Happy Fourth

A double dose of the Boss on this day.

“4th of July, Asbury Park (Sandy)”

“Independence Day”

BPO Artpark contest code

I’ll bet a few of you are poking around in this blog for the BPO Artpark contest code.

Well, I won’t keep you waiting. So….

Falletta

What was that? Oh, it appears it was the code.

But now that you’re here, feel free to browse the blog a bit.

Also, if you’re looking for the other code, click the link to “Life in the Slow Lane” on the right side of the page to go to Paul Lane’s blog. He’ll have the answer you seek.

Creepy music videos

In a recent Entertainment Weekly article, director Michel Gondry (Eternal Sunshine of the Spotless Mind, The Science of Sleep, Be Kind Rewind and lots of great music videos) picked 25 of his favorite music videos. He says of Aphex Twin’s “Come to Daddy,” “it’s the scariest music video ever.”

Aphex Twin - “Come to Daddy”

He’s got a good case there.

But when I think of scary or creepy music videos, two clips immediately come to mind.

Art of Noise - “Close (To The Edit)”

It’s more strange than scary now, but when I was a kid, this video was disturbing. First of all, that little girl…or boy…or small woman…or whatever. I couldn’t make heads or tails of her when I was young. That’s creepy enough.

Besides that, she’s apparently the master of these three goggled men. This strange young girl also has an irrational hatred of instruments. She directs these men to destroy a piano, a saxophone, a violin…it’s musical carnage. Why? What did music do to her?

I always got the impression that if I wandered into this video, I would surely be slaughtered by these strange men at the behest of this girl. The thought still lingers.

Silverchair - “Tomorrow”

Two words…or one word. Let’s make it one. Pigman.

He/it will haunt your dreams.

Album review - Spiritualized

 

o Spiritualized

Songs in A&E

Songs in A&E is a return to sound for Spiritualized, but not quite a return to form.

While Spiritualized — basically Jason Pierce with whoever he feels like playing with at the moment — experienced a five-year gap in between studio albums, Pierce nearly died of pneumonia, inspiring the new album.

But the music is vintage Spiritualized — dreamy, orchestral and spacy. It’s a bit slower this time around though, especially when compared to 2003’s misguided, rather generic Amazing Grace.

Pierce gets back to doing what he does best here, constructing swelling, modern hymns. It’s no wonder the new album has attracted its fair share of attention. It’s been a while, after all.

The album certainly has its high points. The soaring lead single, “Soul on Fire,” is one of the best songs Spiritualized has ever made. “Baby I’m Just a Fool” is also a standout.

But the album is uneven, and much of it drifts by without ever latching on. In terms of sound, it’s similar to previous albums Ladies and Gentlemen We Are Floating in Space and the underrated Let it Come Down. But the songs on those albums were much better. And the few tracks with a quick pace on Songs in A&E are fuzzy and forgettable.

Spiritualized was always able to construct slow, sweeping songs without putting listeners to sleep. But when “Goodnight Goodnight” concludes this album, it sounds more like a lullaby than an album closer.

Grade: B-

— Phil Dzikiy

 

Album Reviews - My Morning Jacket, Wolf Parade

I know I’ve been slummin’ lately, but I’m a very busy man, man!

Anyway, here are two reviews from the June 19 N&D. Two winners here.

o My Morning Jacket

“Evil Urges”

Following the drastic artistic leap of their 2005 masterpiece “Z,” My Morning Jacket could have tried to make a second version of that album. But like the great band it is, the Jacket has pushed forward in different directions on “Evil Urges.”

Experimentation after a creative breakthrough can go both ways. Radiohead hit the mark on “Kid A” after their landmark album “OK Computer,” while Wilco didn’t quite live up to the standards of “Yankee Hotel Foxtrot” on their follow-up, “A Ghost Is Born.”

