Golden Smog - Another Fine Day

Before this album came out I just knew Golden Smog as "that side project of Jeff Tweedy's." I may have heard some of their stuff but nothing really stands out in my memory. So I checked out Another Fine Day, their newest release. Golden Smog in this lineup consists of (in addition to Wilco's Jeff Tweedy) Kraig Johnson of Run Westy Run, Dan Murphy of Soul Asylum, Jody Stephens of Big Star, and Greg Louris and Marc Perlman of the Jayhawks.

From what I understand, Jeff Tweedy doesn't appear on very many songs on this album. However, it stands pretty well on its own. It starts of with "You Make It Easy," which has a nice guitar and piano that give it a '60s sound. I like the harmonies too.

"5-22-02" is probably my favorite song on the album right now. It really reminds me of My Morning Jacket. I've never really listened to the Jayhawks, so I don't really know if that's what I'm hearing, but I do like it.

There's some great acoustic guitar work on Another Fine Day, especially on "Long Time Ago" and "Listen Joe." The echoing vocals of "Listen Joe" is another reason I like the song.

Another highlight of the album is the song "Corvette." It sounds a lot like Big Star and Cheap Trick to me. It's a good '70s style rocker. In it, the band sings:

Don't it blow your mind?
Don't it blow your mind again?
Don't it blow your mind for the third time?

I know, kind of cheesy, but it sticks in my head.

"Strangers" is a Kinks cover, and Jeff Tweedy sings on this one. His and the band's take on it really sound like it could be Wilco to me, but I guess that shows the power Tweedy holds over a band. The songs he's on in this album all have that Wilco feel, with the experimental sounds of Yankee Hotel Foxtrot sneaking in now and then.

"I Can" sounds to me like a blatant Beatles rip-off. I'm not sure that's a insult or a compliment though. Wouldn't any band want to sound somewhat like the Beatles? It's a good song either way.

Although this wasn't what I expected to hear when I put it on for the first time, it really is a nice blend of several alt country acts I like to listen to. Altogether, it gives Golden Smog a sound of its own.

For further reading:
Golden Smog's homepage
All Music Guide's Golden Smog entry
Wikipedia's Golden Smog entry

Ben Folds - Supersunnyspeedgraphic: the LP

NOTE TO READER: This post contains FOUL LANGUAGE. If you are easily offended, go read Dr. Seuss instead today.

To say Ben Folds' latest release is "new" is not really true. It's not a greatest hits album, but it's still a compilation. All the songs on it have been previously released. How long ago? Well, I saw Ben Folds in concert in fall of 2003, and he performed at least "All U Can Eat." The EP it was on came out soon afterwards. Before Songs for Silverman, Ben released three EPs: Speed Graphic, Sunny 16, and Super D. Supersunnyspeedgraphic: the LP contains selected songs from these EPs, as well as a few others. Supposedly Ben reproduced these songs to make the album more than just a compilation, but I don't hear the differences myself.

It's a good selection of songs. If you don't have all the previous EPs, it's worth the purchase. For the casual fan, it's probably better than getting the EPs. Of the songs selected, the only one I could think of left off I would have liked to have had was "Give Judy My Notice."

The CD has a few cover songs on it, the first is the Cure's "In Between Days." I must admit I do like the Cure. Folds does a great job covering the tune, with his fervent piano playing, and although his voice is different from Robert Smith's, it still catches the same spirit.

The second cover song is Dr. Dre's "Bitches Ain't Shit." I have never really listened to much Dre, at least not the stuff that wouldn't get played on the radio. And this song definitely wouldn't get airplay. It's funny though to hear Ben singing such obscene lyrics with a soft piano accompaniment. I laugh each time I hear this foul song.

Like I said, Ben played "All U Can Eat" when I saw him live. Normally when I see a band live (and I'm sure this is true for most people) I want to hear the old stuff. When they say "this is a new song" I get antsy because I'd rather become familiar with a song first before I hear it live. However, I loved this song the first time I heard it. Why? The lyrics really speak to me. Ben sings about fat, spoiled Americans, and how ignorant we are about the problems of the world.

They give no fuck
They buy as much as they would want
They give no fuck
Just as long as there's enough
For them

I like the full orchestra on "Songs of Love" and "Learn to Live With What You Are." It really gives both songs a nice touch, and shows Folds' talents. "Rent A Cop" and "Get Your Hands Off My Woman" both make me chuckle, and show Ben's light side. The second song is actually another cover, this time originally by The Darkness, whom I detest.

Another one of my favorites on the album is "There's Always Someone Cooler Than You." This reminds me more of the songs Ben used to do when he was in the Ben Folds Five. I know there's really not much difference between the Five and Ben's solo stuff, but still this song harkens back to Ben's younger days.

Overall, the compilation of all these years of Ben's work really make a complete solid album. I'm not sure I'd say it's his best since going solo, that's probably still Rocking the Suburbs. But I do like it more than Songs for Silverman.

For further reading:
Ben Folds' homepage
All Music Guide's Ben Folds entry
Wikipedia's Ben Folds entry

Son Volt - Trace

If I were to say my favorite band of the so-called alt country genre, I'd be hard pressed to choose between Wilco and Son Volt. There's something about Jay Farrar's voice that draws me into Son Volt, but at the same time, Wilco's range of styles is great. But if you asked me to pick my favorite alt country album, it's hands-down Son Volt's Trace.

Trace kicks off with my favorite song on the CD, "Windfall." A simple acoustic guitar starts the song, but is soon joined by a steel guitar, as Farrar sings the sad, haunting verse. The chorus brings in the fiddle, and the song sounds pure country. Not the new Nashville sound, but that old time bluegrass feel. In fact, this song is about music and its effect on people, as Farrar sings about finding a radio station playing old time country music and letting "the wind take your troubles away."

"Live Free" has more electric guitars to go with the acoustic and steel guitars, and therefore is more rock than the previous song. It still has that twangy sound, especially Farrar's voice. I really like the heavy drumming in the pre-chorus and the memorable guitar riff that introduces the chorus.

