Last Splash Review

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Last Splash ReviewOkay, I admit it...I found this record on tape about 5 months ago at a record shop in L.A. It was 99 cents! I hadn't listened to the songs on this album, with the exception of "Cannonball" and "Divine Hammer" which were furiously played on KROQ, since the record came out in 1993. Big, big mistake. The songs on this record take you by the hand and make you feel like you are falling in love with someone, EVERYONE!"Invisible Man"...oh my god...any song with Kim's voice that uses the words "sweet caress...." I mean, come on!It is not unlike an aural aphrodisiac! The opening of "No Aloha" makes me crazy every time I hear it. The guitar slithers and slides it 's way into your brain so that it's all you can think about the entire day. Rarely does an album make you feel PHYSICALLY better....but if ever there was a record this is it!I have had to rewind the tape over and over again to just to hear the beginning of the song and since I feel I have gotten my initial 99 cents worth of rock, I am springing for the CD today!Musical masturbation for the obsessive -compulsive -manic -depressive -low self esteem having -yet somehow "cuter" when they listen to this record kinda vibe! Kim--you rule!Last Splash OverviewNo Description AvailableNo Track Information AvailableMedia Type: CDArtist: BREEDERSTitle: LAST SPLASHStreet Release Date: 08/31/1993

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Distillation Review

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Distillation Review~Erin Mckeown has taken a wealth of influences and used them to create the first completely original singer/songwriter album I've heard in a long time...this is certainly not a "3 chords and the truth" album, nor is it "jazzy" in the traditional Joni Mitchell sense of the word. The album sets a new standard for grittiness with bone-dry production and songs that are played with swagger. The lyrics, while obviously personal, are definitly not in the story-teller vein...abstract and~~ oblique enough to allow internalization by the listener. This is singer/songwriter music with rock and roll attitude delivered in a completely original and unique way. One of those CDs you can't believe you were lucky enough to discover.~Distillation Overview

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Loaded Review

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Loaded ReviewRevered or dispised by fans, I'm one of those who finds "Loaded" to be one of the masterpieces of its generation. Granted, Lou Reed abandoned all the things that made the old Velvet Underground what it was, but this is a good straightahead rock record, full of fantastic songwriting, sarcasm, and brilliance.
So what makes "Loaded" so good? Stunning songwriting ably supported by sympathetic musicians. Reed, at the height of his powers as a rock and roll composer pulled off at least two classic songs that have worked their way into the collective unconsciousness in "Sweet Jane" and "Rock and Roll". These two pieces have been imitated so heavily and fiercely that they sound familiar the first time you hear them, and both of them have a little something, quite undefinable (Reed claims in the case of "Sweet Jane" that it's the extra chord that quickly sweeps by in the progression, I think it's an unnerving amount of passion in the vocal presonally) that makes them perfect.
The rest of the album doesn't quite live up to them, but it's full of superb songs, from the Beatlesque "Who Loves the Sun" to the sarcastic "New Age" and "Lonesome Cowboy Bill" to the the explosive "Held Held High" and the churning "Train Round the Bend". There are no real low points on the record, it's in fact all quite good. Highly recommended.Loaded OverviewThis is the one with Sweet Jane; Rock & Roll; Oh! Sweet Nuthin'; New Age , and more of the last tracks by an iconic rock band.

