Sunday, October 29, 2006

Running with Scissors: The Movie


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I love Augusten Burroughs. I’ve read, or listened, to three of his five books so far including Running with Scissors and in all of them, he has managed to write uniquely telling and touching memoirs of a lemonade life built on a foundation of lemons. October 27, 2006 saw the national release of Running with Scissors, based on the book by Augusten Burroughs, and staring Annette Bening, Brian Cox, Alec Baldwin and both Joseph Cross and Jack Kaeding as a young and younger version Augusten Burroughs.

The film chronicles the childhood years of Augusten Burroughs set against the backdrop of his parent’s troubled marriage and eventual divorce, his father’s abandonment, his mother’s severe mental instability, and his living with and eventual adoption by his mother’s psychiatrist. The most compelling and horrifying fact of Running with Scissors it that it is based on the real life events that made up Augusten Burroughs’ young life.

The transition from the page to the screen is rarely smooth and simple. As expected, translating a book that can be read in just short of eight hours to a film that needs to be viewed in two requires some omission. However Ryan Murphy, who both directed and wrote the screenplay, manages to hit all of the marks necessary to convey the absolute absurdness of the life experienced by a young Augusten Burroughs without making any of the characters seem anything less than human.

Murphy does take advantage of the emotional content of the material to such an extent that he almost over uses it on occasion by showing several characters trying to deal with their own, individual demons in a succession of shots that show all of their anguish at the same time. However he manages to balance that by including a certain amount of silence throughout the film and letting the events just happen without any undue influence.

The cast of Running with Scissors is brilliant. Annette Bening turns in an outstanding performance as the amazingly out of touch and occasionally psychotic anti-mother, Deirdre Burroughs. Brian Cox is also excellent in his roll as Dr. Finch and manages to capture the character much as I had envisioned when listening to Augusten Burroughs read Running with Scissors as an audiobook. In addition Jill Clayburgh, Evan Rachel Wood, Joseph Fiennes and Gwyneth Paltrow all give captivating performances as ghosts from Burroughs’ past.

Both Jack Kaeding and Joseph Cross are convincing as young incarnations of Augusten Burroughs…although the younger Kaeding kept reminding me of how the author David Sedaris must have looked as a child. Cross gives Running with Scissors a performance that allows the audience to place a human face on the insanity and upheaval that was the life of Augusten Burroughs.

Readers of Augusten Burroughs, even the casual, should enjoy the film for the same reasons as the book; the lunacy, the humanity, the frailty and the heart. Those unfamiliar with Burroughs will find an often humorous while heartbreaking story of a young man’s struggle to grow up and survive the insanity of the world around him.

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Friday, October 20, 2006

New: On the pod

New: On the pod

Arvo Part – Da Pacem
Arvo Part – De Produndis
Crooked Still – Shaken By A Low Sound
Jet – Shine On
Jimmy Buffett – Take The Weather With You
KT Tunstall – KT Tunstall’s Acoustic Extravaganza
Michael Hedges – Aerial Boundaries
Michael Hedges – The Road To Return
Peter Ostroushko – Postcards
Sarah McLachlan – Winter Song
Submarines – Declare A New State


News: On the pod

This will be a quick one this time, because there’s not really too much going on. I sent in three more reviews for the December issue of Finer Things Magazine. When it comes out you’ll be able to read about Ta-Dah! by the Scissor Sisters, Despite Our Differences by the Indigo Girls and The Open Door by Evanescence.

Speaking of Finer Things Magazine, I happen to know that they have some advertising space currently available, so if you’re a business owner or just have something to advertise in general, drop them a line at FinerThingsMag@aol.com. I know they would love to hear from you.

I’m tossing around ideas for reviews of some of the new albums above. So far I’ve listened to six of them and they’ve all been pretty good, so it’s hard to know where to start. I’m also working on a piece about some of my favorite music for the fall. My plan is to try and work on that this weekend.



Have fun and as always, keep listening.

Joe

Saturday, October 14, 2006

Jonatha Brooke – Live In New York


Jonatha Brooke – Live In New York

Sometimes it’s hard to write about people you truly admire. For me, Jonatha Brooke is one such person. I have been a fan of her music since the release of her first solo album, Plumb, in 1995 and having seen her perform live this past year, I was eagerly awaiting the release of Live In New York. Listening to Live In New York is very, very close to the personal and intimate experience of seeing Jonatha Brooke perform live in person.