The most haunting song on the CD by far is "Tear-Stained Eye." The acoustic guitar and banjo play what sounds like the traditional Travis picking, and the steel guitar plays the haunting melody. But it's Jay Farrar's voice that give the song its aching feel. It's another one of my all-time Son Volt favorites.

In contrast to "Eye," "Route" rocks pretty hard. It's one of those songs that get you drumming your steering wheel when you're driving. I'll admit I do it, if you do. The song even has a short heavy guitar solo to end the song.

The acoustic guitar work on "Ten Second News" is very well done. To my ear, it sounds like dropped D tuning, which gives it a real low feel. It's backed by steel guitar again, but it's the acoustic that stands out to me. And of course, Farrar sings this one very well too.

I only recently got into Son Volt, listening to their entire back catalog. I can't remember when I started listening to them, but I know I was looking forward to Okemah and the Melody of Riot. However, I do remember hearing "Drown" on the radio all the time in 1995. I love the use of cowbell. In fact, it needs more cowbell. I got a fever, and the only prescription is more cowbell. Seriously what always stuck out to me about that song was the chorus: "If living right is easy, What goes wrong, You're causing it to, Drown..."

The next song is another rocker. The best part of "Loose String" to me is the lyrics:

Loose string
Find the pieces don't fit in
Loose string
Coming up for air again and again
Loose string
Too much living is no way to die

"Out of the Picture" sounds slowed down to me, but it could be just my imagination. It features more Travis picking, and more heart-wrenching lyrics. Farrar sings about how sometimes life seems so futile, that no matter what you do, time passes you by and you're out of the picture.

"Catching On" brings back the rocker side of Son Volt. The electric guitars make this song. Other than that I can't really say much about this song to differentiate it from the rest of this brilliant album.

The next song, "Too Early," takes the acoustic and steel guitar that's been used throughout the CD and adds an accordion. It gives the song a bayou sound, another style of folk/country music I like.

Another one of my favorites, "Mystifies Me," closes out the album. Farrar's voice sounds distant, and the bass guitar really stands out. Apparently the song is by Ron Wood, off of his 1974 solo album, I've Got My Own Album To Do. I really like the intricate guitar work on this song.

This is the album that got me hooked on alt country. Give it a listen, and it might hook you too.

For further reading:
Son Volt's homepage
All Music Guide's Son Volt entry
Wikipedia's Son Volt entry

Goldfrapp - Supernature

I subscribe to a online streaming service called Rhapsody. Sometimes when I feel like discovering new music I pick a genre, and play the top 100 or so songs in that genre. I find new bands I like that way. This is how I discovered Goldfrapp; I was surfing the trip hop genre. I wasn't much into electronica in the 1990s, but it's starting to grow on me, thanks to bands like Zero 7 and Massive Attack.

Goldfrapp isn't as downtempo as the other electronic bands I like. Instead the synthesizer is more pumping. What I really like about this band is the bass lines. It sticks in my head and won't go away. I also think Alison Goldfrapp has an enthralling voice.

I can't really say why I like each individual song on this album, because they all basically have that synthesizer/voice/percussion combination that draws me in. There's pretty much two types of songs on Supernature, fast ones and slow ones. A few of my favorite fast ones are "Ooh La La," "Lovely 2 C U," and "Ride A White Horse."

The slower songs remind me more of the downtempo style I like. Electronica can be good background music to just zone out to. Sure, none of Goldfrapp's stuff is as laid back as Zero 7, but it's still good stuff. Slow songs I like on Supernature are "You Never Know," and "Let It Take You."

"Satin Chic" stands out from the rest of the songs to me. It uses a honky-tonk piano, giving the song a saloon-like feel. Combined with the synthesizer, it's just a really odd mix. That's what I like about it.

Sure, most of the songs all sound similar, and I really can't describe how they differ. Still, this is an album I find myself listening to repeatedly, and it's kind of a fun one.

For further reading:
Goldfrapp's homepage
All Music Guide's Goldfrapp entry
Wikipedia's Goldfrapp entry

Johnny Cash - American V

Johnny Cash was the Man in Black. Heck, he was THE MAN. He had a gift for revealing himself in his music from the day he laid down the vocals for "Cry, Cry, Cry." His voice is one of if not the most distinguished voices in popular music. I am not a fan of country music, but he transcends it. He became an alternative rocker when he started his American recordings with Rick Rubin. I enjoyed all of those albums. Now, he's passed on for 3 years now, but the last American album has been released.

The Cash on this CD is not the Cash I want to remember. His deep baritone voice is cracking. He died before he could approve the arrangements of this album. Some could say this is cashing in on Cash. I at least disagree on this; I think Cash would have wanted these songs to be released. But they're not for me.

Sure, he does a good job covering a few good songs here, like Gordon Lightfoot's "If You Could Read My Mind." But he just doesn't sound the same. You can tell he's dying as he achingly sings every song. The songs he picked all reflect this as well.

The first track on the CD is called "Help Me." In it, Cash sings "Lord, Help me walk another mile, just one more mile, I'm tired of walkin' all alone." It sounds like he can't even make it through the song without help. It's very depressing.

And it's not just this song. In "Like The 309" he sings "It should be a while before I see doctor Death." "Further On Up The Road" has him saying "Got my dead man's suit, and my smilin' skull ring, My lucky graveyard boots, and a song to sing, I got a song to sing, to keep me out of the cold, And I'll meet you further on up the road." Also, in "I Came To Believe" he sings "I came to believe in a power much higher than I," and it sounds like he's preparing to meet him as well.

All the songs on this album are hauntingly sad, and sound like a man ready to die. If you're into that sort of thing, it's a great listen. Myself, I'd rather remember Johnny Cash as the strong-willed man who sang "Ring of Fire," "A Boy Named Sue," "Sunday Morning Coming Down," "Folsom Prison Blues," or even his cover of "Rusted Cage." And if I wanted achingly sad, I'd listen to his marvelous cover of "Hurt."

