Wednesday, March 11, 2009
Thursday, February 12, 2009
Stix duh Clown in New Orleans
I saw -My Graveyard Jaw- play in October 2007. I was riding that high of first semester Freshman year in college. Everything in life is simple and the only thing you feel the need to do each night is go out with friends, get drunk and enjoy yourself. We were at a the biggest fraternity party of the year and had a Bayou theme, so they'd hired a local act to play some music. The first thing I felt when I saw Stix duh Clown -- the lead man and only current member of the band -- was awe. He's a mountain of a man, with a full mane of curly dark hair and clown tattoos over his eyes. He was calm and sage-like, completely unaffected by all the noise and activity surrounding him. The music reflected this image, and I was blown away. My friends and I still talk about that night as one of the best we've had together. I've seen My Graveyard Jaw play 3 or 4 times since then and my admiration of Stix has only increased. He was booked at a show last weekend at One Eyed Jacks in the French Quarter following the Krewe de Vieux parade. I knew I'd have to be there.
I'd had a busy day that Saturday. First my friends and I went down to "the Fly" -- a field in Audubon Park that's a popular spot for Tulane students to spend sunny afternoons. We made our way down to the Quarter that night just in time to catch the parade. When the parade reached its end we hopped in the back and marched along for 30 minutes or so, dancing behind the jazz band. By the time we got to One Eyed Jacks everyone was exhausted. Once Stix stepped out on stage, though, we jumped up with excitement.
I should explain the style of music. The lineup has changed several times over the last few years. When I first saw them there was a guitar and banjo, and a suitcase drum kit. Also a barrel with a large piece of wood coming out if it and single steel string stretched across it that acted as a bass. Since he's been solo it's just acoustic guitar, suitcase kick drum and tambourine (he plays all at once, utilizing both feet for the tambourine and suitcase). The songs are bluesy folky hobo jams that range from dark, grizzled dirges to light and sweet harmonic tunes. While not exactly "dance music", the rhythm is great and it's hard not to want to get up and stomp your feet along.
The show was spectacular. Many of the songs were off his most recent album, which I hadn't heard at the time. They were all immediately accessible and enjoyable. He played two of my favorites: "I Don't Know" and "Pushed Time" (both available on his MySpace: He dropped a bombshell midway through the show when he announced that this would be his last time performing as My Graveyard Jaw. It was hard to be too upset, though, because his reason for calling it quits is that he and some friends are starting a new band, to be known as Death By Arrow.
My Graveyard Jaw is a a wonderful chapter in New Orleans music that I'm sad to see come to an end. Although the band comes to an end, the music lives on. I urge you to seek out the albums already released. If you find yourself in New Orleans, try and catch a Death By Arrow show -- there's a good chance I'll be there.
by J. Lakin - New Orleans correspondent and alternative music consultant
I'd had a busy day that Saturday. First my friends and I went down to "the Fly" -- a field in Audubon Park that's a popular spot for Tulane students to spend sunny afternoons. We made our way down to the Quarter that night just in time to catch the parade. When the parade reached its end we hopped in the back and marched along for 30 minutes or so, dancing behind the jazz band. By the time we got to One Eyed Jacks everyone was exhausted. Once Stix stepped out on stage, though, we jumped up with excitement.
I should explain the style of music. The lineup has changed several times over the last few years. When I first saw them there was a guitar and banjo, and a suitcase drum kit. Also a barrel with a large piece of wood coming out if it and single steel string stretched across it that acted as a bass. Since he's been solo it's just acoustic guitar, suitcase kick drum and tambourine (he plays all at once, utilizing both feet for the tambourine and suitcase). The songs are bluesy folky hobo jams that range from dark, grizzled dirges to light and sweet harmonic tunes. While not exactly "dance music", the rhythm is great and it's hard not to want to get up and stomp your feet along.