Live In New York showcases Jonatha playing both alone and with an amazing band at the Anspacher, part of Public Theatre in New York. The album is also available in a two disc set which contains a DVD of the performance, and in watching the show as well as listening to it, the setting seems to lend itself to capturing a performance that is at times both delicate and roaring.

The song selection for Live In New York spans Jonatha Brooke’s entire musical career; from Love Is More Thicker Than Forget all the way through No Net Below. The performances contained on Live In New York are all outstanding, full of energy, emotion and life. Alone, Jonatha turns in a haunting rendition of Deny as well as a delicate and wistful version of No Net Below as the albums closing piece. Her performances with the band; made up of Darren Embry on Bass and vocals, Rich Mercurio on Drums, Geoffrey Moore on Guitar and Ann Marie Milazzo on just about everything you can think of as well as background vocals, are full and powerful as evident on the tracks Linger and Steady Pull.

One of the highlights of the show for me is finally getting to hear a live version of the song Inconsolable from Jonatha’s album Plumb. Beyond being a great song, the end of the studio recording of Inconsolable is a piece of contained madness that reaches just over the edge of falling apart and then manages to pull itself back. While the version on Live In New York is not an exact copy of this, the inspired solo given by Geoffrey Moore is, in itself, also a piece of contained madness that manages to be almost out of control and then recovers, making it an experience in and of itself to hear.

Both the audio and video versions of Live In New York are outstanding examples of what Jonatha Brooke is capable of as a performer and a writer. If you haven’t been able to see her live, you should…trust me it’s worth it. Until you can though, pick up a copy of Live in New York to see what your missing.

Dream Theater – Score: 20th Anniversary World Tour


Dream Theater – Score:
20th Anniversary World Tour
Live with the Octavarium Orchestra


Score is Dream Theater’s best live album to date…and they’ve had a lot of them. It’s the fifth “official” live album released in the US by the band following Live at the Marquee, Once in a Livetime, Live Scenes From New York and Live at Budokan (sixth if you include the second half of the A Change of Seasons disc as a live album).

The performances turned in by Dream Theater at Radio City Music Hall that have been captured on Score are exemplary examples of progressive metal at its best. Perfectly synchronized guitar and keyboard runs by John Petrucci and Jordan Rudess and elaborately syncopated rhythms laid down by Mike Portnoy and John Myung, all nearly flawless, comprise Score’s nearly 156 minute entirety. The four instrumentalists of Dream Theater are all such virtuosos of their chosen instruments, that what took years of studio work to accomplish can be played nearly perfect, note for note, for over two and a half hours every night.

The biggest surprise on Score is how well Dream Theater vocalist, James LaBrie holds up for the entire performance. LaBrie is a gifted singer with an extraordinary vocal range and on Score he demonstrates that his talents are not a product of a studio environment. Vocally, he is in better form on Score than any of Dream Theater’s previous live recordings.

Score also contains a stellar performance by, as the title references, the Octavarium Orchestra. This is most notable on the 41 minute opus that is Six Degrees Of Inner Turbulence. Beginning with a “Hollywood” sounding instrumental piece, the Orchestra is eventually joined by the band and rockets through Six Degrees in its entirety. Many bands play full sets in the time Dream Theater devotes to just one track from this fourteen piece epic.

Score, when taken as a whole, proves an excellent way to immortalize, not only one night in New York City, but an extremely creative and prolific career of a band that has been at the forefront of a genre of music since they began playing together. To the listener, Score allows those of us who weren’t able to be there that evening to get an idea of what it was like for those who were and to get a glimpse of what it felt like for the band.

Wednesday, October 04, 2006

The Wailin’ Jennys: Live @ The Space: Hamden, CT 10/03/06


The Wailin’ Jennys: Live @ The Space: Hamden, CT 10/03/06


What follows is the Wailin' Jennys Live in two parts; one about them and one about me...enjoy.


Part I: The Jennys Live


Yesterday, the Wailin’ Jennys played an hour and a half set, live, in my living room…ok, not my living room exactly, but close enough. I had the great fortune of seeing the Wailin’ Jennys perform at The Space in Hamden, Connecticut on October 3rd...and sitting in one of the massive couches in the front row, I swear it was like having them play in my living room.