For further reading:
Johnny Cash's homepage
All Music Guide's Johnny Cash entry
Wikipedia's Johnny Cash entry

Gomez - How We Operate

I was excited. Cake was coming to Tulsa. They are one of my favorite bands still active. I bought tickets for my wife and I, paying no attention at all to who was opening. They were two bands, Robbers on High Street, and Gomez. I had never heard of either, so when the concert started I had no idea what to expect. Robbers on High Street were forgettable, at least to me. Gomez, however, impressed me. I quickly became a fan, liking such fun songs as "Get Myself Arrested," "Get Miles," "Love is Better than a Warm Trombone," "Whippin' Piccadilly," and "Ping One Down." They even played a cover of Nick Drake's "Black Eyed Dog."

Gomez has a sound all of their own, and I noticed each of their albums have shown change and development from the previous one. How We Operate is no different. It opens with "Notice," which has soft acoustic guitars, strings, and just the right percussion accompaniment. It still sounds like Gomez, and I like it from the beginning. The song picks up after the first verse, and it shows a more poppy Gomez.

For further reading:
Gomez's homepage
All Music Guide's Gomez entry
Wikipedia's Gomez entry

"See The World" is probably my favorite on the album for its chorus. It's really uplifting, and has a good happy beat. It's another good pop song. The acoustic guitar work is brilliant, and the drums are well done as well.

For those who like the darker, experimental sound of Gomez it can be found in "How We Operate." The song starts with what sounds like banjo and pizzicato strings. This sounds more like something you'd find on their earlier albums. The band eventually joins in, and it's a good sound.

I first heard "Hamoa Beach" on XM radio, and it got me excited to find out there's new Gomez coming out. This song is another cheery song, and I really like the percussion on it. It's got a nice shuffling sound. The guitars have a nice twang to them too.

Lyric wise, "Girlshapedlovedrug" is a fun song. I also like "Woman! Man!" Neither is "Get Myself Arrested," but they're still both enjoyable pop love songs.

"All Too Much" has a simple guitar lick, and it leaves you unprepared for the heavy guitars and drums that join in at the pre-chorus, before they back off for verse again. But this time the verse is fuller, and when the chorus comes this time, it's a good rocking one. The composition of this song is well done.

It's a fun album. Some may say Gomez are taking that trend to radio-friendly pop songs, but I think these are GOOD pop songs. I hear enough of the older Gomez sound in it too.

Me First and the Gimme Gimmes - Love Their Country

Quite some time a go I was channel surfing on my XM radio, and I stumbled upon this punk band playing cover songs. And they were running the full gamut from "Don't Cry For Me Argentina" to "Nobody Does It Better." I love cover songs. I have long collected any odd cover I could find. The band was Me First and the Gimme Gimmes. They call themselves the world's greatest cover band, and if not for Richard Cheese I would agree. They're made up of punk musicians from various bands, and they're obviously just doing it for fun. Now, I'm not really a punk fan, but this is some fun music.

There's twelve songs on this album, and they're all about two to three minutes long. It's probably just as well cause the joke can get stale pretty fast, so twenty five minutes of it is just right.

The album opens up with "Much Too Young (To Feel This Damn Old)". Oh, did I mention all the songs they're covering are country? And what better way to kick off a country cover album than with the great Garth Brooks. I've never gotten too much into that Nashville country sound, but Garth is a Oklahoma State graduate. And he added enough pop to his music to make it work for me. Anyway, the song starts out sounding slightly country, then suddenly the band lets out an expletive and the song starts punk rocking.

"Desperado" is almost not even recognizable, with the frantic pace Me First and the Gimme Gimmes give it. Maybe even the Dude from The Big Lebowski could enjoy this version. Or maybe not, might be too punk for his laid-back tastes.

My favorite cover on the album is of John Denver's Annie's Song. This has got to be the sappiest piece of crap Denver ever wrote, and he wrote some crappy stuff. But the band plows through it with no reverence.

I don't really like the Dixie Chicks. And it's not their politics, I like their politics. It's their music. But "Goodbye Earl" has lyrics that make me laugh. And the Gimme Gimmes give it the right angry touch. Earl had to die. So why not make a punk song out of his demise?

You really can't make a good country cover album without "East Bound and Down." OK, maybe you can, but then Smokey and the Bandit come after you, and maybe Jerry Reed as well. "Why do you always get to be the Bandit, Earl?" "I have a mustache and you don't, Randy."

The album also includes a Kenny Rogers cover, without the pine tar. Oh, wait. The OTHER Kenny Rogers. You know, the fat bearded one. Anyway, the cover is "She Believes In Me."

Finally, the band finds a country song that shares something with punk rock: drugs. Kris Kristofferson's "Sunday Morning Coming Down" made famous by Johnny Cash. It's not a bad version either. It rocks, but not too hard.

For further reading:
Me First and the Gimme Gimmes' homepage
All Music Guide's Me First and the Gimme Gimmes entry
Wikipedia's Me First and the Gimme Gimmes entry

The Beach Boys - Pet Sounds

The album that challenged the Beatles to record Sgt. Pepper's Lonely Hearts Club Band. Brian Wilson's epic masterpiece. Long picked at the top or near the top of best records ever made. And my personal favorite album, if I had to pick one. Why? Why not Revolver or Rubber Soul or something by even Pink Floyd?

True, there's tons of bands I love more than the Beach Boys, but Brian Wilson truly put his heart and soul into this album, and shows. To me it's the most emotional record by any band, let alone the Beach Boys.

The record opens with "Wouldn't It Be Nice," a song about teenage love, wishing they could make a real commitment. The opening guitars followed by that single drum beat just let you know you're in for something special from the get-go. It has the perfect balance of soft and wishful, followed by ecstatic joy of young love.

Next is "You Still Believe In Me" with its use of a bicycle bell and toy horns. The lyrics reach to the heart as Brian sings about how he isn't happy with how he's acting, but his love still stays beside him. The best part is the outro as the Beach Boys display their talented harmonies.

