Minus Five - Minus Five
Nicknamed "The Gun Album" because guns appear on the cover and in the lyrics of several songs. The clown prince of alt-rock Scott McCaughey continues his smartass assault on modern rock's pretensions to classicism. In ample supply are McAughey's jokey compositions, aided by the usual roster of distinguished alt-rock hoodlums, including Peter Buck, Jeff Tweedy, and Ken Stringfellow. Case in point, "Out There on the Maroon," which features the line "I had six white Russians tonight . . . and two of them were people," or "I never wanna let you go . . . and that's why I bought this rope" from "Bought a Rope."
However, as has been McCaughey's wont in the past he's not above getting serious, as in the masterful "Cemetery Row" sung by Colin Meloy.
Tuesday, January 09, 2007
Capsule Music Review - New York Dolls
New York Dolls - One Day It Will Please Us to Remember Even This
Contrary to popular opinion, apparently rock n' roll is not a young man's game, since the Dolls apparently have picked up right where they left off after 22 years. This record rocks more than hard enough for old farts, and Johansen works up a convincing sneer despite his advanced years. The record (as well as the excellent Live from Royal Festival Hall 2004) benefits greatly from the lead guitar of Steve Conte, who fills in for the late Johnny Thunders.
However, listening to this requires a certain suspension of reality, pretending that the band members are really 16 and on the make. I noticed this especially on the live album, when Johansen sneeringly described attending a fancy-schmancy record company party, as if he hasn't spent the last 22 years doing Sesame Street videos and Dick Clark's Rockin' Eve.
Contrary to popular opinion, apparently rock n' roll is not a young man's game, since the Dolls apparently have picked up right where they left off after 22 years. This record rocks more than hard enough for old farts, and Johansen works up a convincing sneer despite his advanced years. The record (as well as the excellent Live from Royal Festival Hall 2004) benefits greatly from the lead guitar of Steve Conte, who fills in for the late Johnny Thunders.
However, listening to this requires a certain suspension of reality, pretending that the band members are really 16 and on the make. I noticed this especially on the live album, when Johansen sneeringly described attending a fancy-schmancy record company party, as if he hasn't spent the last 22 years doing Sesame Street videos and Dick Clark's Rockin' Eve.
Capsule Music Review - Roy
Roy - Killed John Train
This band coulda been a contender, perhaps staking out a plot on the edges of the alt-country ranch, as demonstrated by the soulful harmonica that opens the first track, "Reno, I'm Coming Home," segueing into a feedback drawl that evokes Wilco. However, later tracks don't sustain the consistent mood and abandon the country inflection for a duller alt-rock sound. Nevertheless, standout track "Jesus Drives a Trans Am" shows a greater influence from Pavement than by the Long Ryders, to good effect.
This band coulda been a contender, perhaps staking out a plot on the edges of the alt-country ranch, as demonstrated by the soulful harmonica that opens the first track, "Reno, I'm Coming Home," segueing into a feedback drawl that evokes Wilco. However, later tracks don't sustain the consistent mood and abandon the country inflection for a duller alt-rock sound. Nevertheless, standout track "Jesus Drives a Trans Am" shows a greater influence from Pavement than by the Long Ryders, to good effect.
Capsule Music Review - Television Personalities
Television Personalities - My Dark Places
At least there is truth in advertising in this title. Cult band Television Personalities released several uncompromisingly bizarre records in the '80s, including And Don't the Kids Just Love It in 1980 and The Painted Word in 1984. After dropping out of sight in the late 90's, band leader Dan Treacy reemerged amid rumors of mental illness and drug abuse. His "comeback" involved releasing this record even darker than previous output and at times so haphazard and intentionally sloppy as to be unlistenable. Still, the emotions are real and at times the record is deeply affecting in a Jonathan Richman-like naive way, as in "No More I Hate Yous" or "I Hope You're Happy Now."
At least there is truth in advertising in this title. Cult band Television Personalities released several uncompromisingly bizarre records in the '80s, including And Don't the Kids Just Love It in 1980 and The Painted Word in 1984. After dropping out of sight in the late 90's, band leader Dan Treacy reemerged amid rumors of mental illness and drug abuse. His "comeback" involved releasing this record even darker than previous output and at times so haphazard and intentionally sloppy as to be unlistenable. Still, the emotions are real and at times the record is deeply affecting in a Jonathan Richman-like naive way, as in "No More I Hate Yous" or "I Hope You're Happy Now."