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Unearthed Review

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Unearthed ReviewI cannot give enough praise to the performances on this collection of (mostly) unreleased material. Cash is astounding. I found many of these songs to be more diverse and impressive than much of what was found on the last two American Recordings releases. I can think of no more fitting farewell from (and for) the Man In Black than this. How much of it didn't end up on an album is beyond my comprehension.
The Re-Recordings:
There are quite a few legendary Cash gems given new life and intensity in this set. Among them is the classic mourner "Long Black Veil," the endearing "Flesh And Blood," and twin mining/coal town songs of "Dark As Dungeon" and "The L&N Don't Stop Here Anymore." There are others and, honestly, each one is as good (if not more straight-forward and hard-hitting) as the originals.
The Covers:
While I felt that American Recordings IV: When The Man Comes Around contained too many covers of uber-popular songs ("In My Life," "Desperado," etc.), here we find a few numbers from songwriters like Kris Kristofferson ("Just The Other Side Of Nowhere" and "Casey's Last Ride"), Neil Young ("Pocahontas" and "Heart of Gold"), Jimmie Rodgers ("'T' For Texas" and "Waiting For a Train")...and the list goes on and on. Again, I'm left wondering why hadn't some of these made the cut before?
The Duets:
Why "I'm So Lonesome I Could Cry" was chosen over the charming "Cindy" (both with gloom-crooner Nick Cave) for American IV I'll never know. While I love Hank Williams, Sr. this traditional track is simply perfect. The same for the Fiona Apple duet of Cat Steven's "Father And Son." A vast improvement over "Bridge Over Troubled Waters" where Miss Apple's voice seems to interfere more than harmonize. But hands down the best duets are with veteran rockabilly king, Carl Perkins ("Brown-Eyed Handsome Man"), and the late Joe Strummer of The Clash ("Redemption Song").
The Hymns:
While I love many of Cash's own Christian inspired songs I found that many of the traditional hymns lacked, pardon the expression, spirit. They were faithful renderings, but seemed to lack the interpretation that Cash usually lends to any song. Or perhaps it was just my impression. Regardless, I won't say that these songs aren't good...they certainly are...they just don't all quite match the glory of the rest of the set.
The Best of the Rest:
I still cannot grasp any reason why Unearthed included a "Best of..." disc, except for the sole purpose of upping the price of this boxed set. I would have to guess that most of the folks willing to shell out $65.00 for a Cash boxed set are probably going to have most, if not all, of the American Recordings albums previously released. But this doesn't bother me so much in the long run. They could have charged the same price for four discs if they'd wanted...I'd still have took the bait.
Packaging:
I've heard many folks bemoan the agreeably fragile packaging. I've seen folks complain oblivious to the fact that the upside down flag is the long-standing emblem of American Records and can be found on all the albums on their label. I can only offer one suggestion to those who worry about the cardboard sheaths damaging the cds. If you have a CD recorder...make copies. Use those copies and leave the packaging on a shelf somewhere as something to take down and thumb through from time to time. It's supposedly a Limited Edition...treat it like one and it'll last.
Liner Notes:
Last but not least we have the personal reflections of Cash, producer Rick Rubin, and various other friends, family members, and bandmates that contributed to the creation of this collection. I found myself wishing that we had such intimate accounts of all the songs on the original American Recordings...and thankful that we could be given such insight into such a fruitful and inspiring time in Johnny Cash's career. For those who hadn't gotten a sense of the man from his music...they certainly couldn't miss what a genuine, thoughtful, intriguing, and inspirational individual Cash was...and always will be. Thanks to American Recordings and Rick Rubin for allowing a legend to make a magnificent final stand.
The Final Tally:
Music: *****
Packaging: ****
Liner Notes: *****
PS: The live, orchestral version of Leonard Cohen's "Bird On A Wire" is simply one of the finest pieces of music I've ever heard. If there were more songs from this live performance I'd certainly be willing to pay to hear it. It's glorious. Enjoy.Unearthed OverviewNot just your average box set of re-packaged music,'Unearthed' is a 5 CD box containing 79 tracks from theAmerican Recordings era. 'Unearthed' contains 4 entirediscs of never-before-heard recordings. 'Unearthed' alsocontains 'My Mothers Hymn Book' a complete never releasedsolo acoustic spiritual album. Deluxe packaging includes104 page hard cover book, never before seen photo's andJohnny's personal comments, thoughts and memories aboutevery song on the box. Lost Highway. 2003.