"That's Not Me" follows, this time with Mike Love on lead. The song doesn't really stand out until the key changes as Mike sings "I once had a dream, so I packed up and went to the city, I soon found out that my lonely life wasn't so pretty." He repeats it, and you get the pain behind lost dreams.

Another great love song is next, "Don't Talk (Put Your Head On My Shoulder)." This song is really haunting and sad, yet sweet and romantic. But just as you're about to fall asleep, the drums are back with "I'm Waiting For The Day." It starts out kind of slow after the drums but soon it picks up with full drums, backing vocals, and Brian Wilson proclaiming his love for a broken-hearted girl, while emphasizing his patience for when she's ready. Just when you think it's over with a soft string interlude, the drums are back with Brian singing he won't sit back and let the girl go.

Next is a short instrumental, "Let's Go Away For Awhile." It's nice, but really the vocals and lyrics make this album, so I'm just waiting for one of my favorite songs to follow.

That song is the "Sloop John B." I really like the bass and guitar lines on this song. Sure, it's a traditional, and we all know the words, but the Beach Boys give it their own flavor. It's one of those songs that can cheer me up every time I hear it, like Jimmy Buffet's "Margaritaville." The harmonies are at their best in this song too, especially at the a capella section. And if you're listening on the vinyl, so ends side one.

Side two opens with the best love song ever written, at least for a current love. "Yesterday" by the Beatles is my favorite break up song. "God Only Knows" evokes religion in a time when it was seldom done. It also features a rarity with Carl Wilson on lead vocals. He gives it the proper achingly in love sound. The lyrics make the song of course, but the instrumentation is also amazing. The song ends with Carl, Brian, and Bruce Johnston passing the chorus around, which is a nice effect.

"I Know There's An Answer" originally had a more negative outlook to it under the name "Hang On To Your Ego." I like the original version, but I guess the second version fits better with the idealistic feel of the record.

I especially like the organs that open up "Here Today." This song is more cautionary than the other love songs on the album, as the band warns of the dangers of fleeting love. Especially since "I'm the guy she left when you found her." The song has a long instrumental interlude in the middle that reminds me of a carnival. Perhaps the message is love is like a carnival, only in town for a short time.

Next is another Brian Wilson masterpiece, "I Just Wasn't Made For These Times." Here, the Boys make full use of the orchestra. Brian really pours his heart and soul into this one (in fact he says so in the lyrics.) The call and response section is really touching. I'm sure there's times all of us have agreed with Brian, and wish we lived in simpler times. Unfortunately, those times never existed. Or maybe he longs for days to come, but I don't think they'll arrive either.

The album wraps up with "Pet Sounds," another instrumental with a nice bass line and unique instrumentation, and "Caroline No." The harmonies on this song are amazing. It makes a perfect end to the record, and the harpsichord is a nice touch. It's really a heart breaking song, and I can see why Brian has named it his favorite.

I really think it's the whole idealism of youth that wins me over with this record. I have long been a cynic, but there's a side of me that longs for a softer me. I wish I could open myself as much as Brian Wilson did with this album.

For further reading:
The Beach Boys' homepage
All Music Guide's Beach Boys entry
Wikipedia's Beach Boys entry

Sean Lennon - Friendly Fire

There's only one reason I decided to give this album a listen, and it's the obvious one. Sean is the child of those two hippies in that song "The Ballad of John and Yoko." I was hoping this album would have some glimpses of his father, and none of his mother.

Well, I got half of what I wished for. Sean does seem to have his own sound. It's nasally, sappy, and over sentimental. The music is well orchestrated and poppy, but I just can't get into it.

In "Parachute," the guitars are nice and subtle, and the drums are well laid down, and the harmonies are nice. But Sean is singing clichés like "Love is like an airplane, you jump and pray" and "Life is a stage." All backed with "la la las." Sorry, I'm just not 15 any more.

"Spectacle" has more sappy lyrics, but "Would I Be The One" has a psychedelic feel to it, but none of the other songs really stuck in my mind. Overall Sean reminds me more of Paul than his father. And it's the over-romantic side of Paul. I give this album a pass.

For further reading:
Sean Lennon's homepage
All Music Guide's Sean Lennon entry
Wikipedia's Sean Lennon entry

Audioslave - Revelations

I liked Soundgarden. I loved Rage Against the Machine. I knew Audioslave would be at least interesting when I first heard that the instrumentalists of RATM had hooked up with Chris Cornell. And I did like their first self-titled CD. When they toured to promote their second CD, Out of Exile, I went and saw them. They are much, much, much better live. Chris Cornell gets into it, and gives the performance his all. Tom Morello has got to be the most talented guitarist I have ever seen live. But I just don't think the studio recordings capture the band's true spirit. I can't recapture what I saw live so I haven't been able to get into their CDs.

Revelations is a decent CD. It's just there's probably a couple Audioslave songs on each CD that really gets to me, but then the rest make me long for RATM. The lyrics aren't as strong as they used to be. I love the sound of Morello's guitar, and Brad Wilk is a damn good drummer. And I don't even notice drummers most of the time. Tim Commerford lays down a good groovy bass. But Cornell's voice only works for me about half the time. I guess I'm just wishing the band was still recording with angry Zack de la Rocha.

"Original Fire" does show Cornell at his best when he screams. The song is a good rocking number. "Broken City" has a real groovy beat that I like. Most of the songs have places for Morello to show off his guitar solos. But most of the songs lyrics just don't really say anything to me.

There's one exception. "Wide Awake" covers a topic that every American seems to have feelings about, so even Chris Cornell was willing to get past his aversion to just being in a "political band," which made him hesistant to join the former RATM members. The topic? The Bush's Administration's slow response to Hurricane Katrina.

