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CD Review: The Whigs, “In the Dark”

The Whigs - In the DarkThe power trio has had a long and glorious history in the annals of rock and roll. The simple, but often explosive blend of electric guitar, bass, and drums is rock and roll at its most elemental. Buddy Holly and the Crickets are often thought of as the first power trio. In the 1960’s, bands like Cream, Mountain, and the Jimi Hendrix Experience followed their lead. The format exploded in the ’70s, with bands like the James Gang, Grand Funk Railroad, ZZ Top, the Jam, the Police, Rush, and the Robin Trower Band.

After falling out of favor briefly in the ’80s, the power trio format returned in a big way with bands like Husker Du, Primus, Nirvana, the Minutemen, and Green Day. And that’s not even including bands that are power trios in musical terms, but have a lead singer. This twist on the form includes such stalwarts as U2, the Who, Led Zeppelin, the Sex Pistols, and Black Sabbath. Then there’s that bastard-child keyboards, bass and drums thing (Emerson, Lake, and Palmer anyone?), but that’s not a true power trio.

The good news is that the power trio is alive and well in the new century, and the Athens, GA-based band the Whigs, is doing its part to spread the gospel. With their third album, In the Dark (ATO Records), the Whigs seem poised to take their place in the more august company cited above. It’s all there; the massive electric guitar sound, the thundering bass, and the pounding drums. What sets the Whigs apart though is a fine sense of melody, and overall pop-smarts. “So Lonely,” and especially “I Don’t Even Care About the One I Love” are two of the best tracks I’ve heard this year.

The Whigs fine 2007 effort, Mission Control, garnered the band a lot of attention, and some prestigious touring slots, including shows with the Kings of Leon, and Drive By Truckers, and their first European tour. In the Dark demonstrates the kind of album-to-album growth that is gratifying to hear from a young band. The elements are all in place for The Whigs, and this album could very well be their breakthrough. Don’t miss it.

Cratedigger: Graham Parker & the Rumour, “Squeezing Out Sparks”

Cratedigger

Graham Parker and the Rumour - Squeezing Out SparksThis coming Tuesday, Bloodshot Records will release the latest Graham Parker album, Imaginary Television. My colleague Dw. Dunphy thinks it’s a pretty good effort. Read his review here. For many people however, Parker has yet to top his 1979 classic Squeezing Out Sparks.

Parker put the Rumour together in 1975 by enlisting veterans of three different British pub bands. The members were guitarists Brinsley Schwarz and Martin Belmont, keyboard player Rich Andrews, drummer Steve Goulding, and bassist Andrew Bodnar. Their debut album, Howlin’ Wind was released in 1976, followed quickly by their second release, Heat Treatment. The band quickly gained a strong reputation for their intense live performances. Unfortunately, record sales did not live up to expectations, and by the time of their third album, 1977’s Stick To Me, Parker had clearly adopted a somewhat more commercial songwriting style.

Parker made it clear that in his opinion the blame for paltry sales in the U.S. lay squarely at the doorstep of his label, Mercury Records, and delivered the ultimate goodbye in the form of the lethal b-side of a 1979 single, “Mercury Poisoning.” He was quickly signed to Arista records, and enlisted legendary producer Jack Nitzsche to work on his debut for the label, Squeezing Out Sparks. The album would become one of the most acclaimed efforts in the history of rock and roll. (more…)

CD Review: The Besnard Lakes, “The Besnard Lakes Are the Roaring Night”

The Besnard Lakes Are the Roaring NightI wish that record companies, publicists, and critics for that matter, would kick the habit of feeling the need to describe artists in terms of other artists in their press releases and reviews. This is especially true when, as if often the case, the influences are perfectly obvious, even to the least musically astute among us. It’s lazy, and unnecessary. Let’s face it, there’s very little that is new under the sun in the world of popular music. How artists use what has gone before, together with the passion of the performance, is what determines the value of new music.

My CD copy of The Besnard Lakes Are the Roaring Night (Jagjaguwar) came complete with an eight page booklet full of publicity releases, reprints of old magazine articles, and reviews of the second album by the Montreal band. I’m going to tell you which artists these writers want us to know that the band sounds like, but only because I want to demonstrate what I’m ranting about. As you will see, it gets pretty damn specific:

The Beach Boys (more Dennis Wilson than Brian)
Fleetwood Mac (more Peter Green than Lindsey Buckingham)
Fleetwood Mac (Stevie Nicks-led)
The Alan Parsons Project
ELO
Roy Orbison
Mazzy Star
Queen
Julee Cruise
Spiritualized

Whew! That’s a lot to live up to, right? I should note that the Beach Boys were referenced in nearly every story, and Christ, talk about bludgeoning you over the head with the obvious, that influence is obvious from the beginning of the first song. Do these writers feel special because they think they hear something others don’t? Forget it.

