Archive 2010

MY FAVORITE ALBUMS OF THE LAST DECADE (January)

With the 00’s coming to a close, I was reflecting on the albums I really dug from that decade.  These are my twenty favorites in chronological order by year.  * denotes that my review of the album is in the Archive.  Several of these albums were not reviewed here at the time because I discovered them after their release.  These were the twenty that have stuck with me as the best from the 00’s.

Jimmy Eat World- Self-titled (aka Bleed American) (2001)- “The Middle” brought Jimmy Eat World to the mainstream but this album was one of those rare collections that every song on the album was good.  The album ranged from smart pop songs like to “The Middle” and “Authority Song” to the more experimental quiet songs like “Cautioners”.

Ben Folds- Rockin the Suburbs (2001)- Ben Folds’ first and best solo album showed he could perfectly balance his wit on tracks like the title track and make profound statements like his commentary on aging, “Still Fighting It”.  The closing track, “The Luckiest”, is one of the best love songs ever written.

Gloria Bills- Hi-Fi Education (2002)- I didn’t review this album because I know the guys in this band and I’m bias.  However, this was one of my favorite local releases.  Power pop at its best with tracks like “Miss Taken”, “Sunday Morning”, and “Beg the Beggar” and one of the saddest songs I’ve heard with “Other Than This”.

Johnny Cash- American IV: The Man Comes Around (2002)- It was the last album released before Cash’s death and it brought his legacy to a new generation.  It was a mix of Cash originals like the apocalyptic title track and covers such as the romantic, “First Time Ever I Saw Your Face” and the introspective, “In My Life”.  However, it was his cover of Nine Inch Nails’ “Hurt” that will be most remembered.  Showing the power of a truly well written song, Cash took Reznor’s lament on addiction and loneliness and made it his own elegy.

Devil May Care- Delicate (2002) * - A local release that was anything but delicate.  Devil May Care was the merger of the best aspects of the Lexington bands Candy Says, with Aleah Angstrom’s angelic voice and Supafuzz’s hard rock edge.  The lyrics were powerful commentaries on motherhood, breaking up, and living life to the fullest.

Wishing Chair- Crow (2002) * - All of Lexington folk duo, Wishing Chair’s albums are good, but Crow struck a chord because of its honest commentary on personal relationships and the wider scoped political statements. Highlights were the tribute to the longtime friendships between women, “Ordinary Day”, the commentary on the kindness of strangers in “Breathe”, and the very emotional “Copernicus” about the favoritism towards sons over daughters in many families. The album has powerful political moments too in the story of immigration at Ellis Island, “Three Doors”, the anti-Bush rant in the title track, and “September” about 9/11.

Wilco- Yankee Hotel Foxtrot (2002)- The critics praised this album and it was well deserved.  The sound is experimental and through the distortion, it is haunting and beautiful from the very beginning with the opener, “I Am Trying to Break Your Heart”.  It has it lighter moments with “I’m the Man Who Loves You” and “Heavy Metal Drummer”.  Though written before 9/11, lyrically the album became an eerie soundtrack of America after 9/11.  The album ends with one of the most simple, but heartfelt sentiments in a song on “Reservation” when Jeff Tweedy sings, “I have reservations about so many things but not about you”.

The Twilight Singers- Blackberry Belle (2003) * - This was the first release from the Twilight Singers after the disbanding of the Afghan Whigs making this Greg Dulli’s official band instead of a side project.  Blackberry Belle took the best of the sound from the Afghan Whigs and the original Twilight Singers and merged them.  It dealt with common themes for Dulli: loss, temptation, and overall misbehavior.  When I heard the rousing piano intro on “Teenage Wristband”, I knew that Dulli’s post-Whigs work would not disappoint.

Liz Phair- Self-titled (2003) * - Marriage and motherhood seemed to have made Liz Phair soft.  However, on this album, a newly single Phair showed that she could still make bold statements on sexuality, just like a man, and she was doing it before the Sex and the City ladies.  She gives keen observations on her relationships with men from her cougar anthem, “Rock Me”, to comparing her lover to her favorite underwear on “Favorite”, to dating after motherhood on “Little Digger”.  On the album’s opener, Phair proclaims “I am extraordinary if you ever got to know me” and she was extraordinary on this album.

Fountains of Wayne- Welcome Interstate Managers (2003)- It was their MILF anthem, “Stacy’s Mom” that brought mainstream attention to Fountains of Wayne, but Welcome Interstate Managers has so many more highlights.  The songs are power pop gems that show wit such as “Mexican Wine” and “Bright Future in Sales” and heart such as “Valley Winter Song” and the country twang of “Hung Up On You”.

Evanescence- Fallen (2003) * - Daredevil was a dud movie but it brought attention to Evanescence thanks to the soundtrack singles “Bring Me Life” and the achingly beautiful “My Immortal”.  The overall album was dark, rockin, beautiful, and sometimes spiritual thanks to front woman, Amy Lee’s powerful voice.  Sadly, internal squabbling within the band prevented them releasing anything else that was as powerful as Fallen.

The Thorns- Self-titled (2003) * - The Thorns was a side project for Matthew Sweet, Shawn Mullins, and Pete Droge.  What made the songs great were the harmonies that were reminiscent of Crosby, Stills, and Nash.  The Thorns pulled from folk influences on their cover of the Jayhawks’ “Blue” and the weeper “I Can’t Remember”, as well as a little country twang on “I Told You”. 

