REVIEW: THE GUTTER TWINS- SATURNALIA (March)
It’s been a while since I have been able to write here. I am happy to make my return with a review of the long awaited Gutter Twins album. Former Screaming Trees front man, Mark Lanegan, and former Afghan Whigs and current Twilight Singers front man, Greg Dulli, are old friends. Lanegan once joked to a journalist about a collaboration with Dulli called the Gutter Twins. The Gutter Twins is now a reality and the album, Saturnalia, is the fruit of this collaboration featuring songs written between 2003 and 2007.
Dulli and Lanegan have toured and recorded together in the past. The collaboration between Dulli and Lanegan on the Twilight Singers’s 2003 album, Blackberry Belle, on the track, “Number Nine” is a good glimpse into Saturnalia. Dulli and Lanegan share writing credits on half of Saturnalia’s tracks. Dulli has called the Gutter Twins “a satanic Everly Brothers”. Appropriately, themes of rapture, redemption, heaven, and hell run throughoutSaturnalia. The album opens with “The Stations” where Dulli and Lanegan warn “I hear the rapture is coming soon…he has arrived, led by the grace of God”. On “Idle Hands”, Lanegan states “with my idle hands, there is nothing I can do but be the devil’s play thing”. On “Seven Stories Underground”, Lanegan laments that “heaven is quite a climb from seven stories underground”. Lyrically, the songs are reminiscent to songs that deal with the darker aspects of religion such as Nick Cave’s “The Mercy Seat”.
Musically, the instrumentation that includes strings, piano, organs, and acoustic/steele guitars creates the stark musical landscapes for the album’s dark lyrical themes. Lanegan’s bass voice can be menancing at times. An obvious comparison to Lanegan’s vocal style is Tom Waits. However, Lanegan and Dulli harmonize quite well despite their very different vocal qualities on songs such as “All Misery/Flowers” and the haunting “Front Street” that closes the album. “All Misery/Flowers” features one of my favorite vocal moments when Lanegan growls “when I burn, it’s a son of a bitch”. Another highlight is “I Was in Love With You”, which is a typical Dulli dark “love” song.
On a side note, the album is packaged very nicely and the photographs of Lanegan and Dulli by Sam Holden are superb. There is actually even a picture of the brooding Lanegan smiling in the album.
I’ll admit that I am a long time Dulli fan and not as familiar with Lanegan’s work. However, what makes Saturnalia work is that it doesn’t try to be a Mark Lanegan or a Twilight Singers album. It stands on its own as a unique collaboration between two talented songwriters.
REVIEW: THE B-52'S- FUNPLEX (April)
Considering that it has been sixteen years since the last full length album from the B-52’s, Good Stuff, it appeared that the B-52’s had retired from recording and were a retro touring band. That makes their new album, Funplex, a welcomed, pleasant surprise. The album is campy fun and everything one would expect from the B-52’s.
Campy sex is an overtone of the album. The album opens with “Pump” where Fred Schneider muses “lick my belly, turn to jelly”. In “Eyes Wide Open”, Schneider proclaims “love’s my thing- so good it’s bad” over techno beats. “Love in the Year 3000” is about sci-fi sex with “bootybots” and “erotobots”. In “Deviant Ingredient”, Schneider becomes “a fully eroticized being”. It’s not all about sex. There are several of the standard B-52’s songs about dancing and partying such as “Hot Corner”. The title track and first single is a fun song about adventures at the mall.
One thing that has always been a strength for the B-52’s are the gorgeous harmonies between vocalists, Kate Pierson and Cindy Wilson. Wilson took a break from the band and did not appear on the last album, Good Stuff. “Juliet of the Spirits” is a striking example of the welcomed return of the Pierson/Wilson harmonies. This song made me realize how much I missed Wilson on Good Stuff. Keith Strickland continues to be the B-52’s secret weapon, writing the music, providing the musical arrangements and programming, and playing several different instruments on the album. Fred Schneider provides the comic relief that makes the songs fun and entertaining. Lyrically, the B-52’s haven’t changed much since 1992. That’s OK though, Funplex lives up to its name as a fun, campy, party album and is everything the fans would expect from the B-52’s.