For My Morning Jacket, the unexpected detours all end up going in the right direction. The first three tracks — the title track, “Touch Me I’m Going to Scream, Pt. 1” and “Highly Suspicious” — veer into weird-funk land, with Jim James’ voice hitting high notes, slipping into falsetto and, at times, laughing. The last track has taken a lot of heat, but it’s a fun number, and better yet, it’ll cook live.
MMJ also continues to do what they do best, mixing pop, country and southern jam band into their delectable rock stew. “Sec Walkin” and “Librarian” are gorgeous. “Two Halves” is a glistening pop-rock diamond, and “Aluminum Park” will blow out your speakers if you let it. And you should.

My only frustration is that James’ dynamic voice doesn’t quite reach the otherworldly heights that it does on other MMJ albums. But that’s really nitpicking, as James is still probably the best rock singer on the planet right now.

But there’s no disappointment to be found here. “Evil Urges” is the sound of a great rock ‘n’ roll band wielding its considerable creative powers over whatever it wants.

Grade: A

A clip of MMJ doing “Highly Suspicious” at Bonnaroo 2008

o Wolf Parade

“At Mount Zoomer”

Wolf Parade’s first album, “Apologies to the Queen Mary,” never grabbed me. It sounded like a bit of a mess. But after hearing their newest album, I feel I need to give their first one another chance.

“At Mount Zoomer” hits many high notes as it avoids any chance of a sophomore slump for Wolf Parade, whose band members spend their free time working on countless side projects. Or maybe Wolf Parade’s the side project for their other bands?

No matter, as catchy melodies constantly bubble to the surface from wherever, be they guitar, piano or synth-driven. What some other indie pop-rock bands try to do, Wolf Parade pulls off with flying colors. Just listen to “Call It A Ritual” or “The Grey Estates.”

The album only has nine songs, but it spreads its wings often, as on “California Dreamer,” “Fine Young Cannibals” and the nearly 11-minute closer, “Kissing the Beehive.” And by the time “Beehive” spirals off into parts unknown and fades out, you’re ready to start the whole ride over again.

Grade: A-

— Phil Dzikiy

Album reviews - Fleet Foxes, Flight of the Conchords

o Fleet Foxes

Fleet Foxes

For a much-hyped new band, Fleet Foxes plays a rather unassuming type of music.
Drawing on classic influences from the Beach Boys to CSNY, Fleet Foxes earn its ballyhoos due to strong songwriting and a timeless sound.
The Foxes’ lead vocalist, Robin Pecknold, sounds similar to My Morning Jacket’s Jim James. Considering that James may be the greatest rock vocalist of the past decade or so, it’s not a bad addition to the band’s sound.
That sound evokes pleasant, woodsy images, as the guitars lightly tumble over each other while Pecknold’s voice swoops through gorgeous songs like “White Winter Hymnal” and “He Doesn’t Know Why.”
It may take time for listeners to distinguish one track from each other, as the songs roll by with few sudden musical detours or leaps. There is a winding flow to this album, and a definite grace.
By the time the plaintive and stunning “Oliver James” ends the album, you’re ready to go back to track one.
The production could be crisper, with less reverb, but much of Fleet Foxes is sweet and serene, and when it’s not, it’s just plain beautiful. One of the stronger debut albums of recent years.
Grade: A-
— Phil Dzikiy

o Flight of the Conchords

Flight of the Conchords

Funny or not, you’re only going to get mileage out of a musical comedy album if the songs are good.
New Zealand duo Flight of the Conchords, best known for their HBO show, are mostly on the mark with this collection of songs.
Fans of the show will recognize all of the songs. So is there a reason to purchase the album? Yes and no. The songs, which run the gamut in musical styles, are still very funny. But they’re even funnier within the context of the show.
It’s tough to review this album without comparing FotC to Tenacious D. The similarities are many, from the obvious comedy-rock duo aspect to the TV show connections. But I’ll only say this: The Flight of the Conchords album is a nice diversion. It’s clever. Years after its release, the Tenacious D self-titled debut still rocks. And it’s still totally hilarious.
Grade: B
— Phil Dzikiy

“We Are the World” - Rating the vocal performances

In 1985, USA for Africa came together to perform “We Are the World,” the most recognizable “charity” single of the 1980s. Yes, there were others. Search for “Sun City,” “Do They Know It’s Christmas?” and “Hands Across America,” to name a few. (True story: I participated in “Hands Across America.” The event, not the song.)