Tommy Stinson- Village Gorilla Head (2004)- After the disbanding of the Replacements, Tommy Stinson lived in the shadows of former bandmate, Paul Westerberg.  Village Gorilla Head showed that Stinson was a gifted songwriter in his own right.  The songs showcased Stinson keen, witty observations like “Without a View” where he observes “do you ever think twice, do you ever think at all”.  Stinson has the heart of a true rock star that is brilliantly shown on “Motivation”.  Knowing the many trials Stinson has faced in his life, his sincerity shines through when the album closes with “Someday” where he observes, “someday, something good will come of this”.

U2- How to Dismantle an Atomic Bomb (2004)- After some embarrassing releases in the 90’s that showed that even the greatest bands can still release a dud, U2 returned to greatness in the 00’s.  All three of their albums from this decade were great but this one was the best.  “City of Blinding Lights” is one of the best songs U2 has released.  “Yahweh” was a powerful call to social activism.  I will forgive the fact that Bono can’t count in Spanish on “Vertigo” (1,2,3, 14!).

Green Day- American Idiot (2004)- Through the 90’s, Green Day was the poster child for slacker rock.  With American Idiot, Green Day proved that they had grown up.  The album was a brilliant rock opera chronicling the adventures of St. Jimmy.  It was a commentary on American life in the post 9/11, George W. Bush era that was perfectly executed from start to finish

Nine Inch Nails- With Teeth (2005)- This was the first release for Nine Inch Nails in six years.  A newly sober Trent Reznor showed that he could still show teeth on rockers like the anti-war anthem “The Hand That Feeds” and “Only”.  The album experimented with sound on “Beside You in Time” and “Right Where It Belongs”, which was the best “quiet” NIN song since “Hurt”.

The Twilight Singers- Powder Burns (2006) * - With parts of the album recorded on generators in New Orleans shortly after Katrina hit, Powder Burns became Greg Dulli’s love letter to the fallen city.  You know that what is ahead will be awesome from the opener “Towards the Waves” into the rocker, “I’m Ready”.  “Bonnie Brae” is a song I fell in love with after the first listen. The string arrangements on “There’s Been an Accident” are lovely and give the song an extra punch.

Nine Inch Nails- Year Zero (2007) * - A very ambitious concept album, Trent Reznor created a future dystopia where the government controls people’s thoughts and the church.  The environment is trashed from war and pollution.   The album plays out like a movie and ends with an element of hope for a better society.  The album was a political statement against the Bush administration’s policies.  Reznor created an innovative marketing campaign that brought the world of Year Zero to life through an interactive game.  Concept albums are difficult to execute consistently but Year Zero was innovative and brilliantly done throughout.

Matt Nathanson- Some Mad Hope (2007)- There are many pop singer/songwriters out there, but Matt Nathanson separates himself from the rest of the pack with the quality and sincerity of his songwriting.  I swell with optimism when I hear Nathanson proclaim in the album’s opener, “Car Crash”, “I’m wide awake and so alive”.  As the album’s title suggests, it is full of hopeful moments especially on “Heartbreak World”, when Nathanson sings “come on lets make this dream that is barely half awake come true”. “Come On Get Higher” was the song that brought Nathanson to the mainstream and it was a smart pop song that was romantic and sexy at the same time.

R.E.M.- Accelerate (2008) * - Like U2, R.E.M. went through a period after the departure of drummer, Bill Berry, where they released several very mediocre albums.  The band redeemed themselves with Accelerate.  From my first listen of “Supernatural, Superserious”, I knew that R.E.M. still could make a solid rock album that was worthy of their legacy.

REVIEW: JOHNNY CASH- AMERICAN VI: AIN’T NO GRAVE (March)

Super producer, Rick Rubin’s collaboration with Johnny Cash on the American recordings brought Cash’s musical legacy to a new generation.  The American recordings showcased some of Cash’s great later originals as well as his various memorable covers that he completely reclaimed as his own.  (Shame on Entertainment Weekly for undermining Cash’s later work by calling these brilliant covers “alternative karaoke”.)  Ain’t No Grave is the second posthumous album for Cash and the last in the American recording series.  It is probably the darkest and most philosophical of the series.

On the previous American Recordings, Cash was reflective on his life ranging from “Hurt” and “In My Life” from American IV to “Love’s Been Good to Me” and “A Legend in My Time” fromAmerican V.  He also pondered the afterlife on “The Man Comes Around” and “We’ll Meet Again” from American IV.  Recorded before his death in 2003, Ain’t No Grave is Cash’s most overt, haunting, and spiritual commentary on death. Even the album’s packaging is a reflection on Cash’s life.  The album’s front cover is a picture of Cash as a child and the back cover is a faded picture of Cash as an old man looking out a window.  The album opens with the title track where Cash proclaims “ain’t no grave can hold my body down”.  Cash observes “I see a band of angels and they’re coming after me” and he longs to see his parents again in heaven.  The haunting banjo and foot stomps make the track much in the vein of “God’s Gonna Cut You Down” from American V.  A haunting cover of Sheryl Crow’s “Redemption Day” follows, a commentary on searching for heaven in a fallen world, “there is a train that is heading straight to heaven’s gate”.  I must admit that I didn’t realize that Sheryl Crow wrote something this dark and deep but it is a perfect match for Cash to sing.  The only Cash original comes with “I Corinthians 15:55” based on the Bible verse “O death, where is thy sting, O grave, where is thy victory”.  With this song, Cash makes one of the album’s most power statements on the afterlife “hope springs eternal just over the rise when I see my Redeemer beckoning me”.  On “Can’t Help But Wonder Where I’m Bound”, Cash makes the simple but profound observation, “I’ve been wandering through this land, just doing the best I can, trying to find what I was meant to do”. 