You can a look a hurricane right in the eye
1200 people dead or left to die
Follow the leaders, we're in an eye for an eye we'll all be blind
Death for murder and this I'm sure in this uncertain time

So come pull the sheet over my eyes
So I can sleep tonight
Despite what I've seen today
I find you guilty of a crime, of sleeping at a time
When you should have been wide awake

Down on the road the world is floating by
The poor and undefended left behind
While you're somewhere trading lives for oil
As if the whole world were blind, hey

The other songs have lyrics that may sound a little political, but not so upfront. Once again, it's not like this is a bad album, it's just each Audioslave album makes me miss Rage Against the Machine more.

For further reading:
Audioslave's homepage
All Music Guide's Audioslave entry
Wikipedia's Audioslave entry

David Gilmour - On an Island

David Gilmour is a guitarist. He's in some hippie band, I forgot which one.

I'm kidding of course. The band David Gilmour is in is the legendary Pink Floyd. If you forced me to name three favorite bands, I would quickly come up with The Beatles, and Floyd. Then I'd blow my brains out trying to pick the third. But there will always be these two. I'm that guy who will go nuts on you if you say "My favorite Pink Floyd song is 'Wish You Were Here.'" It's a good song, don't get me wrong, but it makes me feel you've never even heard anything off Meddle.

Floyd changed dramatically with the exit of Roger Waters. It then became Gilmour's band. However, the contributions of Rick Wright and Nick Mason can't be ignored. Wright appears on On an Island and it's enough to give the album that Floydian sound.

"Castellorizon" opens the album, and it's an instrumental. It has an ambient, experimental sound to it, with its use of bells and even fireworks. Finally, Gilmour's guitar lets out its distinctive wail and I am eagerly anticipating what's in store for me.

The title track features vocals by none other than David Crosby and Graham Nash. I first learned to appreciate Nash with "Bus Stop" by the Hollies. Here, he and Crosby has a nice harmonic touch to Gilmour's haunting vocals. The song itself has a retro sound to it, and almost sounds like it could have been made 30 years ago. I'd almost swear Alan Parsons was engineering again.

"Take a Breath" opens with a chant backed with augmented guitar chords. It has all of the trademark Floyd guitar effects that I became so familiar with from listening to the Wall over and over again when I was 17. I really enjoy the lyrics.

This kind of love is hard to find
I never got to you by being kind
If I'm the one to throw you overboard
At least I showed you how to swim for shore

When you're down is where you'll know yourself
Then if you're drown there's nothing else
When you're lost you need to find yourself
Then you'll find out that there's no one else

There's just so many songs I like on this CD. "This Heaven" has a good bluesy feel to it, with its use of acoustic guitar and organ. "Smile" features steel guitar and acoustic guitar to begin with, before the full orchestra joins in. It's a sweet little song. "Pocketful of Stones" is mostly just Gilmour's vocals backed with piano, and a little orchestration. It's relaxing and hypnotic.

I really think this is the best CD Gilmour has contributed to since A Momentary Lapse of Reason. I always considered it to be one of my favorite Floyd albums even though it's quite different from the Floyd of the '70s. This is one I know I will be listening to again and again, even if it never gets as much airplay for me as "Echoes."

For further reading:
David Gilmour's homepage
All Music Guide's David Gilmour entry
Wikipedia's David Gilmour entry

Barenaked Ladies - Barenaked Ladies Are Me

This is another band I've been lucky enough to see live. They opened for Ben Folds at OSU's Orange Peel in 2003. The Barenaked Ladies are a fun band on their albums, and even more fun live. They have a gift to ad lib, and they went into a improvisational song about T. Boone Pickens when they performed in the stadium he just paid to be named for him. Their last album, Everything 2 Everyone wasn't one of my favorites, but they're back, and this time back big.

Instead of releasing one album, this time they've released two. Or one deluxe, depending how you look at it. You can get both online now, or you can buy the first CD this year, and the second next year. The first is titled Barenaked Ladies Are Me while the second is called Barenaked Ladies Are Men. I have listened to both but for now I'll just review the first one.

The CD opens with a pretty song called "Adrift." I like the acoustic guitar and banjo. It kind of reminds me of the kind of music you'd hear on Scrubs, perhaps it's similiar to "Superman." I like the chorus especially. This is music I could fall asleep to.

What I've always liked about the Barenaked Ladies are their insane lyrics. Bank Job is an example of this on the new album. In it, they sing about a bank robbery gone wrong. Why? Well, the bank was full of nuns. I guess they didn't have the guts to go through with it after that. It's all downhill from there.

"Easy" is one of two singles so far released from the CD. I'm not sure if it's what I would have chosen, but it is a good song. There's good harmonies on the chorus, and it's typical love song stuff.

If you're looking for that classic BNL sound, look no further than "Bull In A China Shop." It reminds me of the kind of music they did on Stunt or Gordon, the albums that made me fall for the band. It's sung by Steve Page, like almost all of my favorite BNL songs. Sorry Ed. The Steve songs are more whimsical and upbeat, while Ed songs remind me of romantic pop.

My other favorite Steve song on the album is "Everything Has Changed." I like the use of accordion and banjo. Just an odd musical arrangement. The melody is in a minor key, and it works very well.

The other single released is "Wind It Up." This song starts out with heavy blues guitar licks. It sounds a bit more country than the usual BNL faire. What I really like best about the song is the following lyric:

If you are leaving then I wish you luck
I hope someone can make your heart warm
I was a baby when I learned to suck
But you have raised it to an art form

I like this album. I'm not sure I like it as much as Maroon, but it's the best they've done in some time.

For further reading:
Barenaked Ladies' homepage
All Music Guide's Barenaked Ladies entry
Wikipedia's Barenaked Ladies entry

The Raconteurs - Broken Boy Soldiers

The Raconteurs are the new group consisting of Jack White of the White Stripes, solo artist Brendan Benson, and two members of the Greenhornes. I slowly became a fan of the White Stripes, feeling each of their albums was stronger than the last, until they finally won me over with Get Behind Me Satan. My main problem with the band was the fact since there's only two members, the band sounds rather minimalist.

