Archive for the ‘Music’ Category

#1 Record

Sunday, August 22nd, 2010

While trying to convince Jon Mack to listen to A Love Extreme by Benji Hughes last week I mentioned that it had taken over my favorite album of all time slot.  He immediately pushed back that it was a little early for that bold of a claim, citing that Music by 311 was once a favorite that went by the wayside.  (For the record, Music may have been in my top 5 at some point years ago, but never #1.  #1 is sacred…)

The whole exchange got me thinking about that fabled top slot, eventually yielding the realization that only 3 albums have ever held this title:

Nevermind — 1992 – 2000

Skittish — 2000 – 2010

A Love Extreme – 2010 – ?

Seems to be a once in a decade event…

Keep in mind that this is different than “most listened” or “greatest ever recorded” — it’s a personal favorite at one moment in time, with the expectation that it will remain the defending champ until something you’ve never heard before comes along and dethrones it.

Random aside:  I’m not consciously trying to turn this into “A Blog of Benji Hughesuasion” — I just really dig this musician, as evidenced by all the posts and his claiming my current #1 slot from Doughty.  But typing “Hughesuasion” makes me kick myself for not thinking to use “Nelsuasion” as the secret word in Chapter 24 of TP.  Timely Nelsuasion anyone?

I Went With Some Friends to See Benji Hughes…

Saturday, July 10th, 2010

…it was the greatest show I ever saw.

I’ve been dying to see Benji Hughes live since discovering him back in October via an article in The Believer magazine that sat unread on our coffee table for several weeks. By the time I got around to reading it and listening to his album I learned we had just missed a show he did in LA days prior. A few months later we learned of another LA show 3 days after it happened. My wife was actually toying with flying to North Carolina for my birthday to see him play, but that surprise got nixed when I insisted on watching the LOST finale in the comfort of our own home. But now the wait is over, with Benji doing a 4 show residency at Largo throughout July!

Week 1 was nothing like I expected and more than I could have hoped for. The dude is just plain hilarious up there on stage with his big red cape, long hair and sunglasses. He randomly wanders off in between songs (to get “water”), one time sneaking back on stage against the rear red curtain while “camouflaging” himself with the cape. Goofy, but in a good way and highly entertaining.

In some regards it felt like we were watching a rehearsal as the band improvised the setlist — sometimes making song choices that Benji disagreed with but still nailed. (I’m not sure if this was part of the schtick or a real event, but later in the show it was revealed that Benji had accidentally ripped off the bottom half of the setlist while searching for a piece of note paper shortly before taking the stage.)

Jackson Browne was the special guest who jammed with him in the second half. They did a couple of Zevon covers, Benji’s “All You’ve Got to Do Is Fall In Love” (where Benji had to correct Jackson’s melody on the chorus), and one song by guitarist and former Muscadine partner in crime Jonathan Wilson.

Rough, out of order and likely incomplete setlist from memory:

Higher Than Balls
Even If
How Many Birds?
Country Love
Broadway (partial scat cover of the George Benson song)
Love Is A Razor
Books & Magazines
Waiting For An Invitation
So Much Better
Write Me When You’re Famous
Shooting Star (Solo Piano)
Mohammed’s Radio (Warren Zevon cover w/ Jackson Browne)
Play It All Night Long (Warren Zevon w/ Jackson Browne)
All You’ve Got To Do Is Fall In Love (w/ Jackson Browne)
Solo Jackson Browne Song
Solo Jonathan Wilson Song
———–
Girl In The Tower

My only minor gripe is this:  I tend to go into concerts with a mental checklist of songs I hope an artist plays, and then judge the show on how much of my wishlist was covered.  In this case, only the encore song was on my pre-show list.  But it was still awesome regardless.  Can’t wait for next week!

Coachella Recap

Sunday, April 25th, 2010

A little late, but here’s a quick band by band breakdown of Coachella weekend.