The show was spectacular. Many of the songs were off his most recent album, which I hadn't heard at the time. They were all immediately accessible and enjoyable. He played two of my favorites: "I Don't Know" and "Pushed Time" (both available on his MySpace: He dropped a bombshell midway through the show when he announced that this would be his last time performing as My Graveyard Jaw. It was hard to be too upset, though, because his reason for calling it quits is that he and some friends are starting a new band, to be known as Death By Arrow.
My Graveyard Jaw is a a wonderful chapter in New Orleans music that I'm sad to see come to an end. Although the band comes to an end, the music lives on. I urge you to seek out the albums already released. If you find yourself in New Orleans, try and catch a Death By Arrow show -- there's a good chance I'll be there.
by J. Lakin - New Orleans correspondent and alternative music consultant
Saturday, February 7, 2009
Ben Kweller
Changing Horses - Ben Kweller - 2009-02-02
Pre-listen feelings - hopeful and somewhat expectant - only know the artist from an appearance on Letterman recently. Was a high-energy performance of a song with a good hook and an interesting message.
Gypsy Rose - Nice voice over guitar with drums and bass coming in. Lots of space, love the slide guitar. 'world will make you cry', vocal not perfect but very heartfelt. Very sparse - 'world will suck you dry' - Sings about summer day and it feels that way, languid and with some regret but hope also.
Old Hat - nice pedal, he can become the 'old hat' she puts on her pretty head. Rather set her free, nice harmony and very strong vocal. Really lets it hang out. No fade on ending, regular - much better.
Fight - shades of Pancho and Lefty, more literal, this song could be/should be a hit. Wonder if it will find an audience. Toe tapping, finger-snapping barrel of fun and cautionary advice. Honky-tonk piano and pedal. First place his voice reminded me of Gram Parsons. Very strong influence. Another great ending. Can't beat a super ending, tight and thought out to a great song.
Hurtin' You - Indestructible Mom, always pulling everything together, real longing and some fear - she has to survive the hurt and come back - nice tune. Well sung.
Ballad of Wendy Baker - Feel like you are in the room with him, while he plays the guitar and sings about Wendy. No one loves till it's gone. Strings, 'rain inside your eyes', plaintive and emotion-laden vocals. Sparse bass line with only the strings and vocal. Bass doubling the melody. Very nice. Never mentions title, - shades of Gene Clark with the personal writing and singing.
Sawdust Man - Dobro and loose feeling - head over heals in love - on top of the Greyhound station, won't you please come home? Sounds like the Beatles? Direct homage. Killer track - could be another hit. Find an audience. Some kind of machine voice, CD radio again Beatlesque. Fade out, oh well.
Wantin' Her Again - she just wants me wantin' her again - bridge - nice change in tempo and structure - couple of bridges - guessing at what the girl from California wants.
Things I Like to Do - straightforward - thought about what he likes. Mainly with her - simple, heartfelt love song at the end.
On Her Own - Great pop song, Katrina reference, chorus that doesn't quit. Like other songs very interesting structure, will be more fun the more listens to the song/album.
Homeward Bound - homeless - hymnal quality, lost soul, nice Dobro and an Accapella section.
The Biggest Flower - out on the road, need some more listens - not a very strong song?
Really like the album first time through. Both accessible and leaves the strong impression the 2nd listen will be more interesting and fun than the first listen.
Wantin' Her Again - video - in the woods with his band-mates - kind of lame but I guess there's not much budget.
Pre-listen feelings - hopeful and somewhat expectant - only know the artist from an appearance on Letterman recently. Was a high-energy performance of a song with a good hook and an interesting message.
Gypsy Rose - Nice voice over guitar with drums and bass coming in. Lots of space, love the slide guitar. 'world will make you cry', vocal not perfect but very heartfelt. Very sparse - 'world will suck you dry' - Sings about summer day and it feels that way, languid and with some regret but hope also.
Old Hat - nice pedal, he can become the 'old hat' she puts on her pretty head. Rather set her free, nice harmony and very strong vocal. Really lets it hang out. No fade on ending, regular - much better.