The entire album is not a morbid commentary on death or a spiritual discussion on heaven.  There are philosophical moments that are made even more powerful sung by a man reaching the end of his life.  The cover of Kris Kristofferson’s “For the Good Times” is a happy remembrance of life’s happier moments.  “Satisfied Mind” is a powerful observation that there is more to life than money.  “Last Night I Had the Strangest Dream” is a powerful dream and call for peace. 

Many posthumous releases sadly end up solely capitalizing on a celebrity’s death.  Ain’t No Grave and A Hundred Highways before it, showcased some of Cash’s best work.  I am thankful that the world gets to hear this music instead of letting it collect dust, unheard.  Ironically, with so much deep and dark material on Ain’t No Grave, the album closes with the Hawaiian greeting, “Aloha Oe” where Cash makes the closing statement “until we meet again”.  Thank you Mr. Cash for your music and legacy.

TO BE AN INFLUENCE: IN MEMORY OF ALEX CHILTON (1950-2010) (April)

I’ll admit it, I had never heard of Alex Chilton until I heard Paul Westerberg sing “Children by the million sing for Alex Chilton when he comes 'round. They sing ‘I'm in love. What's that song? I'm in love with that song’." on one of my favorite Replacements songs, the tribute “Alex Chilton”. When I started looking into who Alex Chilton and his former band, Big Star, were, I realized that I had heard Chilton’s songs and didn’t even know it.  The Bangles covered “September Gurls” on their album, A Different Light.  The Loud Family sang “Back of the Car”, which was included on the Alias Records compilation I loved.  Tommy Keene covered “Hey! Little Child”.  Even the local band from Lexington, The Blueberries, had recorded “Jesus Christ”.  R.E.M. had cited Big Star as an influence.  Alex Chilton’s name kept coming up and I had to find out more about Alex Chilton and Big Star.

Alex Chilton started his career in the 60’s as a teenager in The Box Tops.  The Box Tops’ hit “The Letter” was one of those songs I recognized but never knew who had recorded it.  Later in the 70’s, Chilton formed Big Star.  Big Star’s career was short.  They only released three albums (#1 Record, Radio City, and Third) and suffered numerous line up changes.  (This does not include the Big Star reunion album in the 90’s).  Big Star didn’t live up to their name in terms of commercial success or have a “#1 record” but the impact of these albums was huge.  Big Star were an “alternative band” before alternative music was even a genre.  Their ability to write the smart pop song, a song with the hooks and catches musically of a pop song but with smarter lyrics separated them.  Many terms that music critics later used like “power pop” and “blue eyed soul”, were evident in Big Star’s music.

After Big Star called it quits, Alex Chilton developed a persona that created mystery around him.  Through out the 80’s, he released solo projects that were experimental.  He occasionally reunited Big Star and the Box Tops.  He quit drugs and alcohol.  He at one point gave up music and was washing dishes in a restaurant in New Orleans.  When Hurricane Katrina hit New Orleans, the music press reported that he was missing.  It was later reported that he refused to leave his home when the hurricane hit and was later evacuated by helicopter. 

Though Alex Chilton was not a house hold name, it amazes me how many times his songs have been covered by bands that mean so much to me.  In addition to the covers previously mentioned, Matthew Sweet covered “The Ballad of El Goodo” and later sang “Back of the Car” with Susanna Hoffs from the Bangles.  The Gin Blossoms covered “Back of the Car”, as well.  I have heard my favorite Big Star song, the simply beautiful “Nighttime”, covered by three different artists, the Afghan Whigs and Susan Marshall recorded it and Tommy Stinson performed it live.  Cheap Trick’s cover of “In the Street” became the theme song for That 70’s Show.

The day I found out that Alex Chilton had passed away from a heart attack, I received the issue of Spin magazine where musicians interviewed the musicians who had been influences on them.  In one interview, Billie Joe Armstrong from Green Day interviewed his influence, Paul Westerberg.  It made me think about how Paul Westerberg would not be the musician he is without the influence of Alex Chilton’s music.  R.E.M., Matthew Sweet, the Gin Blossoms, the Afghan Whigs, the Posies, the DB’s, the Bangles, Wilco and so many other bands would not be the same bands without Alex Chilton’s music.  David Fricke wrote in his tribute to Alex Chilton inRolling Stone that Chilton “just refused to be anything but honest, in his songs or life” (1).  It was this honesty in his songwriting that made his music special to so many.  Chilton was reluctant to be a legend and influence.  Though he wasn’t a commercial success, to be influential and admired by those who came after Chilton is immeasurable.  As Paul Westerberg sang, Alex Chilton was an “invisible man who can sing in a visible voice”.   R.I.P. Alex Chilton.