You’ll notice no Friday update.  That’s because after 2.5+ hours in traffic we were still miles away from the parking lot and decided to abort until the next day.  So no Perry Farrell, She & Him, The Specials, Them Crooked Vultures, Echo & the Bunnymen, Vampire Weekend, Ceu, Public Image Limited, or Jay Z. :(  My favorite quote on the situation:  ”Whoever is in charge shouldn’t be allowed to organize dinner for two, much less a festival for 80 (thousand)″

Saturday, 4/17

John Waters
We started our day in the beer garden across from the Mojave stage listening to John Waters tell stories about his films and just rant in general. Hadn’t clicked before sitting down that this was going to be John Waters to director, but it ended up being a pretty cool kickoff.

Zoé
This wasn’t a solo set by Ms. Deschanel from She & Him, but a rockin’ Mexican grunge band.  Singer looked like a cross between Bono and Chris Cornell.  Decent daytime rock on the main stage.

Jason Bentley
Hit the Sahara tent for the only time all weekend to watch the KCRW Music director spin.  But DJs aren’t really my thing, so it was short lived.  Love your show and your station though…

Old Crow Medicine Show
Really fun twangy, old-time alt-country with fiddles and strings who put on a great set.  I was torn at the end with this debate:  If you prominently feature a fiddle, should you or shouldn’t you cover “The Devil Came Down to Georgia” in concert?  They didn’t, but I think if they had it would have been awesome.

Edward Sharpe & the Magnetic Zeroes
One of my favorite albums of last year, and their live show exceeds expectations.

The xx
If I were to retcon my top albums of 2009 list these guys would be near the top, but since I only heard their record for the first time on Xmas eve it needed some time to secure that slot.  Probably the band I was most looking forwards to and they didn’t disappoint.  I hadn’t seen photos of the band before the show, and they ended up looking both not at all and exactly as I’d envisioned them if that makes any sense.

Faith No More
This falls under the “more interesting than good” category, though it was still fun and worth seeing.  They came out in suits and played a very faithful cover of “Reunited” by Peaches & Herb before launching into “From Out of Nowhere.”  Neither the band nor the songs have aged particularly well (Mike Patton kinda resembles Michael Douglas nowadays), though it was still awesome to hear “Midlife Crisis” and “Epic” played live back to back.

Les Claypool
You always pretty much know what you’re gonna get from Mr. Claypool, and it’s always fun.  Highlight for me was “Riddles are Abound Tonight” from the pre-Primus Sausage days.

The Dead Weather
I was pleasantly surprised by this Jack White side project that has him on drums and MC duties.  Heard a few songs here and there previously that were just okay, but live was a different story.

Sia
More upbeat and power-poppy than what I’ve heard of her before, makes me curious about her new record.

Devo
Wow!  They are not men, they are Devo!  Sounded great, and seemed to age a lot better than Faith No More.  Really cool visuals/cartoons in the background too.

Sunday, 4/18

One EskimO
On their recordings I get a bit of a Damien Rice vibe, but no so much live. Still decent and a good mellow start to day 2.

The Middle East
Actually saw these guys open up for Pavement on Thursday before Coachella.  They’re definitely growing on me, especially this one story song that builds to a pretty rocking crescendo by the end.

Babasonicos
Another Spanish band, this one a little more dance-y than rock-y.  Of the two I leaned towards Zoe while my wife preferred these guys.

Local Natives
I was curious to see what the hype was about, and it seems legit.  The crowd overflowed from the Gobi tent for this solid set.

De La Soul
Great hip hop set.   I hadn’t realized these guys had been around since 1987!

Matt & Kim
Tent was so packed I didn’t actually see them, but instead just listened from outside.  This was during the “lightning round” so I only caught 3 songs, but they sold me with a cover of “Rock and Roll Part 2.”

Florence + the Machine
I was excited for this one, but it wasn’t really doing it for me.  Could have been the crowd though, as it was another overflowing tent and we were so far in the back it was tough to see and hear.  My wife says they sound like a cross between Bjork and something else…

Sunny Day Real Estate
Ahh, nostalgia from a misspent youth…

Yo La Tengo
This was probably my favorite find of the festival.  They were so good we broke from the lightning round plan to hear a few extra songs, and have been blazing through their extensive back catalogue since returning.  Good stuff.

Julian Casablancas
He was ok, though I think I prefer full on Strokes.

Charlotte Gainsbourg
Speculation that Beck would be performing with her proved to be false, but she still held her own and delivered a strong set.

Spoon
Only caught the last few songs here since I was sent to the car to get pants, but I loved what I heard and might finally give Spoon another chance to win my musical heart.