Annabelle Chvostek, Nicky Mehta and Ruth Moody glided through their set, captivating everyone in the gracious crowd with their wit as much as their stunning voices, or in Moody’s own words, One Voice. The trio played acoustic and showcased songs from their latest release, Firecracker, as well as a few songs from their previous album, 40 Days, and a couple of unrecorded band favorites.

The sheer musicianship contained within these three women is staggering. Not only did each one of them play multiple instruments, some at the same time, they flawlessly sang intricate harmonies with no more trouble than taking a long sip from a glass of ice water. If you’ve never seen a woman strap a snare drum head around her waist, play harmonica and sing all at the same time, then you really don’t know what you’re missing…much less that it can be done at all; because personally, I can barely walk and form a full sentence at the same time.

This was hands down one of the best live experiences I’ve ever had, so if you’re even a little bit interested in the Jennys, please do yourself a favor and go see them while they’re out on tour. If you’re in Connecticut and missed them this time, the Jennys will be back in Connecticut on March 3rd playing the Westport Arts Center. According to their website, www.thewailinjennys.com, they’ll be in the area (Northeast US) for a week or so, then the Midwest and the Pacific Northwest...and then off to play a few dates in the UK.

They’ll be around, go see them.

Check the tour section of either their website or their MySpace page for the exact dates.



Part II: Five things you learn about yourself when you meet famous people.

1 – You become a raving fan-boy.

2 – You really can say, “You were amazing” too many times.

3 – You should bring someone to kick you when you start to babble like an idiot.

4 – If you write, you should tell people who you write for, not make them guess and then hand them a business card (See # 1)

5 – MySpace actually works in terms of people knowing who you are…sort of.


Steve & Jon Rogers of Mighty Purple: Live @ The Space – Hamden, CT 10/03/06


Steve & Jon Rogers of Mighty Purple: Live @ The Space – Hamden, CT 10/03/06

Steve & Jon Rogers of Mighty Purple played a short opening set for the Wailin’ Jennys at the Space on October 2nd…and were really good. I shouldn’t say that like I’m surprised, I just had no idea what to expect. Mighty Purple has been a fixture on the Connecticut music scene for several years and I, somehow, managed to never see them play. I met Steve at the Mieka Pauley show I wrote about a few months back. He seemed like a pretty cool guy, so I was interested to hear what they were going to sound like.

The first thing I realized, other than I liked the songs, was that Jon Rogers is one hell of a guitarist. He played electric to Steve’s acoustic and laid down some of the coolest accents and atmospheric lines I’ve heard played live. I had heard things like that on albums before, but not in a live setting, much less by a duo. In the context of the songs, which were a good solid mix of acoustic pop and folk, the interplay between acoustic rhythm and electric lead worked outstandingly well.

The Rogers brothers’ set was full of energy that fit the songs; sometimes restrained and introspective, sometimes more pronounced and fluid but always there to keep their songs moving and interesting.

After seeing the outstanding vocal and instrumental performances by both Steve and Jon, their longevity on the scene actually makes a lot of sense. On their website, Mighty Purple writes that the music industry never really knew where to put them. I think they found their place at the front of the stage.


Black Label Society – Shot to Hell


Black Label Society – Shot to Hell

I’ve been fan of Zakk Wylde since the first time I heard him play the opening notes of Miracle Man on Ozzy Ozborne’s No Rest For The Wicked album back in 1989. He quickly established himself as an outstanding guitarist in one of, if not the most visible slots in Rock & Roll by stepping into the shoes of Tony Iommi, Randy Rhodes and Jake E. Lee. In addition to playing with Ozzy, Wylde has recorded with everyone from Black Sabbath to Damageplan, Derek Sherinian to Dweezil Zappa, released albums as Zakk Wylde, Pride & Glory and has been the driving force behind Black Label Society and their nine albums. Did I mention that while out touring with Ozzfest, he also manages to play with both Black Label Society and Ozzy in the same night? Could Zakk Wylde be the busiest man in show business? Quite possibly.

