MUSIC: Gazette Review - The Historical Conquests of Josh Ritter

This is a highly advanced album.

Josh Ritter’s follow up to last year’s The Animal Years does it all. It jumps, flips, jabs, prods, pokes and plunders the brain in ways you never thought possible. The only thing it does not do, fortunately, is disappoint.

Ritter’s lyrics remain sharply honed, examining affairs both political and of the heart, from lovers (Or are they?) in a bomb shelter at the end of the world [literally] (“The Temptation of Adam”) to a bareback riding Casanova of the old west (“The Next to the Last Romantic”). The lyrical theme of the album seems to be “love is sometimes tough for a genuinely nice guy,” although that could just be part of Ritter’s natural charm that comes through in his songs (or my penchant for singer-songwriters who seem vaguely Irish).

Musically, things have never been weirder. It’s difficult to write on a specific point of comparison, not only because of the musical diversity on the record, but because of the fresh perspective Ritter brings to all of those familiar classic rock and roll influences. The only thing that any of these tracks have in common is how different (and entertaining) they all are.

If anyone ever refers to this as a “concept album,” please take this author’s word for it that despite any presumptions you have about that sort of thing, it will be one of your top musical purchase of 2007 (unless you happen to buy a Bouzouki, which would be pretty damn cool.).

The only possible label to put on this music, to borrow a phrase, is “Classic Rock of the Future.” (But I’m sure they’ll still file it under “Folk-Rock”)

MUSIC: Growing Pains

I will assume for the purposes of this writing that at least a few people who are reading this that collect records (AKA CDs/Tapes/LPs, whatever). The mindset of this kind of person (and I include myself) is that when you find an artist that you like, you will purchase most records that they put out, regardless of any inconsistent critical favour. This habit for me started in high school, at the outset of my first McJob when I realized I could spend all this money I was getting on music. If I liked The Colour and the Shape by the Foo Fighters, I had every reason to buy One By One and every other record by them. (However, that example is perhaps a bit "cooler" than was typically the case, for the purposes of not embarassing myself.)

Since this happened in high school, and I have grown a bit in terms of maturity and taste (as you all have as well). The artists that wrote all of my favourite songs, as strange as it may seem, have also grown, albeit through different life stages (This is not always the case, as Billy Corgan always believed he was a fucking genius.). Consequently, they're going to keep putting out records that reflect their current emotional state. In some unfortunate cases, these emotional states are motivated primarily by money, but this is not the case that I am talking about specifically.

So, you go off to college and a band you liked in high school comes out with a new CD. But since their last CD, you've discovered tons of new material that is much more artistically challenging, and better reflects your current existence. You like this band, but they're not your holy grail.

It's like buying Weezer's Make Believe (Which I haven't yet, partially prompting this writing) after you've gotten into Tom Waits. There's nothing particularly bad about the album, but they no longer occupy the same space on your "My 50 Favourite Bands" list (Come to think of it, I should write one of those, just to satiate my own curiosity in 20 years.).

(Speaking of Weezer, what the hell is with them claiming that they are either breaking up or 'have written and are demoing 8000 new songs' after every album?)

There are however, bands whose output changes drastically with time. Or maybe it doesn't, but you change the point where their current artistic (irony-quotes omitted) output is kind of alienating, and maybe even insulting to your past associations with them. It's like being friends with a quasi-outgoing sort of person who liked intelligent punk rock, and was maybe a little too much into Chomsky.

You meanwhile leave town, and eventually come back for Thanksgiving/Christmas/Etc., and decide to call this person up. They have since stopped reading altogether, don't really listen to anything worth noting and do nothing but smoke pot and play GTA all day in their parent's basement.

I will buy bad records by artists that I love if I think they are going to go somewhere interesting eventually. But there comes a point where you have to sever ties with crappy music from your past. I have a few bands that I'm still toting around in my head, thinking "I still don't have their newest album...", with part of me knowing that it will never happen. It's the equivalent of "taking a break" in a relationship, or falling out of touch with old friends. It's most likely not going to start up again, and I'll probably never buy another Unwritten Law album.

MUSIC: Hospital Music Review

Matthew Good's long awaited Hospital Music is finally here. Surprisingly enough, it's not doing too bad on the charts already. Why is this surprising, you ask? (Please take note at this time that I am a devoted Good fanboy who has followed his music and writings since 2001's The Audio of Being. So, SPOILER: I dug it.)

Mr. Good has created a starkly honest record about the tumultuous last year of his life. Dealing with all of those terrible things that start with "D" (namely divorce, drug addiction, disease, death and general despair) had taken a toll on him that needed to be expressed. The record itself can be primarily described as cathartic, to say the least.

Sounds like it could be shaping up to be a Roger-Waters-esque rock-opera? Not entirely, although it does contain some bits that resemble other works like that.

Although many of the songs are based on very specific incidences, they speak to larger more universal themes that I can imagine will have a profound effect on those who have been through similar circumstances. What I can't imagine is the alienation that one goes through during an ordeal such as this.

Dealing with his failing relationship with the former Mrs. Good, the artist is surprisingly revealing (and has been in other forms for the past year) in the songs Metal Airplanes and She's In It For the Money. The former song is one that plays on the eventual realization in many relationships that you may not be as righteous as you think, and I think that's a particularly far-reaching and powerful statement to make. And although many will take the latter's lyrics at face value ("She's a money grubbing whore"), that could apply to anyone who dates/sees/marries someone with a condition like this. I can't imagine looking up from that hospital bed and seeing the look in her eyes that says "I didn't sign on for this."