I’m not going to get into the debatable politics of the whole USA for Africa thing, though it was certainly meant for a good cause. But I am going to rate the vocal performances in the song (co-written by Michael Jackson and Lionel Richie), 23 years after the fact. You’ve probably already done this to some extent, in your own head. Here’s my call.

I’m normally a grade guy, but I’m going with the classic 1-10 scale here. Also, I know this isn’t really a “rock” song, and thus, doesn’t completely fit into the theme of the blog. But:

1. It’s got its fair share of rock musicians.

2. Loosen up.

“We Are the World”

Lionel Richie - 7

A good start, but he kind of sings over Stevie Wonder a bit on the duet part.

Stevie Wonder - 9

It’s Stevie. He’d really have to try to get anything lower than a 9, even when the only words he sings solo are “there are people dying.”

Paul Simon - 7

Your standard Paul Simon vocal. Doesn’t stand out on this song, unfortunately. This probably isn’t the best place for his many talents.

Kenny Rogers - 8

His voice is like maple syrup all over your pancakes here. Smooth, warm and down-to-earth.

James Ingram - 6

Eh. He improves later on in the song.

Tina Turner - 8

Couldn’t they have given her another line?

Billy Joel - 6

He’s trying to bring it, he really is. But he doesn’t quite get there. Even with Tina’s help.

Michael Jackson - 4

MJ’s first shot on this song is weak. Overly poppy and light. He can do better, and he does.

Diana Ross - 7

A solid performance. Nothing more, nothing less.

Dionne Warwick - 9

Dionne brings some soul back to the proceedings. She’s into it. Just listen to that “weeeeell.”

Willie Nelson - 8

One of my favorite parts of the video, as Willie doesn’t seem like he remembers the lyrics at first. But he gets the hang of it soon enough.

Al Jarreau - 5

Fair enough, I suppose, but really just a forgettable part before…

Bruce Springsteen - 10

The Boss does not mess around here, but then again, when does he ever? He belts out his part with so much passion and intensity; it’s as if his singing alone will feed all of Africa. God bless him.

Kenny Loggins - 7

It’s a somewhat game effort, but you can’t follow Bruce. “Bad luck for Loggins,” read the headline of the Kenny Loggins News in 1985.

Steve Perry - 10

See previous blog post: “Steve Perry would rock that.”

Daryl Hall - 8

At first you’re skeptical, then he hits that note on “day” and it’s all good.

Michael Jackson (again) - 9

MJ realizes everyone else is bringing the heat, so he has to step his game up.

Huey Lewis - 7

His part could have worked in any Huey Lewis and the News song, ever.

Cyndi Lauper - 9

Love or hate her voice, you have to admit, Cyndi made her part memorable. Watch the video. She is feeling it.

Kim Carnes - 3

It’s telling that Kim Carnes only got two words (”when we”) to sing solo. It’s almost as if everyone else asked each other, “Why is Kim Carnes here? Who invited her? Man…well, I guess we gotta let her sing something.” It was a total concession. I mean, I like “Bette Davis Eyes” as much as the next guy, but c’mon.

Chorus - 8

Solid. Dan Aykroyd gets a 10 just for being there.

Bob Dylan - 10

Also gets a perfect score just for being there. His squeak of “just you and me” certainly stands out. It was also my introduction to Dylan. Sadly, it’s probably the only thing of his some people have ever heard in their lives.

Ray Charles - 10

Ray Charles. Clearly we’re taking it to the next level here.

Stevie Wonder/Bruce Springsteen - 10

They go back and forth like two tennis champions, if those two tennis champions had unfathomable superpowers. The first time you heard this exchange, you probably thought it would solve all of the world’s problems. It almost did.

James Ingram (again) - 9

James couldn’t really follow that, but much like MJ, he steps his game way up on his second turn. He really didn’t have much of a choice, considering the song’s late upward trajectory.