The Raconteurs take that sound and flesh it out. The contributions by the other three members give it something special. Their first single from Broken Boy Soldiers is "Steady As She Goes," which in my opinion is probably the weakest song on the album, borrowing its bass line from Joe Jackson's "Is She Really Going Out With Him?" Still, it's a good song.

"Hands" reminds me of what the Beatles could sound like if they recorded today instead of 40 years ago. The harmonies are reminiscent of John, Paul, George, and Ringo, and even some of the instrumentation seems similar. What really reminds me of the Beatles is the song composition with its use of the bridge.

The title track of the CD is another great song, with its eastern sounding guitar lick. Its followed by the whimsical "Intimate Secretary" where the band sings about a hopping rabbit, a shopping girl, a foot that won't drop, and a shot uncle. It comes across as a Dr. Seuss rhyming exercise, and the music itself sounds otherwordly.

The best song on the CD in my opinion is "Together." It's the slow song of the album, and the guitars are more laid back and subtle than the rest of the album. The organ adds a nice touch, but I really like the call and response of the chorus as they sing "You want everything to be just like (You want everything to be just like) The stories that you read but never write (The stories that you read but never write.)"

"Store Bought Bones" has a good '70s sound to it with its organ, and looping bass line. "Yellow Sun" evokes the Beatles again, this time the White album, with its false starts. The album closes with "Blue Veins" which uses backwards tape loops and speaker effects for the vocals.

The songs I didn't mention are all as good as the ones I did. This is by far the best album I've heard in 2006, and I just can't stop listening to it. My only complaint is at 33 minutes this CD is way too short. I really hope the Raconteurs can take more time out from their respective groups to record more quality music like this.

For further reading:
The Raconteurs' homepage
All Music Guide's Raconteurs entry
Wikipedia's Raconteurs entry

Dire Straits - Making Movies

Occasionally I'd like to give props to a favorite album of mine from the past. This week I'm recognizing Making Movies, Dire Straits' third studio album. I don't know when I first heard Dire Straits, if it was "Sultans of Swing," or even a song from Making Movies, but I probably first knew who they were with Brothers in Arms, which had the hits "Money for Nothing," "So Far Away," and "Walk of Life." I'd be lying if I said that album wasn't my favorite Straits album, but Making Movies is still a masterpiece from beginning to end.

The album opens with strains of "Carousel Waltz" from Rogers and Hammerstein's Carousel, which is the intro to "Tunnel of Love." It fits the song well, but then the guitars take over and its pure Dire Straits. Mark Knopfler's vocals carry the song, but his guitar licks are as memorable as usual.

My favorite song on the album, and perhaps my favorite Dire Straits song of all time is "Romeo and Juliet." The guitars are achingly sad, as well as the piano. But it's Knopfler's lyrics that really get to me. He recalls West Side Story as he sings:

Juliet, when we made love you used to cry
You said I love you like the stars above, I'll love you till I die
There's a place for us, you know the movie song
When you gonna realize it was just that the time was wrong, Juliet

"Skateaway" is pure '80s. Remember when people would go to rinks to skate with rollerskates with wheels on each side of the shoe? I never was good at it, but this song evokes those memories perfectly. The chorus is one that always sticks in my head for days. It's a good song to lift your spirits after "Romeo and Juliet" tale of ill-fated lovers.

The band's guitars are at their best for "Expresso Love." The song is driving, and the piano and organs help carry the song forward. The whole song reminds me why I consider Dire Straits one of the best rock bands of their time, if not all time. They stay true to rock's rhythm and blues roots.

The other side of Dire Straits is revealed on "Hand in Hand." Knopfler plays a soft acoustic guitar at first, with piano playing the role of falling rain as Knopfler sings "Rain come down, wash away my fears." He's joined by the full band soon, but overall the song is a much softer piece than the rest of the album.

Some critics have said Making Movies starts out strong and then weakens towards the end, and I slightly agree, since my favorites are all at the beginning. However, "Solid Rock" is still a fun rocking number. "Les Boys" is an odd song, I guess it's the band's "tribute" to homosexuals, to put it nicely. I'm not sure if Knopfler was making fun or what when he wrote the song.

This is just one fine album I always get in the mood to hear again every now and then. Sometimes I'll just dig out "Skateaway" or "Romeo and Juliet," but I love the other songs as well.

For further reading:
Mark Knopfler's homepage
All Music Guide's Dire Straits entry
Wikipedia's Dire Straits entry

Muse - Black Holes and Revelations

I first heard the British band Muse in some youtube video and decided then and there I had to find out who this band is. The song was "Hysteria" from Absolution. I wasn't disappointed, the rest of the CD was as impressive with the rich vocals, guitars, and synthesizers. "Time is Running Out" quickly became one of my favorite tunes. I tried some of their earlier albums, but I really feel Muse hit their stride with Absolution.

Needless to say, I set my hopes high for Black Holes and Revelations. I figured though like so many other times before, this would be a one album band for me. This CD though, did not disappoint me. In fact, I'd say it gets better every time I listen to it and become more familiar with the songs.

The album opens with "Take a Bow," showing how Muse has grown in the last three years. The sound still sounds full and rich, and the vocals as soaring as ever. "Starlight" follows the opener, and it's a really good tune. I like how the guitars and piano back a nice melody that builds into a strong chorus, and the song even has a decent bridge.

"Supermassive Black Holes" has a retro '70s feel, with its deep rich bass and falsetto vocals. It has an almost Disco feel to it, while keeping in tune with the whole spacy/sci-fi theme of the album.

The CD isn't all hard rocking, synthesizer jamming, fast beat songs. "Soldier's Poem" is a short, lullaby-like tune featuring guitar arpeggios and Matthew Bellamy's haunting vocals. It seems to go hand and hand with the next track, "Invincible," which starts out slow and builds to a climax. The drums make the song come across as a march.

On the other hand, "Assassin" is a true hard rock number. The drums and guitars make for a frantic intro before the vocals finally come in. This song is immediately followed by "Exo-Politics," one of my favorites from the album. The guitar riff is catchy, and the song is a real earworm (a tune that sticks in your head for days.)