Fight - shades of Pancho and Lefty, more literal, this song could be/should be a hit. Wonder if it will find an audience. Toe tapping, finger-snapping barrel of fun and cautionary advice. Honky-tonk piano and pedal. First place his voice reminded me of Gram Parsons. Very strong influence. Another great ending. Can't beat a super ending, tight and thought out to a great song.
Hurtin' You - Indestructible Mom, always pulling everything together, real longing and some fear - she has to survive the hurt and come back - nice tune. Well sung.
Ballad of Wendy Baker - Feel like you are in the room with him, while he plays the guitar and sings about Wendy. No one loves till it's gone. Strings, 'rain inside your eyes', plaintive and emotion-laden vocals. Sparse bass line with only the strings and vocal. Bass doubling the melody. Very nice. Never mentions title, - shades of Gene Clark with the personal writing and singing.
Sawdust Man - Dobro and loose feeling - head over heals in love - on top of the Greyhound station, won't you please come home? Sounds like the Beatles? Direct homage. Killer track - could be another hit. Find an audience. Some kind of machine voice, CD radio again Beatlesque. Fade out, oh well.
Wantin' Her Again - she just wants me wantin' her again - bridge - nice change in tempo and structure - couple of bridges - guessing at what the girl from California wants.
Things I Like to Do - straightforward - thought about what he likes. Mainly with her - simple, heartfelt love song at the end.
On Her Own - Great pop song, Katrina reference, chorus that doesn't quit. Like other songs very interesting structure, will be more fun the more listens to the song/album.
Homeward Bound - homeless - hymnal quality, lost soul, nice Dobro and an Accapella section.
The Biggest Flower - out on the road, need some more listens - not a very strong song?
Really like the album first time through. Both accessible and leaves the strong impression the 2nd listen will be more interesting and fun than the first listen.
Wantin' Her Again - video - in the woods with his band-mates - kind of lame but I guess there's not much budget.
Monday, February 2, 2009
The Boss at the Big Game
Art Quote of the Day
Any good music must be an innovation.
Les Baxter
Unlike some of my friends who preferred foosball to the half-time performance yesterday, I eagerly anticipated 'the show'. As a long time fan, I knew what was coming. While my last concert with Bruce was in the somewhat distant past, I knew what he could and would do. Full bore, no quarter asked or given, mainline rock n' roll. And that's what he did.
So why am I disappointed? Couple of reasons. First the new album. See review here.
Then half time. It was nice for the world to see the redemptive power that great music and specifically rock n' roll can bring when a dedicated artist brings his best to the party. Bruce always brings his best. My preference would have been more great music, more emotion in the singing/playing and less climbing on the piano and sliding on his knees into the camera!?
He waited a few years too long. Maybe 10. I could feel his pain and even though he seems to be in fine shape he is an older man. So am I, dammit. Rather be young and dancing in the dark but time is a bitch. There is no way he can do what he did 30 years ago. Neither can Dylan or the Stones. Either you recognize that and adapt, like Dylan the Stones or you become a parody.
I don't hear much innovation in 'Working on a Dream". The concerts will be like before only not quite. I think he could still be a compelling artist, on record and live. We always wanted records faster than he produced them. But when he has enough songs for two records, he should take the best and put out one record. Second, a show that is less physical but has more feeling. His voice is not the same either but he can still bring it.
Love Bruce, thought the performance was vintage, just made me nostalgic for the mid-70's and tickets in hand for an upcoming show.
Any good music must be an innovation.
Les Baxter
Unlike some of my friends who preferred foosball to the half-time performance yesterday, I eagerly anticipated 'the show'. As a long time fan, I knew what was coming. While my last concert with Bruce was in the somewhat distant past, I knew what he could and would do. Full bore, no quarter asked or given, mainline rock n' roll. And that's what he did.
So why am I disappointed? Couple of reasons. First the new album. See review here.