REVIEW: R.E.M.- ACCELERATE (May)
I could easily title this review “R.E.M. Gets It Right Again”. Since the departure of original drummer, Bill Berry, R.E.M.’s albums have been on a steady decline starting with 1999’s Up. R.E.M. seems to have had trouble finding their musical footing after Berry’s departure. Up (1999), Reveal (2001), and Around the Sun (2004) had promising moments but the artificial, experimental sound of the albums overall made them collections of the good, mediocre, and bad for R.E.M. It is not to say that R.E.M. was completely bad for the last eight years. Their songs were still better than most mainstream pop songs. R.E.M. grew as a live band, putting on energetic shows. Their new album, Accelerate, finally brings R.E.M. back to their rock roots and captures the energy of their live shows.
Solid rock songs with a political edge are the focal point of Accelerate, much like their early albums Life’s Rich Pageant andDocument. The album opens with “Living Well is the Best Revenge” and “Man Size Wreath” which are subtle attacks on George W. Bush’s America without specifically mentioning him (“Don’t turn your talking points on me. History will set me free. The future is ours and you don’t even rate a footnote”- Living Well is the Best Revenge, “Turn on the TV, what do I see? A pageantry of empty gestures all lined up for me, wow.”- Man Size Wreath). . R.E.M. also directly addresses specific historical events in the United States. “Houston” is a more direct political anthem about the aftermath of Hurricane Katrina (“If the storm doesn’t kill me, the government will”). “Until the Day is Done” is a more introspective look at the United States since the war in Iraq (“The battle’s been lost, the war is not won…the verdict is dire, the country’s in ruins”). The album also deals with more personal politics on the beautiful, “Hollow Man” and the album’s title track. “Accelerate” could be applied to national politics but R.E.M. appears to be challenging themselves for musical change, “No time to question the choices I make, I’ve got to fall in another direction. Accelerate”. The album also has its fun moments. The first single, “Supernatural, Superserious”, is a perfect example of what R.E.M. does best- Peter Buck’s rockin guitars, Mike Mills’ gorgeous harmonies, and a sing along chorus. The album closes with “I’m Gonna DJ”, a song debuted during the Around the Sun tour, that offers a fun, non-serious moment to the album.
R.E.M. and U2 are the most successful and talented bands of their generation. Accelerate does for R.E.M. what All That You Can't Leave Behind did for U2: it restores the listeners’ faith in these talented bands after a several albums slump. Accelerate is an example of what make R.E.M. a great band: thought-provoking lyrics with solid rock melodies. R.E.M. has finally “accelerated” indeed.
REVIEW: CONTROL (June)
I don't normally review movies here but Control is one of those rare films that made me think long after I turned off the DVD player.
Their career was short but their influence and mystique have remained timeless. They influenced Trent Reznor and James O’Barr, notable in The Crow. Surviving members of the band formed the well-known band, New Order. However, it was front man’s, Ian Curtis, life and suicide at the age of twenty three that has given Joy Division their mystique. The movie, Control, (recently released on DVD), exams Curtis’ life and the mystique that surrounds Joy Division.
The film is the first feature film directed by rock photographer, Anton Corbijn. It is filmed in black and white and is as stunning to view as one of Corbijn’s photographs. Ian Curtis, played brilliantly by newcomer, Sam Riley, started the band Joy Division in the late 1970’s in the underground music scene in Manchester. He married too young to his sweetheart, Deborah (played by Samantha Morton). Joy Division became a bigger band than Ian ever expected. Ian struggled with being torn between his failing marriage to Deborah and his love for his mistress, Annik (played by Alexandra Maria Lara). He dealt with being a father when he didn’t have the maturity for fatherhood. In addition to these personal and professional conflicts, Ian was diagnosed with epilepsy. Ian’s depression grew as the epilepsy worsened and he lost control over every aspect of his life. Joy Division was scheduled to tour the United States for the first time, potentially bringing the band to a wider audience. On the eve of that tour, as the ultimate act of taking control, Ian Curtis ended his life in 1980 at the age of twenty three.
Ian Curtis was not a completely likeable person. He was self-centered, especially in his unfaithfulness to his wife and daughter. He had extreme mood swings. However, Control is so brilliantly filmed that the audience feels the pain that Ian felt in his final days. The average person could probably have survived a failing marriage or dealing with a career that was not ideal. However, Curtis had a dark personality anyway but coupled with the drugs to treat the epilepsy, he viewed the lack of control over his life with complete hopelessness. As the name of his band suggested, Ian Curtis was completely divided from joy.