Another one of my favorites is the last song, "Knights of Cydonia." This song is more experimental than the rest of them, and can be best described has "Western meets Sci-Fi." The song opens with horses neighing and thundering hoofbeats. It's followed by a '60s sounding guitar solo that makes me wonder if it's inspired by The Tornados. The Tornados had the first American number one by a British band with "Telstar." Bellamy's father was the rhythm guitarist for the band.

The first few times I heard Black Holes and Revelations was on my headphones. I then heard it on my surround sound stereo system and it's much richer and darker. I highly recommend you listen to this album under the best sound arrangement you have available. While some may see Muse as super-cheesy, I have to disagree and say it's some of the best British rock I've heard in awhile.

For further reading:
Muse's homepage
All Music Guide's Muse entry
Wikipedia's Muse entry

John Popper - The John Popper Project

John Popper, of course, is best known as "that fat guy in Blues Traveler." I must admit I didn't ever hear of them until "Runaround" when they were on MTV every 15 minutes. And I wasn't impressed. Then for some reason I went and checked out their earlier stuff and became more of a fan. I preferred songs like "But Anyway" or "Regarding Steven" than their hits. To this day, I swear "Hook" is just Pachelbel's "Canon in D."

In September of 2001 I was lucky enough to finally see Blues Traveler. Popper and crew were amazing. Popper had just recently undergone gastric bypass surgery so we were surprised by the relatively thin man who walked out on stage. I wish I could remember more about that night, but the very next Tuesday our world changed, and that is the day from that month I remember instead.

For this solo album Popper is joined by turntablist DJ Logic, and Blues Traveler bassist Tad Kinchla. It's a new sound to me, Popper's harmonica and vocals with a intricate bass work, and turntables. I haven't listened to much turntable music, but I kind of like what I hear on this album.

The album kicks off with "Lapdance" which reminds of the downtempo, trip-hop music I recently have gotten into. There's flute in the background, in a Jethro Tull-like style. Popper's vocal is as recognizable as usual, and the beat is infective.

Another highlight of the album is a tribute to the victims of Hurricane Katrina called "Louisiana Sky." Popper sings the chorus while who I assume to be DJ Logic raps "We struggle underneath the Louisiana sky, It's slim pickings but we take a slice of humble pie,Beneath the yellow sky our spirits is strong, Louisiana let's rock on." The song criticizes the government handling of the crisis, while paying respects the region's rich history.

My personal favorite on the CD is "Trigger." This song is the song that reminds me of old-fashioned Blues Traveler, at least lyric wise. It's got Kinchla plunking away at a seriously complicated bass riff, while Popper sings about how his baby won't pull the trigger and end their doomed relationship, followed by his trademark harmonica. This is the song I'll be listening to for years.

"Horses" is Blues Traveler meets Trip-Hop meets India (or some similar exotic country.) It's got the length of the typical Blues Traveler jam, but just sounds so... different.

Overall, I'm undecided still on this CD. It's combining music I like, but I'm not sure that's what I want to hear from Popper. I guess it will grow on me with repeated listening, but a lot of it comes across as background music to me. Still, I will probably keep returning to it from time to time to see how it grows on me.

For further reading:
Blues Traveler's homepage
All Music Guide's John Popper entry
Wikipedia's John Popper entry

Hem - Funnel Cloud

Hem is a band I just recently started listening to, probably in the last year. I first heard their cover of Fountains of Wayne's "Radiation Vibe" and I immediately was drawn to Sally Ellyson's voice. I picked up No Word From Tom which included several covers, and outtakes, and live recordings. I found it's really good music to relax to.

Now Hem's come out with Funnel Cloud, and I must say it's quite the musical dish. This time Hem is joined by a 21 piece orchestra, and even James Iha(!) on the guitars. I don't know which song or songs he's on, but Hem is a long way from his other bands (Smashing Pumpkins, a Perfect Circle). The songs all have a real folk sound, and the guitars and piano are hypnotic.

I can't really say there's any song I don't like on the CD, but there are a few that stand out. "We'll Meet Along the Way" opens the album, with a strong piano melody repeating as Sally tells the listener to "Go easy now." And I do. "Not California" has a strong, powerful chorus that I wish I could sing along with, but I don't have the voice.

Probably the song that rocks the hardest is "The Pills Stopped Working," which has a good bluesy sound. Sally sings "And I know that I don't belong with you, I know the pills stopped working for me, So if you want to set me up, I'll fall on my knees and fix what I have broke." I find I can really relate.

From what I've heard of Hem, none of their albums are complete without a lullaby, and "Great Houses of New York" fills the bill on Funnel Cloud. I can feel the sleep filling my eyes as the piano and orchestral accompaniment pull me under.

Though Sally Ellyson's voice is the strong point of the band, the subtle background vocals of Steve Curtis shouldn't be overlooked. His voice is barely noticable but gives the perfect counterpoint to Ellyson's yearnings. Not every song has vocals though, listen to the piano take over in the instrumental "The Burnt Over District."

Finally the album draws to a close as Ellyson sings alone, with a simple accompaniment how "Every night, open eyed, I wait for the sun, The world's too wide to bring me round, But I'm not sorry." It seems to come to soon, and I'm ready to go dig through their back catalogue to find albums I have missed.

For further reading:
Hem's homepage
All Music Guide's Hem entry
Wikipedia's Hem entry

Gin Blossoms - Major Lodge Victory

Flashback: It's 1994, and I'm taking a break from college -- Ok, I dropped out -- and working at the local McDonald's back in Tulsa. OJ is running from the law, and music in general, well, just sucks. However there's a band that's been on the radio the last year or so that I really like. A year or so after its release, I go out and buy New Miserable Experience by the Gin Blossoms. I'm in love. I quickly learn all the words to "Found Out About You" and "Hey Jealousy" and even some of the lesser known tracks on the album like "Cheatin'."