While most of the songs deal with the aforementioned "D" word, that's not to say that it's all depressing. When I said that there were parts that resembled a rock-opera, I was thinking in particular of The Boy Come Home, which seems to be about Good returning to his parent's home for a period of time. There is a definite change in the album at that point, with a shifting tone moving more towards optimism (The Devil's In Your Details (although I could be way out to lunch on this one)).

I would have assumed that the two cover songs included on the record would stick out like a sore thumb, but I am happily mistaken. The Dead Kennedy's Moon Over Marin and the late Daniel Johnston's album-closer True Love Will Find You In The End fit perfectly in the framework of the record.

Production wise, the album is a complete departure. Self-produced and (mostly) self-performed, Mr. Good manages to make the rough-around-the-edges aesthetic work to his advantage, and it's something I look forward to in the future.

All in all, this is the kind of record that separates an artist from his contemporaries. If this doesn't translate into album sales, then that is a shame.

MUSIC: The Saddest Music In The World

As my introduction to the blog, instead of telling you my favourite t-shirt or the last fast food meal I ate, I decided to take a cue from Guy Maddin's film The Saddest Music In The World.

What is truly the saddest music in the world?

Now there's a difference between sad and bitter. Sadness, in my eyes, is about loss. A sorrow that cannot be hidden or "forced". To a musician, such unhappiness is usually a blessing and a curse.

We have lost many a beloved depressing idol (Nick Drake, Jim Morrison, Elliott Smith) and have nearly lost many others such as Matthew Good, Cat Power and Trent Reznor.

The goal of this post is not to dwell on how much of a bummer Nine Inch Nails are at their best. Nor am I here to tell you my favourite Nirvana songs.

I have selected 25 essential depressing cuts that speak to me on some previously unheard of level. Now before I begin and people start to disagree with me, I want to state that these are cuts from my personal collection.

My selections tend to favour North American artists; however I've tried to keep my search as wide as I could given certain limitations.

I would love to hear about the picks of everyone who visits here, so simply email me or post here with any suggestions. Being an avid music fan, I will likely (as long as you put it nicely) listen to your recommendations.

And because I'm in an extra good mood I have available here a podcast which includes the Top 10 Saddest Songs on my list.

Enough said. Let the countdown begin.

The TOP 25 SADDEST SONGS:

25. I've Been Thinking (Handsome Boy Modeling School feat. Cat Power)

This collaboration between Cat Power and Dan The Automator (Gorillaz, Deltron 3030) proves one of the most fruitful ones on Handsome Boy Modeling School's latest LP White People. Chan Marshall contemplates the state of her relationship in such a sexy, suave way that it would make Feist jealous. The rainy-day vibe, a la Riders On The Storm, guarantees this song's inclusion on this countdown.

24. Non-Zero Possibility (At The Drive-In)

Being the last cut on At The Drive-In's last album Relationship Of Command, this song gets me every time. How I wish I had written this song. The punk attitude gets a literate treatment and as much as people knock Cedric Bixler Zavala's lyrics for being too nonsensical, the line "let's just paint you a pretty face" should be as well-known as Trent's "I hurt myself today". Even though the band was falling apart during the making of this album, that fact allowed them to reach ever greater heights.

23. Dead Meat (Sean Lennon)

I'll be the first to admit Lennon's latest album Friendly Fire was certainly not worth the 8 year wait. This being said, being the son of the ridiculously talented John Lennon and Yoko Ono, some talent's bound to rub off. "Dead Meat" is Lennon's send-off to his ex-girlfriend Bijou Philips, who weirdly enough, sings back-up vocals on the track. This is an expertly constructed song filled with passion and is one of the best songs of 2006.

22. Take You On A Cruise (Interpol)

I'm not exactly sure how Interpol can be completely engaging yet a tad bit disappointing at the same time. Much like Damon Albarn of Blur fame, I believe these guys still haven't written their best material. Their live shows often boast identical setlists for months on end, but they weather the criticism and Joy Division jokes to make incredible rock songs. "Take You On A Cruise" is a beautiful lullaby drowning in guitars and reverb that is better than any drug.

21. Parting Ways (Pearl Jam)

Here we go, I'll say it. Eddie Vedder is the emo artist of the 90's. And what happened to one of the 90's biggest icons when the decade came to an end? His relationship with his then-wife Beth Liebling came to a bitter halt. And although he's "too big a man to say" he knew they'd soon be parting ways.

20. Asleep (The Smiths)

I'm sure this song could bum even Andy Dick out. Mr. Self-Deprication (a.k.a. Morrissey) is the poster boy for these kinds of lists and it just wouldn't feel right without him. What was the B-side to "The Boy With The Thorn In His Side" turns out to be the real winner and one of The Smiths' best songs.

19. Afraid Not Scared (Ryan Adams)

Not being as big a Ryan Adams fan as many of my friends doesn't stop me from recognizing the genius in much of this man's work. I recently read his celebrity playlist for iTunes which was loaded with hip-hop. I first thought this was really weird, but after giving Love Is Hell another listen, I realize that Adams probably listens to agressive music to allow himself to write the many haunting ballads he is arguably best known for. The man sums it up best himself; it sounds "like someone possessed".

18. While My Guitar Gently Weeps (The Beatles)

Forget all the Sgt. Pepper's hype for a minute. I believe The Beatles self-titled "white album" captures them at their best. After watching the film Concert For George that captures an all-star tribute to the songs of George Harrison, I was reminded of how much of a gem this song is. Paul McCartney on piano. Eric Clapton on lead guitar. Songs shouldn't be allowed to be this good. It depresses the rest of us.