Control has the authenticity that Corbijn knew Curtis because he had photographed him. He could tell Curtis’ story as an objective acquaintance but who was not too close. Ian’s widow, Deborah, was one of the writers of the screenplay. Through her input, the audience also feels her pain as the wife who loved her husband but was emotionally closed out by him. Interestingly, Ian’s mistress, Annik, is not portrayed as a home-wrecker but as another person who loved Ian but could not reach him. Ian’s death scene is filmed in the home that he died in but is in no way graphic, sensationalized, or glamorized. Sam Riley is perfect as Ian. My only gripe was that he did his own singing. He is a talented singer but Ian Curtis had such a unique voice that it cannot be imitated. Control is not a pleasant film to watch but it pulls the viewer in emotionally. Now every time I hear Joy Division’s “Love Will Tear Us Apart”, I think of Ian’s torn love for Deborah and Annik. Now every time I hear Joy Division’s “Atmosphere”, I think of those lonely final moments Ian must have had. I also think about all that could have been for Joy Division.
TRENT REZNOR: THE VISIONARY (July)
Since I became a confirmed Nine Inch Nails fan two years ago, I am continually amazed at Trent Reznor’s creativity and his innovative ways to market his music. In 2007, for the release ofYear Zero, Reznor and company created an online reality game that brought the fictional world portrayed on Year Zero to life in a way that fans could interact beyond just listening to the CD. Reznor has always been critical of the major record labels’ stranglehold over the music industry. After the release of Year Zero, Reznor chose not to renew his contract with his record label, Interscope Records. Trent Reznor, as a free agent, has meant wonderful, endless possibilities in Nine Inch Nails land.
In a complete surprise, earlier this year, Nine Inch Nails releasedGhost I-IV. This release was remarkable in several ways. Many bands that are on record labels have the excitement of the new release taken away due to leaks of bootlegs on the internet (usually these leaks are connected back to the record label) before the release date. Free of a record label, Reznor was able to release an album that was a surprise to fans without bootlegged leaks prior to release. Secondly, the album is thirty six instrumental tracks described by Reznor as the “soundtracks to dreams”. Ghosts is an expanded version of what Reznor started with the instrumental tracks on The Fragile. An instrumental Nine Inch Nails album would have never been approved by a record label but Reznor took a risk and was successful at showing the fans a different side to Nine Inch Nails’ music.
The most innovative part to the release of Ghosts was its distribution. Radiohead started the idea of having a “pay what you want” online distribution for their album, In Rainbows. Reznor continued this idea when he supported his friend, Saul Williams, by releasing his album, The Inevitable Rise and Liberation of Niggytardust, through a “pay what you want” online distribution. The problem with the “pay what you want” distribution system is that most people if given a choice will pay nothing. While Radiohead made money for In Rainbows through later releases of special editions and this method brought Saul William’s music to a wider audience, profitability should still matter. With Ghosts,Reznor revamped this idea. Ghosts was released in multiple editions ranging from the first nine songs for free to a limited $300 edition that included Reznor’s autograph. All of the editions were higher quality audio files including FLAC files. Some editions included multi-tracks allowing fans to remix the songs. Reznor also organized a film making contest that allowed fans to create videos for the tracks on Ghosts. The idea was a success. Without having to give large percentages of royalties to the record label, Ghosts made more money for Reznor than the heavily promoted major label release, Year Zero. Just doing the math, Reznor made $750,000 from the 2,500 copies of the $300 limited edition, which sold out instantly. He made even more from all of the other cheaper editions. Pretty good for an instrumental Nine Inch Nails album.
Reznor didn’t stop there. After the release of Ghosts, Reznor started sending radio stations the new single, “Discipline” and allowed fans to download it. “Discipline” received quite a bit of airplay, challenging the long standing idea in the music industry that you need a record label in order to get radio airplay. In May, Reznor dropped another bomb by releasing another new album,The Slip, for free online as a “thank you” to fans. There will be special editions of The Slip released this month. The Slip is the opposite of Ghosts featuring a collection of classic Nine Inch Nails hard rock tracks. Reznor further thanked his fans by allowing them access to premium seats for the upcoming US Nine Inch Nails tour through the band’s website. The tickets are non-transferable and require ID to pick up in an effort to keep these premium seating tickets out of the hands of ticket scalpers.