Then half time. It was nice for the world to see the redemptive power that great music and specifically rock n' roll can bring when a dedicated artist brings his best to the party. Bruce always brings his best. My preference would have been more great music, more emotion in the singing/playing and less climbing on the piano and sliding on his knees into the camera!?
He waited a few years too long. Maybe 10. I could feel his pain and even though he seems to be in fine shape he is an older man. So am I, dammit. Rather be young and dancing in the dark but time is a bitch. There is no way he can do what he did 30 years ago. Neither can Dylan or the Stones. Either you recognize that and adapt, like Dylan the Stones or you become a parody.
I don't hear much innovation in 'Working on a Dream". The concerts will be like before only not quite. I think he could still be a compelling artist, on record and live. We always wanted records faster than he produced them. But when he has enough songs for two records, he should take the best and put out one record. Second, a show that is less physical but has more feeling. His voice is not the same either but he can still bring it.
Love Bruce, thought the performance was vintage, just made me nostalgic for the mid-70's and tickets in hand for an upcoming show.
Sunday, February 1, 2009
Beirut - March of the Zapotec
Beirut - March of the Zapotec - 090131
Unlike any other album I have heard. Downloaded from iTunes and these are first impressions.
Lots of horns - unusual - but very interesting. Mexican flavored. Feel like you've dropped into a small Mexican town and the band has started playing.
Track by track
El Zocalo - very short - fades in and and then out - interesting choice. Title refers to the main square in Mexico City. Sets the location and the tone.
La Llorona - Tough to get the lyric but very heavy Mexican flavor and then sounds like Godfather old school dance tune. Never heard the possible connections before. Lots of horns with a bit of drums. Title refers to a popular Spanish legend about a woman who kills her children after being rejected by a man. Ouch.
My Wife - Horns, sounds almost like a continuation of the previous song. No vocal
The Akara - Horns but seem to have left Mexico - ukelele with horns on rythme and then a trumpet melody - vocal again hard to grab the lyrics - usually a good sign, means I want/need to listen more. Might refer to a woman who is barren.
On a Bayonet - dirge like opening - sad trumpet on top.
The Shrew - Om Pah like again with the solitary trumpet on the melody. Some story here about the Shrew but I can't tell you what it is. Then a chase type musical theme develops, faster and faster, and then back to the Omm Pah theme to end. Huh?!
My Night With The Prostitute - solo keyboard -still struggling with the lyric - interesting vocal with drum machine and keyboard continuing. Minimalist
My Wife, Lost in the Wild - electronic again, drum machine, vocal very hard to get lyric - duh, like what did I expect.
Venice - more dreamy with electronic piano, multi-part singing - no drums, fades away
The Concubine starts with an solo accordion joined by triangles and chimes, ends with solo organ.
Ends with No Dice. Electronic, maybe for a dance club. No vocal. Kind of fun sounds and can imagine dancing and sweating to this one - assuming I was at a dance club - not bloody likely. Kind of an Animal Collective vibe.
Talk about a bunch of different songs. Most songs with a female theme, two about "his" wife, one about the Concubine and another about the Shrew. Then add in the Weeping Woman - La Llorna - and I'm guessing when I figure out the lyrics on the other songs, a woman will be front and center.
Makes more sense now but still mostly a mystery. Glad I bought it but hard to recommend it too strongly. I have a feeling I will like it more as I listen more.
Cheers
Unlike any other album I have heard. Downloaded from iTunes and these are first impressions.
Lots of horns - unusual - but very interesting. Mexican flavored. Feel like you've dropped into a small Mexican town and the band has started playing.
Track by track
El Zocalo - very short - fades in and and then out - interesting choice. Title refers to the main square in Mexico City. Sets the location and the tone.
La Llorona - Tough to get the lyric but very heavy Mexican flavor and then sounds like Godfather old school dance tune. Never heard the possible connections before. Lots of horns with a bit of drums. Title refers to a popular Spanish legend about a woman who kills her children after being rejected by a man. Ouch.
