Archive 2007

This THE EXCITEMENT OF NEW ALBUM ANTICIPATION (January)

There are some artists that I will check out anything they release, for better or worse, just because of my good history with the artist. With these artists comes “new album anticipation”. New album anticipation does not come from the mere discussion of a new album or just because an artist has entered the studio. These plans can be indefinite and lead to disappointment (think: Guns and Roses’ Chinese Democracy). It comes when release dates are set and/or the music press has acknowledged a pretty certain release timeframe. New album anticipation is the period of excitement when you are waiting for the new album to be released. The radio, music press, and band websites will give you some hints as to what that new album will be like but the fans are still not completely sure what lies ahead. New album anticipation gives fans something to look forward to. As a fan, I look forward to not just the release of the album but everything that comes with the release of a new album from press to upcoming tours. I wonder to what the new album will be like and I think about which songs will become favorites, what the new songs will be like live, etc. 

In some ways, I think that new technologies can take away from the excitement of a new album. There are few things in life better than picking up an album from your favorite artist on the day of release, taking the plastic wrap off, surveying the artwork and liner notes, and popping the disc in for the first time listen. Now a lot of fans have found places to download bootleg copies weeks in advance of the release. This takes away from the excitement of the release date and it not how the artist intended for fans to hear the new music. I don’t want to go buy my favorite artists’ album on the release date and already have a “been there, done that” feeling towards the album. When bootleg copies of The Twilight Singers’ Powder Burns surfaced early, it took discipline but I waited until the band officially released the album. It was well worse the wait. 

So as a new Nine Inch Nails fan, I am going through new album anticipation for the first time with this band. I get excited every time I hear Year Zero mentioned. I am excited about upcoming press, tour, etc. I am anxiously waiting until April… 

And with similar anticipation, I am waiting for R.E.M.’s induction into the Rock and Roll Hall of Fame. Congratulations to R.E.M., it is a well deserved accomplishment! I’ve just got to figure out a trip to Cleveland after March.

REVIEW: NORAH JONES- NOT TOO LATE (February)

Norah Jones’ third album, Not Too Late, provides a perfect balance between the ballads that have made Jones famous and new sounds. For the first time, Jones wrote or co-wrote every song of the album. She also experiments with different sounds and lyrical styles. 

The album opens with the beautiful, “Wish I Could” where Jones is backed by a cello. “Sinkin Soon” is the most unusual song on the album musically, sounding like an old cabaret song. Jones takes a risk lyrically and musically with “My Dear Country”. It like, “Sinkin Soon”, has a cabaret sound, backed by a horns ensemble. It is also the most political song Jones has written where she observes “I cherish you, my dear country but sometimes I don’t understand the way we play” and “I love the things that you’ve given me and most of all that I am free to have a song that I can sing on election day”. “Thinking About You” and “Be My Somebody” have a soulful, lounge sound in the vein of “Turn Me On” from the first album. “Little Room” lyrically is almost like a child’s fable. The album closes with the lovely title track which is a ballad for those who love “Come Away With Me” and “Your Sweet Voice” from prior albums. 

Like most of Norah Jones’ albums, Not Too Late is subtle and takes a few listens to appreciate it. What makes it a good listen is that Jones stays true to the sound from her previous albums but also is not afraid to experiment musically and lyrically. The album shows promise in Jones as songwriter as well. It is a good addition for Norah Jones fans. 

REVIEW: HAPPY CHICHESTER- LOVERS COME BACK (March)

I could write a whole column devoted to what a nice guy Happy Chichester is but I’ll stick with discussing his new album, Lovers Come Back. This is the first release for Chichester as a solo artist and the first new music from him since his former band, Howlin Maggie’s 2001 release, Hyde. For those who have seen Chichester live in the last few years, these songs will be familiar. 

One of Chichester’s strengths as a musician is that he is a multi-instrumentalist and he experiments with different sounds. The album opens with “Artificial Fanfare (Music in My Head)” which showcases Chichester as a keyboardist. “Me and My Machine” follows, which lyrically continues with the theme of Chichester’s love of music laid out in “Artificial Fanfare”. “A Man Needs an Airplane” is stripped back musically but has insightful lyrics about personal reflection and being down to earth. “Sanctify” is a catchy song even though it is primarily played on acoustic guitar. “You’re Blowin My Mind” is funky while being sexy. The sexy tone of the song is set with the opening line “if I could touch you, I would love you like an August rain”. “Silent Movie” remembers the old days of Hollywood and the steel guitar gives the song a unique sound. 