Ah, maybe I’m just in a mood. It’s a really cool album, full of gritty electric guitars, some nice group harmony, pretty melodies, ethereal atmospherics, and just plain old good song writing. The record company says that there is some kind of war-inspired theme afoot here, something about spies and coded messages. Could be. I guess I just wasn’t able to break the code. But the songs are cool.

I really like “Albatross”. Now it does feature Olga Goreas singing the lead vocal, so I guess that means your Fleetwood Mac alert should sound. And there are those harmonies, although to me they sound more Brian than Dennis Wilson. But maybe you can just accept it for what it is, which is a really good song, part of a very solid second album, from a very good young band. And if you catch me defining one artist in terms of another, and you probably will (that’s what music writers do when we’re out of ideas), please call me on it. In the meantime, enjoy some cool new music.

New Music: Black Dub, “Surely”

Black Dub

You’re probably aware of Daniel Lanois: His credits as a producer include work with such luminaries as U2, Peter Gabriel, Robbie Robertson, Brian Eno, Bob Dylan, and Willie Nelson. He has also released a series of idiosyncratic albums of his own, including 2008’s Here Is What Is. It isn’t overstating things to say that Lanois is one of the most in-demand producers working.

Chris Whitley was a wonderful singer/songwriter who passed away in 2005. His big break came when he was discovered by Daniel Lanois while playing in New York City, a meeting that led to Lanois helping Whitley get a deal with Columbia Records. Despite releasing a series of excellent albums, beginning with 1991’s Living With the Law, Whitley never achieved the recognition he so richly deserved. His greatest success, as I’m sure he agreed, was fathering his daughter Trixie. As a child, she was often seen at her dad’s gigs. When she got older, she lent her vocal talent to his albums. All grown up now, Trixie is a prodigiously talented singer, guitar player, keyboard player, and sometime drummer. (more…)

Cratedigger: Emitt Rhodes, “Emitt Rhodes”

Cratedigger

Emitt Rhodes1970 was a momentous year. The Vietnam War raged on, and in May, four students at Kent State University were shot down in cold blood by members of the Ohio National Guard. Neil Young was so shocked by what he saw that day that he wrote the song “Ohio” in response, recorded it with his colleagues Crosby, Stills, and Nash, and had the single on the streets within days of the massacre. The big song and album of 1970 was, however, Simon & Garfunkel’s Bridge Over Troubled Water.

The Beatles broke up in 1970, and in April, Paul McCartney released his self-titled first solo album. It was very much a homegrown affair. Out in California, a young musician named Emitt Rhodes, unquestionably influenced by the Beatles, specifically Paul McCartney, had pop dreams of his own. After seeing a little bit of success in bands like the Palace Guard, and the Merry-Go-Round (see the first video below), Rhodes decided to go the solo route. Taking advantage of a $5,000 advance he got from ABC/Dunhill, he bought studio equipment, and installed it in his parents’ garage in Hawthorne, California, a town which was also the childhood home of Brian Wilson and his brothers. There must have been something in the water in Hawthorne. It was there that the 20-year-old musician recorded his first album, which over the years has become widely recognized as a pop masterpiece, and a highly sought prize for collectors. (more…)

CD Review: Johnny Cash, “American VI: Ain’t No Grave”

Johnny Cash - American VI: Ain't No GraveJohnny Cash spent his entire career speaking to and for the common man. Whether it was in his lyrics, or the way he dressed in black, he never forgot where he came from. On American VI: Ain’t No Grave (American Recordings/Lost Highway), the sixth and final volume of his unforgettable collaboration with producer Rick Rubin, Cash, fully aware that the end was near for him, had already moved beyond this world in terms of his music. Instead of speaking directly to his audience as he always had, he looked past us, or maybe above us, to the next phase. The album is a direct communication between a dying man and whatever comes next.