1.  “Alex Chilton: A Rock and Roll Life in Reverse”, David Fricke, Rolling Stone, April 15,  2010. 

THE LOST ART OF THE SOUNDTRACK:  THE BEST 80’S SOUNDTRACKS (May)

One thing in music I miss from the 80’s is the movie soundtrack.  Sure, we still have soundtracks today.  However, soundtracks now just feel like compilation albums.  In the 80’s, the soundtrack was an integral part to the movie, like another character in the movie.  Now, soundtracks feel more like an after thought in the movie making process.

In the 80’s, some movies had their own theme song.  80’s soundtrack king, Kenny Loggins’ “Footloose” is as memorable (and maybe more so) than the movie itself.  Loggins also sang the manly “Danger Zone” that set up the theme and tone for Top Gun.  Who could forget Irene Cara’s uplifting theme for Flashdance, “What a Feeling” or John Parr’s equally uplifting “Man in Motion” from St. Elmo’s Fire.  80’s movies also had “love themes” for the romantic parts.  David Foster’s “Love Theme from St. Elmo’s Fire” went beyond being just a part of the score to a memorable part of the soundtrack.  Berlin’s “Take My Breath Away” was the softer, romantic theme counterpart to “Danger Zone” in Top Gun.  The power duet, usually featuring a male and female singer, was also a staple for the love theme in the 80’s.  Some of the great 80’s duets were Peter Cetera and Cher’s “After All” from Chances Are, Joe Cocker and Jennifer Warnes’ “Up Where We Belong” from An Officer and a Gentleman, "Almost Paradise" from Mike Reno (Loverboy) and Ann Wilson (Heart) in Footloose, and Bill Medley and Jennifer Warnes’ (again) “I Had the Time of My Life” from Dirty Dancing.  Duets are very uncommon now in general but these power duets added to some of the most romantic moments in 80’s cinema.  Sure, the theme songs could be on the cheesy side, but that is partly what made them such memorable parts of the movie.

Many of the most memorable movie moments from the 80’s were so memorable because of the song used in the scene.  The scene would just not have had the same impact without the song.  These are some of my favorite movie moments, thanks in large part to the music.  John Cusack serenading Ione Skye with Peter Gabriel’s “In Your Eyes” on the boombox in Say Anything.  The final dance scene in Dirty Dancing with Patrick Swayze and Jennifer Grey with “I Had the Time of My Life” playing.  The prom scene in Pretty in Pink with OMD’s “If You Leave”.  When Molly Ringwald and Michael Schoeffling smooched over the birthday cake in Sixteen Candles with the Thompson Twins’ “If You Were Here” playing.  Jennifer Beals’ frantic dance to Michael Sombello’s “Maniac” in Flashdance.  Some were sweet, some were chessy but in all of these scenes, the music was integral to what made the scene work.  I can’t think of as many scenes after the 80’s where the song played such an important role in the scene.

Filmmakers brought lesser known artists to the mainstream through the music they chose for their films.  Simple Minds had their biggest hit with “Don’t You Forget About Me” after it was used in The Breakfast Club.  Alternative music was mainly heard on college radio in the 80’s.  My first taste of alternative music was the Pretty in Pink soundtrack.  Filmmaker, John Hughes, used Pretty in Pink as a way to bring his favorite alternative bands to wider exposure.  The title of the film was based on the Psychedelic Furs song by the same name.  Hughes used one of his favorite bands, New Order, in the film with not only the song “Shell Shock” but parts of the songs “Elegia” and “Thieves Like Us” were used in the film’s score.  Echo and the Bunnymen and The Smiths were also on the soundtrack.  Super music fan, Cameron Crowe, also used alternative music on the soundtrack to Say Anything featuring the Replacements, Depeche Mode, and the Red Hot Chili Peppers.  The soundtrack for Less Than Zero featured one of the most diverse track listings ranging from metal (Slayer’s cover of the obscure “In a Gadda Da Vida”), hair metal (Poison covering Kiss’ “Rock and Roll All Night”), rap (Public Enemy and LL Cool J) to the haunting cover from the Bangles of “Hazy Shades of Winter”.  These soundtracks brought music that was outside of the mainstream to a wider audience through the films.

While soundtracks will always exist, I miss how the 80’s brought us so many good soundtracks that perfectly linked music and film.  The soundtrack has become a lost art.

REVIEW: HOW TO DESTROY ANGELS EP (June)

Last year, Trent Reznor put Nine Inch Nails on hiatus in order to pursue other musical projects.  The first new project is How to Destroy Angels, his collaboration with his new wife, Mariqueen Maandig and NIN collaborator, Atticus Ross.  I will be the first to admit I think Trent has been “Yokoed”.  Mariqueen Maandig is no where near the talent Reznor is and is riding on his more respected musical coattails.  However, when How to Destroy Angels released their first EP for free download, I being the good NIN fan I am was at least curious.  The EP does have its good moments.  Maandig does have a good singing voice and it is an interesting compliment to Reznor’s music.  However, one thing I have always admired about Reznor’s work in Nine Inch Nails is his ability to experiment musically and reinvent his sound in unconventional means.  Every Nine Inch Nails album was different and fresh.  Unfortunately with How to Destroy Angels, Reznor revisits too many other songs and the effort strikingly lacks the originality of his work with Nine Inch Nails.  Here is a track by track run down.