Trent Reznor is a musician first but he has also successfully assumed the uncomfortable role of business man. The key to success in business is listening to the customers and giving them what they want. The music industry is failing because of their stubborn refusal to listen to their customers. CD sales continue to decline and many record stores are closing. Instead of being aware of this, the music industry continues to promote the CD as a music format and “brick and mortar” retailers instead of investigating online distribution. They have allowed for companies like Apple with I-Tunes and the I-Pod, to become major competitors and trample their sales. Trent Reznor recognizes the challenges he faces as a musician in the music industry today such as piracy and ticket-scalping. Instead of punishing his fans (customers) through means such as lawsuits, like the mainstream music industry has, he has thrived for innovative ways to combat these issues. He is always looking for ways to engage his fans and make Nine Inch Nails a listening experience that can go beyond just listening to a CD. Not having a record label has made Reznor much more prolific. In the past, there use to be five year gaps between Nine Inch Nails albums. The thought of two new releases in the first half of the year is almost unheard of in the music industry. Reznor has given up some of his old perfectionism in order to continually be sharing his music with his fans. He is a visionary both as musician and as a business man.
IT WAS TEN YEARS AGO… (August)
Yes, it was ten years ago this month that I started Mary’s Crib. I originally started Mary’s Crib as a way to post my music trading list. The first “blog” I wrote in 1998 was the about the signs of the musical apocalypse. I then started writing a monthly blog atMary’s Music Corner as a way to vent about the current state of music and discuss the music and artists that have meant something to me. Mary’s Crib has had various homes on the internet but I am pleased that I am still blogging and that this site has gone beyond just my trading list. Thanks to the people who have visited the site, traded with me, and e-mailed me (even the loser who wrote me my one and only piece of hate mail) over the last ten years. In order to celebrate my first decade on the internet, I wanted to look back at the some of the significant events in music to me over the past ten years.
The Musicians:
I’ve always carried a mental list of artists who I will pretty much check out anything they release. I am happy to have added these artists to that list over the last ten years, whether it be through discovery or in some cases rediscovery.
Gutter Twins, Nine Inch Nails, The Gathering Field, Happy Chichester, Peter Searcy, Jimmy Eat World, Vertical Horizon, Ben Folds, Tommy Stinson, Fountains of Wayne, Johnny Cash
I feel strongly about the importance of supporting local musicians. I am honored that these bands from my hometown of Lexington, KY played and recorded sometime over the last ten years.
Art Geko, Swifty, Thumper and the Plaid Rabbits, Long Duk Dong, Candy Says, The Blueberries, Zu Zu’s Crush, Gloria Bills, Ready Set Go, Heartthrob, Supafuzz, Wishing Chair, Devil May Care, Banger, McAtee
The Best Things to Happen to Music since 1998:
-The Twilight Singers: February 6, 2001 is known as “Black Tuesday” to many Afghan Whigs fans because this is the day the band announced their break up. However, all was not lost. Greg Dulli made his side project, The Twilight Singers, his full time gig. The Twilight Singers merged the best of the Afghan Whigs and the original project. Dulli has been prolific both in terms of recording and touring since then and remains one of the most underappreciated musician in alternative music.
-Napster: Then college student, Shawn Fanning, probably never intended to be instrumental in shaking up the music industry when he invented his file sharing software, Napster. Napster led to one of the most heated debates over copyright laws and how music should be distributed and promoted. Despite its obvious legal problems, Napster paved the way for making digital music a viable music format. It was instrumental in changing the way the music lover listened to and obtained music.
-CD Burners: When I started trading music, cassettes were the standard format for trading. CD Burners made trading easier and provided better, digital quality.
-Bit Torrent: Bit torrent technology went one step beyond the CD burner. It allowed for music trading where the trader never had to leave the computer. It made bootlegs, or recording of independent origin, more acceptable and widely available to users.
-Satellite Radio: In my hometown, FM radio consists of three types of stations: “classic” rock, adult contemporary, and country. Music lovers like me usually had to look outside of the radio to discover new music. With over a hundred channels, satellite radio offered better choices and variety to the music listener. Satellite radio also has the benefit that signals can be maintained pretty much anywhere in the country, taking away the need to “search” for a new radio station during travel.
-My Space: This social networking site allowed for bands to promote their music for free. It allows both big established bands and lesser known local bands to interact with fans and bring their music to a wider audience.