Two of the album’s highlights are its ballads. Some of the lyrics in “Lover” are overly sentimental (“I’ll place in yours (hands) petals from this singular rose”) but the last lyric of the song conveys its romantic sweetness (“Darling never be lonely not while I’m alive”). On the flip side, “Moonlight” is a lovely sad ballad, played completely as a piano solo, where Chichester laments “to think you’re mine is just insanity”. This ballad conveys the same level of sadness as Howlin Maggie’s “Nobody Calls Her Baby” fromHyde. 

Lovers Come Back is long overdue and was certainly worth the wait. The songs are unique and showcase Happy Chichester as both a musician and a songwriter. It is a perfect continuation for Howlin Maggie fans and a strong exposure for new fans. 

REVIEW: NINE INCH NAILS- YEAR ZERO (April)

With sobriety, Trent Reznor has become more prolific. Instead of taking 5+ years for there to be a new Nine Inch Nails album, the new album, Year Zero, has come out 2 years after the last Nine Inch Nails album, With Teeth. Reznor, known for his dark but personal songs makes a global statement on Year Zero more than an individual one. 

Year Zero is a brilliant concept album that plays out like a movie.Year Zero is set fifteen years into the future and is a dystopia view of what the United States has degenerated into. The United States has become a “big brother is watching” society and “the Presence”, a big four fingered hand depicted on the album’s cover, lingers over the country. On the back of the album, “the Bureau of Morality” warns “consuming or spreading this material may be deemed subversive” and to “be a patriot, be an informer”. The album opens with the loud instrumental, "Hyperpower". The chaos of military rallies and people screaming over Josh Freese’s thundering drum beats set the tone for the album. In probably Reznor’s most political statement to date, it is very obvious that “Year Zero” is a result of the Bush administration’s policies. “Capital G” opens with “I pushed a button and elected him to office and he pushed a button and it dropped a bomb”. The first single, “Survivalism”, establishes that in Year Zero, the US has become a police state run by the military where citizens live by the motto, “I got my fist, I got my plan, I got survivalism”. The theme of the military state follows into “The Good Solider” where a solider laments “I am trying to believe, this is not where I should be” which is a parallel to the doubts about the current war in the Middle East. In addition to war, the government has taken over the church in Year Zero. “God Given” is a rump shaker of epic proportions where the church’s motto is “guess you cannot win with the color of your skin, you won’t be getting into the promised land”. This song is one Reznor’s most obvious statement about religion since “Terrible Lie” from Pretty Hate Machine and parallels the religious aspect of the current conflict with the Middle East. 

After the album climaxes to a point of chaos, like a movie and several other Nine Inch Nails albums, the album closes on a quiet note. The album shifts to hope and repentance. “Another Version of the Truth” is a classic Nine Inch Nails instrumental that could have easily fit on the Fragile. There is almost hope in the darkness when on “In This Twilight”, Reznor observes “we will find a better place in this twilight”. The album closes with “Zero-Sum”, a call for repentance “shame on for all we’ve done…may God have mercy on our dirty little hearts”. This song ranks right up there with “Hurt” and “Right Where It Belongs” as an emotional closing song for a Nine Inch Nails album. 

The album is not that different musically from other Nine Inch Nails albums except for the old hip hop influence on some of the songs. The music on “My Violent Heart” could easily fit into a Public Enemy song. Reznor has also dealt with themes of questioning institutions and faith as far back as “Head Like a Hole” from Pretty Hate Machine (think: “bow down before the one you serve”). What sets Year Zero apart from other Nine Inch Nails album is how well the concepts play out through the album and the global focus of the album. Many artists have tried unsuccessfully to put out concept albums but Reznor brilliantly executes his concept and raises the bar on what a concept album should be. 

In addition to the music, what sets Year Zero apart has been the promotional strategy. I’ll admit that I have not had the time to play the virtual game connected with Year Zero or follow all of the “secret sites” that Reznor had set up to promote the album. However, there have been aspects of the Year Zero promotion that have absolutely fascinated me. The first came when tracks were “leaked” by Reznor through flash drives that were hidden in the restrooms at venues where Nine Inch Nails were performing. The second came when I (and several other NIN fans) received an e-mail from “the Bureau of Morality” stating that I had been identified as “un-American” because I had visited some of the secret sites connected with Year Zero. This e-mail then revealed the Open Source Resistance group. Just when I thought Reznor had outdone himself with the Year Zero promotion, the Open Source Resistance group called a meeting in Los Angeles, three days before the release of the album. At the meeting, fans were given cell phones. The day after the album’s release, the fans with the cells phone received a call instructing them to meet a certain location. A bus then took them to an unknown location for an Open Source Resistance group meeting. This meeting turned into a “secret” Nine Inch Nails show. However, that is not where the story ended. After about a five song set, a “SWAT” team (or some actors Reznor hired to play a SWAT team) stormed and broke up the show. The “recovered” footage can now be viewed at the Open Source Resistance site. Even the CD will change colors based on temperature (it’s black under normal temperatures but will turn white when exposed to heat). Only an insane genius could take the concepts laid out on an album and bring them to life like this. I can’t think of an album that has ever had this kind of promotion surrounding it. These promotional activities and the album itself just prove how absolutely brilliant Reznor is. 

