When I put on David Bowie's 2002 release, Heathen, I was pleased enough with how it started. Then track number two hit and about four words in to it I suddenly found myself some sort of odd super happy experience. This is what happens when an artist I love covers a band I love, and does it well.
Pixie purists might complain that he softened the edge of the song, but I'd argue that any good cover involves making the song your own. If Bowie were to have sounded like the Pixies, then what would have been the point? Really? So it sounds like a David Bowie song, just written by Black Francis.
It starts nice and stripped with an acoustic guitar. At about 30 seconds in it starts to rock in a very agreeable way. I'd have purchased this CD for this song alone. Fortunately the rest of the CD is equally pleasing, frequently sounding much more like classic Bowie than we've heard for years.
Grade: A
on David Bowie "Heathen." Buy Heathen From Amazon.com
originally on Pixies "Surfer Rosa." Buy Surfer Rosa From Amazon.com
Friday, April 22, 2005
Friday, October 22, 2004
New CD: Chris Thile – Deceiver
A week ago my supervisor handed me this CD and said he wanted to know what I thought of it. "He’s this amazing bluegrass mandolin virtuoso, but this has nothing to do with that." Since bluegrass isn’t my thing that last part was necessary to even get me to listen to the thing. I was rather pleasantly surprised.
Admittedly I know little to nothing about Thile. I know he grew up spending a lot of time playing with the other kids at bluegrass festivals. At some point he picked up the mandolin and was annoyingly good at it. Then at another point he formed the band Nickel Creek with a couple other kids who are annoyingly good. The band was formed as bluegrass band, but it’s much more versatile these days. Deceiver, according to their website appears to be his second solo album (although I think they need to update their bio because it looks like his third to me).
So about this album? I guess the most surprising part about it, to me, is that he avoided the dangers of a musical virtuoso working on a solo album. Things can get awful self-indulgent and over done. While "Jessamyn's Reel" appears to be a showcase for his skills with the mandolin, he doesn’t ever sacrifice the good of the song for another opportunity to show us how annoyingly good he is.
Some of the tracks, "On Ice" and "Empire Falls," even seem ready for top 40 radio play (if top 40 programmers weren’t so slow to grab up good music, and that's not to indicate that I ever listen to top 40.).
The rest of the CD appears to be actively looking to defy genres. My untrained ear can hear rock and power pop and jazz and country and several things that seem familiar but are oh so hard to put a finger on.
So the bottom line would appear to be that he’s an amazing bluegrass mandolin virtuoso, but this CD has nothing to do with that. Maybe that’s why the bluegrass/folk/country crowd that’s his normal audience seems so displeased with it? Good stuff.
Grade: B+
Buy Deceiver at Amazon.com.
Admittedly I know little to nothing about Thile. I know he grew up spending a lot of time playing with the other kids at bluegrass festivals. At some point he picked up the mandolin and was annoyingly good at it. Then at another point he formed the band Nickel Creek with a couple other kids who are annoyingly good. The band was formed as bluegrass band, but it’s much more versatile these days. Deceiver, according to their website appears to be his second solo album (although I think they need to update their bio because it looks like his third to me).
So about this album? I guess the most surprising part about it, to me, is that he avoided the dangers of a musical virtuoso working on a solo album. Things can get awful self-indulgent and over done. While "Jessamyn's Reel" appears to be a showcase for his skills with the mandolin, he doesn’t ever sacrifice the good of the song for another opportunity to show us how annoyingly good he is.
Some of the tracks, "On Ice" and "Empire Falls," even seem ready for top 40 radio play (if top 40 programmers weren’t so slow to grab up good music, and that's not to indicate that I ever listen to top 40.).
The rest of the CD appears to be actively looking to defy genres. My untrained ear can hear rock and power pop and jazz and country and several things that seem familiar but are oh so hard to put a finger on.
So the bottom line would appear to be that he’s an amazing bluegrass mandolin virtuoso, but this CD has nothing to do with that. Maybe that’s why the bluegrass/folk/country crowd that’s his normal audience seems so displeased with it? Good stuff.