Capsule Music Review - Long Winters
Long Winters - Putting the Days to Bed
Calling this record a disappointment seems unfair and beside the point, since this album is so damn catchy. However, songwriter John Roderick does not hit the consistent depth apparent in many of the songs in their previous album, When I Pretend to Fall.
Listening to this record puts me in mind of the classic Saturday Night Live skit featuring Dana Carvey as a songwriter singing his composition "Chopping Broccoli." Although this record is far less humorless than the singer-songwriter being parodied in the Carvey skit, nevertheless they both display a flaw of lazy songwriting - a single phrase or line of no particular significance which is made to give the impression of profundity through repetition and an earnest delivery: "wish me luck" in "Pushover," and the word "teaspoon" in the track of the same name, for example.
Nevertheless, there are some fine songs, including the two aforementioned tracks, the fine "Ultimatum" and the affecting "Honest" in which a mother advises her daughter not to fall in love with a lead singer.
Calling this record a disappointment seems unfair and beside the point, since this album is so damn catchy. However, songwriter John Roderick does not hit the consistent depth apparent in many of the songs in their previous album, When I Pretend to Fall.
Listening to this record puts me in mind of the classic Saturday Night Live skit featuring Dana Carvey as a songwriter singing his composition "Chopping Broccoli." Although this record is far less humorless than the singer-songwriter being parodied in the Carvey skit, nevertheless they both display a flaw of lazy songwriting - a single phrase or line of no particular significance which is made to give the impression of profundity through repetition and an earnest delivery: "wish me luck" in "Pushover," and the word "teaspoon" in the track of the same name, for example.
Nevertheless, there are some fine songs, including the two aforementioned tracks, the fine "Ultimatum" and the affecting "Honest" in which a mother advises her daughter not to fall in love with a lead singer.
Friday, January 05, 2007
Capsule Music Review - Twilight Singers
Twilight Singers - Powder Burns
Former Afghan Whigs frontman Greg Dulli mines the same vein of leering sexual energy with his current project that he did with the Whigs. Similar also is the dramatic powerhouse sound deployed here, although not quite as incendiary as were the Whigs in such great 90's albums as Gentleman.
The production, especially Dulli's emotive vocals, are toned down compared to the Whigs, making the record more readily digestible by middle-aged listeners whose sexual preferences don't run quite to the imaginative extremes apparently endorsed by Dulli. Although thelyrics are never explicit, his curled-lip delivery leaves his intent undoubted. Dulli is an interesting figure in the modern alt-rock world - much of today's alt-rock is so solipsistic as to be asexual, making Dulli a more convincing superstar-in-waiting than cult figure.
Standout tracks on this album are "Bonnie Brae," "My Time (Has Come)," and the title track.
Former Afghan Whigs frontman Greg Dulli mines the same vein of leering sexual energy with his current project that he did with the Whigs. Similar also is the dramatic powerhouse sound deployed here, although not quite as incendiary as were the Whigs in such great 90's albums as Gentleman.
The production, especially Dulli's emotive vocals, are toned down compared to the Whigs, making the record more readily digestible by middle-aged listeners whose sexual preferences don't run quite to the imaginative extremes apparently endorsed by Dulli. Although thelyrics are never explicit, his curled-lip delivery leaves his intent undoubted. Dulli is an interesting figure in the modern alt-rock world - much of today's alt-rock is so solipsistic as to be asexual, making Dulli a more convincing superstar-in-waiting than cult figure.
Standout tracks on this album are "Bonnie Brae," "My Time (Has Come)," and the title track.
Capsule Music Review - Covers albums
Matthew Sweet and Susanna Hoffs - Under the Covers Vol. 1
Tortoise and Bonnie "Prince" Billy - The Brave and the Bold
Grant Lee Phillips - Nineteeneighties
Luna - Lunafied
This seems a particularly active year for established artists showing their roots by releasing albums of covers. These four records all released this year show the various approaches to the covers album and the pitfalls and rewards of each.