A couple years later the Gin Blossoms are back, and the sophomore jinx hits. Sure, "Follow Me Down" is good, but none of the other songs on the album stick with me. I even get the soundtrack to Empire Records for "Til I Hear It From You," but my first love is still New Miserable Experience. Then nothing is heard from them again.

Over a decade later, I've finished undergrad, got my career started, got married. My life as completely changed... then an old love returns. It's the Gin Blossoms and they're back with Major Lodge Victory. I'm hesistant... I don't want to give my heart away so easily again. I am prepared for disappointment, and I listen.

And I'm blown away. I'm back in love again. This album, while not as groundbreaking as their breakthrough CD, still hooks me in right away with "Learning the Hard Way," the first track. Robin Wilson's voice still speaks to me, and Major Lodge Victory has several songs I can see myself singing along with for years to come.

Which songs are they? Well there's not really a bad one in this bunch. "Long Time Gone" sounds like something they could have recorded in the early '90s. "Someday Soon" with its haunting melody is a favorite, as well as "Curious Thing." But the song that really grabs me on the album is "The End of the World." The guitars, the melody, harmonies, all just remind me of the old Gin Blossom sound. In it they sing "Oh, running over the edge of a curve, Now free-falling till the end of the world, Lost in focus of reality's blur, We run alone."

The rest of the songs all have that jangle sound I love the Gin Blossoms for, and the imagery of the lyrics is still there. While this album is once again no New Miserable Experience, after a decade of nothing, I'm eager for what they have now. And I hope there's more to come.

For further reading:
The Gin Blossoms' homepage
All Music Guide's Gin Blossoms entry
Wikipedia's Gin Blossoms entry

"Weird Al" Yankovic - Straight Outta Lynwood

To give you a good idea what sort of person I am, I'm kicking off this blog with, of all people, "Weird Al" Yankovic. I've been a fan of "Weird Al" since the early 80's, when I first heard "Eat It." Here it is, over 20 years later, and I'm still listening. I can't remember the last "Weird Al" album I didn't run out and get a copy soon after release. Some may think the 46-year-old Al has lost his touch, but I disagree. Sure Poodle Hat had its weak spots, but "Why Does This Always Happen to Me," Al's duet with Ben Folds, was as good as any original Al song from the '80s or '90s.

"Weird Al" kicks off Straight Outta Lynwood appropriately with a parody of Chamillionaire's "Ridin." This is a genre I'm not too familiar with, but from what I've heard of the original song, musically Al nails it as usual. The lyrics follow Al's long running theme of making fun of his own geekiness. However, it's the next track, "Pancreas," that wins me over to the album. In my opinion Al is at his best when writing his original songs, even though they're usually in the style of a certain group or genre instead of a song itself. "Pancreas" shows Al's musical talents as he takes on Brian Wilson and the Beach Boys. The song really reflects on the songs that appeared on Smile, Brian Wilson's long awaited masterpiece.

"Canadian Idiot" falls flat to me. I didn't really like the song he parodies by Green Day, and the jokes don't really stand out. "I'll Sue Ya" has some funny lines, and does a good job of capturing Rage Against the Machine's sound, even though the band has been broken up for some time.

No "Weird Al" album would be complete without his take on today's current hits in a polka medley. This track made me feel old because I only recognized about two-thirds of the songs he used. But considering the quality of the original songs, I don't think I'm missing much. The next few songs on the album don't really grab me. I guess I don't really get where Al is going with any of them. "Close But No Cigar" kind of reminds me of Cake, but not quite.

My favorite song on the album is "Trapped in the Drive-Thru," a parody of R. Kelly's epic "Trapped in the Closet." I am not a R. Kelly fan, but I strongly urge you to go out and hear "Trapped in the Closet" (all 12 parts) if you haven't already. The original version is much funnier than Al's, just because it goes on and on, introducing more absurd characters as the story meanders all over the place. Al does a great job of capturing R Kelly's dramatic cliffhangers and dialogue. Unlike R. Kelly's version, I can at least relate to Al and his wife's dilemma of what to eat for dinner.

Finally the album closes out with "Don't Download This Song," which is mildly funny, and reminds me of those '80s charity songs like "We Are The World." The real humor in the song lies in the fact is Al made this song available free to download before Straight Outta Lynwood was released.

Overall, like all "Weird Al" Yankovic albums, Straight Outta Lynwood has its highlights and forgettable filler. But to me, the funny songs make it worth it.

For further reading:
"Weird Al"'s homepage
All Music Guide's "Weird Al" entry
Wikipedia's "Weird Al" entry

Welcome to It's gotta be rock and roll music

About this site:

I am an avid music listener in my early thirties. My tastes are varied and lean towards rock and pop. The very first single I remember owning was Billy Joel's "She's Always a Woman." In my teens I got into the Beatles. From there I moved onto classic rock, all the while listening to the top 40 hits of the day. My tastes also lean towards the heavier stuff, such as Rage Against the Machine. Growing up in Oklahoma has also given me an appreciation of some country, mainly the stuff that is still close to the genre's roots, or a few alt country acts like Wilco or Son Volt. So how can I summarize my tastes? Anything with a good guitar and vocals. It just has to hit me right. I love my music to have its own unique sound.

I hope this site will be a place to draw together people who just like music. I intend my music reviews to be about how the music makes me feel, and what makes it stand out from just any other album. I also hope for my readers to submit their own reviews, and I will add them to the page. You can send your reviews to TSteeleMusic@hotmail.com. I reserve the right to edit reviews for grammar or punctuation.

I will mostly be reviewing stuff I like, and explaining why I like it. I will also be reviewing stuff I think I will like and explain whether I did or didn't. Hopefully it will introduce those of you with similar tastes to new music. I originally planned on a simple rating system but eventually decided against it. I don't like saying this music is better than this music, and I really want this site to be more of a focus of WHY something is appealing instead of whether it is or not.
While the emphasis will be on new music, occasionally I will review classic albums that are favorites of mine and explain why they're a favorite.

Enjoy the site!