My Wife - Horns, sounds almost like a continuation of the previous song. No vocal
The Akara - Horns but seem to have left Mexico - ukelele with horns on rythme and then a trumpet melody - vocal again hard to grab the lyrics - usually a good sign, means I want/need to listen more. Might refer to a woman who is barren.
On a Bayonet - dirge like opening - sad trumpet on top.
The Shrew - Om Pah like again with the solitary trumpet on the melody. Some story here about the Shrew but I can't tell you what it is. Then a chase type musical theme develops, faster and faster, and then back to the Omm Pah theme to end. Huh?!
My Night With The Prostitute - solo keyboard -still struggling with the lyric - interesting vocal with drum machine and keyboard continuing. Minimalist
My Wife, Lost in the Wild - electronic again, drum machine, vocal very hard to get lyric - duh, like what did I expect.
Venice - more dreamy with electronic piano, multi-part singing - no drums, fades away
The Concubine starts with an solo accordion joined by triangles and chimes, ends with solo organ.
Ends with No Dice. Electronic, maybe for a dance club. No vocal. Kind of fun sounds and can imagine dancing and sweating to this one - assuming I was at a dance club - not bloody likely. Kind of an Animal Collective vibe.
Talk about a bunch of different songs. Most songs with a female theme, two about "his" wife, one about the Concubine and another about the Shrew. Then add in the Weeping Woman - La Llorna - and I'm guessing when I figure out the lyrics on the other songs, a woman will be front and center.
Makes more sense now but still mostly a mystery. Glad I bought it but hard to recommend it too strongly. I have a feeling I will like it more as I listen more.
Cheers
Tuesday, January 27, 2009
Working on a Dream
Working on a Dream
Bruce Springsteen
Release date January 27, 2009
Lakin Report
Outlaw Pete
The record starts with a rousing romp through the badlands, while Pete ages. Born into a life of crime. Runs and then is caught by the river. A bit repetitive then slows and hits the point where Pete really goes down the path, shooting the lawman dead. Forty days and nights reference ties to religious themes. Wall-of-sound goes into nothing except a lonesome harp and "strings"???? Can You Hear Me?? Yes but not sure what you are asking me to feel or to think. Pity for the outlaw, uuhhmm OK.
My Lucky Day
Happy Bruce? Decent riff but I'm not really being moved.
Working on a Dream
Happy Bruce II? kind of boring
Queen of the Supermarket
Huh? Happy again? Guess domestic bliss is catching up with him. Although he has better looking checkout girls at his store than I have at mine.
What Love Can Do
More interesting track has a snarling sort of vibe, with the guitar snaking in and out. 'Can't stop the train when it comes crashing through' - like that visual describing when love hits. Short and sweet.
This Life
Brian Wilson meets awkward lyrics - banal. This life and then the next, I have been blessed, what more can you expect???? Yikes.
Good Eye
Nice start, syncopated, lyrics are forced out but seem real and heartfelt. Sort of bluesy and western sounding at the same time. Voice coming through some kind of old time speaker - much more interesting than the previous track. Great harp. Minimalist instruments. Not much Clarence on any of it so far.
Tomorrow Never Knows
Creedence rhythm to start. Seems like "less is more" is coming through. Wall-of-sound is gone? Nice track.
Life Itself
Nice story, talking about someone I'd like to know more about. Production sounds kind of rushed, like they could have done better with more time. But I sort of like the rougher, more unpolished tone.
Kingdom of Days
Same voice, as previous - happy again. This guy is really in love. I love you, I love you, I love you, I do. Let's see, does he really love her? I'm guessing yes. (I really love my lady, wanna hear me tell you over and over?)
Surprise, Surprise
Happy number -- sorry lost count. Happy Birthday song. Surprise, surprise, surprise...... over and over. Get it??!!
Last Carnival
Simple, acoustic start. Seems heartfelt memory of the days at the carnival. Nice bridge, 'moonlight was in your eyes, daybreak you made me ache'.
The best song so far. Takes me to a place I can feel. Very nice images. He still has it.