17. Seule (Patton / Kaada)

This short-lived collaboration between Norwegian icon John Kaada and the schizophrenic musical mastermind Mike Patton (ex-Faith No More, Peeping Tom) produced a song so potent with death that it sounds like a 3-minute funeral. And I'm inclined to have this play on repeat for a while.

16. The End (The Doors)

Without even having seen Apocalypse Now, this song should still be able to resonate with all music fans. All it took to ensure The Door's legacy is a story that includes references to the oedipus complex. This song shows us why The Doors still matter today. Now if only I could shake the memories of Ian Astbury singing this.

15. The Slaughter (John Frusciante feat. Flea)

I just wanted start by saying if I were to ever pick a favourite song, this might be it. A depressive vibe isn't the only thing it has going for it. That explains its place here at number fifteen. This song represents what the Red Hot Chili Peppers would sound like without their weakest link (Anthony Kiedis). I take this song literally as John's explanation of his breakup with actress Milla Jovovich. But its greatness is not contained to the reality of John's situation at the time. John sounds more emotionally complicated than I've ever heard him. And he's certainly not one to shy away from sharing his feelings. Brian Wilson-esque harmonies, Depeche Mode synth parts and standup bass. Oh, and this song has both real drums courtesy of Chad Smith and a programmed beat. I could go on forever so I'll just stop now.

14. Concerto De Aranjuez (Francis Goya)

It's weird how I came upon this guy. It was mostly by accident. I was looking for music that sounded Mexican and this Belgian artist came up. I was blown away by the passion he plays with and the emotional highs he can reach given only a short time-frame. I dare you to find a song this sexy and sad.

13. Grapefruit Moon (Tom Waits)

"Everytime I hear that melody, something breaks inside
And the grapefruit moon, one star shining, is more than I can hide."

Along with Bob Dylan and Leonard Cohen, Tom Waits has to be one of the greatest living poets. Here's the thing though, he's also a incredibly skilled musician. "Grapefruit Moon" appears on his debut album Closing Time, and even though I enjoy all things Waits, this song should have been way more popular. Maybe it's just best as a secret in the Waits community. If you haven't heard this, you don't know what you're missing. Even though you'll feel like a moping regular in the local piano bar, you'll be hearing some of the finest music there is to hear.

12. Avalanche (Matthew Good)

I don't know what it is about avalanches. They inspire the best of us. A total of three artists on this list have all written songs with Avalanche in the title (in case you're wondering, the other two are Ryan Adams and Sufjan Stevens). Matthew Good has recently shed some light on his emotional state during the making of his debut solo album Avalanche on his blog. It's a depressing read, but it's good. Matt has taken the time to shed light on bipolar disorder as it affects many people who don't even know about it. Back to the song "Avalanche"; this marked a new complexity in song-writing for Good. The song builds and then dissolves to come full circle back to the first line and melody. Based on a few listens, Good's new album Hospital Music (which is available everywhere July 31st) proves even more promising than this.

11. Battery In Your Leg (Blur)

The last song Blur's original lineup ever recorded together. Guitarist Graham Coxon (also an accomplished solo act) wrote a haunting riff that digs the band's grave. Since Think Tank, Blur have decided to record again (with Coxon), but the skeptics insist that Think Tank will never be lived up to. Lead singer Damon Albarn has said the lyrics to this song are written about the state of the band, a kind of ceremonial love song saying goodbye to Coxon after they grew apart.

10. Your Ex-Lover Is Dead (Stars as remixed by Final Fantasy)

This first Canadian entry on the countdown hits with twice the emotional punch. Final Fantasy (a.k.a. Owen Pallett of Arcade Fire fame) puts his subtle, melodic touch on a song that was already great. This song eliminates the grandiose feel of the original with sparse piano parts and carefully crafted violin harmonies. This is a remix that works, which is a rare occurance. Too bad Final Fantasy is the only one Stars should have trusted to remix their songs on their album Do You Trust Your Friends?.

9. Poke A Pal (Mugison)

Icelandic singer/songwriter Mugison is part of a dying breed. Pop musicians that make albums, not just filler noise. Mugison's story is engaging in its own right (he was considered "handicapped" because he couldn't write things down logically) but his music stands above any image that could be created. Thanks to Mike Patton's recommendation on a French radio show, I checked out this man's catalogue. If anyone is interested, most of his stuff is available as a free download on his website. I don't know how he makes money, but I don't think he cares. For Mugison, it's all about the songs, and "Poke A Pal" is outstanding.

8. The Needle And The Damage Done (Neil Young)

Harvest to this day remains a folk gem. "The Needle And The Damage Done" makes me proud to be Canadian. Neil Young can do more with a guitar and a microphone than most current bands today. A song that touches on the abuse of drugs, as is fairly obvious, it hurts to hear Neil Young hurt.

7. Already Dead (Beck)

Look only at the title and you'll know that Beck is a mess in this song. The end of a tumultuous 9-year relationship must be a bummer. I can picture a bed-ridden Beck calling Nigel Godrich (Radiohead) and asking him to come over. The "bendy" guitar solo in this is also haunting as hell. Sea Change is Beck's singer/songwriter album and while I don't wish a breakup upon anyone, I wonder if Beck will ever be this good again.

6. Twilight (Elliott Smith)

In case you didn't know, Elliott Smith took his own life. Perhaps the 90's answer to Nick Drake, it was apparent Smith felt really out of place. You can't argue with the appeal of this song, released posthumously on his album From A Basement On The Hill. I have a friend who, according to his iTunes count, has listen to this song the equivalent of over two days. That's impressive longevity.