The Space In Between- This is the best track on the EP.  I liked the soaring electronic sound and this track best showcased Maandig’s vocals.  This track has a freaky video that constructs a crime scene with tons of fake blood and a big fire at the end.

Parasite- This song is a blending of different electronic sounds that at times was grating.  I found the lack of lyrics except for Maandig and Reznor whispering the title over and over again lacking.

Fur Lined- This track could be called “Only Part 2”.  The drum beat sounds just like the one used on Nine Inch Nail’s “Only”.  I thought “Only” was a better song.

BBB- which stands for “Big Black Boots”.  I know I’m going out on a limb on this one but this song is too similar to the obscure 80’s new wave song, “Warm Leatherette” by Daniel Miller.  I don’t think this statement is too much of a stretch considering that Reznor has performed “Warm Leatherette” live with Peter Murphy.  The construction of this song is so similar to “Warm Leatherette” that I could sing the lyrics of “Warm Leatherette” over the music to “BBB”.

The Believers- Musically, this song could have fit on the Nine Inch Nails’ Ghost album and lyrically on Year Zero.  This track was one of the only tracks on the EP that had a more original sound. 

A Drowning- This song has kind of grown on me because I do like the haunting musical feel of the song.  However, it is a weak song lyrically.  The chorus “I can’t save myself, I’m drowning here” sounds like it was picked from a goth kid’s journal.  The piano part adds to the feel of the song, unfortunately, it sounds too similar to the piano in the better Nine Inch Nails song, “Right Where It Belongs”.  The song is also too long at almost seven minutes.  Unless you have written the next “November Rain” rock epic, a song this long just starts dragging on too long by the end.

As with all of his releases, there are fans of Trent Reznor that believe he can do no wrong and will praise the How to Destroy Angels project.  I have even read reviewers compare this to a softer Nine Inch Nails album like The Fragile.  This is not an accurate comparison because this EP has nothing of the depth or originality as The Fragile.  With a new project like this, I expected Reznor to reinvent his sound yet again especially with the addition of a female vocalist.  How to Destroy Angels is not a bad listen but Reznor plays it way too safe musically by recycling sounds from other efforts.

On a complete side note, when did Trent Reznor decide to use Faith + One's album cover as inspiration for his promo shots?  I see that Mariqueen has taken the Cartman role in the band.  Trent is not only too cool to look at the camera but he turns his back on it.  For your comparison.

HULLABALOU FESTIVAL RECAP (JULY 23-24, 2010) (July)

The Hullabalou Festival was a three day music festival in Louisville, KY at Churchill Downs (home of the Kentucky Derby).  It had five stages featuring both national and regional acts.  This is the first time this event took place and it attracted music lovers from all over the country (tickets were sold in 47 states).  I attended the first two days of the festival (Friday, July 23 and Saturday, July 24) and these are my observations on the festival and the acts I saw.

General Observations of the Festival
-I can’t begin to describe how hot it was during the festival.  Temperatures were close to 100 degrees with high humidity.  I was sweating in places where I didn’t realize I had sweat glands!  Thankfully, the organizers of the festival were prepared for a hot July weekend in Kentucky and created the “Chill Zones”.  The Chill Zones were tents surrounded by fans blowing cool air and a light mist of cold water.  This is where I hung out between the bands and it made the heat almost bearable.

-I attended a music festival in Lexington in August many years ago.  At this particular festival, it was like what hell will be like.  It was very hot, no relief from the heat, and the only restrooms were porta potties.  I was hesitant at first about attending Hullabalou with this festival memory still in my head after all these years.  I give high marks to the organizers of Hullabalou for not only the Chill Zone but having water reasonably priced and allowing attenders to bring their own water.  Also, having various restrooms open around Churchill Downs was appreciated.

-I am a Kentucky native but I have never attended the Kentucky Derby or been to Churchill Downs before Hullabalou.  I found Churchill Downs difficult to navigate the first day.  However, most of the staff working the festival was very helpful and friendly in providing information.  The only exception was the jerk directing traffic on Friday night.  You did not direct me in “the right direction” and caused me to be lost at night in an unfamiliar area.  There was no reason for the directions you insisted I take and it was very inconsiderate considering how many people from out of town were at the event.  By the second day, I learned from my mistakes on the first day and I found the building and field easier to navigate. 

-I could not believe that...
Churchill Downs requires a lot of walking.  I saw many people wearing sandals which do not have adequate support for that much walking and standing.  

I saw several people wearing cowboy and knee high boots.  Really?  It is July not winter.  

I saw a lot of people nothing but beer.  I know the beer was cold but since alcohol dehydrates, it is not the best beverage choice all day for an almost 100 degrees day.

How many cars I saw parked blocking driving lanes (I have seen this in Cincinnati as well).  In Lexington, if you park blocking traffic, your car will be towed and it should be.

-I hope this becomes an annual event.  Not only was it a good event for the regional music community but it was a good event to be hosted in Kentucky.