Phoenix
Another band that’s growing on me at long last.  The crowd for this one was ridiculously large.  Towards the end of this set my wife and I split up so I could see the beginning of Pavement and she could see the start of Yann Tiersen, and both of those stages were quite sparse with the rest of the world watching Phoenix.

Pavement
As mentioned above I caught the Pavement show in Pomona on Thursday, so I didn’t feel obligated to catch their entire Coachella set.  I stayed for the first 5+ songs (Silence Kid, In the Mouth a Desert, Stereo, Frontwards, Father to a Sister of Thought, Two States) and made it back in time for the last 2 (Unfair and Cut Your Hair), while slipping out in the middle to meet my wife at Yann Tiersen.  My timing couldn’t have been worse, as this worked out to be more or less to the exact second that Phoenix ended.  So I was walking one way while 70,000 other people were coming right at me in the opposite direction…

Yann Tiersen
The most painful conflict of the original schedule was Yann Tiersen overlapping with Gorillaz.  However, one good side effect of Eyjafjallajokull moved Yann into the earlier slot vacated by Gary Numan.  After fighting the crowd and reaching the Mojave tent my ears were blasted with some crazy guitar rocking.  It sounded great, but I was confused.  My previous exposure to Mr. Tiersen was solely from the classical influenced pieces on the Amelie soundtrack, so I thought I was in the wrong tent.  I actually went outside to check the big schedule to make sure.  Confusion aside, he was pretty awesome.  I especially loved how he’d play the violin so vigorously during the rock outs that the bow was visibly fraying on stage.

Atoms For Peace
I know I have a bit of a (deserved) reputation for not liking things on the first listen and then learning to love them later on.  But try as I might, I just can’t get into Thom Yorke.  He’s gotten more chances than I usually dole out, and even though everything in my musical pedigree says I should be a raging Radiohead fan they just don’t do it for me.

Gorillaz
And so we’ve come to the end.  Great set, excellent use of audio visuals and special guests.  ”Feel Good, Inc” with De La Soul stole the show, especially with that classic laugh repeated over and over.  That never gets old.

My only point of confusion is this:  While waiting an hour for this to start we noticed someone climbing a ladder to the lighting rig catwalk above the stage.  At first we thought it was a worker, but then noticed 2 or 3 other people already up there.  Then we saw another person make the ascent, this one in a red sequined leotard and elaborate headgear.  They reached the top, sat on something that resembled a trapeze, then squatted out of sight.  Our first thought was “Gorillaz are going to have some crazy Cirque du Soleil acrobats?  Cool!”  But then the set ended with nary an acrobat to be seen.  Odd, eh?

Rediscovering Pavement

Saturday, February 13th, 2010

Anticipation for the Pavement reunion at Coachella has put the band into increased rotation for me as of late, and I’m loving them even more than I did way back when. I’d still break out Crooked Rain or Slanted and Enchanted every couple of months, but that was about it. Now I’m devouring everything like when it was new. (And some of it is new, as I finally splurged for the Luxe & Reduxe and LA’s Desert Origins re-issues.)

Below is a rambly recounting of my history with Pavement.

I first discovered Pavement right before Slanted and Enchanted was released in 1992. Read a review in Entertainment Weekly that started off with “Mmmmm….pop music” and was sold without ever hearing a track. (2 other discoveries based solely on EW reviews: Paw and Tool. I think Pavement wins…). Even though the album is so familiar to me now, it’s one of those discs where every time feels like the first time if that makes any sense. I used “Wounded Kite at :17″ as one of the TP chapter titles, and it’s still the one I’m most proud of name checking.

Seeking out the Watery, Domestic EP and the EP collection Westing (By Musket and Sextant) at Newbury Comics delved me deeper into the obsessive fandom that’s become my trademark over the years (see also: Carter USM, M. Ward, LOST, etc.) Once I heard “Box Elder” and “Shoot the Singer” there was no turning back.

Crooked Rain, Crooked Rain was probably one of the most highly anticipated albums of my youth (after In Utero & Vs.). I recall being sick as a dog the day it came out and my girlfriend at the time had to hit multiple record stores in order to find me a copy. This has been my go-to Pavement record over the years, and holding the reissue in my hands I’m still impressed by the “Front: reign reign” word game hint in the lower right hand corner. Brilliant album title.