Grade: B+
Buy Deceiver at Amazon.com.
Tuesday, October 19, 2004
Cover: Nirvana - Where Did you Sleep Last Night - Leadbelly
I hope no one will think it's snooty of me to point out that if Leadbelly wrote this song then I'm the Queen of England. It's an old traditional song which normally goes by the name "In the Pines," and which has a long history with many variations. It might be accurate to say that the song was arranged by Leadbelly, but that might be pushing it too.
According to a 1994 New York Times article it dates back to at least the 1870s (their guess is as good as mine). Acording to folklorist Alan Lomax Leadbelly uses a part of the song heard in a 1917 version, and another part from a 1925 recording. The song has been recorded by the likes of Bill Monroe, Dolly Parton, Joan, Baez, Chet Atkins, the Strange Creek Singers (Mike Seeger, Hazel Dickens, Tracy Schwarz, and Alice Gerrard), and in this case Nirvana. By all accounts Mr. Cobain was a huge Leadbelly fan.
So what's the song about? Depending on which version you listen it's about someone wandering into the pines. The pines would appear to represent any number of bad things (again, depending upon the version). It ranges from trampy behavior, to depression, to death. There also tends to be a long train, and a train accident resulting in decapitation. Lovely stuff.
That said this is a prime example of how much angst ridden modern music has in common with angst ridden traditional music (maybe minus the train). Some selections of old-timey music give gangsta-rap a run for it's money in degreee of violence without pushing any sort of mother-f*cker per minute rate.
But back to the song at hand. It's quite possibly one of the best things they ever recorded. It doesn't rock like their more noisy songs, but the feeling conveyed here is some of the most powerfull Cobain ever mustered. He doesn't scream it, but this is one of those cases where the song is better for it. I've heard several versions of this song and this remains at the top of the heap, if nothing else for the raw emotion.
Good stuff.
Grade: A
buy Nirvana's Unplugged in New York from amazon.com.
buy Where Did You Sleep Last Night: Leadbelly Legacy, Vol. 1 from Amazon.com.
buy the Very Best of Bill Monroe from amazon.com. (warning, it's bluegrass!!!)
According to a 1994 New York Times article it dates back to at least the 1870s (their guess is as good as mine). Acording to folklorist Alan Lomax Leadbelly uses a part of the song heard in a 1917 version, and another part from a 1925 recording. The song has been recorded by the likes of Bill Monroe, Dolly Parton, Joan, Baez, Chet Atkins, the Strange Creek Singers (Mike Seeger, Hazel Dickens, Tracy Schwarz, and Alice Gerrard), and in this case Nirvana. By all accounts Mr. Cobain was a huge Leadbelly fan.
So what's the song about? Depending on which version you listen it's about someone wandering into the pines. The pines would appear to represent any number of bad things (again, depending upon the version). It ranges from trampy behavior, to depression, to death. There also tends to be a long train, and a train accident resulting in decapitation. Lovely stuff.
That said this is a prime example of how much angst ridden modern music has in common with angst ridden traditional music (maybe minus the train). Some selections of old-timey music give gangsta-rap a run for it's money in degreee of violence without pushing any sort of mother-f*cker per minute rate.
But back to the song at hand. It's quite possibly one of the best things they ever recorded. It doesn't rock like their more noisy songs, but the feeling conveyed here is some of the most powerfull Cobain ever mustered. He doesn't scream it, but this is one of those cases where the song is better for it. I've heard several versions of this song and this remains at the top of the heap, if nothing else for the raw emotion.
Good stuff.
Grade: A
buy Nirvana's Unplugged in New York from amazon.com.
buy Where Did You Sleep Last Night: Leadbelly Legacy, Vol. 1 from Amazon.com.
buy the Very Best of Bill Monroe from amazon.com. (warning, it's bluegrass!!!)
Friday, October 15, 2004
New CD: William Shatner - Has Been
It’s all here. From the Priceline.com voice to the staggered rhythm of his speech. Shatner’s first release in years finds him pretty close to where he was back when he was coving "Lucy in the Sky with Diamonds." To his credit he still doesn’t bother to try to sing, instead speaking the verses, with a guest singer frequently singing the chorus.