5. Crowd Surf Off A Cliff (Emily Haines & The Soft Skeleton)

The Metric front-woman's side project seems to matter so much more than her day job it's weird. Critics like the Toronto Star's Ben Rayner will probably disagree with me, but this is Haines at her best. She doesn't need loud alt-rock riffs to feel at home. The daughter of the acclaimed poet Paul Haines, Emily's literate side really rears its head here.

4. John Wayne Gacy, Jr. (Sufjan Stevens)

Ambitious is a word often associated with Sufjan Stevens. But writing a pretty song about a child-rapist that makes us feel his guilt? That's damn near unheard of. This ballad off Sufjan's award winning Illinois album is so creepy but brilliantly arranged and written most will love it, but won't want to listen again. The thought is just too scary.

3. One Hundred Years (The Cure)

What would a list like this be without The Cure, one of the most influential bands of the planet? It's a shame they mostly influence shit like Fallout Boy, but they are truly Gods at what they do. A song that includes the lyrics "waiting for the death blow", "it doesn't matter if we all die" sung over a bass-heavy hypnotic riff is a winner in my books. And don't think The Cure have gotten sick of this song. This first track off Pornography has been played on every tour since its release.

2. Street Spirit (Radiohead)

Thom Yorke says to "immerse yourself in love" at the end of this song. What's the point, Thom? I can't even think about love when listening to this song. Yorke has said "Street Spirit", unlike their other depressing material, "has no resolve". Maybe it's good I don't listen to this too intensely. They lost me at "cracked eggs, dead birds".

1. Fire And Rain (James Taylor)

What could be more depressing than Radiohead? James Taylor? Before your write me an angry email, consider this. James Taylor tells the story of his friend Suzanne's sudden death. Unlike the other songs on this list, this song actually has a twist of optimism looking back on its meaning. Taylor was so distraught by losing a close friend that this taught him to appreciate every day even more. He never wanted such an unfortunate circumstance to get the best of him again. In the end, James Taylor's best song has shed some light at the end of a very dark tunnel.

MUSIC: Silver Bell

Okay, as promised, here's Patty Griffin's unreleased "Silver Bell" album. Despite the label's insistence that this wouldn't sell, it contains a few songs that were made hits by other country artists in the last few years. Enjoy!

01 - Little God
02 - Boston
03 - Perfect White Girls
04 - Truth #2
05 - What You Are
06 - Silver Bell
07 - Driving
08 - Sooner or Later
09 - Top of the World
10 - Sorry and Sad
11 - Making Pies
12 - Mother of God
13 - One More Girl
14 - Standing

MUSIC: Taking a Look at What's Around

What's going around the web these days, you ask?

-Aquarium Drunkard does an excellent post about Gregg Allman, with a bit of a subpost of one of my favourite Jackson Browne songs, These Days. "Do not confront me with my failures, I have not forgotten."

-The Jefitoblog re-posts the unreleased "Silver Bell" album by Patty Griffin, and rips apart some 90's Top 40 hits in their latest Chartburn. A hilarious read.

-Heather at I AM FUEL, YOU ARE FRIENDS posts some interesting alternate versions to everyone's favourite new Ryan Adams album, Easy Tiger, as well as musings on classic Springsteen (avec bootleg, yay!).

-An interesting article on the Hardest PC Games ever. Come to think of it, I never did finish AVP...

-PopMatters has an absolutely spectacular article on the 65 Greatest Protest Songs Ever, that I recommend to any music fan. One thing that I can commend this article for is that it isn't a Rolling Stone article where the word "GREATEST EVER" means "1960-1975 and maybe some stuff from the last five years."

-Some clips from the new Dylan biopic I'm Not There have recently leaked online. Not being a level 18-Dylanite I wasn't entirely psyched about this until now. The clip features a spectacular Cate Blanchett as Bob Dylan, and the inimitable David Cross as Alan Ginsberg.

EDIT: Dammit... Jefito took down the Patty Griffin link. I'll re-post this in a few hours.

MUSIC: Covers are Fun

Especially when it's Whiskeytown.

Whiskeytown - Dreams (From Fleetwood Mac's Rumours album)

Apologies for lack of posting. This should increase in September, as I'll be writing these entries directly from my home music library.

MUSIC: Hospital Music

For those interested, Matthew Good's new record is available for some advance listening goodness at his official site. I must say, it's pretty fucking rad so far.

Easy Tiger pickup today as well. This just seems to be my lucky day. I'll report back on that later.

Update: It's here, and it's spectacular. My personal favourite on the first listen is "Halloweenhead," in which the guitar solo is actually announced (something that made me burst out laughing when I heard it). Interestingly enough for Ryan fans, is the inclusion of "Off Broadway" and the reworked "These Girls" (AKA: Hey There Mrs Lovely) from the Suicide Handbook album. So, everyone go buy it. There. That's the review.

I somehow managed to spend a bit more than anticipated on that trip to music world, grabbing Paul Westerberg's soundtrack to "Open Season," and the Best of Sam Cooke (The greatest soul singer that ever lived).

Happy Canada Day to all! Hopefully all of the camping and debauchery in the woods will do everyone some good.

MUSIC: Easy Tiger

Ryan Adams' new disc came out yesterday, and I still haven't got it. This pains me more than I can write in words. Payday will be sweet relief.

I haven't been posting much lately, because I have been knee deep in lyric sheets, preparing for a possible gig coming up. If anyone has requests, or at the very least, ideas, I'm more than happy to hear them.

