud of pot smoke.

On the surface the lyrics sound tossed off and goofy (in a good way). But when you dig deeper, these guys can really write some excellent lyrics full of humor and traces of classic beat poetry. On one of the many highlights - "Stoned and Starving", he sings "I was debating Swedish Fish/Roasted Peanuts or licorice/I was so stoned and starving". Even more impressive might be the delivery of the songs. There's a confident swagger in the singing of both Andrew Savage and Austin Brown. They know just how to say things at the exact moment to get your attention and pull you into a song. On the killer opening track - "Master of My Craft", the song is sung from the perspective of a know-it-all big shot talking to someone below him. He pulls out the refrain of "A Moment of Your Time?/Forget About It", pronouncing "Fuh-get-about it" in a thick Brooklyn accent. It's too great not to love! Even the name - Parquet Courts shits coolness (Immediately giving me flashbacks of Larry Bird, The Celtics, and The Boston Garden).

Light Up Gold is an album for the ages that I will pass down to my children, and my children will pass down to their children and so on. I could spend a couple more paragraphs talking about other highlights but it's better if you listen for yourself. (see link at the bottom). The band is already performing songs for a follow-up album which is planned for release on the What's Your Rupture label. They'll likely be touring a lot this year, so make sure to catch their live show when they come to your town!

out of 5

Bandcamp link
http://dulltools.bandcamp.com/album/light-up-gold

Monday, February 18, 2013

8 Classic/Memorable/Epic "Last" Shows in Rock History


The other night I was watching the LCD Soundsystem concert film - Shut Up and Play the Hits which chronicles the band's final show on April 2nd, 2011. The concert footage blew me away mostly because of James Murphy's voice which sounded even more impressive live than on the albums. Also the crowd was so excited and the energy was so hypnotic, I had to get up and jump around my living room. Lastly comedian/beat boxer/soul singer Reggie Watts and indie gods - The Arcade Fire also made an appearance. I really wish I could have been there!

Anyway it got me thinking about all of the great "final" farewell shows in rock history and thought it might be a cool idea to revisit some of them. Some of these concerts have been released as award winning live albums and concert films, others are available on bootleg recordings, and still others we only know about from those lucky enough to attend. Also you might have noticed the apostrophes around the words - "last" and "final". Because as we all know, bands don't stay broken up for long. Most of these artists have reformed in one way or another, sometimes with new members (Smashing Pumpkins) or reunited "classic" lineups (Guided By Voices).

Also, I know I'm probably missing a ton of important shows, but let me know what else should be on this list

(in no particular order)

The Band - The Winterland Ballroom, San Francisco, CA - 11/25/76 
Released as a live album and a Martin Scorsese directed film titled The Last Waltz, this remains one of the greatest rock n' roll films of all time. The five hour concert was loaded with guest appearances by old touring mates - Bob Dylan and Ronnie Hawkins, as well as Neil Young, Joni Mitchell, Van Morrison, Muddy Waters, Eric Clapton, Neil Diamond, and many more. Over the years, the band would continue to occasionally record and play shows with altered lineups, but nothing ever came close to matching this incredible gig.


The Smashing Pumpkins - The Metro, Chicago, IL - 10/20/00
In May of 2000, Billy Corgan made a surprise announcement on the radio that the band was breaking up. Corgan eventually reformed Smashing Pumpkins with a different lineup but never again with guitarist - James Iha. This 38 song, four and a half hour long set took place at the same club where the band got their start, and featured guest appearances by Rick Nielsen of Cheap Trick, The Frogs, and Corgan's father. Although never officially released in any format, there is a rumor that it will come out as part of the reissue of Machina in 2013. Below is a link to an audience recording of the performance:
http://archive.org/details/tsp2000-12-02.brown.shn

Morphine - Nel Nome de Rock Festival, Palestrina, Italy - 7/3/99
There has and will never be a band that sounds quite like Morphine. This Boston experimental jazz rock/alternative group was fronted by ace singer and bassist Mark Sandman. Prior to this concert, the band had released four critically acclaimed albums and were well loved on college radio stations across the US. Sadly on July 3rd, 1999, Sandman collapsed on stage and was soon pronounced dead due to a heart attack. The band disbanded afterwards, but the remaining members continue to play in various other projects.