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Sky Blue Sky Review

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Sky Blue Sky ReviewProbably my favorite thing about Wilco is that each of their albums is completely different from one another... however, what makes their latest effort different from previous ones is that it's hard to categorize this record. It's not experimental like YHF, it's not alt-countryish like A.M., it's not raw like Ghost is Born... it's mostly just a bunch of simple, beautiful songs, half of them being ballad-like. I'll say right now that, outside of a couple blazing guitar solos from Nels Cline, I don't think that Jeff uses the instrumental talent of his bandmates (or himself) enough on this record. I thought "Ghost is Born" had some unbelievable percussion and guitar moments, and that is mostly lacking on "Sky Blue Sky". With that said, I've already found myself singing along to all 12 tracks on this record, and the best moment for me is the very opening acoustic guitar strumming on the first track, "Either Way", followed by a classic-sounding opening vocal from Jeff, which has already been hard to match in the live performances of the song.
You gotta respect a guy who plays before thousands of people at most shows and decides to make a quiet, little record to tour off of. Wilco is one of those bands that is not meant for the big arena, and this album, probably more than any of their others, will be unkind to the big venue. It'll be interesting to see how the band delivers these mostly quiet little songs to a large mass of fans.Sky Blue Sky OverviewWilco's first studio album in three years, Sky Blue Sky, has been perhaps the most ardently awaited release of '07. Eager fans had taken to shouting out pleas for information to bandleader Jeff Tweedy during his recent solo acoustic tour, and the web chatter has been virtually deafening. Critic Katie Toms of London's The Observer addressed fan speculation in an advance review, declaring, with unalloyed delight:Boy, was it worth the wait.... Simple and soothing, yet rich and rewarding, this is an album you unknowingly yearn for, like a cool hand on a hot forehead. A great album from a band in their primeSky Blue Sky is as eloquently straightforward as Wilco's last studio recording, the Grammy-winning A Ghost Is Born, was daringly experimental. Tweedy's lyrics deal forthrightly with romantic separation and reconciliation, their bittersweet quality giving way, as the album progresses, to a more uplifting, redemptive mood. Tweedy quite literally banishes the darkness on the penultimate track, the inspiring, gospel-tingedWhat Light the album's first single and concludes with a deeply affecting, 'til-death-do-us-part lullaby,On and On and On. There are hints of early-seventies Southern California folk-rock sweetness in the harmonies throughout the band-produced Sky Blue Sky, a bluesy Allman Brothers feel to the guitar /keyboard interplay, and plenty of brash guitar solos that take songs likeYou Are My FaceandShake It Offin thrilling, unexpected directions. This is especially good news for the crowds that will fill the Bonnaroo Festival in Manchester, Tennessee, this June, where the band plays the first U.S. date of its 2007 world tour in support of Sky Blue Sky. Principal songwriter Tweedy cut these tracks in the band's Chicago studio with members John Stirratt (bass, vocals), Glenn Kotche (drums), Mike Jorgensen (keyboards), Nels Cline (guitars) and Pat Sansone (guitars, keyboards, vocals) all of whom are also becoming notable performers in their own right. A Ghost Is Born co-producer Jim O'Rourke returns as music contributor.

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Violent Femmes Review

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Violent Femmes ReviewI remember picking up the cassette of this when it first came out and going for a ride in the car to give it a listen. By the time I got around to playing it for the second time, I was singing along to the songs like they had been decade old classics. The Violent Feemes had struck gold on their first release. A band in 1983 that played mostly acoustic instuments like upright bass, xylaphone and trash can drums was quite rare, and to do so with more passion than any of the current hardcore punk bands was shocking. Gordon Gano filtered Holden Caulfield through Lou Reed with a touch of Jonathon Richman, to create teen angst classics for that time, and times to come. The Femmes would falter after the release of their second album Hallowed Ground and would perhaps be forgotten as mere footnotes if not for their first album. In some ways this became the Dark Side of the Moon for the eighties generation. Enjoy it.Violent Femmes OverviewNo Description Available.Genre: Popular MusicMedia Format: Compact DiskRating: Release Date: 17-OCT-2000

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Chutes Too Narrow Review

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Chutes Too Narrow ReviewMost of the associations I have of acoustic rock are not good. To put it bluntly, most acoustic rock doesn't rock. The Shins is not a purely acoustic band; they often and usually employ electric guitars on their songs. But I think this can be labeled an acoustic rock band because almost every song is primarily built around acoustic guitars and is always way to the forefront in the mix. And unlike most acoustic bands, these guys flat out rock. This is one of those albums where every song is so outstanding that it nearly kills you when a song comes to an end. Luckily, the one that follows is almost always just as good, again invoking a sense of dissatisfaction as each ensuing song comes to an end.
Although I don't dislike a single cut on the album, several especially grab me. I love the energy and driving force of "So Says I," which is one of the more "plugged" cuts on the album. I'm equally taken by a beautiful low-fi number "Saint Simon," that sounds like it could come out of the 1960s, a sort of blend of Love and the Kinks. Another song I have trouble getting past (because I keep hitting the replay button) is "Turn a Square," which just grabs me every time I listen to and won't let go of me. I could add the first cut on the album, "Kissing the Lipless," but really, I like every song on the album.
I do not know The Shins' earlier album, OH, INVERTED WORLD, but I have been both delighted and shocked that many fans of that album are disappointed in this one. I'm shocked because I have trouble getting over how good this one is, and delighted because it means that there another great Shins album for me to get my hands on.Chutes Too Narrow OverviewChutes Too Narrow, The Shins heavily anticipated follow-up(to Oh, Inverted World), was recorded in (singer/songwriter) James Mercer'sbasement home studio, with later mixing assistance from Phil Ek. And, with10 songs, clocking in at just over 30 minutes, the new record is a briefyet entirely scintillating glimpse at chiming, reflective and perfectlyskewed pop innovation.