When American IV: The Man Comes Around was completed in 2002, Cash feared that it would be his last album. Rubin encouraged him to keep writing and recording. The sessions continued right up until Cash died on September 12, 2003. Some of the recordings were released as American V: A Hundred Highways, and the remainder make up American VI. Heartbreakers guitarist Mike Campbell and keyboard player Benmont Tench are once again on board, as they have been for every album in the American Recordings series except for the very first one. They are joined by guitarists Jonny Polonsky, Matt Sweeney, and Smokey Hormel. Scott and Seth Avett make a cameo appearance on the album’s opening track, the devastating “Ain’t No Grave.” (more…)

CD Review: Was (Not Was), “Pick of the Litter: 1980 – 2010″

Was (Not Was) - Pick of the Litter 1980 - 2010Don Was (born Don Fagenson) and David Was (born David Weiss) grew up in the suburbs of Detroit, and met in junior high school in the 1960s. It was a heady time for the Detroit music scene. The Motown assembly line was turning out non-stop hits. Revolution, as represented by the MC5 and the Stooges, was in the air. And then there was George Clinton. Elsewhere, Frank Zappa was turning the music world on its ear, and Miles Davis was reinventing music, again.

After they both attended the University of Michigan, Don Was played bass in the Detroit jazz scene, and David Was got a job as a jazz critic in L.A. The pair wrote songs over the phone, and in 1980, when they decided to form a band in an effort to escape having to get a straight job, Was (Not Was) was born. They put together a great lineup that included singers Sweet Pea Atkinson and Sir Harry Bowen, ex-MC5 guitarist Wayne Kramer, trumpet player Marcus Belgrave, Parliament Funkadelic percussionist Larry Fratangelo, and guitarist Randy Jacobs, among others. (more…)

CD Review: The Brian Jonestown Massacre, “Who Killed Sgt. Pepper”

The Brian Jonestown Massacre - Who Killed Sgt. PepperOk, this is tough stuff. The tenth studio album from San Francisco’s the Brian Jonestown Massacre is a swirling psychedelic phantasmagoria. The band, best known to most people via their controversial portrayal in the rockumentary DiG!, certainly has its detractors. Most of the venom is directed at the band’s somewhat bizarre architect, Anton Newcombe. The BJM has had literally dozens of members over the course of its 15 year existence, and has spun off bands like Black Rebel Motorcycle Club, The Warlocks, The Raveonettes, and the Black Angels. The one constant, through all the insanity, has been Newcombe. Who Killed Sgt. Pepper will do nothing to heal the division between the believers and the skeptics.

The key element in this music is the drone. It is created by setting fuzzed out guitars and synthesized textures atop drum loops. Once the drone is in place, vocal elements are added. They are often incomprehensible. Maybe that’s because the vocalist is Icelandic. The strange, and I do mean strange, thing is that all of this adds up to something that I find pretty damn compelling. What that is I have no idea, but the more I listened to this album the more it drew me into its deep, dense, dark places. The tender ballad “Let’s Go Fucking Mental” may give you some idea of what this is all about.

Sometimes the audio collage coalesces into something quite moving. The album’s final track, “Felt Tipped Pictures of Ufo’s,” uses a recording of John Lennon from when he was forced to explain his comment that the Beatles were bigger than Jesus. His remarks end with Lennon saying, ” and now it’s all this.” Following Lennon, a very cheeky Liverpudlian woman spends nearly ten minutes tearing Lennon a new one. She sees him as a phony. Throughout her tirade, we hear Lennon repeating “and now it’s all this.” Eventually, the “this” he’s talking about takes on another meaning entirely. My explanation probably sucks, and the track is too long to post, but trust me, it becomes quite poignant.

Who Killed Sgt. Pepper marks the return of guitarist and vocalist Matt Hollywood who co-founded the band, and co-wrote some of the material on the early BJM albums. Also on board is bassist Will Carruthers of the legendary band Spaceman 3. I won’t pretend to know much about what they’re up to here, but if you’re willing to take a chance on something new, something, dare I say, innovative, you might want to give Who Killed Sgt. Pepper a try.

CD Review: Shout Out Louds, “Work”

Shout Out Louds - WorkYou know, between Yeasayer’s new album Odd Blood, and Shout Out Louds new one, Work(Merge Records), I may finally be taking a liking to this new-fangled music. Both bands have pop smarts to burn, and the talent to place their songs in interesting and inviting settings.