In other news: The Damnwells are incredible. "Assholes" is about as infectious as any summer song can get, and it kinda reminds me of Primal Scream (At least the good parts of Primal Scream.).

BOOTLEG: Matthew Good @ CFOX, and a bit of catch up!

Since Pseudo-Friday (AKA: Thursday) rolled around a bit quicker this week for me, I was a little surprised to find that I hadn't written anything. Today's shitty-cram-post(tm) will hopefully make up for that.

Keeping with the summer theme, Heather has uploaded a spectacular summer mix-tape. Unzip, burn and listen, NOW! Featuring an excellent cover of Kokomo by Ben Kweller (and a bunch of other neat songs I haven't heard before), this is definitely a perfect companion for the summer evening drive.

If you're more the literary type, I suggest you check out Pajiba's list of This Generation's Best Books. Sadly, I've only read one so far, and none of the others are on my reading list. Perhaps someday this will be corrected.

But for now I will settle for re-listening to Matthew Good's set from last year's CFOX "Uninvited Guest" special to support his greatest hits compilation. Short, but sweet, and it was all I could afford the time for today. Enjoy.

Matthew Good - 2005.09.13 - CFOX Uninvited Guest

01 - Intro
02 - Strange Days
03 - Interview
04 - Tripoli
05 - Interview
06 - Generation X-Wing
07 - Commercial Break
08 - Interview
09 - Oh Be Joyful
10 - Interview
11 - Can't Get Shot In The Back
12 - Outro

(Also, don't forget that the Ben Gibbard show is still online.)

MUSIC: "Web memes are for little girls and housewives!!!"

Of all the bands and artists in your collection, of which one do you own the most albums?

According to Windows Media Player, it's the Beatles, followed by Tom Waits.

What was the last song you listened to?

Record Time by Steve Key, and it was the first time I've heard Mr. Key. I'm planning on looking into him in the near future.

What are your favorite instruments?

At the moment, I dig listening to Banjo, Wurlitzer and Folk/Celtic-ish Violin.

Who’s your favorite local artist/band?

Most of of my local artist experience comes from playing with them. I'll say that Paul Danard and Carey Worrod were the funnest to jam with. And of course... Zach Stockill.

What was the last show you attended?

I believe it was Stabilo/Tommy Swick/The Suits at call the Office in London. Stabilo wasn't as good as when they opened for Matt Good, and Mr. Swick was actually a very cool cat, and busted out an excellent cover of Graceland by Paul Simon.

What was the greatest show you’ve ever been to?

Reel Big Fish really knocked my socks off at the time, since it was a free show. They seemed to be having more fun than anyone else that showed up that night at the Kool Haus in Toronto, and put on an absolutely wicked show.

Other than that, Matt Good put on a few solid performances from the times I've seen him, particularly the acoustic show.

What’s the worst band you’ve ever seen in concert?

I looked after the "Homemade Jam" tent at the local Summerfolk music festival here, which consists of 70% open stage acts, so I've thankfully blocked most of those from my mind.

What band do you love musically but hate the members of?

I would never want to meet Oasis, and if I did, I wouldn't want to talk about music with any of them.

What is the most musically involved you have ever been?

This is kind of a strange question. On one hand, I've recorded little things on my own for fun and I've recorded a band or two, but I've never done anything professionally, or even semi-professionally. On the other, I've played with and for quite a few people, and would really like to do so again. I may try and get a restaurant gig doing covers around here this summer just for fun.

What show are you looking forward to?

Matthew Good's next acoustic tour. The only show I am planning on in the immediate future is Blue Rodeo in Wiarton, if I remember to get tickets soon. Should be a blast if Keelor isn't plastered this time.

What is your favorite band shirt?

Used to be my REM shirt, but it grew too many holes. At the moment it's my "Recovering the Satellites" Counting Crows shirt, but it's due for the dumpster any day now.

What musician would you like to hang out with for a day?

I would spend a day watching Ryan Adams record something. That, or have Henry Rollins be my bodyguard.

What musician would you like to be in love with you for a day?

Neko Case or Kathleen Edwards. I've got a pseudo-creepy preference for alt-country redhead chicks, from what I've been told.

What was your last musical “phase” before you wised up?

Post-Garage-Noise-Metal-Baroque. Truthfully, it would've been 1990's era alt-rock, but you can't ever really throw away what you grew up on.

Sabbath or solo Ozzy?

I don’t really know about or care for either.

What was the greatest decade for music?

This is a ridiculous question. You could easily take 20 or 30 great artists from each decade, but the problem is recognition. I only recently started listening to bands like the Pixies or the Replacements, and seven years ago I would've told you that the 1980's was a terrible time for music. Perhaps this is better saved for a later entry.

What is your favorite movie soundtrack?

I want to say "Magnolia," but those songs were mostly culled from a single Aimee Mann record, so I suppose it doesn't count. "O Brother, Where Art Thou?" is very good as well, or perhaps "I Am Sam."

Who is your favorite artist who is much better live than on a recording?

Sam Roberts.

Do you have a hidden desire to be a popular musician?

It'd be kinda cool, but financially it is not feasable. I already have a hard enough time dealing with fame and notoriety as it is. (You think I'm famous, right?)

Have you ever used drugs to enhance the music experience?

No, but alcohol has been an interesting thing to have present while music is on.

MUSIC: Ben Gibbard on NPR in Washington

After a few weeks of promising to several friends that I would upload it, I finally remembered to bring it to work with me. A great sounboard recording, with Gibbard doing DCFC and Postal Service songs solo along with a few great covers. My personal favourite from the set is Couches in Alleys, originally from a slip EP that came out several years ago. The original can be heard here.