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Sea Sew Review

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Sea Sew ReviewLisa Hannigan's first solo album, and what an amazingly beautiful freshman effort.
Lisa played with Damien Rice for some time, in fact Volcano is probably one of my favorite songs because she, Damien, and the cello all sounded like perfect musical instruments. It's a shame that Rice asked her to split off onto her own. She appears with him on these two Damien Rice albums O,9 - both are masterpieces when she sings.
Sea Sew is one of those delicate beautifully mixed clear albums that is just a pleasure to listen to. Lisa's voice and phrasing shows a number of influences, but she is never derivative of their music. She has a unique style that is very easy to recognize. On different tracks, I'm reminded of Jane Birkin (ex fan de sixties), Edie Brickel (shooting rubber bands at the stars), Bjork (her early work, maybe even sugar cubes days), Her Irishness comes out frequently, just enough pleasant lilt.
Her voice has a wonderful range, from whisper quiet with a the tiniest bit of rasp to clear clean beautiful full singing. Notes are always hit perfectly (no pitchiness here dog). The recording has wonderful imaging. The mix is well balanced, Lisa's voice is crystal clear backed by musical instruments at exactly the right volume.
The packaging is worth mentioning - all paper and paper board. The disc fits in a slot just inside the front cover. The 10 page stapled insert includes the musician credits, most of the song lyrics (a few are missing), and the standard thank yous at the end. The cover is a photograph of a knit and stitched piece Lisa and Frances Hannigan did.
Ocean and A Rock - beautiful violin accompanies her voice starting off with a low intimate whisper. Slowly builds through the song to include a nicely played trumpet. The volume of this song stays constant, there is none of that annoying very quiet first one minute of the song and then blarring sound at the end.
Venn Diagram - oh such a beautiful singing of something so mathematical. There is an interesting drum beat driving through this song. Lisa's ha ha ha's are, well a bit exciting.
Sea Song - The cello back drop on this song is wonderful. The tone of her voice works very well with violin and cello. This song is a bit weaker compared to the rest, a little sing songy.
Splishy Splashy - beautiful guitar opening. This song seems like it should be silly, but in fact has a melancholy tone in contrast to the words. "Have your coffee splishy splashy" imagine those words sung slightly sad, each word emphasized. It's remarkable how she can use her voice so well to make words and music sound sad (there is a xylophone made to sound like a child's toy).
I Don't Know - another track with a driving drum and trumpet. It's probably the most radio playable song of the disc. It's a sweet song.
Keep It All - has almost a Cowboy Junkies vibe to it. A standout on the disc. Driving drum beat, bass line, cello, and guitar. Where the lead singer of Cowboy Junkies always sounded like she was on Qualueds, Lisa Hannigan has all her senses and hits perfect notes. One of my more favorite cuts on this disc.
Courting Blues - the only song Lisa did not write, and my least favorite. There's a fair amount of dissonance, not unpleasant.
Pistachio - a cute song. Probably sounds the most like Bjork mixed with Jane Birkin. A few times the singing rolls off to almost speaking. It's an interesting enjoyable effect. The lyrics are just so much fun and oddly have an exciting side to them.
Teeth - Almost hate to say it this way, but it's sort of folk music meets a movie soundtrack or show tune (without all the horns and huge orchestra). The song is just fine, not a standout.
Lille - the most Irish folk song of the disc. Just a beautiful song.
Overall, this is a very solid disc. Personally I would purchase the CD for the lovely packaging. There's maybe one or two tracks that I might not download, if I were picking and choosing. A case of very well done mix, recorded lovingly, and with care.
Lisa was a standout to me on the Damien Rice albums. She demonstrates that she is not a one trick pony, or the background singer. She is a solid artist in her own right.Sea Sew Overview

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Drunkards Prayer Review

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Drunkards Prayer Review"Drunkard's Prayer," the latest release from Over the Rhine, reflects the attempt to simplify their lives and strengthen their relationship. Bergquist and Detweiler dropped everything during their "Ohio" tour to rest and "reinvent our own relationship" as Detweiler revealed in an interview. The result is this CD. "Drunkard's Prayer" strips everything down-melodies, lyrics and production.
Most noticeable are the simpler melodies. Early Over the Rhine produced some funky sounds, but Drunkard's Prayer arranges the notes in an easy fashion, making for choruses that the listener will hum with absent-mindedness. "Looking Forward" and "I Want You To Be My Love" exemplify the unadorned sound found in this project.
Simpler lyrics are also found in Drunkard's Prayer. Detweiler's writing usually contains word play and metaphors, but they are less obvious here. The word play is still there; it just relies upon more common themes. Instead of "what a beautiful piece of heartache this has all turned out to be" it is "I cry just a little bit, just a little bit, everyday." Instead of "I drink you `cause it's easy to see it's mostly myself that's killing me" we get "You're my water, You're my wine, You're my whiskey from time to time."
Production was also toned down for "Drunkard's Prayer." Instead of a studio, Detweiler and Bergquist recorded their songs for this CD in their living room. The result is a quiet evening at home, a stretching in front of the fire, a sitting on the back porch.
Is "simpler" better or worse? Probably neither; it may just be a reflection of where these two people are at in their lives right now.
Drunkards Prayer OverviewDrunkard's Prayer featuresthe songs 'Born', Firefly', & 'My Funny Valentine'. Narada. 2005.