The Sex Pistols - Winterland Ballroom, San Francisco, CA - 1/14/78
"Ever get the feeling you've been cheated? Good Night." These were the famous last words spoken by lead singer Johnny Rotten before slamming his mic to the ground and walking offstage at The Winterland Ballroom. Suffering from the flu, and tired of his manager, bandmates, and in the direction they were heading, the group disbanded. Rotten would go on to form the experimental band - Public Image Ltd.. Later in 2006, the band reunited for shows. The entire show was filmed and can be seen below:

The Replacements - Grant Park, Chicago, IL - 7/4/91
From what I've read, the band had no plans to break up until they walked onstage, in front of one of the largest audiences of their career. By 1991, half of the members from the original lineup were no longer in the band. This performance started strong, but as with many Replacements shows, things quickly got sloppy towards the end. Westerberg began hinting that this would be their last gig. During the last few numbers, each member of the band started handing their instruments over to their road crew to play. The show was broadcast on WXRT radio and has been widely bootlegged with the title It Ain't Over Til the Fat Roadie Plays. Listen to it below:

The Beatles - Candlestick Park, San Francisco, CA - 8/29/66
Tired of not being able to hear themselves play over the wail of screaming fans, the Beatles decided not to tour anymore after this show. The eleven song set was short and sweet. John Lennon was the main catalyst for the decision, which led to much more time to experiment in the studio and record classics like Revolver, Sgt Pepper, and Abbey Road. Hear the show below:


Guided By Voices - The Metro, Chicago 12/31/04 
The "final" show from these prolific indie rock titans featured a 63 song set, an audience and band that had been obliterated from drinking tons of beer, and guest appearances from just about everyone who had ever played in the band. The band reformed in 2010, and released 3 new albums in 2012 alone. This complete concert was released on a DVD called The Electrifying Conclusion.

David Bowie - Hammersmith Odeon, London, UK - 7/3/73 
After touring for over a year behind Ziggy Stardust and Alladin Sane, David Bowie announced it would be his last show ever in London. Highly theatrical, mind bending, and very ahead of its' time, the performance was filmed and released as the concert film - Ziggy Stardust and the Spiders from Mars. Despite his announcement, Bowie would be back the following year with a very different, and equally stunning live show on the Diamond Dogs tour.


Thursday, February 14, 2013

Veronica Falls - Waiting for Something to Happen (2013)


After putting out one of my favorite albums in 2011, the UK noise-pop foursome - Veronica Falls have followed it up fairly quickly with the release of Waiting for Something to Happen, their second studio album. With influences ranging from The Velvet Underground to The Pastels and The Vaselines, their debut was full of lovely four part harmonies led by guitarist - Roxanne Clifford, reverb drenched chugging rhythms, and creepy songs about stalkers, departed lovers, and suicide. The album struck an interesting balance of impending doom with catchy hooks and striking vocals.

Waiting for Something to Happen features some of what I loved about the first album, but overall is not quite as strong. Working with Rory Attwell (who also produced some of the band's early demos), the new album was recorded live in the studio in between tours last summer. Many of the songs were partly written beforehand and finished during the sessions; unlike the songs on their debut which had been played live for over a year and completely finished before entering the studio.

On the second album, their playing has definitely improved but overall the songs are not as immediate. Still, the lead-off single - "My Heart Beats" is the best song they've recorded yet! Opening with some ear splitting feedback on guitar from James Hoare, the tune shows the band branching out into shoegaze and neo-psychedlia. The title track is also wonderful and goes into borderline jangle pop territory. Unfortunately for every song that seems to go towards a new bold direction, there are one or two that drag it backwards. "Falling Out" and "So Tired" sound as though they're simply going through the motions and re-writing old songs with new lyrics. 

That sense of "impending doom" on their debut is partly gone here. The mood is slightly more upbeat, even happy at times, which I have no problem with. However the doom and gloom lyrics have now been replaced with safer more "normal" topics such as breaking up is bad, falling in love sucks, and growing up is hard. Still Veronica Falls haven't abandoned the sound that made them tick. There's plenty of tasty harmonies (such as the excellent 2nd single - "Teenage") and the Lou Reed/Sterling Morrison guitar chug is still very much alive on "Broken Toy". Other notable highlights are the Halloween-meets-Pixies - "Shooting Star" and epic closer - "Last Conversation". This seems to be a bit of a transitional album, not as great as the first, but with some new elements and stronger more diverse arrangements at times.

 out of 5