The Sweet/Hoffs album represents the "faithful reproduction" school of covers, attempting note-for-note versions of mostly well-known and much loved tracks such as "And Your Bird Can Sing," "The Kids are Alright" and "The Warmth of the Sun". Sweet and Hoffs' big mistake is trying to beat rock's greatest icons at their own game - who in his right mind is going to try to top the vocal achievements of the Beatles or the Beach Boys, or the chops of the Who in their prime? And really, just how much courage does it take to do "Alone Again Or" without strings? Opening track "I See the Rain" comes off best, possibly because it is the most obscure track on the record, a 1967 hit for the band Marmalade.
Representing the "radical reinterpretation" school is Will Oldham in his persona as Bonnie "Prince" Billy and Chicago art rockers Tortoise having their way with the familiar and the unfamiliar with mixed results. The noisy version of Elton John's "Daniel" is terrific, and the Frankenstein-like reconstruction of "Thunder Road" will have Springsteen fans burning Oldham in effigy but is in fact a brilliant exploration of the hidden possibilities in the song. On the other hand the version of Richard Thompson's "Calvary Cross" does nothing to improve on the original.
The goal of Grant Lee Phillips, formerly front man for Grant Lee Buffalo, seems to be to prove the songwriting credentials of icons of 80's new wave. He does this by rendering a rather obvious choice of tracks in sensitive singer-songwriter mode with a mild alt-country twang. Phillips ends up batting about .500. New Order's "Age of Consent" sounds rushed and awkward, while the Cure's "Boys Don't Cry" done with toy piano comes off very well. The version of Robyn Hitchcock's "I Often Dream of Trains" is lovely but since the original recording is in more or less an identical style I wonder what's the point. The Psychedelic Furs' "Love My Way" is also good.
The final entry comes from Luna, representing the "here are my influences, like it or not" school. The ubiquitous Serge Gainsbourg is well-represented, along with nice versions of the Beat Happening's "Indian Summer," the obscure Velvet Underground track "Ride Into the Sun" and Talking Heads' "Thank You for Sending Me an Angel."
Tortoise and Bonnie "Prince" Billy - The Brave and the Bold
Grant Lee Phillips - Nineteeneighties
Luna - Lunafied
This seems a particularly active year for established artists showing their roots by releasing albums of covers. These four records all released this year show the various approaches to the covers album and the pitfalls and rewards of each.
The Sweet/Hoffs album represents the "faithful reproduction" school of covers, attempting note-for-note versions of mostly well-known and much loved tracks such as "And Your Bird Can Sing," "The Kids are Alright" and "The Warmth of the Sun". Sweet and Hoffs' big mistake is trying to beat rock's greatest icons at their own game - who in his right mind is going to try to top the vocal achievements of the Beatles or the Beach Boys, or the chops of the Who in their prime? And really, just how much courage does it take to do "Alone Again Or" without strings? Opening track "I See the Rain" comes off best, possibly because it is the most obscure track on the record, a 1967 hit for the band Marmalade.
Representing the "radical reinterpretation" school is Will Oldham in his persona as Bonnie "Prince" Billy and Chicago art rockers Tortoise having their way with the familiar and the unfamiliar with mixed results. The noisy version of Elton John's "Daniel" is terrific, and the Frankenstein-like reconstruction of "Thunder Road" will have Springsteen fans burning Oldham in effigy but is in fact a brilliant exploration of the hidden possibilities in the song. On the other hand the version of Richard Thompson's "Calvary Cross" does nothing to improve on the original.
The goal of Grant Lee Phillips, formerly front man for Grant Lee Buffalo, seems to be to prove the songwriting credentials of icons of 80's new wave. He does this by rendering a rather obvious choice of tracks in sensitive singer-songwriter mode with a mild alt-country twang. Phillips ends up batting about .500. New Order's "Age of Consent" sounds rushed and awkward, while the Cure's "Boys Don't Cry" done with toy piano comes off very well. The version of Robyn Hitchcock's "I Often Dream of Trains" is lovely but since the original recording is in more or less an identical style I wonder what's the point. The Psychedelic Furs' "Love My Way" is also good.
The final entry comes from Luna, representing the "here are my influences, like it or not" school. The ubiquitous Serge Gainsbourg is well-represented, along with nice versions of the Beat Happening's "Indian Summer," the obscure Velvet Underground track "Ride Into the Sun" and Talking Heads' "Thank You for Sending Me an Angel."