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Oh, Inverted World Review

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Oh, Inverted World ReviewThis is not music that can be analyzed intellectually. Or, perhaps I should say it is not music that can be analyzed intellectually by someone with my intellectual limitations. But some great albums owe their greatness to their lyrics, some to the musicianship on display. This album is a great album because of its feel. The vibe. This album has a certain feel to it that is consistent from the first note to the last. And it's an irresistible one. The best analogy would be watching the Teletubbies on four quaaludes, outside in a Jacuzzi on a crisp mid-autumn day amidst the blossoming juniper trees while sipping a strawberry/banana Tanqueray smoothie. I hope that captures it. I hear their next album is more eclectic but not as satisfying, I don't know, I haven't heard it yet. Uncle Stu loves you. Buy this album! Peace.Oh, Inverted World OverviewHailing from Albuquerque, NM, The Shins sprung from the ashesof Flake/Flakemusic in 1997 (though those previous incarnations date backnearly a decade) - same members, different instruments, different approach.Counterpoint guitars have given way to a single guitar pitted againstcalculated keyboard passages; swarming indie rock machinations led topop-based melodic endeavors.

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Treats Review

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Treats ReviewThis one is going to split the jury. Sleigh Bells are not a Christmas novelty act (some will disagree) but another band from the People's Independent Noise Republic of Brooklyn and an immense grungy dance punk juggernaut consisting of Alexis Krauss and Derek Miller a former hardcore rock guitarist. For influences think Bow Wow Wow, crossed with Lil Wayne and then throw in the Beastie Boys, White Stripes and Le Tigre.
As for the music Sleigh Bells elephantine beats don't just hammer the damn things could pile drive concrete supports into the foundations for skyscrapers. Their primitive guitar fuzz is wickedly distorted and married to the simplest of pop melodies. Krauss's ever so sweet voice provides tranquillity amongst this cacophony. Thereby this irresistible mix combines with room-shaking production and big guitars and is the reason why so many people are salivating over this album on the blogosphere.
When I first played the opener "Tell em" on my car stereo it was so bloody loud I swerved to miss a passing cyclist. It is a full blown aural assault, the musical equivalent of a punch in the face and one of the quieter songs on the album. It may just be 2010's musical counterpart to last years "My Girls" by Animal Collective. In terms of what follows there is no let up or escape. "Riot Rhythm" has drums which pound and Millers guitar introduces a razor like cutting riff. "Infinity guitars" sounds like a cross between the Beastie boys and Japandroids. "Run the heart" is Abba for the Twitter generation. It is a staccato composition punctuated by bubbling noises, shimmering synths and the dreamlike vocal of Krauss. Then there is the Phil Spectorish "Rill Rill" formerly "Ring Ring" from their demo's which is a charming confection of a pop song that is a temporary if welcome relief from Miller frankly going mental. His return however comes back with all the force of a wayward Katyusha missile on "Crown on the Ground" which sounds like the treble button has broken and someone has sucked the bass out. Your graphic equalizer is I am afraid onto a hiding to nothing but it works brilliantly and is actually quite sweet in comparison to the 90 second riff monster "Straight A's" that follows which could be Husker Du having a bad soundcheck. "A B Machines" is a surf guitar hip hop mash up (I kid you not) with Krauss repeating a two line lyric throughout. Finally the title track sounds like Mastadon making a bid for the charts with a girl singer.
There will be many of you wonderful people on Amazon who will state that "you don't get this", that "you've heard it all before" or will use that ubiquitous insult that it is the "king's new clothes". Even more will complain that the level of distortion on the album (at Spinal Tap "11") is giving your speakers a workload which they neither desire or can cope with and that perhaps "Treats" should come with complimentary Paracetamol. Yet there are on occasions when certain albums for just a very elusive moment on the space time continuum appear to make all other game players sound a bit wrought and tired. Sleigh Bells new album "Treats" falls into that category and will nudge popular music into different directions.
Granted "Treats" is so bound for mainstream success and overexposure that you sense that a brief romance with this band may be the extent of your involvement, but so what it will be fun while it lasts. Thus we have an album that is very loud, trashy, and disposable and pulled off with the sort of brazen audacity that would find the state police visiting in the dark of night in a less tolerant society. "Treats" describes itself, get it on Amazon MP3 download now and be prepared for a complete sensory overload.Treats Overview