Wrestler [*]
Streets of Philadelphia vibe - sorry no Oscar this time. Nice images - one-legged dog. Leave with less than I had before.
Last two songs are the best of the album. Cannot understand where Rolling Stone gave it 5 stars. To be clear, Bruce has more talent in his little pinky than I can dream of having. In some respects it doesn't feel right to comment on his work. On the other hand, why not. Writing about records helps me to "hear" it in a different, more substantial way than if it is just playing.
I am very happy Bruce is happy. He deserves it. He has given me and many people I know immense pleasure. It is nice to be in Love. Just not sure what it does for this record. More songs like Last Carnival and Wrestler would have been welcome. But hey, it's just my take on it.
Bruce Springsteen
Release date January 27, 2009
Lakin Report
Outlaw Pete
The record starts with a rousing romp through the badlands, while Pete ages. Born into a life of crime. Runs and then is caught by the river. A bit repetitive then slows and hits the point where Pete really goes down the path, shooting the lawman dead. Forty days and nights reference ties to religious themes. Wall-of-sound goes into nothing except a lonesome harp and "strings"???? Can You Hear Me?? Yes but not sure what you are asking me to feel or to think. Pity for the outlaw, uuhhmm OK.
My Lucky Day
Happy Bruce? Decent riff but I'm not really being moved.
Working on a Dream
Happy Bruce II? kind of boring
Queen of the Supermarket
Huh? Happy again? Guess domestic bliss is catching up with him. Although he has better looking checkout girls at his store than I have at mine.
What Love Can Do
More interesting track has a snarling sort of vibe, with the guitar snaking in and out. 'Can't stop the train when it comes crashing through' - like that visual describing when love hits. Short and sweet.
This Life
Brian Wilson meets awkward lyrics - banal. This life and then the next, I have been blessed, what more can you expect???? Yikes.
Good Eye
Nice start, syncopated, lyrics are forced out but seem real and heartfelt. Sort of bluesy and western sounding at the same time. Voice coming through some kind of old time speaker - much more interesting than the previous track. Great harp. Minimalist instruments. Not much Clarence on any of it so far.
Tomorrow Never Knows
Creedence rhythm to start. Seems like "less is more" is coming through. Wall-of-sound is gone? Nice track.
Life Itself
Nice story, talking about someone I'd like to know more about. Production sounds kind of rushed, like they could have done better with more time. But I sort of like the rougher, more unpolished tone.
Kingdom of Days
Same voice, as previous - happy again. This guy is really in love. I love you, I love you, I love you, I do. Let's see, does he really love her? I'm guessing yes. (I really love my lady, wanna hear me tell you over and over?)
Surprise, Surprise
Happy number -- sorry lost count. Happy Birthday song. Surprise, surprise, surprise...... over and over. Get it??!!
Last Carnival
Simple, acoustic start. Seems heartfelt memory of the days at the carnival. Nice bridge, 'moonlight was in your eyes, daybreak you made me ache'.
The best song so far. Takes me to a place I can feel. Very nice images. He still has it.
Wrestler [*]
Streets of Philadelphia vibe - sorry no Oscar this time. Nice images - one-legged dog. Leave with less than I had before.
Last two songs are the best of the album. Cannot understand where Rolling Stone gave it 5 stars. To be clear, Bruce has more talent in his little pinky than I can dream of having. In some respects it doesn't feel right to comment on his work. On the other hand, why not. Writing about records helps me to "hear" it in a different, more substantial way than if it is just playing.
I am very happy Bruce is happy. He deserves it. He has given me and many people I know immense pleasure. It is nice to be in Love. Just not sure what it does for this record. More songs like Last Carnival and Wrestler would have been welcome. But hey, it's just my take on it.
Why Do You Like A Song?
I was reading another blog called setting the woods on fire
His idea is to use Venn diagrams, or overlapping circles to explain why a song appealed to him. I liked the concept, trying to make what I like more understandable, but use different metrics.