Here’s the surprise part though. It’s actually a pretty good CD. By all accounts he felt like it was a serious musical work when he made his previous musical attempts. But there’s this uncontrollable snicker when you hear him attempt Mr. Tambourine Man.
So maybe the difference here is Ben Folds who not only produced the CD, but co-wrote and performed on a number of the tracks. So the music comes across as real rather than a schmultzy attempt at recreating a classic.
Hand in hand with that is the list of guest artists were involved with the project. The spiffy promo sticker for the thing lists Adrian Belew, Joe Jackson, Lemon Jelly, Aimee Mann (don’t blink, or you might miss her), Brad Paisley, and Henry Rollins. Equally impressive is the list of studio musicians including Jon Auer (Posies, later day Big Star), Matt Chamberlain (drummer for the likes of Garbage, Tori Amos, David Bowie, Critters Buggin, and, and, and…), John Mark Painter (of Flemming and John), among others.
The Third difference might be that it’s not just covers. Of eleven tracks Shatner had his hand in writing all but three.
The first track is a marvelous cover of Pulp’s "Common People" with guest vocals from Joe Jackson. So is it actually possible for William Shatner to rock? This song thinks so, and I have to reluctantly agree.
The Lemon Jelly collaboration, "Together," is also very strong, even if about a minute too long. It reads like a shopping list of thoughts about Shatner’s wife.
The Henry Rollins collaboration, "I Can’t Get Behind That," takes a list of complaints about the modern world and lets Shatner and Rollins take turns yelling about them. Surprisingly effective, and pretty damn funny.
"It Hasn’t Happened Yet," finds Shatner running through a list of how he’s still looking for contentment, even at his age. "You’ll Have Time," would be a great drinking at the bar with your pals song. All about how we’re all going to die. (I sense a mortality theme going on here). The scary part of this track is that at the beginning it sounds for a moment like he’s going to try to sing. Whew, that was a close call.
According to the promotional materials the title track was written in response to opening a tabloid paper and finding a writer referring to him as a "Has Been." His reply is something to the effect of (to paraphrase): Is being a has been really all that bad? At least I was. What have you ever done? - It has a charming and humorous cowboy flavor to it.
The closing track is a Brad Paisley penned track about how celebrities are real people too. No? Really?
I think Shatner should be proud of this album, as should Ben Folds.
Grade: A-
Buy "Has Been" at Amazon.com.
Buy "Transformed Man" at Amazon.com.
Buy "Spaced Out: The Best of Nimoy and Shatner" at Amazon.com.
Here’s the surprise part though. It’s actually a pretty good CD. By all accounts he felt like it was a serious musical work when he made his previous musical attempts. But there’s this uncontrollable snicker when you hear him attempt Mr. Tambourine Man.
So maybe the difference here is Ben Folds who not only produced the CD, but co-wrote and performed on a number of the tracks. So the music comes across as real rather than a schmultzy attempt at recreating a classic.
Hand in hand with that is the list of guest artists were involved with the project. The spiffy promo sticker for the thing lists Adrian Belew, Joe Jackson, Lemon Jelly, Aimee Mann (don’t blink, or you might miss her), Brad Paisley, and Henry Rollins. Equally impressive is the list of studio musicians including Jon Auer (Posies, later day Big Star), Matt Chamberlain (drummer for the likes of Garbage, Tori Amos, David Bowie, Critters Buggin, and, and, and…), John Mark Painter (of Flemming and John), among others.
The Third difference might be that it’s not just covers. Of eleven tracks Shatner had his hand in writing all but three.
The first track is a marvelous cover of Pulp’s "Common People" with guest vocals from Joe Jackson. So is it actually possible for William Shatner to rock? This song thinks so, and I have to reluctantly agree.
The Lemon Jelly collaboration, "Together," is also very strong, even if about a minute too long. It reads like a shopping list of thoughts about Shatner’s wife.