-R.E.M.- Rock and Roll Hall of Famers: R.E.M. has a rough time over the last ten years adjusting to being a three piece band and dealing with unsuccessful releases. However, R.E.M. remains one of the best and most influential bands of their time. It was a honor that their contribution to music was recognized in 2007 with a well deserved induction into the Rock and Roll Hall of Fame.
-Trent Reznor- Reborn: I liked Nine Inch Nails through out their career but I didn’t consider myself to be a huge fan. Starting in 2001, Nine Inch Nails leader, Trent Reznor, went from being a whiney, “depressed artist” to a sober, prolific songwriter. He has continually challenged the standards in the music industry for promoting and distributing music. I am in awe not only of his talent, but his creativity. Nothing Trent Reznor does is half-assed and he continually is engaging his fans in new and innovative ways.
The Three Worst Things to Happen to Music since 1998:
-RIAA: There are so many ways to criticize the record industry. Since 1998, the RIAA has created an “us vs. them” climate in the industry through their horrible business practices. They create contracts that rip off the artists they are suppose to be supporting, while the record executive get richer. They cling to outdated business models through their failure to embrace digital music as a viable format, opening the door wide open for outside competition, like computer manufacturers, to enter and take their market. Their worst move came when they started suing their own customers for “copyright infringement”. They are anti-musician and fan and they sealed their own fate of failure.
-The Death of the Independent Music Store: Digital music has allowed for better distribution and promotion of music. An unfortunate side effect of digital music has been the death of the independent music stores. These stores were usually run by music fans and created a cool atmosphere to buy and discuss music. Digital music has made the music distribution more convenient but more impersonal.
- American Idol: This show is a prime example of everything that is wrong with the music industry. Do we really need more mediocre pop singers in the market? Songwriting and talent are devalued and image and glitz are promoted. Lucrative recording contracts are rewarded to mediocre pop singers while many talented musicians are struggling to obtain a record deal and promotion. No one who has won on this show will be a legend or probably even remembered in ten years. Even one of their judges, Paula Abdul, is a prime example of the flash in the pan pop star created and later abandoned by the record industry. American culture has been completely been dumbed down when more Americans care who won on this crap show than who will be the next president.
REVIEW: MATTHEW SWEET- SUNSHINE LIES (November)
After a few dud starts, in 1991, Matthew Sweet released his masterpiece, Girlfriend. Girlfriend was a gem because it featured smart pop songs while tugging at the listeners’ hearts with songs that accurately portrayed the hurt and honesty that comes with every stage of a break up. Through out the 1990’s, Matthew Sweet continued in the vein of Girlfriend with a series of albums that balanced Sweet’s pop sensibility and gift for writing the tearjerker ballad. Since the 1990’s, Matthew Sweet’s releases have had trouble establishing a solid musical identity. In 2004, his release for Japanese fans, Kimi Ga Suki * Raifu (best I can do since I can’t speak or type Japanese), leaned more to garage band pop while the album, Living Things, tried to be experimental but was overall dull. Since the 1990’s, Matthew Sweet’s best works have been his side projects, The Thorns with Shawn Mullins and Pete Droge in 2003, and his collaboration in 2006 with former Bangles frontwoman, Susanna Hoffs, on the 1960’s pop cover album, Under the Covers. These projects played on Sweet’s talent for pop melodies and harmonies. Sunshine Lies is Sweet’s first solo release in four years. Sunshine Lies proves to be a hit or miss album.
Surprisingly, the album’s weakest moments are in the beginning. The opening tracks, “Time Machine”, “Room to Rock”, and “Byrdgirl” play well as catchy pop songs but lack depth lyrically. The album starts to improve with the ballad, “Feel Fear”. The album’s best moments are the ones that show the influence of 1960’s pop music on Sweet that was explored with Susanna Hoffs on Under the Covers. “Let’s Love” is a great piece of hippy, psychedelia. The title track continues the 1960’s nostalgia and features great guest harmonies from Susanna Hoffs. “Pleasure is Mine” is reminiscent of early Matthew Sweet and could have been on one of his earlier releases. The album closes strong with “Back of My Mind” that is a solid ballad to close with much like “Smog Moon” did for 100% Fun in 1995.