Capsule Music Review - Tom Verlaine
Tom Verlaine - Around
Tom Verlaine - Songs and Other Things
The songwriter and guitarist Verlaine of the great early New York quasi-punk band Television emerges from a 14-year hiatus with one album of instrumentals and one of more conventional songs. The instrumental record (Around) suffers from the lack of strong melodies and some uncharacteristically diffident guitar-playing.
The second record is probably Verlaine's strongest since 1981's Dreamtime. Verlaine's singing (or singspiel in some spots) and the stinging guitar comes close to evoking some of his best stuff with Television. Particularly excellent is "From Her Fingers," "The Earth Is In The Sky," and "All Weirded Out." Some of the songs, including instrumental opener "A Parade in Littleton", are excessively polite and lacking in punch.
Tom Verlaine - Songs and Other Things
The songwriter and guitarist Verlaine of the great early New York quasi-punk band Television emerges from a 14-year hiatus with one album of instrumentals and one of more conventional songs. The instrumental record (Around) suffers from the lack of strong melodies and some uncharacteristically diffident guitar-playing.
The second record is probably Verlaine's strongest since 1981's Dreamtime. Verlaine's singing (or singspiel in some spots) and the stinging guitar comes close to evoking some of his best stuff with Television. Particularly excellent is "From Her Fingers," "The Earth Is In The Sky," and "All Weirded Out." Some of the songs, including instrumental opener "A Parade in Littleton", are excessively polite and lacking in punch.
Capsule Music Review - Robyn Hitchcock
Robyn Hitchcock - Ole! Tarantula
Hitchcock's penchant for lyrics featuring creepy-crawlies (such as the title arachnid) has long since passed from being a style into the world of pathology, and this record is no exception. Hitchcock's status as much-loved of icon of alt-rock (both in his solo career and as a member of the Soft Boys) has deservedly earned him many fans among today's rock cognoscenti, several of which (Peter Buck of REM among them) play on this record.
The record is quite ordinary musically and Hitchcock's once magnificent songwriting is in little evidence, except perhaps in "Belltown Ramble" and "N.Y. Doll," an ode to Arthur Kane of the New York Dolls.
Hitchcock's penchant for lyrics featuring creepy-crawlies (such as the title arachnid) has long since passed from being a style into the world of pathology, and this record is no exception. Hitchcock's status as much-loved of icon of alt-rock (both in his solo career and as a member of the Soft Boys) has deservedly earned him many fans among today's rock cognoscenti, several of which (Peter Buck of REM among them) play on this record.
The record is quite ordinary musically and Hitchcock's once magnificent songwriting is in little evidence, except perhaps in "Belltown Ramble" and "N.Y. Doll," an ode to Arthur Kane of the New York Dolls.
Capsule Music Review - Scott Walker
Scott Walker - The Drift
Scott Walker is surely one of the strangest stories in pop history. Walker (born Scott Engel) was a member of the Walker Brothers, a band of American non-siblings consciously modeled on the Righteous Brothers with a similar sound, little known in the United States but at one time huge stars in the UK. Their biggest hit was the much-admired "The Sun Ain't Gonna Shine Anymore."
Anyway, so the band breaks up and Scott retains the Walker surname and starts releasing solo albums at uneven intervals. Several albums later, Walker is releasing uncompromising and well-nigh unlistenable slow-paced sludge-rock with coal-black lyrics, something like a cross between Tom Waits and the Swans. It's as if Paul McCartney emerged from the studio once every seven years with an album of grindcore.
This album may well be a work of genius, as most critics seem to think, but you couldn't tell by me. If you squint your ears really hard you may start to get a glimpse of an actual point to this music, but the strain was too much for me.
Scott Walker is surely one of the strangest stories in pop history. Walker (born Scott Engel) was a member of the Walker Brothers, a band of American non-siblings consciously modeled on the Righteous Brothers with a similar sound, little known in the United States but at one time huge stars in the UK. Their biggest hit was the much-admired "The Sun Ain't Gonna Shine Anymore."