The Henry Rollins collaboration, "I Can’t Get Behind That," takes a list of complaints about the modern world and lets Shatner and Rollins take turns yelling about them. Surprisingly effective, and pretty damn funny.
"It Hasn’t Happened Yet," finds Shatner running through a list of how he’s still looking for contentment, even at his age. "You’ll Have Time," would be a great drinking at the bar with your pals song. All about how we’re all going to die. (I sense a mortality theme going on here). The scary part of this track is that at the beginning it sounds for a moment like he’s going to try to sing. Whew, that was a close call.
According to the promotional materials the title track was written in response to opening a tabloid paper and finding a writer referring to him as a "Has Been." His reply is something to the effect of (to paraphrase): Is being a has been really all that bad? At least I was. What have you ever done? - It has a charming and humorous cowboy flavor to it.
The closing track is a Brad Paisley penned track about how celebrities are real people too. No? Really?
I think Shatner should be proud of this album, as should Ben Folds.
Grade: A-
Buy "Has Been" at Amazon.com.
Buy "Transformed Man" at Amazon.com.
Buy "Spaced Out: The Best of Nimoy and Shatner" at Amazon.com.
Wednesday, October 13, 2004
Guitar: Dave Lake
The first time I heard the British quartet Kaito play they were opening for Imperial Teen in San Francisco. I was immediatly impressed with their noise-pop approach and energy. They make the sort of music I love. There's a noisy immediacy to everything, and their studio work maintains this low-fi energy as well as any band I've ever heard.
Behind a good portion of this occaionally cacophonous music is created by guitarist Dave Lake. Both he and front-woman Nikki Colk incorporate a varity of electronic toys and gizmos, used over the guitar pickups, to increase the sound pallate they have to offer. It doesn't come across as a gag, or novelty sound so much as a genuine part of the sonic landscape they create.
Beyond the toys, however, Mr. Lake appears to take assembled noises more than standard notes to create Kaito's sound. I'd defy the nice people who transcribe songs for guitar magazines to clearly translate what he does on songs like "go" and "driving manual auto."
To me it's this sort of playing outside of the box that puts him in the same category as guitar legends like Edward VanHalen and Thurston Moore. Players who took things a step further than they'd gone before.
Their music is admitedly not for everyone, but most of the truly great music isn't.
Buy Kaito's 2001 release You've Seen Us...You Must Have Seen Us at Amazon.com.
Buy Kaito's 2003 release Montigola Underground [EP] at Amazon.com.
Buy Kaito's 2003 release Band Red at Amazon.com.
Behind a good portion of this occaionally cacophonous music is created by guitarist Dave Lake. Both he and front-woman Nikki Colk incorporate a varity of electronic toys and gizmos, used over the guitar pickups, to increase the sound pallate they have to offer. It doesn't come across as a gag, or novelty sound so much as a genuine part of the sonic landscape they create.
Beyond the toys, however, Mr. Lake appears to take assembled noises more than standard notes to create Kaito's sound. I'd defy the nice people who transcribe songs for guitar magazines to clearly translate what he does on songs like "go" and "driving manual auto."
To me it's this sort of playing outside of the box that puts him in the same category as guitar legends like Edward VanHalen and Thurston Moore. Players who took things a step further than they'd gone before.
Their music is admitedly not for everyone, but most of the truly great music isn't.
Buy Kaito's 2001 release You've Seen Us...You Must Have Seen Us at Amazon.com.
Buy Kaito's 2003 release Montigola Underground [EP] at Amazon.com.
Buy Kaito's 2003 release Band Red at Amazon.com.
Tuesday, October 12, 2004
Cover: Johnny Cash - Bridge Over Troubled Water - Simon and Garfunkel
Okay, first of all I'm a fan of both Johnny Cash, and Simon and Garfunkel. Both have made great music. But maybe some two things just shouldn't be combined. Of any of the songs I've ever heard by the late, great Mr. Cash, this is likely the bottom of the barrell. I have no idea who decided that this cut needed to make it onto his American IV: The Man Comes Around CD. "Danny Boy," on the same CD, isn't all that hot either, but I think when I'm fond of a song to begin with it affects me more to hear a weak version.