Work is the third album for Shout Out Louds, who hail from Sweden. Their second, Our Ill Wills, brought them a lot of attention worldwide. When the touring was over, the band decided they needed a break, and some time apart. A couple of members remained home in Stockholm, while others traveled to such far-flung locations as Melbourne, and Los Angeles. In Australia, singer and songwriter Adam Olenius wrote new songs and recorded them on his laptop, armed only with a synthesizer, an acoustic guitar, and Garage Band, before sharing them with the other band members in their own corners of the world.

While Our Ill Wills had been an album about travel, the new songs made it clear that the new album would be about coming home again, ironic given that the album was written in Australia and recorded in Seattle. Shout Out Louds enlisted Seattle resident Phil Ek to produce. Ek is well known for his work with Fleet Foxes, Band of Horses, and the Shins. A decision was made to strip the sound down by losing the strings and percussion that had characterized the band’s last album.

It’s fine to trust the songs if you’ve got songs that merit that trust, and Shout Out Louds have got that in spades on the new album. Olenius says that he is in a better place in his life, and there is no doubt that the darkness of his earlier songs has lifted to some extent. That’s not to say that the new songs don’t have substance, just that they are simpler, more organic and upbeat. Ek has done a fine job by presenting the band just as they are, with a minimum of overdubs or studio trickery. Strong melodies, spare guitar textures, and propulsive drumming predominate as featured on songs like “Walls”.

Work is an album without a bad track. What it lacks in jagged edges and jarring sounds, it makes up for with great energy and a flawless flow from track to track. I didn’t know what to expect from Shout Out Louds this time around. What they have delivered is their best album thus far, and another early leader in the race for year-end honors.

DVD Review: “The People Speak”

The People Speak“To live now, as human beings should live, in defiance of all that is bad around us, is itself a marvelous victory.”

Howard Zinn (1922-2010)

In these days of sneering Republicans determined to block even the slightest move forward, cowardly Democrats unwilling to use their majority position to any advantage, a thus far ineffective President, and a Supreme Court that has decided that it’s alright to sell our government to the highest bidder, the loss of the sane progressive voice of Howard Zinn is keenly felt. Fortunately, we now have the DVD version of The People Speak, which originally aired on The History Channel last December.

The film, directed by Chris Moore, was inspired by Zinn’s award-winning 1980 book, A People’s History of the United States, and is narrated by Zinn. It features actors and musicians speaking the words and singing the songs of a wide variety of rebels, dissenters, curmudgeons, and patriots from the Revolutionary War era to the present day. Among the actors are Matt Damon and Josh Brolin (who are also producers on the film), David Strathairn, Don Cheadle, Jasmine Guy, Danny Glover, Marisa Tomei, Rosario Dawson, Viggo Mortensen, Benjamin Bratt, Morgan Freeman, Sean Penn, and Sandra Oh. Their sources include Frederick Douglass, Susan B. Anthony, Emma Goldman, Muhammed Ali, Chief Joseph, Langston Hughes, Malcolm X, Fannie Lou Hamer, John Brown, Cesar Chavez, and other American freedom fighters.

The musicians include John Legend, who performs a stirring version of “No More Auction Block,” Eddie Vedder singing Dylan’s “Masters of War,” Chris and Rich Robinson doing Neil Young’s “Ohio,” Allison Moorer with “Brother Can You Spare A Dime?”, Bob Dylan, Van Dyke Parks, and Ry Cooder performing Woody Guthrie’s “Do Re Mi,” and Bruce Springsteen closing the film with his rendition of Guthrie’s “This Land Is Your Land.”

For ten years, the film’s producers had been trying to find a way to create a visual representation of Zinn’s book. In the early stages, the project was at Fox (oddly enough), until creative differences (imagine that!), resulted in a move to HBO, where a miniseries was considered. When that didn’t work out, the stage presentation was developed, and that resulted in this film. Many of the performers have been presenting this show at theaters throughout the United States since 2003. The performances documented here are from the Cutler Majestic Theatre in Boston, and the Malibu Performing Arts Center in 2008 and 2009.

The point of all of this, and of Zinn’s book, is that there is more to the history of this country than what is written in our history books. There is another, too often untold story. It is the story of the struggle for freedom from slavery, for worker’s rights, for civil rights, for gay rights, and for women’s rights. It is the story of the fight against expansionism and imperialism, and for economic justice. It is a story that’s written in the sweat and blood of ordinary Americans, and one that every American should know.