His are Quallity with Familiarity on one side and Nostalgia on the other. So, it had to be well-done but either have a hint of new or of old.
Really interesting analysis. For me it was always just the "sound". did it hit me, move me, make me open my eyes a bit?
But I really like the Venn diagrams. I would probably label them as the "sound", the "passion" and the "riffs or quality" in the middle. My records were The Beatles White Album, The Band, Allman Brothers' Live at the Fillmore, later Bruce's The Wild, The Innocent and the E Street Shuffle and then later still an obscure song done at a Dylan concert called Born in Time. A friend had given me a tape and now I'm a certified Bob head.
I think all of this music took me to a different place but it did build on the music that came before. Sounds like his Venn diagrams. But there had to more. It had to move me in a way that was new. It wasn't quite as logical as this makes it sound. More just like, Ah Hah!!! I like that. It sounds good. I want to hear it again. What else is like this? Who are these guys?
This takes me back, trying to remember where the different musical peaks have been. Fun to do. Maybe you'd like to as well. If so, leave a comment. Maybe like me your comment will turn into a post. If so, send it to me. There is more here to consider.
His idea is to use Venn diagrams, or overlapping circles to explain why a song appealed to him. I liked the concept, trying to make what I like more understandable, but use different metrics.
His are Quallity with Familiarity on one side and Nostalgia on the other. So, it had to be well-done but either have a hint of new or of old.
Really interesting analysis. For me it was always just the "sound". did it hit me, move me, make me open my eyes a bit?
But I really like the Venn diagrams. I would probably label them as the "sound", the "passion" and the "riffs or quality" in the middle. My records were The Beatles White Album, The Band, Allman Brothers' Live at the Fillmore, later Bruce's The Wild, The Innocent and the E Street Shuffle and then later still an obscure song done at a Dylan concert called Born in Time. A friend had given me a tape and now I'm a certified Bob head.
I think all of this music took me to a different place but it did build on the music that came before. Sounds like his Venn diagrams. But there had to more. It had to move me in a way that was new. It wasn't quite as logical as this makes it sound. More just like, Ah Hah!!! I like that. It sounds good. I want to hear it again. What else is like this? Who are these guys?
This takes me back, trying to remember where the different musical peaks have been. Fun to do. Maybe you'd like to as well. If so, leave a comment. Maybe like me your comment will turn into a post. If so, send it to me. There is more here to consider.
Saturday, January 24, 2009
M. Ward's Hold Time
M. Ward's new album - Hold Time has a relaxed but very tight feel. It seems loose but there are no extraneous notes, no superfluous instruments. Everything is put together well. But the one thing missing is passion. The record is cerebral, well-crafted and in many respects beautiful. Track by track follows:
In For Beginners he sings about Mt. Zion & Caledonia. Mt. Zion is the mountain outside Jerusalem and Caledonia is Scotland. Nice riff - mainly guitar & vocal
Nobody Like You is kind of a rambling tune with a bit of synthesizer, simple yet heart-felt. Basic but there is a deeper level. The best song on the disc.
In Jail Bird he's crying for help but no one hears except the Angel coming down. Bit of reverb on voice to fatten it up, light drums, short, breezy, seemingly shallow, pop tinged.
With the title track, Hold Time, there are lush strings, and a slow, figure played in a swampy sounding synthesizer. It is much different from other songs, like it was done at a different time. It has heavy voice echo and like the other songs is very short.
Buddy Holly's Rave On, very near the 50th anniversary of the legend's death is a smokey, languid affair. It might work better with people who don't know the original.
To Save Me - sailing over the edge with an up tempo, Beach Boys influenced tune. The title line repeats - to save me from sailing over the edge.
The blues tinged One Hundred Million Miles is mostly vocal and guitar. It shows a limited vocal range and inflection. It is so restrained.
The electric piano is dominant on the intro to Stars of Leo. It does kick in with the band including bass and drums. It has the most interesting instrumentation and really seems to rock a bit. Then it slows down and fades out.