They'll only be up for a limited time, so download them and enjoy. Remember: Live recordings are meant to be listened to loudly.

2007.10.10 - Ben Gibbard - Washington DC, NPR Radio

01 - To Sing For You/Brand New Colony
02 - Title and Registration
03 - Crooked Teeth
04 - We Will Become Silhouettes
05 - Photobooth
06 - Banter
07 - Why'd You Want To Live Here
08 - Passenger Seat
09 - Soul Meets Body
10 - Recycled Air
11 - Farmer Chords
12 - Couches in Alleys
13 - A Lack Of Color
14 - Banter
15 - The Sound of Settling
16 - Such Great Heights
17 - Encore Break
18 - Blacking Out the Friction
19 - All Apologies
20 - I Will Follow You Into The Dark

MUSIC: Let's Get Out Of This Country

Camera Obscura are a band that I discovered last summer at work while listening to the web feed of WYEP, a radio station out of Pittsburgh. I can't recommend the station enough to people, as it provided me with enough new music throughout the summer such that I didn't go on some kind of ill-advised spree at the Keg.

While the Scottish twee-poppers have been around for a while, the first song I'd ever heard by them was "Lloyd, I'm Ready To Be Heartbroken," a response to Lloyd Cole's tune "Are You Ready To Be Heartbroken?" What initially caught my ear was the fact that it sounded just like a 1950's pop song, a trait that continues throughout last year's album "Let's Get Out Of This Country." There's a certain charm to that kind of aesthetic, but I think it goes beyond that with this band.

Although I can't really name all of the specifics as far as the instrumental arrangement is concerned (not that it would make a difference for this post), I tend to really buy into the timelessness of these tracks (Discerning readers may assume by my use of the word "timeless" that I'm a grey-haired old man with a hatred for sugary cereals, skateboards and loud metal music.).

Without making a slingshot around-the-sun, we're taken back to a past that never existed with this CD. Until about halfway through high-school, the word "pop" was a dirty one within my musical vocabulary, and for good reason. For a young boy struggling to figure out who was telling the truth, and who was not, there was simply no way that many of these leather-pantsed video-boys were on the side of the angels. It's like a kid inherently knowing that Skittles are bad for you because they go down just a little too easy.

Tracyanne Campbell's songs make you want to believe that a time existed when all our popstars told the truth. These little ditties that grab your ear with their little surf-guitar lines and Campbell's soothing voice really are all about self-doubt and frustration, but not necessarily in some all-consuming fashion. Someone once noted to me that whenever a girl sings about these sort of things, you fall in love a little bit with her. Not to take away from the band's instrumental efforts, but this is definitely true with Camera Obscura. It's like she's a friend who you've secretly been wanting for years, and she comes to tell you all of her little problems with the boys in your school. She tells you that she's ready to give up guys altogether, although a week later she's fallen for someone else.

Fed up with girls in pretty dresses
With boys who want to teach them a lesson
Sick of the sight of my old lover
Went under sheets and covers to get away from him

They also own one of the best summer-escape songs I've heard in a while, the title track "Let's Get Out Of This Country." To me, it's an homage to a road trip that John Hughes maybe forgot to film.

We'll pick berries and recline
Let's hit the road dear friend of mine
Wave goodbye to our thankless jobs
We'll drive for miles maybe never turn off

Although there's much more that can be said about this album, I'll leave the rest up to you. Go buy the damn thing, I've gotta go to sleep.

BLOG: Listen Up

Okay, so I think I've figured out a file hosting situation for this thing. However, I do need to test it, so if anyone wants to please download the song below, that'd be great. It's a direct link, and if you're running Firefox with the QuickTime plugin it should play right in your browser. Leave a comment to let me know how it went.

Neko Case - Christmas Card from a Hooker in Minneapolis

MUSIC: Rage Against the Rage Against the Machine

Get out your dreadin' wax and Che patches - everyone's favorite funk-metal protesters are making a come back, and they's bout to git outspoken on yo ass. And no, we're not talking about Linkin Park, although with the new "What I've Done" video they too seem to have developed a social conscious about... everything, I think...? Seriously, ever since Jay-Z taught them how to really rap, forcing the brown dude to quit his day job and play guitar, what social movement DON'T LP support? Another topic, another post.

BUT no friends, no, we're talking the original (ha!) renegades themselves, Rage Against the Machine. Realizing that Chris Cornell is, well, Chris Cornell, Tom Morello and Co. ditched the cock rock pleasantries, retrieved Zac Dela-whatever from the forest mud hut he was told to wait in until they got back from 'fixing the car', and made a B-Line for the summer festival circuit. Two headlining dates have been set on top of their Coachella appearance, and speculation knows no bounds when it comes to a... whisper it... new Rage album.

Now, Rage is considered THE legitimate protest band of the 90's, speaking for millions, and inspiring millions to speak. When they went away, there was a massive Iraq shaped void left to be filled by bands who seemed to lack the authenticity, sincerity of conviction, and, let's face it, sheer talent to articulate youth aggression and protest quite like Rage did - Please sit down Billie Joe, everyone knows you tried your best...

Well, 7 years, two towers, two phony elections, and a crater that used to be a country later, the new millennium is being graced by the band's presence once again...