WHY I STILL DON’T CARE ABOUT MARILYN MANSON (June)

I have been really shocked to see the media giving any attention to “the comeback of Marilyn Manson”. Marilyn Manson was a no talented poser when he hit the scene and not much has changed since then. 

It is not that Marilyn Manson is “controversial” that bothers me. Many artists I like write music that is controversial or “pushes the envelope”. I have much more respect for the artists who express themselves as they are and don’t censor themselves because others might not agree with the emotions in their music. However, Marilyn Manson only writes music for the sole purpose of shocking people. Everything Marilyn Manson does is a calculated move for attention. This is not art but a publicity stunt. He is not making powerful statements about politics or religion, it’s all extreme stunts for shock value. I don’t buy Marilyn Manson’s “misunderstood artist” persona for a second. 

When I became a Nine Inch Nails fan, I started thinking about Marilyn Manson again because of his once connection to Trent Reznor. I even went as far as reading the supposed “autobiography” that Manson wrote to better understand the connection. I have found that reading a person’s side of the story can give insight into the person to the point that I better understand and sympathize with someone I once hated. This did not happen for me with Manson. There were a lot of parts of his story that I just didn’t buy ranging from his cross dressing pervert grandfather to his early experimentations with Satanism. It became very clear to me that Manson only has a career because of his once friendship with Trent Reznor (something I have forgiven Trent for :-) ) . Manson goes as far to call Reznor “the big brother he never had” but then blames Reznor for being too controlling of his “career” and stealing his gig to do the Lost Highway soundtrack for David Lynch. Manson was obviously insanely jealous of Reznor’s talent and success. 

What troubles me the most about Marilyn Manson is how abusive he is to everyone around him. He openly admits to the fact that many of his fans are not the most mentally stable members of society but he openly abused, even sexually abused, fans for his own amusement. He was abusive to his band members and completely bit the hand that was fed him with his friendship with Trent Reznor (no NIN pun intended). 

Oh and did I mention that his “music” really sucks? I completely agree with Rolling Stone that he had to start dating someone who was nineteen because she is too young to remember how bad his music was in the 90’s. How Manson gets to date models and actresses is beyond me because he is one of the most physically repulsive men I can think on. Shame on Spin magazine for doing a recent cover story on Manson and all the other publications who have given coverage about his supposed comeback. This guy would disappear if no one gave him the attention he desires. I guess I am guilty of participating in this by expressing my dislike of him. 

REVIEW: FOUNTAINS OF WAYNE- TRAFFIC AND WEATHER (July)

Fountains of Wayne brought their alternative power pop to the mainstream with their hit song, “Stacy’s Mom”. Their follow up album, Traffic and Weather, is a series of vignettes of quirky characters combined with infectious pop melodies. 

Some of the characters are looking for love. The album opens with the first single, “Somebody to Love”, which presents two singles waiting for love: Seth, an attorney for the food industry who “puts Coldplay on, pours a glass of wine, and curls up with a book about organized crime” late at night and Beth, whose dream job is “retouching photos for a magazine aimed at teens”. “Yolanda Hayes” is about a guy who has a crush on the tired woman who works at the DMV. In other incidents, romantic sentiments are expressed in quirky manners ranging from the title track where the narrator states that “we belong together like traffic and weather” to the road song, “I-95” where the narrator sweetly laments “from me to you, south on I-95, and I’ll do it til the day I die”. Relationships are reevaluated from the couple who has lost their luggage at the airport and have the state of the relationship talk in “Michael and Heather at the Baggage Claim” to the guy confronting his cheating girlfriend (“cause I swear you were sharing a hot dog with mustard with that same old polyester jerk”) in the “This Better Be Good. Some of the characters are just downright shady. In “Strapped For Cash”, the narrator goes to the horse races and the casinos where he “chalks it up to bad luck and free alcohol” in failed attempts to pay off a debt owed to “Paul, who was just let out of jail”. “Planet of Weed” is a tribute to a stoner’s paradise. 

Fountain of Wayne take the traditional formula for a pop song and make it smarter. What separates them from the run of the mill pop band is the ability to tell stories about unique characters with catchy melodies. I enjoyed Fountain of Wayne’s previous album, Welcome Interstate Managers, a little more but Traffic and Weather is a solid follow up and fun album to listen to. 