Wowee Zowee came out during the second semester of my freshman year of college. I don’t 100% remember if I waited in line to buy it at midnight (I think I did), but I do recall my first listen in my study carol/closet and many late night discussions over the disc with my friend Chris Evjy. (Chris did a pretty nifty cover of “Father To A Sister of Thought” at open mike nights and eventually live on my college radio show.) I also fondly remember quoting “Brinx Job” in an all-staff email at iNetNow after we (allegedly, and unfortunately falsely) got “funded.” When Wowee first came out I was iffy on it as a whole. Some songs were great, some just ok. But my future self is now appreciating it as what might be the best and most diverse of the band’s five albums.

The two times I saw Pavement live were both from the Wowee era. First was May 15, 1995 at Lupo’s Heartbreak Hotel in Providence. Nobody wanted to go with me, but I managed to drag Alane and Jon Mack kicking and screaming. (As Jon recalls it, I agreed to see Primus if he’d see Pavement.) Setlist was very Wowee heavy, though I remember “Two States” and “Range Life” with a changed lyric that went “Out on tour with Six Finger Satellite / I don’t really know what they mean but they’re…from here.”

Later that same year they played Lollapalooza. This was the first year they moved the New England stop from the Quonset Point air-field to the lamer and tamer Great Woods in Mansfield, MA. My memory on this show is extremely hazy overall, though I want to say there was a kick-ass version of “Flux=Rad” played.

Brighten The Corners was another remnant of my college daze, this time from junior year. I kinda sorta liked it but never really listened to it all that much, and as such got temporarily derailed from the Pavement wagon as a result. I have no idea why. It’s certainly a solid endeavor. Perhaps just not rockin’ enough for my tastes at the time.

Which leads to a confession: I listened to Terror Twilight for the very first time last week, over a decade after its initial release. Somewhat embarrassing to love a band so much and then nearly go cold turkey by the time their swan song comes around, though I’m making up for it now with both this and the reissues.

Ah, the reissues. Box sets and bonus tracks are tough when you’re a b-sides junkie who already had most of the material the first time around. But Matador really got this one right. Enough new material to make them worthwhile, and a price that can’t be beat. The CDs are $14, where the downloads are $16 for normal quality, $20 for high. Hmmm — save money and get a 40+ page book of liner notes…sold!

Perhaps I’ll review (elevate?) these later…

That’s enough reminiscing for now. I’ll end with a quote by one of my new obsessions, Benji Hughes:

“I’m into Pavement they’re my favorite band I’ve got their DVD I watch it 50 times — you love it baby!”

Of The Year – 2009

Thursday, December 24th, 2009

I’ve always wanted to “officially” track a best of the year music list, and figured here would be the most appropriate place to do it.

1. Sad Man Happy Man — Mike Doughty

I had huge expectations going in after an interview said this would sound like Skittish & Rockity Roll, and Doughty delivered in spades. My sister calls it “Soul Coughing Unplugged” which is a decent description. Just Doughty doing what he does best and knocking it out of the park.

2. Dark Night of The Soul — Danger Mouse and Sparklehorse

The Wilco-esque tale of an album that nearly wasn’t might give this bonus points, but regardless it’s still a masterpiece. Still a little odd when I get caught singing the song with my own name in it though…

3. Far — Regina Spektor

I’ve always kinda liked Regina, but now I love her. Heck of a live performance too.

4. Monsters of Folk — Monsters of Folk

Supergroups are tough. Always the best intentions, but hard to pull off. This one is greater than the sum of its parts. I especially loved the unexpected electronic feel to the lead track, defying expectations from the start and inviting a closer listen.

5. Up From Below — Edward Sharpe & The Magnetic Zeros

A fun, whimsical, magical mystery ride. Much respect for an album that name-drops a Beatles song while really deserving it as a descriptor.