On “Flying”, Sweet observes “I want to be…Christ, I don’t know”. The statement sums up my problems with Sunshine Lies. Sometimes Sweet tries to be poppy, sometimes he’s experimenting with 1960’s psychedelia, sometimes he trying to put forth an experimental ballad. There are so many different sounds here that the album sounds disjointed. These tracks also sound like demo tracks more than completed songs. For those who really liked, Kimi Ga Suki * Raifu, this may be deemed as a garage sound but it comes off more as low production. Sunshine Lies does have its good moments but overall is not up to par with many of Sweet’s previous releases.
REVIEW: BEN FOLDS- WAY TO NORMAL (November)
What makes Ben Folds an impressive singer-songwriter is his ability to balance humor with the profound and his beautiful piano. On his new album, Way To Normal, Ben Folds gives the listener an album chocked full of his quirky anecdotes.
The album opens with “Hiroshima”, which perfectly captures Folds’ love of using his live audiences as a back up choir. Folds quirky sense humor is shown on songs ranging in topic from a lost dog (“Errant Dog”) to a town called Effington. Folds ponders if the citizens of Effington are “effing” in their cars, trailers, and parking lots. Folds gives relationship commentaries and is pissed off in most cases. The album’s first single, “You Don’t Know Me”, is duet with Regina Spektor about a dysfunctional couple. Folds contemplates relationships further by stating that men blame relationship failures on the fact that “The Bitch Went Nuts”. Folds is even mad at strangers in “Free Coffee”, “texting with my thumbs, flippin' off the asshole, who pulled into my lane”. While most of the album is humorous takes on relationships, Folds is more serious on the beautiful break up song, “Cologne”. The song is preceded by the gorgeous instrumental, “Before Cologne”, both songs featuring a beautiful string quartet. Folds pleas “four, three, two, one, I'm letting you go, I will let go, if you will let go”.
Fans of Ben Folds’ humorous anecdotes will not be disappointed with Way To Normal. However, the profound emotional moments are missing here. There are no gems like “Brick”, “The Luckiest”, “Landed”, or “Gracie” here. These songs were highlights of Folds’ both solo work and work with the Ben Folds Five because they gave profound emotional moments amongst the humor. Folds comes closest to doing this on “Cologne” but there are no real stand out tracks in this regard on this album. Way To Normal is an enjoyable listen but is not Folds’ best effort.
THE BEST AND WORST OF 2008 (December)
The Best:
Albums:
Nine Inch Nails- The Slip and Ghosts
R.E.M.- Accelerate (see 2008 Archives for my review)
The B-52’s- Funplex (see 2008 Archives for my review)
The Gutter Twins- Saturnalia (see 2008 Archives for my review)
Ben Folds- Way to Normal
Live Music:
What a year for live music! I had the pleasure of seeing the Gutter Twins, Filter, Matt Nathanson, Matthew Sweet, and Juliana Hatfield this year. In addition to these shows, I saw some unique shows: The B-52’s in a club in San Francisco, the R.E.M. homecoming show in Atlanta, and Ben Folds backed by the Louisville Orchestra. However, the best live show I saw this year, hands down, was Nine Inch Nails. Not only is the music awesome, but Nine Inch Nails put on a stunning visual show with mind-blowing visual effects. I thought that Nine Inch Nails’ show in 2006 was awesome but the show this year even exceeded that show. This year can be summed up as Mary hearts Trent Reznor.
Discovery:
Matt Nathanson. I attended the KFOG Ka-Boom Festival in San Francisco this past spring. What impressed me most during the festival was not the more well-known acts, Collective Soul and Los Lobos, but the opener, a San Francisco local singer-songwriter, Matt Nathanson. In the months to follow, the rest of country discovered Matt Nathanson, through his hit single, “Come On Get Higher”. I normally hate the shit that mainstream radio forces on listeners. “Come On Get Higher” was a rare exception, a well-written pop song that was both romantic and sexy. It was the song that Dave Matthews Band’s “Crash Into Me” should have been. Matt Nathanson’s current album, Some Mad Hope, and his back catalog are excellent listens. I am glad that mainstream got it right for once but I am glad I found Matt Nathanson just a little bit before everyone else did.
Comebacks:
2008 was a year for great comebacks. R.E.M. finally released an awesome album, Accelerate, that was worthy of their great history after releasing three duds in a row. The B-52’s did the unthinkable and released their first full length album in sixteen years, Funplex. A now sober, Richard Patrick, regrouped Filter to release, Anthem for the Damned, a thought-provoking pro-military, anti-Bush administration take on the war in Iraq.