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Plans Review

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Plans ReviewNormally I try to avoid the hype machine that surrounds a band referenced or namechecked on "The OC" or some other blisteringly popular and annoying teen show. But something about the first single off Death Cab for Cutie's album "Plans" spoke to me in a way that nothing on the radio has in quite a while. So I picked up the album (keeping in mind that they were supposedly "Seth Cohen's favorite band" and not hold it against them). I can say I was pleasantly surprised.
I'm not going to pretend that I know the history of DCFC or their indie-rock roots. This is their major-label debut, and it's pleasantly against what you'd normally expect from a legendary cult band trying to achieve pop immortality on their very first major record. The album starts quietly, and ends quietly. In between, there are a lot of quiet songs.
A snoozefest, right? Not so.
The best tracks, besides "Soul Meets Body" are Summer Skin, I Will Follow You Into The Dark (an aching acoustic ballad that makes the listener weep), Crooked Teeth, What Sarah Said...really, the entire album lives up to the heady expectations that some will bring to it. It's not for everyone per se, but it has certainly had an effect on me.
Again, I'm new to the whole DCFC mythology and mythios. But I know great music when I hear it, and you can't do much better than "Plans". Nevermind the hype, this is the real deal.Plans OverviewCan your heart take this? Are you ready? Plans marks Death Cab for Cutie's major label debut. 11-tracks of pure indie pop that will further prove that Ben Gibbard and crew just can't do wrong. Atlantic. 2005.

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Hair Guitar Review

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Hair Guitar ReviewIf you're a fan of old school nintendo style music...then you'll be in for a huge treat. All of his tunes are constantly filled with layers of that 8bit sound some people really love.Hair Guitar Overview

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Guitar Romantic Review

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Guitar Romantic ReviewZippy punk served up '77 style, from the shoutalong girl-group-derived melodies to the dayglo cover art to a mix that boasts all meters buried in the red. Lotsa fun, in other words, if just shy of greatness. Full marks for effort, though. This is what punk rock sounded like before it got codified into simple barre chords and zitty whining. If you've ever heard the Vibrator's classic "Pure Mania" then you're already well-acquainted with the game plan. And although it's all highly derivative, the Exploding Hearts at least show good sense and smart album collections in their choice of idols. It also helps that the band possesses an infectious exuberance and a seemingly limitless energy supply. With any luck, a million and one Good Charlotte-lovin' teenie punks will clutch onto this as their favorite album ever and all their subsequent bands will be formed in the image of the Exploding Hearts. And then the world will be a better place. Or something.Guitar Romantic Overview

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5 Songs Review

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5 Songs ReviewI've always enjoyed music that evokes feelings of lukewarm summer evenings. Cold wintry days always seem to bring me down to a level I quickly want to be removed from. Instead, I take pleasure in evenings where the sun seems to never want to hide itself behind the horizon. The kind of evening that just doesn't seem to come around too often in my neck of the woods. Coming from the Midwest, I've always had the ability to take long drives down the highways and countryside simply for the sake of my own enjoyment. The Decemberists are a band that incorporates images of all these feelings. If you've read any of my music reviews in the past, you know that although I'm not the biggest fan of country music, per se, I am a true believer in the steel guitar. I'll even take it in the format of a pedal steel if that's all I can get. The steel guitar has just always had the ability to express true heartfelt sorrow and beauty to me.
With their Five Songs EP, The Decemberists have showcased steel guitarist Chris Funk to send the majority of this morsel straight into the pearly gates of carefree rock heaven. "Oceanside" opens with perfectly strummed acoustic guitars that are married with Colin Meloy's unobtrusive, yet confident, vocals. If you give him some time, he'll even show you that lyrics are still important to music in a time of instrumental bands. "Shiny," the next song, is such a terrific song. To be honest, it's one of the nicest damn songs I've heard in months. The chords that have been used seem to say so many things by themselves, and the steel guitar is the true star. How could anyone feel bad when listening to a song such as this one? It seems to be the mold that all others have copied. The same could be said for the next song, "My Mother Was a Chinese Trapeze Artist." It has the same vibe as the previous track, and makes me wonder how these guys could know exactly what I like in my music. It's easy to see why they have received so much critical acclaim for their album Castaways and Cutouts.
The Decemberists will captivate you with their innocent and introverted sounds. Nothing here is forced, nor will it sound forced upon you. In a time when there is so much turmoil and hatred in the world, it's almost imperative that artists like this make music to remind us of a more simple time. This is also the type of music that tends to bridge the gap between today's music, and music the baby boomers enjoyed two decades ago. Although there are only six tracks here (go figure), I'd say this is a purchase that is worth every penny spent.5 Songs Overview