Mike Doughty’s Hand(writing)

Sunday, October 18th, 2009

Had a couple of recent questions about the font on the setlists in the paperback, which caused me to realize I never blogged about the origin of that in any detail. Could have sworn I did, but a quick scan of the archives proves otherwise. Here we go:

Once upon a time a designer named Chank Diesel put together something called the Rockstar Font Project. He basically took handwriting samples from musicians and turned them into fonts.  Participants included Mike Doughty from Soul Coughing, Kelley Deal from the Breeders, Steven Drozd from the Flaming Lips, Mark Sandman from Morphine, and Everlast from House of Pain.

Being a big Soul Coughing fan I downloaded the Mike Doughty “Wichita” font shortly after it came out, messed around with it for 10 minutes, and then forgot all about it since I didn’t really have a practical use for it. (Origin story in Chank’s own words is available at WBR.com)

Mike Doughty's Handwriting, Ghostwriting for Local Boy

Mike Doughty's Handwriting, Ghostwriting for Local Boy

Flashforward a decade. While working on the remastered layout of Timely Persuasion with Bryan Davidson we hit upon this idea of doing the Local Boy setlists in a handwriting font.  Originally we tried the Apple “Marker Felt” font, but it felt sort of cheesy and overplayed.  I suddenly remembered Wichita, and miraculously managed to copy it over each time I switched computers over the years.

I emailed Mr. Diesel regarding permissions and he was super cool about it, as was Mr. Doughty when I let him know of his inspiration.  And there you have it.

While we’re on the subject of Mike Doughty, check out his amazing new album Sad Man Happy Man.  I know this sounds odd coming on the heels of my Benji Hughes post, but this is another of those rare, expectation-defying albums I just can’t get enough of.  Beats out Dark Night of the Soul for my album of the year crown, and when the newness clears might even give Skittish a run for its money on the “best album ever” front.

All About The Benji Hughes

Saturday, October 3rd, 2009

Every once in a great while a record comes around that just plain blows your mind.  One that lands in heavy rotation, building up steam and momentum with each listen.  You may like or even love other albums, but the magical ones like this are few and far between.  Music so good you can’t stop listening to it and feel the need to tell everyone you know about it.  CDs that make you think “Where the hell have I been?” upon discovering that it has existed for months or years without your knowledge.

Yankee Hotel Foxtrot is an easy example from recent memory.

Skittish meets this criteria too.  It was (and still is) my favorite album of all time.

Before that it was probably Slanted and Enchanted.

Before that it was Nevermind.

Today?  It’s A Love Extreme by Benji Hughes.

Check this out.  How awesome is this guy?

Benji Hughes – A Love Extreme – About The Album

Just, wow!  A little bit Beck, a little Joseph Arthur, but at the same time a whole lot of original.

Anachronistic as it is, I can’t help but reference the lyrical gold that might have found its way into Timely Persuasion had this album been around a few years ago.

“A woman lives inside of your head, singing to you all of the time.”

“I’m into Pavement their my favorite band I’ve got their DVD I watch it 50 times…”

“You’ve got it made because you’re made so well.”

“Why do these parties always end the same way?”

“Just like really awesome candy.”

“I got there at 4:53.  We were supposed to meet at 5.”

A Love Extreme – Benji Hughes

Soooo good! Definitely my find of the year.

F

Sunday, July 26th, 2009

Random observation I had the other day:

“F” is one heck of a consistently good letter in my iTunes library when sorted by Artist:

Faces
Faith No More
Fats Waller
The Feelies
Feist
Felix McTeigue
The Fiery Furnaces
Fine Young Cannibals (covering “Ever Fallen In Love” by the Buzzcocks)
Fiona Apple
Five Man Electrical Band
The Five Satins
The Flaming Lips
Flop
Foo Fighters
Foxboro Hot Tubs
Frank Black
Frank Morey
Frank Sinatra
Frankie Valli & the Four Seasons
Franz Ferdinand
Frente!
Fun Lovin’ Criminals
The Futureheads

Another Man’s DG

Thursday, June 18th, 2009

While walking the dog I had a random thought: Why did I use “Local Boy Done Good” instead of “Local Boy Done Gone” in TP?