... Does anyone else feel kind of embarrassed? I get the distinct feeling like they're the parents coming back from vacation and we're the good-intended teens who had a few friends over whose older, richer, and drunker friends ended up trashing the house. I can picture it now: we're standing in the front lobby, desperately trying to frebreeze the patriot act out of the constitution as the door nob is slowly turning. And of course we're sweating uncontrollably because we know that on the other side of that pretty white suburban door awaits a very public, very catchy scolding.

Really though, we have to admit the place is kind of a mess. And the general assumption about Rage coming back is that they are now going to provide for us a flash point from which change can once again occur in the face of corrupt governance. The sentimentalist in all of us imagines a conversation where the band members sat down at their Justice League-esque table, realized the world needed them, and slipped on their power rings once more to finally rid the world of evil. It's exactly like Disney's The Incredibles. Except instead of spandex stretching over newly developed guts, we've got a white rapper from the 90's trying on new lyrical topics like blogging, Connie Rice, and Seagway's (note: not actual new lyrics from Zac... but a boy can dream).

Whether it is true or not, whether the band saw a need for themselves and decided to act, matters little. The point is: they're back, and they're important. This ain't no regular comeback, folks because unlike other bands whose only importance ever was to produce good tunes (here's looking at you, Smashing Pumpkins), Rage Against the Machine's legacy was beyond their music. They bring with them a gathering point from which angry youth and passionate protesters find strength.

Unfortunately, Tom Morello doesn't seem to understand this. In a recent Spin magazine interview, he said that he realizes people are trying to make the connection between the world being in a such a bad way right now and Rage coming back to make it right, but he doesn't think that way. They're back to make music and while they definitely wish to inspire change, the political climate now had no barring on them getting back together. Modesty is fine, Tom. No one likes a self-important asshole (again, here's looking at you Smashing Pumpkins). But what bothers me here is that Rage do not seem to understand their own importance. There are few, if any, bands in their position, and once, just ONCE, I'd like to see something happen because the stars aligned and someone seized the moment. Like I said, whether we or they like it, they're are an important band, and now that they're back, someone should remind them that it's Rage Against the Machine, not simply Mehh Against the Machine.



... man... that was bad even for me. ah well.

MUSIC: "Don't you know there ain't no Devil; that's just God when he's drunk..."

I've always objected to people who listen to music for the wrong reasons. Be it fashionable that week, all of your friends like it, the manufactured VJ tells you to like it, etc. All of these reasons, are not true reasons to appreciate music. Music should speak to you on a very primal, emotional level. If a certain song or artist appeals to you and affects you, my advice is to remove that artist from any social stigma/misconceptions or perceptions of the artist or song that you already may have. Evaluate the song yourself: do your own thinking. Just because a song never became a hit, doesn't mean it is a song of poor quality, and, in turn, just because a song became a hit, doesn't mean it is of poor quality.

This being said, I was, at first, admittedly hesitant to start to "get into" Mr. Tom Waits. Any music that is said to be hip and/or fashionable to listen to, I immediately have a bit of premonition to explore. Don't make the same mistake I did. If you're a fan of true, honest songwriters, you may already be a fan of Tom Waits and not know it. His songs are so painstakingly real that they are, at times, difficult to listen to, which makes them all the more rewarding and endearing in the end. His work is so varied and challenging (especially the Island Records years) that it often takes patience, but stick with him: you'll be glad you did. If I were to recommend a starting point, I'd probably recommend the same Waits album that I started with, his melancholic debut album Closing Time, from his more melodic, jazzy earlier years. I discovered each album after that one chronologically, which, if you enjoy Closing Time, will ultimately prove extremely rewarding. For any emotion you may have, there will be a Tom Waits song that you will think he wrote especially for you. Or a hooker in Minneapolis. Or a mule. Or Rickie Lee Jones. Or Christ.

Plus, there are few better companions on a clear, June night, than Mr. Waits and a bottle of cheap red wine.

MIX: Summer Songs

It's beginning to lighten up a bit outside after all of the rain the other day that engulfed most of Southern Ontario. Although I have yet to see what the actual temperature is like today, the reflection from some of the shinier cars outside my office window tells me that it may be rising.

Regardless of that, I maintain the ideal 25 degree climate in my imagination for now. I was originally going to write on some concert recordings I had found, but I'm having a bit of a time figuring out a web hosting situation. Do I want to pay? Probably not. Hardware problems also have put a bit of a hold on plans for hosting files, other than linking to the Hype Machine (A service that has actually been working out pretty well so far.).

With (hopefully) temperate climates approaching, I've decided to round up what I think will make a great soundtrack for warm days at the beach with the windows rolled down, and nights that come slow enough for you to get home by nightfall (although you probably won't). I've employed the "day at the beach" model for this, but almost any small-town summer activity will fit the template, be it a house party or a road trip.

* Amos Lee - Keep It Loose Keep It Tight > This is perfect to start off to any mix tape or short playlist. I was thinking the other day about albums that fade in rather than smack you in the face with a wall of sound immediately. Although it doesn't exactly fade in, it's got a similar effect, gradually easing you into a period of listening.

* The Beach Boys - Help Me, Rhonda > Because a trip to the Beach is nothing without the Boys.

* 54.40 - Casual Viewin' > I used to really hate this band, until I heard this song two summers ago, and everyone somehow knew all of the words.

* Paul Westerberg - Waiting for Somebody > See the previous post for my feelings on Mr. Westerberg.

* The Clash - Train In Vain > My Dad was absolutely convinced that this was an old Motown song, being covered. I don't think he was entirely convinced, even by the album credits.

* Sheryl Crow - Members Only > Despite her latter-day radio-friendly annoyances, the first three Sheryl Crow albums are filled with excellent songs such as this one. Key lyric: "And all the white folks shake their asses/looking for the two and four."