Anyway, so the band breaks up and Scott retains the Walker surname and starts releasing solo albums at uneven intervals. Several albums later, Walker is releasing uncompromising and well-nigh unlistenable slow-paced sludge-rock with coal-black lyrics, something like a cross between Tom Waits and the Swans. It's as if Paul McCartney emerged from the studio once every seven years with an album of grindcore.
This album may well be a work of genius, as most critics seem to think, but you couldn't tell by me. If you squint your ears really hard you may start to get a glimpse of an actual point to this music, but the strain was too much for me.
Capsule Music Review - Drive-By Truckers
Drive-By Truckers - A Blessing and a Curse
A major disappointment, not because it's bad really but because 2004's The Dirty South may well end up being the album of the decade. The band's chops and emotional sincerity are still there but unfortunately primary songwriter Patterson Hood has succumbed to the temptation of lazy songwriting. The specifics of Dirty South have been traded for a surfeit of vague generalities - "I'm just floating", "Don't be so easy on yourself," and, God help us, "When the well runs dry." The major exception is the heartbreaking "Little Bonnie." "A World of Hurt" is also surprisingly effective due to its wrenching emotional honesty, despite its potentially cliched-sounding spoken-rather-than-sung lyrics.
A major disappointment, not because it's bad really but because 2004's The Dirty South may well end up being the album of the decade. The band's chops and emotional sincerity are still there but unfortunately primary songwriter Patterson Hood has succumbed to the temptation of lazy songwriting. The specifics of Dirty South have been traded for a surfeit of vague generalities - "I'm just floating", "Don't be so easy on yourself," and, God help us, "When the well runs dry." The major exception is the heartbreaking "Little Bonnie." "A World of Hurt" is also surprisingly effective due to its wrenching emotional honesty, despite its potentially cliched-sounding spoken-rather-than-sung lyrics.
Capsue Music Review - The Decemberists
Decemberists - The Crane Wife
Another of the year's disappointments, not that it's awful, it's just that the group's great strength is Colin Meloy's songwriting skills and these are not exploited to full advantage on this record. Great songwriting is not just about precious melodies, it's also about song structure, more specifically in the rock context about tension and release, slow build, and a big payoff as the last strains fade away.
Unfortunately, the prog-rock genre does not lend itself to song structure; separate sections sound like snippets of different songs smooshed together. Furthermore, there are few (none, actually) pop or rock musicians with the compositional skills to make a truly unified work of multiple sections as could be achieved by a decent classical composer.
Of the two lengthy compositions, "The Crane Wife 1 & 2" stands up fairly well, while I find "The Island" to be dull. Whatever merits true prog-rock has cannot be achieved here because the band just doesn't have the chops. The shorter songs nevertheless offer some of what made previous Decemberists albums so terrific, particularly "Shankhill Butchers" and "Sons & Daughters," the latter of which once again demonstrates the endless lyrical merits of the word "cinnamon."
Another of the year's disappointments, not that it's awful, it's just that the group's great strength is Colin Meloy's songwriting skills and these are not exploited to full advantage on this record. Great songwriting is not just about precious melodies, it's also about song structure, more specifically in the rock context about tension and release, slow build, and a big payoff as the last strains fade away.
Unfortunately, the prog-rock genre does not lend itself to song structure; separate sections sound like snippets of different songs smooshed together. Furthermore, there are few (none, actually) pop or rock musicians with the compositional skills to make a truly unified work of multiple sections as could be achieved by a decent classical composer.
Of the two lengthy compositions, "The Crane Wife 1 & 2" stands up fairly well, while I find "The Island" to be dull. Whatever merits true prog-rock has cannot be achieved here because the band just doesn't have the chops. The shorter songs nevertheless offer some of what made previous Decemberists albums so terrific, particularly "Shankhill Butchers" and "Sons & Daughters," the latter of which once again demonstrates the endless lyrical merits of the word "cinnamon."
Capsule Music Review - Comets on Fire
Comets on Fire - Avatar
The heaviest record of the year is less cacophonous than the band's last, the excellent Blue Cathedral, and thus more easily categorized, in this case as late 60's, early 70's protopunk/blues rock in the mold of the Stooges, Blue Cheer and the Groundhogs. The playing is fine all around, and is well-matched to the time-warp feel. The derivativeness of it and the similarity of the tracks to each other puts a limit on how many nice things I can say about it. It is nevertheless worthwhile traditional hard rock.