The Music

Day 1- July 23

The B-52’s- For those who know me, it goes without saying that the B-52’s were my favorite act of Hullabalou and the major reason I decided to attend Hullabalou.  The B-52’s are still the ultimate party band.  Considering that I’ve seen the B-52’s six times and five of the six shows were outside during the summer, I would say they are the ultimate band of summer as well.  I believe this show was the first time I have ever heard them play live “Wig” from Bouncing Off the Satellites.   It gave me flashbacks to being a teenager and driving my parents crazy with this song.  Considering that the B-52’s range in age from 53-62, they all still look amazingly good for their ages.  While Fred, Kate, and Cindy get the most recognition in the band, Keith Strickland has always been my favorite of the B-52’s because he is the musical heart of the band.  After twenty years, watching him perform still makes me smile.

Colbie Caillat- It is a little hard for me admit here that I saw and enjoyed this pop princess.  Colbie Caillat is very mainstream pop and at times her songs are a little juvenile when she sings about the “bubbly” feeling she gets from a crush.  However, she has a very strong singing voice. Even though there is nothing incredibly original about her songs, she does still convey a great deal of sincerity.  I found her performance to be light but enjoyable.

Bon Jovi- They were the headliner for Friday.  Though I love some hair metal, I’ve always viewed Bon Jovi as OK but not a favorite.  However, as a child of the 80’s, Bon Jovi’s set was an enjoyable walk down memory lane.  It was interesting to see how many people in my generation were rockin out along with teenagers.  Their set was all hits and that is how it should have been.  I dare you to not have sung along to “I’ll be there for you, these five words I swear to you”.

I would have liked to have seen Train but their set overlapped with the B-52’s set.  I did hear the end of their set after the B-52’s ended their set, though.

Day 2- July 24

Brigid Kaelin- She is a musician from Louisville.  I had seen her play before with another great Louisville musician, Peter Searcy, and I have heard her latest album.  However, this was the first time I had seen her play live solo.  She is a very talented, multi-instrumentalist, playing guitar, keyboards, accordion, and even the saw during her set. She had a very witty stage presence and this wit was carried out in her songs, as well.  It was nice seeing Peter Searcy playing bass in her band.  Brigid Kaelin is a great talent for Lousiville and was just as enjoyable to watch as the national acts playing the festival.

Ben Sollee- I have always been a sucker for the cello outside of classical music.  Ben Sollee is a cellist but his style is far beyond the traditional cello.  He plays the cello more like a guitar or upright bass, mostly picking it instead of using a bow, creating a completely different sound.  His music was a little too folk/bluegrass for my personal taste.  However, I was glad I saw him play because he is a very talented musician and his style is completely unique.  You have to see him play to fully grasp his uniqueness.

Ben Folds- He was the highlight for day 2 for me and was the artist I was most excited about on day 2.  What I have always loved about Ben Folds is his songs can be humorous but they can have very profound observations and heart.  Folds’ humor was in full force in his set.  I was laughing out loud at him trying to play along with the music from another stage (I believe it was Steppenwolf).  You can’t help but laugh at a geeky white guy covering NWA’s “Bitches Ain’t Shit” on the piano (though the two blond “back up singers” from the audience who just stood on stage giggling were totally lame).  “Rockin the Suburbs” is still classic Ben Folds and it was funny watching an entire audience scream in unison “F**K!” at the end of the song.

Joan Osborne- She is best known for her one hit wonder “One of Us”.  However, she has many other great songs thanks to her soulful, sometimes sultry, voice.  I did not realize that she had once lived in Louisville.  Her set started late and was cut a little short due to technical problems during the stage set up.  However, she made up for it during set.  

REVIEW: FILTER- THE TROUBLE WITH ANGELS (September)

How one views the new Filter album, The Trouble with Angels, depends on which version of Filter you prefer.  When Filter debuted in 1995 with Short Bus, leader Richard Patrick had come from his stint as the guitarist for Nine Inch Nails.  The songs had heavy guitars, dance beats, and Patrick’s scream.  Over the next three albums, Filter evolved with more melodic music, best exemplified in their hit “Take a Picture” from 1999’s Title of Record and “Where Do We Go From Here” from 2002’s The Amalgamut.  Filter didn’t go soft, though, they stayed true to their hard rock roots.  Their last album, 2008’s Anthems for the Damned, showed Patrick also evolving as a lyricist.  It was his most political album to date but it was an excellent commentary on the war in the middle east, told mostly through the eyes of the solider.  “Solider of Misfortune” is probably one of the best songs Patrick has written lyrically.  The Trouble with Angels returns to the heavy sound of Short Bus.  This can be a good thing or a bad thing, depending which version of Filter you like better.

Lyrically, Patrick takes on some heavy topics here ranging from drug addiction (“The Inevitable Relapse” and “Drug Boy”) to lack of religious faith (title track and “Absentee Father”) to aging (“Catch a Falling Knife”).  However, some of the lyrics are unoriginal armchair philosophy such as “there’s no love at all today” on “No Love” or “once you leave there is no re-entry” on “No Re-Entry”.  I found Patrick’s need to attack people’s faith on the title track (“give up your holy crusade what was lost”) and “Absentee Father” preachy.  Musically, the songs sound too similar, almost all of them using the heavy guitars + dance beat + scream formula.  The last song, “Fades Like a Photograph (Dead Angel)", is an exception, it is the most melodic song on the album.  However, it is so overly dramatic it almost sounds like an 80’s power ballad.

The Trouble with Angels is not a terrible album.  Many Filter fans love it because it returns to the sound of Short Bus.  Early Filter is not bad either, however, I think Richard Patrick has evolved over the years and didn’t need to look back to the past for musical inspiration.  