The Fisher of Men has a country bass line and honky-tonk feel. The voice seems tired, world-weary. Understated and restrained. Makes me wonder what it would sound like live.
Oh Lonesome Me features Lucinda Williams, who everyone I know likes but whose voice is not my favorite doing the classic Don Gibson song. Really slow and thoughtful.
Epistemology - raised in a Catholic school, more of a full on rocker than the other songs, could imagine it getting a workout live.
Blake's View - death is just a door. Ruminations about life, death and everything.
Shangri-La has some nice guitar.
Outro - instrumental, town with no pity kind of feel, sad sort of desolate image,
I really wanted to like this record. She and He, his collaboration with Zooey Deschanel is a very well-crafted and enjoyable record. This in well done but ultimately less than satisfying. Having said that M. Ward is a very talented and gifted writer and performer. I suspect good things are in his future.
In For Beginners he sings about Mt. Zion & Caledonia. Mt. Zion is the mountain outside Jerusalem and Caledonia is Scotland. Nice riff - mainly guitar & vocal
Nobody Like You is kind of a rambling tune with a bit of synthesizer, simple yet heart-felt. Basic but there is a deeper level. The best song on the disc.
In Jail Bird he's crying for help but no one hears except the Angel coming down. Bit of reverb on voice to fatten it up, light drums, short, breezy, seemingly shallow, pop tinged.
With the title track, Hold Time, there are lush strings, and a slow, figure played in a swampy sounding synthesizer. It is much different from other songs, like it was done at a different time. It has heavy voice echo and like the other songs is very short.
Buddy Holly's Rave On, very near the 50th anniversary of the legend's death is a smokey, languid affair. It might work better with people who don't know the original.
To Save Me - sailing over the edge with an up tempo, Beach Boys influenced tune. The title line repeats - to save me from sailing over the edge.
The blues tinged One Hundred Million Miles is mostly vocal and guitar. It shows a limited vocal range and inflection. It is so restrained.
The electric piano is dominant on the intro to Stars of Leo. It does kick in with the band including bass and drums. It has the most interesting instrumentation and really seems to rock a bit. Then it slows down and fades out.
The Fisher of Men has a country bass line and honky-tonk feel. The voice seems tired, world-weary. Understated and restrained. Makes me wonder what it would sound like live.
Oh Lonesome Me features Lucinda Williams, who everyone I know likes but whose voice is not my favorite doing the classic Don Gibson song. Really slow and thoughtful.
Epistemology - raised in a Catholic school, more of a full on rocker than the other songs, could imagine it getting a workout live.
Blake's View - death is just a door. Ruminations about life, death and everything.
Shangri-La has some nice guitar.
Outro - instrumental, town with no pity kind of feel, sad sort of desolate image,
I really wanted to like this record. She and He, his collaboration with Zooey Deschanel is a very well-crafted and enjoyable record. This in well done but ultimately less than satisfying. Having said that M. Ward is a very talented and gifted writer and performer. I suspect good things are in his future.
Friday, January 23, 2009
Merriweather Post Pavilion
This is a tough record. Tough to get your mind around, tough to sit through and difficult to digest. But it rewards a listener who stays with it and does not go back to the TV or some easier to understand music.
It is epic in scope and ambition. These guys are not aiming for the lowest common denominator. They are reaching for the stars and hit the moon.
The record has layer upon layer of sound. The lyric repeats and winds like a vine around an old fence post. It sounds better with subsequent listens. Don't give up, listen on NPR here.
It will go off NPR and then will be a record to consider.
Music News and Directory at Lakin Report.com
It is epic in scope and ambition. These guys are not aiming for the lowest common denominator. They are reaching for the stars and hit the moon.
The record has layer upon layer of sound. The lyric repeats and winds like a vine around an old fence post. It sounds better with subsequent listens. Don't give up, listen on NPR here.
It will go off NPR and then will be a record to consider.
Music News and Directory at Lakin Report.com
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