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Songs for Dustmites Review

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Songs for Dustmites ReviewThe origins of Steve Burns' "Songs for Dustmites" is the stuff of future rock legend, which turned him overnight from the star of kiddie show "Blues Clues" to a respected indie-rock musician. His spacey-rock debut is one of those albums that won't be noticed by critics, but will be appreciated by music-lovers.
It starts off with the elusively melodic "Mighty Little Man," which explodes into a fuzzy bassline and an orchestral display of sound -- and that's only the first few seconds. That sound continues in the even more epic trumpet and cello of "Stick Around," and the waveringly acoustic splendor of "What I Do on Saturday."
Oh wait, what was the story of Burns' sudden reinvention? Simply put, Burns was at a party when someone spun the Flaming Lips masterpiece "The Soft Bulletin." He immediately left, bought the album, and began working on his own music, leaving behind blue dogs and dancing with kitchen utensils. And in a display of good-music karma, he got Flaming Lips' Steven Drozd and Michael Ivins in on the work.
The result is melodic yet fragmented rock music, the sort of larger-than-life stuff that appeals to the grown-ups that have a kid inside them. Burns creates sweeping orchestral epics and weaves them in with bassy rock), and overlays wavering keyboards over acoustic guitar. There's a slightly folksy bent to the songs, as if folk were played on a spaceship.
Burns' gentle croon is pleasant to listen to; he blossoms especially in "Mighty Little Man," where his voice echoes majestically over the orchestral bass. That seems to be in keeping with the theme of the song, about an ordinary man becoming a hero ("Nobody else is stronger than I am/Yesterday I moved a mountain"). That theme continues in songs like "Henry Krinkle's Lament," but in between those Burns bares his soul, sings about angels without wings, and battling gravity.
Forget Blues Clues -- there isn't a trace of goofy juvenility in this album. "Songs for Dustmites" is a solid debut, transforming Steve Burns into a mighty little man. A fun album that hints at possible future greatness.Songs for Dustmites Overview

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Cradlesong Review

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Cradlesong ReviewAfter reuniting with matchbox twenty for 2007's "Exile on Mainstream," Rob Thomas returns to his solo work with his new offering "cradlesong," and the result is a fresh mix of tunes that blends 80's synth-pop with today's current pop sound. The album plays out as such.
1. Her Diamonds- 8/10
The first single off the album, "Diamonds" is a feel-good midtempo number that builds to a rousing chorus. A great summer song that is sure to continue growing at radio.
2. Gasoline- 10/10
Starts off with a digitized drum beat before breaking into an all out 80's power pop ballad that is brought up nicely to today's modern pop standards. The chorus is very simple, yet extremely catchy.
3. Give Me The Meltdown- 9/10
The jangling guitar riffs during the verses of this song remind me very much so of David Bowie's "Let's Dance." This is an uptempo number with solid backing vocals and an extremely catchy chorus. Once again, the 80's synth-pop influence is present in this one. This is sure to be a favorite at Thomas' live shows.
4. Someday- 9/10
A beautifully arranged song with heartfelt lyrics, "Someday" represents what Rob Thomas does best as an artist. An emotional mid-tempo ballad with a memorable piano riff echoing throughout and a solid sing-a-long portion at the end, this is a sure-fire single.
5. Mockingbird- 10/10
Plain and simple, one of the best uptempo songs Rob Thomas has put out to date. The verses build up amazingly well to an undeniably catchy chorus filled with solid backing vocals and the on-point emotional delivery of Thomas' phrasing. The lyrics in this song are extremely easy to relate to and the 80's synth-pop is once again present throughout.
6. Real World 09'- 7/10
For those like me expecting this to be a new interpretation of the hit Thomas had with matchbox twenty in 1997, you will probably be a bit disappointed to hear that it is not. "Real World 09'" is an uptempo synth-pop song that is pleasant enough, but suffers from having so many catchy songs surrounding it.
7. Fire On The Mountain- 9/10
This song starts off with an almost tribal drumbeat that keeps the pace slow through the verses before building up to a soaring chorus. The guitar riffs during the chorus give this song an almost epic feel to it.
8. Hard On You- 7/10
A pleasant midtempo number that maintains a very relaxing sound throughout.
9. Still Ain't Over You- 8/10
This is a completely new type of sound for Rob Thomas. An uptempo number that builds well to a chorus that is chalk full of searing guitar riffs and emotional phrasing.
10. Natural- 8/10
A haunting midtempo tune that's tone can be best described as raw emotion.
11. Snowblind- 8/10
A beautifully written midtempo song with solid backing vocals.
12. Wonderful- 9/10
This song melds together big band instruments, searing guitar riffs, and well crafted melodies seamlessly. The result is one of the most unique and fresh songs on the album.
13. Cradlesong- 9/10
A song that begins with nothing more than an acoustic guitar, Rob Thomas tugs at the heartstrings with this emotional tearjerker. Throw in some beautiful backing vocals and amazing lyrics and you have a truly exceptional song.
14. Getting Late- 7/10
This slow tempo folksy ballad is a nice reflective tune to end the album with.
BONUS TRACKS
15. Years From Now- 8/10
Another solid midtempo number that Thomas fans will definitely want in their collection.
16. Remembered Well- 8/10
Similar to the big band sound of "Wonderful" but slowed down to an almost 50's style sound, this is another solid midtempo tune.
After the success of 2005's "Something to Be..." you have to give Rob Thomas credit for not sticking to the same formula with "cradlesong." Rob takes a creative leap of faith with his latest release, and the result is a fresh batch of songs that are sure to get tons of airplay over the next couple of years. "cradlesong" serves as another entertaining chapter in the story of one of the best songwriters in the business today.
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Songs for Christmas Review