REVIEW: BEN FOLDS & NICK HORNBY- LONELY AVENUE (October)

Nick Hornby has given a voice to the music geek in his books.  His novels, High Fidelity, and more recently, Juliet, Naked were tales about super music fans where music became an important character to the stories.  In his book of essays, Songbook, Hornby wrote a love letter to the songs that had meant so much to him.  One of those songs was the Ben Folds Five’s “Smoke”.  Ben Folds has always had a gift as lyricist for balancing humor and wit with profound, sometimes sad observations.  Many of his songs play out like short stories giving us characters such as Fred Jones, Annie, Kate, Zak, and Sara.  Hornby and Folds, though in different fields, are very similar.  It seems only natural that on Lonely Avenue that Hornby would take over writing the lyrics for Folds’ music.

The stories and humor in the songs on Lonely Avenue could have been written by Ben Folds.  “Picture Window” is a weeper about being in the hospital on New Year’s Eve told over Folds’ sweeping piano and strings arrangement paired with Hornby’s cynicism “hope is a bastard, hope is a liar, a cheat and a tease”.  The messed up sense of humor on “Levi Johnston’s Blues”, a tribute to the guy most famous for knocking up Sarah Palin’s daughter, could have easily been written by Folds.  I couldn’t help but laugh when I read in the liner notes that the chorus about being a redneck, killing moose, and hanging with the boys, Hornby actually took from Johnston’s Facebook profile.  “Practical Amanda” is like many of Folds’ best ballads, featuring a lush string arrangement over the weeper lyrics “I’ve got no time for dates and plans, I’m too busy dreaming”.  “Claire’s Ninth” is another sad ballad that plays out like a story about a girl whose parents tell her of their divorce on her birthday.  “From Above” is a keen observation about missed soul mates.  “Saskia Hamilton” is a geek’s tribute to the poet where Folds experiments with an electronic sound.  The album closes with “Belinda”.  The song appears to be a soaring love song at first, complete with a strings arrangement, but it is actually about a songwriter, who still has to perform the great ballad he wrote for his ex.  The humor shines with the songwriter’s “tender” confession “Belinda, I loved you and I’m sorry I left you.  I met someone younger on plane.  She had big breasts and a nice smile.  No kids, either”.

Nick Hornby, as lyricist, writes with the same humor and insight as Ben Folds.  This allows for a fresh lyrical take on Folds’ music while staying true to the lyrical style Folds’ fans expect.  These lyrics are a perfect compliment to Folds music.  Hornby and Folds are gifted writers in their own right.  However, merging their talents is a music geek match made in heaven.  Lonely Avenue is a solid and enjoyable listen for Ben Folds and allows for Hornby to branch out and play out a music dream that only a super fan like Hornby could have.

THE BEST AND WORST OF 2010 (December)

THE BEST

Best Albums:
Ben Folds & Nick Hornby- Lonely Avenue (see review in 2010 archives)
Johnny Cash- Ain’t No Grave (see review in 2010 archives)
Jimmy Eat World- Invent
Alejandro Escovedo- Street Songs of Love
And locally the return in all their hard rock glory of Asylum on the Hill with Passage to the Puzzle Factory

New Music Discoveries for Me
In 2010, I discovered and rediscovered several musicians’ music.  These are by no means “new artists” but they in many ways were new to me and I really dug their music this year.  First, there was Chuck Prophet.  I will be the first to admit that I was initially resistant to Prophet’s music.  A former friend of mine loved Chuck Prophet and this was reason enough not to investigate his music further.  By accident, I ended up seeing Chuck Prophet live and realized that I had been completely wrong about Prophet’s music.  He is a gifted songwriter and a great performer live.  I especially like his 2002 album, No Other Love, with the fun “Summertime Thing” and one of the best love songs I’ve heard in while in the title.  Another favorite is his 2004 release, Age of Miracles, with the sweetly romantic, “Just to See You Smile” and the sexy “You Did”.

Discovering Chuck Prophet led to discovery of his musical collaborator, Alejandro Escovedo.  Escovedo is also a very talented and underrated songwriter and I had the pleasure of seeing him perform live as well.  His new album, Street Songs of Love, is a great collection of songs in which Escovedo explores all types of love songs.  I especially like “Down At the Bowery” which Escovedo wrote for his children.  Another favorite is “Rosalie” from his 2007 release, Man Under the Influence, which is the perfect, classic love song.

Through listening to a compilation album I discovered the singer songwriter, Vienna Teng.  Vienna Teng has a gorgeous voice and is a pianist as well.  She reminds me of older Tori Amos music.  She is a great storyteller in her lyrics and many of her songs have beautiful strings arrangements as a bonus.  I discovered her through her song, “Harbor” from her 2004 release,Warm Stranger.  I also really like her 2006 release, Dreaming Through the Noise, especially for the haunting “Now Three” and “Ponchatrain”.

Lastly, in 2010, music sadly lost Big Star founder, Alex Chilton, and original bassist, Andy Hummel.  After Chilton’s death, I started listening to my Big Star albums again and discovered Chilton’s masterpiece in Third/Sister Lovers.  “Nighttime” and “Take Care” are lovely songs that laid the groundwork for many alternative bands to follow.