Black Label Society has returned with the release of their album, Shot to Hell, to sonically dominate and aurally dismember all comers. Black Label Society is one of the heaviest bands in American music today, and it shows here. They’re not necessarily the fastest or the angriest and Zakk Wylde actually sings instead of screaming and yet there is something about Black Label Society that manages to cut right to the heart of what “heavy” is. I don’t know if it’s the screaming guitars with the signature Wylde squeals, the tight, tight rhythm section or the overall attitude of the band, but a safe bet would be some combination of all three.

With all that being said, there are aspects of Shot to Hell that point back to Zakk Wylde’s mostly acoustic solo album, Book of Shadows. There are moments where Shot to Hell turns the Marshall’s down from 11 and stops cracking skulls long enough to just kind of poke you with a sharp stick. Black Label Society has the amazing ability to stay heavy no matter what’s on the table; rocker or ballad, fast or slow. Mind you, ballad is not the most appropriate word to use when discussing Shot to Hell.

I think the bottom line is, if you’re looking for something dark and heavy (did I mention heavy?)…Black Label Society. If you truly appreciate the finer points of what Rock & Roll or Hard Rock or Heavy Metal is really all about, again…Black Label Society. If you want a band that not only talks the proverbial talk, but also walks the proverbial walk…you guessed it…Black Label Society. Pick up a copy of Shot to Hell, you won’t be disappointed.


Friday, September 29, 2006

Soul Asylum - The Silver Lining


Soul Asylum - The Silver Lining

I was only a casual fan of Soul Asylum during the peak of their success with the Grave Dancer's Union album in the early nineties. I really began to pay attention when I heard their follow-up, Let Your Dim Light Shine. It had its hit songs like Misery, but then a song like String of Pearls with its circular narrative…I dug it. When I was done listening, I wanted to hear more of what Dave Pirner and the band could do so I waited the next three years for the album that would eventually become Candy From a Stranger. I think I picked it up on the day it was released, got in the car, popped it in…and never listened to it again. I’m not sure why, but I just didn’t get it. The album as a whole escaped me and as I began to forget about Candy From a Stranger, Soul Asylum seemed to disappear as well.

After eight years, Soul Asylum has released their latest album, The Silver Lining. It is, in my opinion, the album that I was waiting for after 1995’s Let Your Dim Light Shine. The dirty guitars, hooky melody lines and the organized disarray of the band’s earlier albums are back; along with a certain maturity that is both natural, giving their eight year absence, and that was forced upon them by the striking death of founding member and Soul Asylum bassist, Karl Mueller to cancer in 2005.

While The Silver Lining doesn’t offer anything quite so iconic as either Black Gold or Run Away Train, the twelve songs it does offer are consistent and solid and, in turn bring into being a consistent and solid album. The tracks themselves range from full on rockers to more bluesy and R&B influenced tracks; all with that trademark Pirner delivery, both lyrically and vocally. The recorded instrumental performances are outstanding also, and help shape the feel of the songs themselves.

As I am not terribly familiar with Soul Asylum’s early albums, I don’t want to speak for those fans, but if you enjoyed Grave Dancer's Union or Let Your Dim Light Shine...or both, you should find yourself right at home on The Silver Lining, just like I did.

Tuesday, September 26, 2006

New: On the pod

New: On the pod

Black Label Society – Shot to Hell
Blue Murder – Blue Murder Demos (All Original)
Bon Jovi – Keep the Faith (Various Live Tracks)
Crooked Still – Shaken By a Low Sound
Diana Krall – From This Moment On
Dream Theater – Score: 20th Anniversary World Tour
Evanescence – The Open Door
Indigo Girls – Despite our Differences
Jake Shimabukuro – Gently Weeps
Jake Shimabukuro – Walking Down Rainhill
Jeffrey Foucault – Miles from the Lightning
Jeffrey Foucault – Stripping Cane
Jonatha Brooke – Live in New York
Journey – Sleep Train Amphitheater (Sacramento, CA – 08/27/06)
Michael Penn – March
Old Crow Medicine Show – Big Iron World
Old Crow Medicine Show – Old Crow Medicine Show
Rosanne Cash – Black Cadillac
Scissors Sisters – Ta-Dah!
Vinnie Vincent – Guitars from Hell
Within Temptation – Enter
Within Temptation – Mother Earth
Within Temptation – The Dance
Within Temptation – The Silent Force


Audiobooks:

Max Brooks – The Zombie Survival Guide

The Zombie Survival Guide: Complete Protection from the Living Dead
The Zombie Survival Guide:


Complete Protection from the Living Dead



Max Brooks – World War Z

World War Z:An Oral History of the Zombie War
World War Z:


An Oral History of the Zombie War



News: On the pod

Well, we’ve got more new stuff on the pod as you can see. I’m kind of excited about a few of the titles. New Dream Theater is always a treat, even if it is yet another live album. From what I’ve heard of it so far, Black Label Society is pretty kick ass. The Within Temptation albums were given to me by my good friend, Irfan. His take is that they’re similar to Evanescence and Lacuna Coil…but better. Speaking of Evanescence, I’ve got their second album and so far so good…took them long enough though. I also managed to find new discs from my old favorites the Indigo Girls and Jonatha Brooke and my new favorite Ukulele player Jake Shimabukuro…so I’ve definitely got my listening cut out for me.


In the Audiobooks section, you might have noticed The Zombie Survival Guide by Max Brooks. I’m about half way done and can already say, with some authority, that this is the most in-depth, exacting look at what you can and need to do in order to protect yourself and your family from the inevitable and rapidly approaching zombie Armageddon. What more can you really say?

The Zombie Survival Guide: Complete Protection from the Living Dead


I submitted the first in what I hope will be a long line of music reviews to Finer Things Magazine last week. I reviewed Scrubs Soundtrack Volume One, the new Los Lonely Boys and the new Breaking Benjamin albums. You should be able to find the October issue of Finer Things Magazine at any of the below listed establishments around New England soon:

Massachusetts:
Diva’s Nightclub-492 Pleasant Street-Northampton
Northampton’s Pride & Joy-20 Crafts Avenue-Northampton

Connecticut:
Triangles Café-66 Sugar Hollow Road-Danbury
Women’s Center of Greater Danbury-2 West Street-Danbury
Subrosa Magick-15 Foxon Boulevard-East Haven
Best Video-1842 Whitney Avenue-Hamden
Alchemy Juice Bar Café-203 New Britain Avenue-Hartford
Chez Est-458 Wethersfield Avenue-Hartford
Cinestudio-300 Summit Street-Hartford
The Comet Lounge-267 Farmington Avenue-Hartford
Parfume Du Jour-231 Asylum Street-Hartford
Enchantments-464 East Center Street-Manchester
The Magick Mirror-321 Post Road-Milford
AIDS Project New Haven-1302 Chapel Street-New Haven
Artspace-50 Orange Street-New Haven
Atticus Bookstore/Café-1082 Chapel Street-New Haven
BAR-234 Crown Street-New Haven
Book Trader Café-1140 Chapel Street-New Haven
Café Nine-250 State Street-New Haven
Fair Haven Furniture-72 Blatchley Avenue-New Haven
Gotham-130 Crown Street-New Haven
New Haven Gay & Lesbian Community Center-50 Fitch Street-New Haven
168 York Street Café-168 York Street-New Haven
Lovecraft Tattoo-1538 Whalley Avenue-New Haven
Partners Café-365 Crown Street-New Haven
Rimage’-1210 Chapel Street-New Haven
Sogno-83-B Audubon Street-New Haven
Style Forum-1674 Quinnipiac Avenue-New Haven
Walker-Loden-258 Church Street-New Haven
Yale Repertory Theater-1120 Chapel Street-New Haven
Garde Arts Center-325 State Street-New London
Golden Street Gallery-94 Golden Street-New London
Greene's Books & Beans-140 Bank Street-New London
Triangle Community Center-16 River Street-St. John River View Bldg.-Norwalk
Georgina’s-290 Boston Post Road-Orange
Club Mor-29 Atlantic Street-Stamford
Fletcher's Café-52 East Main Street-Waterbury
Elbow Room-986 Farmington Avenue-West Hartford
Curious Goods-415 Campbell Avenue-West Haven
The Cedar Brook Café-919 Post Road-Westport

Well that’s all for now, so as usual, thanks and keep listening…

Joe

Friday, September 22, 2006

Everclear – Welcome to the Drama Club

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Everclear – Welcome to the Drama Club

Welcome to the Drama Club is the best album Everclear has released since they debuted on Capitol Records with the album Sparkle and Fade in 1995. That being said, you could make the argument that Welcome to the Drama Club isn’t technically an Everclear album at all, being that out of original members; Art Alexakis, Craig Montoya and Greg Ecklund…only Alexakis remains.