So the real shame here is that a good artist covering a good song and the results were far from good. Fortunately there's a wealth of other great songs by Cash to pick up the slack.
Grade: D-
Buy Johny Cash's American IV: The Man Comes Around from Amazon.com.
Buy Simon and Garfulkle's Bridge over troubled water from Amazon.com
So the real shame here is that a good artist covering a good song and the results were far from good. Fortunately there's a wealth of other great songs by Cash to pick up the slack.
Grade: D-
Buy Johny Cash's American IV: The Man Comes Around from Amazon.com.
Buy Simon and Garfulkle's Bridge over troubled water from Amazon.com
Monday, October 11, 2004
R.I.P.: Christopher Reeve
According to the news wire services (AP) this morning arguably the best Superman ever, Christopher Reeve, died Sunday, October 10, at the age of 52.
Other than his work as Superman his acting credits included "Somewhere in Time," "Deathtrap," John Carpenter's "Village of the Damned," as well as directing the HBO movies "Above Suspicion" and "In the Gloaming."
A horse riding accident in 1995 had left him paralyzed. Since then he'd become a strong advocate for stem cell research as well as taking time out to act a bit, including a recent stint on the TV series Smallville.
In 1998 he starred in a remake of "Rear Window," the Hitchcock film about a man in a wheelchair, convinced a neighbor has been murdered.
In 2000 Reeve was able to move his index finger, and with electrical stimulation therapy he'd also regained sensation in other parts of his body. He had vowed to walk again.
Last week Reeve developed a serious systemic infection from a "pressure wound," which is apparently rather common for people with paralysis. He went into cardiac arrest Saturday at his Pound Ridge home, then fell into a coma. He was surrounded by his family when he died.
Other than his work as Superman his acting credits included "Somewhere in Time," "Deathtrap," John Carpenter's "Village of the Damned," as well as directing the HBO movies "Above Suspicion" and "In the Gloaming."
A horse riding accident in 1995 had left him paralyzed. Since then he'd become a strong advocate for stem cell research as well as taking time out to act a bit, including a recent stint on the TV series Smallville.
In 1998 he starred in a remake of "Rear Window," the Hitchcock film about a man in a wheelchair, convinced a neighbor has been murdered.
In 2000 Reeve was able to move his index finger, and with electrical stimulation therapy he'd also regained sensation in other parts of his body. He had vowed to walk again.
Last week Reeve developed a serious systemic infection from a "pressure wound," which is apparently rather common for people with paralysis. He went into cardiac arrest Saturday at his Pound Ridge home, then fell into a coma. He was surrounded by his family when he died.
Friday, October 08, 2004
New CD: Bjork - Medulla
Anyone who says that Bjork hasn't challenged her audience through the years hasn't been listening. Whether or not that's a good thing is up to debate I think.
This CD is no exception. Instruments are minimal. Instead what you get is a dizzying array vocal utterances, some of which are rather distant from what's traditionally thought of as singing. It's, urm, interesting.
To be fair I was sick with some sort of flu when I first tried to listen to this CD, but I honestly think it made me more nautious than I was before. The only other album I can think of right off that's ever had that effect on me was My Bloody Valentine's "Loveless" CD (which I love when I'm not sick by the way).
So file it under challenging. Despite the lack of instrumentation it's a very complex CD. There's bouncing sounding (Where is the Line) to pleasant (Oceana) to downright peacefull sounding (Vokuro). Oh, and it's not all in English by the way, for anyone convinced they need to sing along with every song they own.
Maybe if I did drugs I'd have a better handle on what this CD is about?
I think it's a good listen for those that already know that they like Bjork, but I would say that if you aren't already a fan this isn't the place to start. "Debut" and "Post" are far better introductions to what this clever woman can do. If you've never been particularly fond of Bjork before, forget it, please.
Grade: B
Buy Medulla from Amazon.com.
Buy Post from Amazon.com.
Buy Debut from Amazon.com.