This question came out of nowhere. There was no internal debate over the name of Local Boy or his album during the writing phase. I honestly don’t remember any distinct inspiration. It had a nice rhythm, the LBDG letters looked and sounded good together, and that was that. But now that this new “Done Gone” thing had entered my head I couldn’t shake it, leading to this chain of revisionist history…

  • One of the songs the narrator taught Local Boy in the past could have been “Another Man’s Done Gone” from the Billy Bragg & Wilco collaboration Mermaid Avenue.
  • The “DG” in the LBDG album found in the record store would link back to that reference.
  • In the Local Boy recap chapter, LB could be wrapped up in the mild controversy between Woody Guthrie’s estate and Bob Dylan over the rights to Woody’s leftover lyrics, leaving the narrator in a bit of hot water for “borrowing” a song that he considered to be “from the future” which had actually been written but unreleased in the past.
  • And best of all, it would set up an awesome title for a career spanning box set: Local Boy Done Gone Called It Quits Live At The Coverville Barnstormer.

(Confused?  Refresh your memory on the adventures of Local Boy in Chapters 15 through 17 of Timely Persuasion either online, in paperback, or on the Amazon Kindle.)

What happened happened, and all things considered I’m fine with the Local Boy Done Good album title.  But what might have been if I fully explored the above thread?  I leave you with this:

So when you think of me, if and when you do
Just say, “Well, another man’s done gone”

First Impressions on Wilco (The Album)

Thursday, May 14th, 2009

The new Wilco record is streaming for free at the band’s official site (www.wilcoworld.net), so I thought I’d blog my early impressions.  To be fair, “first” impressions in the title is a slight exaggeration; this is technically my third listen that I’m writing about.

(And in the interest of full disclosure: I’m notorious for disliking albums when I first hear them before later changing my mind and loving them, so this might be a fun post to revisit down the road.)

Track by track:

“Wilco (the song)”
I actually saw a video clip of them performing this on the Colbert Report a few weeks ago.  Loved it then and love it now.  Tongue in cheek love letter to fans, but a tune that’s cool, clever, and very singable.  Has a Summerteeth vibe to it, which makes it the perfect track to open Wilco (the album).  Plus you gotta love the parenthetical.

“Deeper Down”
One of those majestic numbers that I shrug off initially but know will enter “epic” status once I hear it live.  Judgment reserved, but I suspect I’ll learn to love this song.

“One Wing”
This one I dug right away (“One wing, will never ever fly…”), plus I know it’s gonna rule in concert based on the guitar parts.

“Bull Black Nova”
With a title like that it’s the song that tempts you to cheat and skip ahead to it after reading it on the sleeve (er, Quicktime playlist…).  Experimental, but very Wilco — which is what makes it cool.  Might be a touch too long though.

“You And I”
The rumors of a Wilco/Feist duet proved true, though it’s more Feist on backing vocals than a true collaboration per se.  Initially I was disappointed she wasn’t featured more heavily, but I’m already thinking the cameo was a better idea.  And now I’m curious as to how often their touring schedules will intersect enough for them to do this live.

“You Never Know”
Eh.  Nothing wrong with this song, but it just isn’t doing it for me.  Though I totally would have used the “C’mon kids, you’re acting like children” line in Timely Persuasion when the mom interrupts the cribbage game had it existed at the time.  (At least the slide guitar & piano part during the choruses sort of save it…)

“Country Disappeared”
Before hearing this I wonder if the title was a nod to Wilco’s early A.M. era sound.  Perhaps it’s a double entendre.  Song is okay albeit a little boring, though I do like the Tweedy falsetto bits in a guilty pleasure sort of way.

“Solitaire”
Lyrics that might suddenly strike me as deep one day when I’m not expecting it, but this is probably my least favorite song on the record capping off a disappointingly weak trifecta.

“I’ll Fight”
And we’re back!  My early pick for favorite track.  The repetitive pattern of the first verse hooked me right away, and the passion felt throughout helps carry it through.  This one will go down as a Wilco classic.

“Sonny Feeling”
Another fun one, with a “Hate It Here”/”Late Greats” style of loose vibe.  And you gotta love using the “Sonny” spelling in the title vs. “Sunny.”

“Everlasting Everything”
The final track is where you’re allowed/expected to go out on a different sort of note.  This tune is hard to classify, but I think it delivers the goods while taking the album closer torch from “On and On and On.”

Final verdict:  You can’t go wrong with new Wilco.  That said, I put it somewhere between Sky Blue Sky and A Ghost is Born in the rankings, but reserve the right to change my mind.