The heaviest record of the year is less cacophonous than the band's last, the excellent Blue Cathedral, and thus more easily categorized, in this case as late 60's, early 70's protopunk/blues rock in the mold of the Stooges, Blue Cheer and the Groundhogs. The playing is fine all around, and is well-matched to the time-warp feel. The derivativeness of it and the similarity of the tracks to each other puts a limit on how many nice things I can say about it. It is nevertheless worthwhile traditional hard rock.
Thursday, January 04, 2007
Capsule Music Review - Camera Obscura
Camera Obscura - Let's Get Out of This Country
Extremely catchy and tuneful Scottish band often compared to Belle and Sebastian produces enjoyable music lacking in depth. Songs are of high quality but production lacks in imagination and musicality. Best of the lot are the title track and the uncharacteristically morose "Dory Previn."
Extremely catchy and tuneful Scottish band often compared to Belle and Sebastian produces enjoyable music lacking in depth. Songs are of high quality but production lacks in imagination and musicality. Best of the lot are the title track and the uncharacteristically morose "Dory Previn."
Tuesday, January 02, 2007
Capsule Music Review - Calexico
Calexico - Garden Ruin
One of the most disappointing albums of 2006. Calexico had been moving away from alt-rock and towards a more mellow pop sound, but until now had the good sense to stay away from Loggins-land.
Unfortunately, with 2006's entry, Calexico has apparently decided that their target market is fans of Dan Fogelberg who thought he was moving too much in a punk direction. Only a few tracks, such as "Letter to Bowie Knife," display the chops and imagination that made 2003's Feast of Wire so good. Here's hoping that the record sells poorly, so that Burns and Convertino can get back to a more interesting style.
One of the most disappointing albums of 2006. Calexico had been moving away from alt-rock and towards a more mellow pop sound, but until now had the good sense to stay away from Loggins-land.
Unfortunately, with 2006's entry, Calexico has apparently decided that their target market is fans of Dan Fogelberg who thought he was moving too much in a punk direction. Only a few tracks, such as "Letter to Bowie Knife," display the chops and imagination that made 2003's Feast of Wire so good. Here's hoping that the record sells poorly, so that Burns and Convertino can get back to a more interesting style.
Capsule Music Review - Ben Kweller
Ben Kweller - Ben Kweller
It's usually a bad sign when an artist releases an eponymous album that isn't his first. It usually means that the artist, or the artist's record label, is trying to repackage him. Thus, Ben Kweller releases his third solo album.
Kweller is a competent if unambitious songwriter, whose charm has lain mostly in his smart-ass persona. Unfortunately, the earnestness displayed on this album does not suit him. The best of the lot is "This Is War", which is unfortunately war-as-metaphor and not a political song. In the current environment, this is not as amusing as it once was.
It's usually a bad sign when an artist releases an eponymous album that isn't his first. It usually means that the artist, or the artist's record label, is trying to repackage him. Thus, Ben Kweller releases his third solo album.
Kweller is a competent if unambitious songwriter, whose charm has lain mostly in his smart-ass persona. Unfortunately, the earnestness displayed on this album does not suit him. The best of the lot is "This Is War", which is unfortunately war-as-metaphor and not a political song. In the current environment, this is not as amusing as it once was.
Capsule Music Review - T Bone Burnett
T Bone Burnett - The True False Identity
Burnett is a very distinguished and successful songwriter, producer and impresario. His taste and musicianship are beyond reproach, and his contribution to the sacred cause of popular music unquestioned. As can be seen in the lyrics of many of the songs on his new solo album, his politics are also in the right place.
However, the elevation of craft over grit on his new solo album makes it a merely passable musical experience. Even the rawness on the record feels calculated. Despite Burnett's flawless credentials, this record feels like a resume.
Burnett is a very distinguished and successful songwriter, producer and impresario. His taste and musicianship are beyond reproach, and his contribution to the sacred cause of popular music unquestioned. As can be seen in the lyrics of many of the songs on his new solo album, his politics are also in the right place.
However, the elevation of craft over grit on his new solo album makes it a merely passable musical experience. Even the rawness on the record feels calculated. Despite Burnett's flawless credentials, this record feels like a resume.
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