This CD is no exception. Instruments are minimal. Instead what you get is a dizzying array vocal utterances, some of which are rather distant from what's traditionally thought of as singing. It's, urm, interesting.
To be fair I was sick with some sort of flu when I first tried to listen to this CD, but I honestly think it made me more nautious than I was before. The only other album I can think of right off that's ever had that effect on me was My Bloody Valentine's "Loveless" CD (which I love when I'm not sick by the way).
So file it under challenging. Despite the lack of instrumentation it's a very complex CD. There's bouncing sounding (Where is the Line) to pleasant (Oceana) to downright peacefull sounding (Vokuro). Oh, and it's not all in English by the way, for anyone convinced they need to sing along with every song they own.
Maybe if I did drugs I'd have a better handle on what this CD is about?
I think it's a good listen for those that already know that they like Bjork, but I would say that if you aren't already a fan this isn't the place to start. "Debut" and "Post" are far better introductions to what this clever woman can do. If you've never been particularly fond of Bjork before, forget it, please.
Grade: B
Buy Medulla from Amazon.com.
Buy Post from Amazon.com.
Buy Debut from Amazon.com.
Wednesday, October 06, 2004
Voice: Stephin Merritt
Anyone who's heard the Magnetic Fields, the Gothic Archies, or the Future Bible Heroes knows Stephin Merritt's voice (he's also responsible for The 6ths which features a revolving lineup of guest-star singers). His low and sad voice fits his sardonic song writing like a glove.
Anyone who's had the pleasure of seeing him perform live knows that his voice seems quite out of place coming out of such a small man. I don't intend to say that short people can't generally sing well. (Paul Williams is, I believe based upon Love Boat appearances, a small man as well, and whether or not you like his song writing he has a fine voice as well. Then there's the charming Davey Jones of the Monkees. Can I stop now?)
The second song I heard from him was the Furture Bible Heros song "O! What a Dream It Was," which I found on the 12 Tales CD (I later found out that it's actually a song from the Welcome To The Dollhouse soundtrack). This is the song that drove me to track down Merritt's catalog of work. Based on that song I was expecting a rather tall, dark figure in a trench coat and a heavy brow. Sort of the Peter Steele, from Type-O Negaitve, type if you will.
But size, I don't suppose, is the point here. The guys got a really cool voice. It sits somewhere near Johnny Cash's low singing, without Mr. Cash's tremelo. In fact I've had people mistake the more country ended Magnetic Fields songs for Cash songs. I don't think anyone who really knows either artist will have this problem, but the point is that Merritt's voice has that same iconic quality to it. A voice that never seems to fail me.
Buy the Magnetic Fields' latest CD, I, from Amazon.com
Buy 12 Tales from Amazon.com
Buy the Welcome to the Dollhouse Soundtrack from Amazon.com
Anyone who's had the pleasure of seeing him perform live knows that his voice seems quite out of place coming out of such a small man. I don't intend to say that short people can't generally sing well. (Paul Williams is, I believe based upon Love Boat appearances, a small man as well, and whether or not you like his song writing he has a fine voice as well. Then there's the charming Davey Jones of the Monkees. Can I stop now?)
The second song I heard from him was the Furture Bible Heros song "O! What a Dream It Was," which I found on the 12 Tales CD (I later found out that it's actually a song from the Welcome To The Dollhouse soundtrack). This is the song that drove me to track down Merritt's catalog of work. Based on that song I was expecting a rather tall, dark figure in a trench coat and a heavy brow. Sort of the Peter Steele, from Type-O Negaitve, type if you will.
But size, I don't suppose, is the point here. The guys got a really cool voice. It sits somewhere near Johnny Cash's low singing, without Mr. Cash's tremelo. In fact I've had people mistake the more country ended Magnetic Fields songs for Cash songs. I don't think anyone who really knows either artist will have this problem, but the point is that Merritt's voice has that same iconic quality to it. A voice that never seems to fail me.
Buy the Magnetic Fields' latest CD, I, from Amazon.com
Buy 12 Tales from Amazon.com
Buy the Welcome to the Dollhouse Soundtrack from Amazon.com
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