Best Live Show:

An Evening with Greg Dulli, 20th Century Theatre, Cincinnati 10/13/10.  I had not seen Greg Dulli perform since March of 2008 and I was starting to go through withdrawal. Dulli’s first solo tour proved to be a treat for fans.  Dulli was reenergized and the set was a stripped down, unplugged show featuring just two acoustic guitars, a cello or violin, and sometimes a piano.  The set was a collection of songs ranging over Dulli’s career with the Afghan Whigs, Twilight Singers, and Gutter Twins.  There was also a preview of new Twilight Singers songs and of course some covers.  At this show, original Afghan Whigs bassist, John Curley joined Dulli for several Whigs songs proving to be an exciting homecoming.  This show was musical bliss and I am looking forward to the new Twilight Singers album in 2011.

The Summer Music Festival Comes to Kentucky
For the first time, the three day music festival, Hullabalou, hit Churchill Downs in Louisville, KY.  It was hot as hell outside but it was a great weekend for music.  I saw a good mix of local bands, mainstream acts, old school bands, and tried and true favorites, B-52’s and Ben Folds.  Too bad the folks at Churchill Downs did not think Hullabalou was profitable enough to bring back in the future.  It is could have been a great music tradition for the local and state music scene.  (see recap in 2010 archive).

Trent Reznor goes to the Movies
I have been disappointed with Reznor’s decision to move away from Nine Inch Nails and pursue other projects.  Some have been bad, like How to Destroy Angels (more to come).  However, Reznor did redeem himself by writing the score with collaborator, Atticus Ross, for the movie,The Social Network.  The soundtrack by itself just felt like Ghosts V.  However, when I saw the movie, I realized how well Reznor and Ross’ music worked in the film and added to the emotion of several scenes (in particular the scene after Mark Zuckerberg gets dumped by his girlfriend).  Their re-imagining of the classic Grieg piece, “In the Hall of the Mountain King” was very unique.  A Golden Globe nomination for Best Score is pretty awesome too.

THE WORST

Trent Rezor Gets Yokoed

While I was impressed with Trent Reznor’s work on The Social Network, I was not impressed with his new band, How to Destroy Angels.  Reznor put his wife, Mariqueen Maandig, front and center in How to Destroy Angels.  Maandig is no where close to Reznor in talent as a lyricist and the music proved to be recycled Nine Inch Nails songs.  Like Yoko Ono before her, Maandig is riding on her much more talented and famous husband’s coattails.  Like when I listen to John Lennon’s Double Fantasy album and feel a strong need to skip all of the songs Yoko wrote and performed, I feel a strong need to skip over How to Destroy Angels as well.

Lady Gaga & Beyonce- Double Your Crap
Lady Gaga was my pick for worst new artist in 2009.  I still thinks she really sucks.  However, combine her with Beyonce for the annoying “Telephone” and you get a double dose of overproduced crap in the same song.

Worst New Artist: Ke$ha
The first time I heard Ke$ha, I had an “Oh My God!” reaction.  I mean in a bad way.  Ke$ha apparently cannot sing about anything of remote substance since all of her songs are about partying.  I don’t even think she can sing since her voices has so many effects on it, it sounds completely artificial. 

Lollapalooza Sells Out
When Perry Farrell started Lollapalooza in 1991, alternative music was in its heyday.  The tour featured alternative acts such as Jane’s Addiction, Soundgarden, Red Hot Chili Peppers, and Nine Inch Nails over the years.  In more recent years, Lollapalooza has become a summer festival.  However, this year Lollapalooza strayed so far from the original alternative music focus when Lady Gaga was the headliner.  Lady Gaga is about a commercial as it gets and has never been an alternative artist.  Lollapalooza sold out big time by trading in the original purpose for a commercial act to boast ticket sales.

Most Overplayed Song- Katy Perry’s California Gurls
We all heard this song so many times we could vomit.  It has silly lyrics that are suppose to be sexy like “girls so hot they’ll melt your popsicle”.  It is a rip off of the Beach Boys’ classic of the same name.  Katy Perry even ripped her clever spelling of “gurls” from Big Star’s “September Gurls”.  There was also the annoying rap in the middle from Snoop Dogg.  Katy Perry was grossly overexposed in the media because of this song.  Did we really need her to be the “hot chick” on The Simpsons and Sesame Street?  I can only hope to see less of her in 2011.

You Can’t Look Backwards- Liz Phair and Filter
Music is an evolution.  While some artists have a hit early in their career, their music should still evolve and not be an attempt to recreate past success.  Most of Liz Phair’s fans admire her debut, Exile in Guyville.  Phair has been criticized for becoming too commercial in her sound especially on her last album, Somebody’s Miracle.  However, with her latest album, Fun Style, Liz Phair tried to recreate her early demo days sound.  It proved to be an uninteresting collection of songs.  I get that parts of the album are suppose to be “jokes” about her previous record label, Capital Records.  However, joke or no joke, for the love of God, I don’t ever want to hear Liz Phair rap again. Liz Phair joked that the “rap” songs were not suppose to have been heard.  I wish she had stuck to this idea.  Filter had early success with Short Bus.  They tried to return to their more hard rock sound with The Trouble with Angels.  It just sounded like a preachy, undistinguishable group of songs. While those early successes can create awesome albums, the lesson is that you can’t look backwards as an artist.  Music should be a continual growth process.