Local Music Headline that Had a Happy Ending
The Dame. The Lexington music scene experienced one of its worth setbacks this summer when the popular music venue, The Dame, had to close its door to accommodate the controversial hotel/condo development project, Centre Pointe (read my blog about the closing of the Dame and the Centre Pointe proposal here). The story had a happy ending when the Dame reopened in the old A1A’s concert room, which has been one of most underused concert venues in Lexington for many years. The reopening of the Dame and opening of new music clubs in Lexington gave hope to the local music community when music opportunities in Lexington seemed pretty bleak.
Most Unexpected Release:
Guns and Roses- Chinese Democracy. I never thought that I would actually get to hear Chinese Democracy. I didn’t believe it was going to be released this year until I actually saw the album on sale at Best Buys. It is not exactly what you would expect from album that took over fifteen years to make. However, there are some good moments and Axl did have some cool musicians work on the album over the years such as Tommy Stinson, Robin Finck, and Josh Freese.
Ballad:
Alanis Morrissette's "Torch"- Alanis Morrisette has been deemed the "angry woman" but let's face it, few write about breaking up with the honesty of Morrissette. After a very public broken engagement to actor, Ryan Reynolds, Morrissette wrote "Torch" from her album, Flavors of Entanglement, a laundry list of things she missed about Reynolds. Even a cynic like me can't help but tear up when Morrissette laments, "I miss the thought of us bringing up our kids". This song came from the heart and the emotions in the song are real. That is what makes a great love song.
Music Book:
33 1/3- Gentlemen by Bob Gendron- I love the idea behind the 33 1/3 series. I was so honored that the Afghan Whigs' album,Gentlemen, was included in this series. I thought I was one of the few people who realized what a master piece this album is. I loved this book because I have been an Afghan Whigs fan since 1993 and Gendron wrote about things that I had not even heard before. This little book discussed Steve Earle's departure from the band, details of the break up that inspired Greg Dulli to writeGentlemen, and the photo that inspired that controversial album cover. This book was rock journalism at its best.
The Worst:
Where in the Creative Process Winner- Jordin Sparks and Chris Brown- “No Air”. Every year, I am amazed at some of the dumb things that pop up in hit singles. The dumbest lyrics in a song I heard this year had to be in Jordin Sparks and Chris Brown’s duet, “No Air”. In this ballad, they make the profound observation “can’t live and breathe with no air”. Really?! Thank you masters of the obvious for this enlightening commentary.
Most Unwelcomed Comeback
The New Kids on the Block. I know that nostalgia sells but some things are best left in the past. Boy bands that seemed cool when you were thirteen would be an example of this. What shocked me most about the New Kids on the Block reunion is that apparently nothing has changed for these guys since the late 1980’s. Donnie is still the “tough” one, Danny is still the ugly one, Jordan is still the gay one, they still are singing songs that use the word “girl” a lot. When you are over thirty and still wearing matching white suits and having synchronized dance moves, it’s just not cool, it’s sad and pathetic.
Most Overplayed Song or Plagiarism at Its Best
Kid Rock’s “All Summer Long”- Not only was “All Summer Long” played to death but it has the distinction of ripping off not one but two famous songs, Lynard Skynard’s “Sweet Home Alabama” and Warren Zevon’s “Werewolves in London”. I guess Kid Rock thinks he was “sampling” but it really is the height of unoriginality and overt plagiarism. Kid Rock is laughing all the way to bank because the mindless listening masses actually made this a hit song.
Second Most Overplayed Song
Katy Perry's "I Kissed a Girl"- I can see the scene right now. Katy Perry has realeased some Chrisitian music but let's face it, singing about God doesn't sell. However, frat boy lesbian fantasies do. That was how "I Kissed a Girl" was born. When Jill Sobule sang her song by the same name in 1995, it was believable since Sobule is actually bisexual. This psuedo-lesbian, pop tart, Katy Perry would probably start crying if she encountered some hardcore dykes. Katy Perry, like Kid Rock, is laughing all the way to bank thanks to idiot listeners who made this pseudo-lesbian crap a hit.
Most Uncool Fad:
High School Musical. Seriously, if you are older than sixteen and think that High School Musical is good, you really need to expose yourself to better music. Eric Cartman summed it up best "If this is what is cool now, I'm done. I no longer have any connection to this world. I'm going home and killing myself".
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