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Songs for Christmas ReviewFor some years now, Sufjan Stevens has been recording little EPs of Christmas songs for people he knew, to "make himself appreciate Christmas more."
Now thankfully he's sharing these songs with his eager listeners, in a five-disc collection that includes his folky reinterpretations of classic carols -- and then the festive ones he made himself. This is not the treacly garbage they put on the radio or in malls -- this is enchanting, festive, fresh music for the holidays.
The first EP -- recorded in 2001 -- is very much old-school Sufjan. Much folkier and banjoey, especially in the lo-fi "O Come O Come Emmanuel," folksy little songs about going to the country, and "Amazing Grace." But there are exceptions -- a shimmering reinterpration of an old hymn, and some bouncy sleigh bell pop.
But the collection blossoms with the sparkling "Angels We Have Heard on High," which is the lead-in to his more polished style. In the four EPs that follow, Sufjan flourishes out into synthy pop, xylophone tunes, dancey holiday music, mellow folk, and exquisite piano balladry. There's the occasional banjo tune, but they grow rarer as time goes on.
And as the collection moves forward, Stevens' music becomes more accomplished with each passing year. His music becomes more complex and more enchanting, right up to the rather pensive and downbeat fifth disc -- which is album-length -- with the shimmering piano of "Winter Solstice" and the offbeat synthpop of "Jupiter Winter."
Sufjan does repeat himself occasionally -- there are multiple versions of "O Come O Come Emmanual," "Lo! A Rose E'er Blooming," and "Once in Royal David's City." Fortunately each time he records the same song, it's radically reimagined. And even songs that most people are heartily sick of -- like "Jingle Bells" -- lose that appalling shopping-mall feeling when Sufjan plays them.
As well as the traditionals and classics, Sufjan injects a lot of his own songs. He makes a festive mishmash of instrumentals -- Hammond, guitar, a little flute, banjo, and lots and lots of bells! Lyrically this is right up his street. He can switch effortlessly from "K-Mart is closed/So is the bakery" to singing about the little Lord Jesus laying down his head in a manger.
And Stevens isn't afraid to look at the side of Christmas that isn't filled with love, joy and goodwill ("Our father yells/Throwing gifts in the wood stove... Silent night/Nothing feels right"). But then, he also has whimsical pop tunes like "Come On! Let's Boogey to the Elf Dance!" which is suitably jolly for the holidays. Not to mention the sweetly romantic side as well ("I might kiss you on the back of your neck/Because it's Christmas time."
Sufjan Stevens is in excellent form with his collection of Christmas tunes. Old songs get a new spin, and new songs are absolutely enchanting in his psychfolky way. Now that it's Christmas time...Songs for Christmas OverviewIn December 2001, Sufjan set out to create a Christmas gift for his friends and family. The result was a seven-song recording that he called "Noel Vol. 1". Over the next several years, he created new EPs to add to the collection. This 5-CD box set includes all five volumes, plus a 42-page booklet with an original Christmas essay by acclaimed American novelist Ricky Moody, two essays, a short story by Stevens, a holiday sticker, chord charts, lyrics, comic strip, family portrait poster, photos, and an animated video.

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