* Everclear - Santa Monica > I know a lot of people hate Everclear, but I'd put pretty much all of the So Much for the Afterglow album on this list if I could.

* Jack Johnson - Do You Remember / Ben Harper - Gold To Me - If you think that Jack Johnson and his friends spend less than 90% of their spare time at the beach, then I think you are totally underestimating the power of music or something, dudes. But seriously, anything recorded by Jack Johnson sounds like it was recorded on a beach. Pass or toke, man.

* Jeremy Fisher - Sula / The Joel Plaskett Emergency - Penny For Your Thoughts / Matt Mays + El Torpedo - It Don't Matter / The Mighty Mighty BossTones - She Just Happened > These songs sound like something that you would overhear approaching a bandstand just after the sun has set at the beach.

* Kathleen Edwards - Summerlong / Camera Obscura - I Need All The Friends I Can Get > What would the this be without an introspective ballad about a summer fling? I'd say both of these almost fit that profile, and for some reason I can't explain it seems that these songs are perfect companions.

* Primal Scream - Big Jet Plane / Rilo Kiley - More Adventurous > There is something about guitar played with a slide that sounds like a setting sun on a warm night, particularly the opening pedal steel notes in RK's More Adventurous. Primal Scream's Stones-esque act works surprisingly well too, capturing a party that's just winding down, with cars that are either driving away or permanently parked for the night.

* Petra Haden & Bill Frisell - Yellow > This Coldplay cover is very obviously the drive home from wherever you've been all day. I find that it's especially reminiscent of the sounds that drowned out the engine pulling away from her place. For people that hate Coldplay, you'll find that the song has an entirely different (and increased, in my case) appeal with a girl singing it with minimal instrumentation (Frisell is a god on the stringbox).

MUSIC: I missed the boat on the Replacements

It's like they've been hovering over me for years, and I just never bothered to look up. Had I discovered this band in high school, they would have been the equivalent to Nirvana for me, Paul Westerberg my Kurt Cobain. As I see it now, they were the heirs to the throne occupied by the Clash in the late 70's and through the early 1980's.

The first Replacements album that I heard was Tim, and it blew me away almost immediately. The Goo Goo Dolls later re-made this album, and called it Superstar Car Wash (Back when they were an alright band, in my opinion, but we won't get into that right now.).

Some spectacular tracks from Tim include the anthemic Bastards of Young, the swinging Waitress In The Sky and the adjectivelly challenged Left of the Dial. The album ends with the song Here Comes A Regular, which absolutely reeks of being a "punker's first ballad," although it's really quite charming because of that.

Although the follow up album Pleased to Meet Me was a bit more polished ("JUDAS!"), Westerberg cannot be blamed for showing off his pop-chops on this album. Catchy as all freaking hell, I tells ya. I swear, as soon as anyone hears Can't Hardly Wait, it will be etched in their minds for all time. The rest of the album is certainly not filler either.

The big gap in my Replacements experience is the seminal Let It Be, which I really need to find this summer.

All Shook Down is a pretty good album in it's own right, but is fairly boring compared to their previous achievements (As with Don't Tell A Soul, before that). If you find it for less than $10, get it, but certainly do not pay full price for it.

Another interesting thing to note is that The Replacements have probably been covered almost as often as the Beatles, so here are some standouts that I've heard:

Counting Crows - Unsatisfied (will link later on)
The Weakerthans - Swingin' Party
Jesse Malin - Bastards of Young

This has been another episode of "I Arrived Late To The Party." We hope that you have enjoyed my shame.

MUSIC: St. Robinson's Cadillac Dream

The current blog name was chosen hastily after only a slight bit of research, but I think it really fits with what I'd like to do here. It was chosen because a blog can't be started without a good (or at least a distinguishable (i.e.: not "the cake blog" or "the dogfood blog.")) name, and it's getting late in the evening as of this writing.

The song from which the lyrics were taken is called "St. Robinson and His Cadillac Dream," from an album by Counting Crows called "This Desert Life" (And no, it's not the one with "Mr. Jones" on it.). Here is what the writer, Adam Duritz, has to say about it:

"Thats the one song we had written before we started the album, its the only one, although it was drastically different before. It's of a different depth lyrically cause its really about someone, It's sort of me taking the piss out of myself in a way. It's about a guy with big dreams, which is you know, been what I've always been. But it's about a guy who is so obsessed with his big dreams and like everything he wants out of life, but he cant relate to life on simpler terms, all he can think of is in terms of his big dreams, and it makes it so he can't deal with day to day communication with people, specifically this one person. It's a song about how at some point this guy is looking back at him life and hes seeing a point where two peoples lives spun together and then for what ever reason they spun apart.." [Thanks to Anna for the quote.]

But no, I'm not St. Robinson, and I'm not trying to make some kind of grand statement. I do like the bit about relating to people on simple terms, and I think everyone has something in their lives or in their minds that keeps them from completely connecting to others while out there in the shadow of the modern machine. Isn't that what it's all about though, right? We're all trying to connect. That's why we have music.

Regardless of whether or not the Crows are hot shit among the college crowd has yet to be fully explored by me. But who the hell cares, right? It's my damn weblog, I'll do what I want. Since you can't hear music through someone else's ears, there are very few times when you can discuss music with someone and know exactly what they are talking about, and that I suppose it is these differences that form individual tastes.

I'm only here to make an argument for mine, using words and (hopefully soon) sounds. Hell, maybe even other people's words from time to time.