Ray Charles (again) - 10

10, again. Ray is entrusted to bring it home over the chorus. A wise decision.

Album Review - The Futureheads

o The Futureheads

This Is Not The World

The Futureheads burst onto the rock scene in 2004 with an original, upbeat debut rock album. The band followed that up with the more controlled and subdued News and Tributes.
Both albums were good in their own way, but their debut was far more memorable, incorporating a frantic style and unexpected harmonies to make an addictive album.
On This Is Not The World, the band attempts to find a happy medium between its first two albums.
World is certainly quick on the tempo. The single “The Beginning Of The Twist” is a winner, as are “Radio Heart” and the title track. “Hard To Bear” stands out as the one “slow” song on the album, and it becomes one of the most recognizable tracks.
But despite the relative speed of the songs, the band is still very much under control. And that’s kind of a shame, considering the glorious yelps and outbursts of the band’s debut. It seems as if that breakneck exhilaration — the one thing that really made the Futureheads stand out — might never return.
This new “medium” of the Futureheads might make listeners happy, but it likely won’t make them ecstatic.
Grade: B
— Phil Dzikiy

“The Beginning Of The Twist”

N&D Column 6/5 (Super Deluxe Extended Edition)

My N&D column was cut this week in the section due to space issues, but here, it lives on in full! Gaze!