LET’S CATCH UP (November)

Between traveling, working, and studying, I have neglected to update Mary’s Music Corner.  So think of this as a “catch up” column.

First off, here are some CDs I have enjoyed in the last few months.

Peter Searcy- Spark- Peter Searcy is back.  Highlights from the album include the catchy “The Summer Behind Us” and “I Believe”.  The title track was featured acoustically on Searcy’s album, Couch Songs.  The rockin version featured here gives new life to an already solid song.  Since the death of his father, Searcy is more serious and introspective on songs such as “Don’t Let a Day Go By” (featured in two versions on the album) and “Sing Like It’s the Last Time”.  I liked the message of these songs but I found “Don’t Let a Day Go By” to be overly sentimental. Also, whistling in the middle of the song really kills the mood of the song.

Afghan Whigs- Unbreakable and Moon Maan- Self Titled- Thank God for Rhino records!  They have gone beyond the typical “greatest hits” collection to bring the listener retrospectives of bands that didn’t necessarily have “hits” but were still influential. I am so happy that Rhino acknowledged the Afghan Whigs’ talent with the retrospective, Unbreakable. Unbreakable is a solid retrospective of the Afghan Whigs’ career.  It features two new Whigs tracks, “I’m a Solider and “Magazine”.  “I’m a Solider” features backing vocals by Susan Marshall and brought me right back to the 1965 tour.  The track selection is solid except for the glaring omissions of “You My Flower” and “Milez is Ded” from the collection.  Also, since the tracks were not sequenced chronologically, the sequencing feels more like an album on random shuffle.

Moon Maan, a band fronted by Afghan Whigs’ guitarist, Rick McCollum, has released their self titled debut. McCollum is associated more strongly as a guitarist but he is a strong vocalist too.  Moon Maan is a straight out rock band and songs like “Be Good to Me” and “Feed the Methman” are reminiscent of classic rock bands like the Rolling Stones.  Moon Maan is one of the more interesting post-Whigs bands and is a descent listen.

Jimmy Eat World- Chase This Light- Jimmy Eat World’s new release doesn’t take as many risks musically or lyrically as their last release, Futures.  The album is very enjoyable though because it emphasizes the band’s gift for writing smart catchy pop while including more atmospheric songs.  Songs like the first single, “Big Casino”, plus “Always Be”, “Feeling Lucky”, and “Here It Goes” are fun, catchy pop songs reminiscent of the band’s hit “The Middle”.  “Gotta Be Somebody’s Blues” is darker but a highlight of the album because it’s a little creepy but the music creates an awesome atmospheric mood.  It is reminiscent of the lesser known, but excellent “Night Drive” from Futures.

October was the month that shook up the music industry. Considering the continued decline in CD sales and the major record labels unwillingness to change their business model, several artists have taken the attitude that they don’t need the record labels at all.  In October, artists such as Madonna and Nine Inch Nails became free agents leaving major record contracts.  Radiohead took this attitude one step further by offering their new album, In Rainbows, as a digital only release and fans could pay anything for the album including nothing.  Hip hop artist, Saul Williams, has used the same model for his release,Niggytardust.  I applaud Radiohead for looking for alternative distribution methods for their music since clearly the CD market is failing.  However, it bothers me to hear that many fans downloaded the album and chose not to pay anything for it.  In many cases, the CD prices set by the major labels are too high. However, from a business standpoint, nothing is free.  Artists, such as Radiohead, ultimately are paying every time the album is downloaded for “free”.  If you are a fan of Radiohead, you should be willing to support the band.  You shouldn’t even have to think twice about paying a price as low as $5.  Many have used the argument that by not paying high CD prices that they are sticking it to the record companies.  The people who downloaded Radiohead’s release for free are sticking it to the band, which a fan should not do.  A better approach might have been to offer the CD digitally on a sliding pay scale with a minimum payment of about $5.  If a fan is not willing to pay $5 to support the band, then shame on you.

It will be interesting to see the effects on music sales as more artists leave major labels.  It seems that artists as successful as Madonna and Nine Inch Nails can do whatever they want.  It will be interesting to see if lesser known independent artists can be successful with alternative distribution and promotional practices.  Saul Williams is not a well known artist but he does have Trent Reznor’s from Nine Inch Nails support.  The biggest problem for the record labels now is that technology has always changed music.  Cassettes replaced LPs and eight tracks.  CDs replaced cassettes.  Now digital music will probably replace the CD but the record industry stubbornly will not embrace digital music and has been greedy in pricing.  Only time will tell if the alternatives to the major label practices will be successful but music needs to be available in ways that both the artists and fans benefit.