Hot Albums in the Summertime

Some albums are just better in the summer.
Everyone has their favorite summer songs, whether they be tunes that specifically deal with the season or bring one back to a favorite summer gone by.
But there are a fair share of great summer albums out there, as well. You can put on these CDs and just feel the warmth emanating from the speakers. They’re all superb albums to begin with, but the summer just adds to their appeal.
On the other side of the coin, there are great albums which should probably be reserved for other seasons. Radiohead is great, but “OK Computer” and “Kid A” aren’t the best choices for riding with the top down.
“There ain’t no cure for the summertime blues,” Eddie Cochran once sang.
Cochran must not have been familiar with the following list of albums. But we’ll forgive him, since he recorded “Summertime Blues” in 1958, long before any of these were released.
Only studio albums, please, and in chronological order:
* The Beach Boys — “Pet Sounds” (1966)
If we were using greatest hits compilations, it goes without saying that any Beach Boys collection would be of the utmost importance for the summer. But as far as their studio albums go, “Pet Sounds” gets the nod.
And not just because it’s their best album and one of the greatest albums of all-time. There are moments of melancholy on it, but who said summer can’t be melancholy? It doesn’t have classic summer hits like “California Girls” or any of the surfing songs, but it does have “Wouldn’t It Be Nice,” “Sloop John B,” “God Only Knows” and 10 other great songs.
* Big Star — “No. 1 Record/Radio City” (1972/1974)
Two albums for the price of one here, because that’s the only way you can really purchase them on CD at this point. But nobody will ever complain about that fact, as you get legendary power-pop songs like “In the Street,” “When My Baby’s Beside Me” and “Thirteen” alongside the equally classic “September Gurls.”
* Bruce Springsteen — “The Wild, The Innocent and the E Street Shuffle” (1973)
Most Springsteen albums are tremendous in the summer, but I’ll give this one the slight edge over “Born to Run.” This is the funkiest Springsteen album, and quite possibly his best. “Shuffle” sizzles with tracks like “The E Street Shuffle,” “4th of July, Asbury Park (Sandy)” and “Rosalita.” By the time “New York City Serenade” rounds out the album, you want to “boogaloo down Broadway,” preferably on a hot summer night.
* The Ramones — “The Ramones” (1976)
The Ramones were brilliant not just because they were one of the earliest punk bands, but because of their use of influences like surf rock and girl groups (yes, girl groups; they did end up working with Phil Spector, after all). In other words, stuff that was already great for the summer. The Ramones just distilled it into a fast, addictive form.
* Michael Jackson — “Thriller” (1982)
The pop sheen of “Thriller” just becomes a bit brighter in the summer, especially on songs like “Wanna Be Startin’ Somethin’,” which is personally my favorite song to request at weddings.
* Paul Simon — “Graceland” (1986)
Paul Simon went to South Africa, used sounds from all over the world and pulled it off flawlessly. It’s bright, it’s sunny, it’s infectious. All that and more, actually.
* Matthew Sweet — “Girlfriend” (1991)
More fantastic power-pop (a theme for great summer songs), especially when Sweet lets the guitars loose on songs like “Divine Intervention” and the otherworldly title track, featuring Robert Quine.
* Pavement — “Crooked Rain, Crooked Rain” (1994)
The best, most melodic, most accessible album from one of the best bands in rock history, even if you’ve never heard of them. Images of the warmest season pop up all over this divine work.
* Weezer — “Weezer (blue album)” (1994)
Back when Weezer was good. You’d be hard-pressed to find rock fans of a certain age who don’t love this album, and for good reason. If songs like “Buddy Holly,” “Say It Ain’t So,” and “Holiday” weren’t great enough for the summer, they really slam you over the head with it on “Surf Wax America.”
“You take your car to work, I’ll take my board. And when you’re out of fuel, I’m still afloat.”
Even more relevant, considering today’s gas prices.
* Beck — “Odelay” (1996)
This one came out during the summer, and I bought it at the beach. So personal experience does come into play here, but what’s hotter than “Where It’s At” and “Devil’s Haircut?” Honorable mention: His “Midnite Vultures” and “Guero.”
* Beulah — “The Coast Is Never Clear” (2001)
Maybe the best summer album ever. Your first clue is the album cover, as a sun is setting over mountains with a palm tree and body of water nearby. This is packed with nothing but glorious summer pop-rock. Sometimes bright, sometimes bittersweet but perfect for the beach.
* The Flaming Lips — “Yoshimi Battles the Pink Robots” (2002)
A toss-up between this 1999’s “The Soft Bulletin,” really. But the Lips’ warm experimentalism gives the summer a stellar 1-2 punch with “It’s Summertime” and “Do You Realize??” Pop as only they can do it.
* Of Montreal — “Satanic Panic in the Attic” (2004)
Another great, original pop album that’s all over the map. Kind of a theme here. Catchy beyond reason.
* Brian Wilson — “SMiLE” (2004)
We start with the Beach Boys and end with the Beach Boy, Brian Wilson. The story of “SMiLE” is too long to explore here, but it was a long lost Beach Boys album for more than 35 years before Wilson completed it in 2004. Pieces of it popped up here and there (such as “Good Vibrations”), but it was never finished as was intended until a few years ago. Worth the wait. But that’s easy for a youngin’ like me to say.
•••
Phil’s Top Five
Beach Boys songs not on “Pet Sounds”
1. “Good Vibrations” (on “SMiLE”)
2. “Heroes and Villains” (also on “SMiLE”)
3. “Don’t Worry Baby”
4. “In My Room”
5. “Help Me, Rhonda”

New Release Tuesday - June 3

June brings us one of the biggest new release Tuesdays of the year so far.

Fleet Foxes - Fleet Foxes

The much-hyped debut album from the Sub Pop band. Expect a review next week.

The Futureheads - This Is Not The World

The not-as-hyped third album from the ‘heads. Expect a review this week.

Radiohead - Radiohead: The Best Of

Radiohead doesn’t seem like the kind of band that lends itself very well to a greatest hits compilation. That being said, this isn’t so bad. If you’re going to get this, pick up the special edition. It’s a two-disc doozy featuring an entire separate disc of stellar album cuts.

But the best option would probably just be to buy the band’s albums.

Shearwater - Rook

New album from the Okkervil River side project, which isn’t really an Okkervil River side project any longer.

Spiritualized - Songs in A&E

Word on the street is this is the best Spiritualized album in some time. I’ll see if I can get my hands on it. In the meantime, how about a sample?

Spiritualized - “Soul on Fire” (edit)

Weezer - Weezer (red album)

You know, just in case you’re still interested.