The new Everclear has gone from a Trio to a Quintet this time out, featuring Alexakis on vocals and guitar along with Sam Hudson on bass, Dave French on guitar, Brett Snyder on drums and Josh Crawley on keyboards. After the release of their fifth studio album, Slow Motion Daydream, and a greatest hits album, Ten Years Gone, Everclear the Trio went their separate ways, with Montoya and Ecklund forming their own solo projects, Tri-Polar and The Oohlas respectively, and Alexakis deciding to recreate Everclear. The new lineup and a less than happy recent past for Alexakis seem to have put a spark back into Everclear that was sadly missing in recent years.

Since Sparkle and Fade hit in the mid nineties, with songs like Santa Monica and Heroin Girl, Alexakis seemed to have found his comfort zone melodically. While giving his songs a trademark Everclear sound, it also had the tendency to make several Everclear songs sound the same. On Welcome to the Drama Club however, the Everclear sound is still there, but the songs as a whole are full of energy, anger, angst and hope which give them the feeling of not having been heard before. The album sounds fresh, not rehashed and while the topics of divorce, addiction, financial ruin and even love have been covered several times before by Alexakis, the events that made up his recent years seem to have energized him as a writer and given him something more to say.

Sonically, Welcome to the Drama Club is crisp; not over produced as some of the band’s recent outings have been. The addition of a second guitar and keyboards do a remarkable job in helping to shape the sound of Welcome to the Drama Club into something that is both familiar and fresh. Josh Crawley’s keyboard work is the most noticeable new color in the Everclear palate, lending a funky vibe to some songs while expanding the sonic base of the album as a whole.

Change is tough. Change is also unavoidable. We don’t like change; we all have our comfort zone. We get used to things, they way they are and the way they make us feel. Sometimes though, you just have to jump…and once you do, you realize that change really isn’t all that bad. There’s new life in change and Welcome to the Drama Club is a perfect example of that.

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Thursday, September 14, 2006

Jeffrey Foucault – Ghost Repeater


Jeffrey Foucault – Ghost Repeater

Jeffrey Foucault’s Ghost Repeater is one of the most honest and most authentic works by a singer/songwriter I have ever heard.

It is a slice of life, or more correctly, a slice of American life that echoes with the sounds of a different time and a different place. Part Blues, part Country and part Folk; Ghost Repeater treads tenderly through rural America with eleven songs that seem like an old shoebox full of photographs from the twentieth century.

Foucault is an outstanding writer, with the gift of both lyric and melody. When listening to Ghost Repeater, the individual pieces of the songs; the lyrics, the melody, the music, seem to become transparent and fall away exposing the soul of the composition full with atmosphere and emotion.

Musically, Ghost Repeater is sparse and haunting with its wide open spaces filled only slightly with acoustic guitars, brushed drums and echoing pedal steel accents. Other instruments come and go with the only constant on Ghost Repeater being the acoustic guitar and Jeffrey Foucault’s voice.

Foucault has constructed an album with songs that feel traditional and arrangements to match. Ghost Repeater is sonically consistent, helping to carry that traditional feel from the starting notes of Ghost Repeater to the very last, lingering traces of Appeline.

I’ve been extremely lucky to discover a select few artists who are truly gifted in their musical pursuits. Jeffrey Foucault and his album Ghost Repeater are among the very best of them.


Barenaked Ladies – Barenaked Ladies Are Me


Barenaked Ladies – Barenaked Ladies Are Me

A while back, I wrote about the Barenaked Ladies podcast, “Live from the studio, Freaking Out.” The band began podcasting in February and has, with somewhat less frequency, continued to do so with their latest podcast that was released on August 31st. I listened to all of them and realized that I felt, for the first time in their career, that I really wanted to hear their new album. So, under the advice and/or mind control of BNL frontman Stephen Page, I pre-ordered the Barenaked Ladies Are Me: Super Duper Fantastic Morally & Socially Redeeming Deluxe Edition (actually it’s just called the Barenaked Ladies Are Me: Deluxe Edition).


Question: Was I a marketing push over? Did they, as they say, see me coming?


Answer: Possibly, but I prefer to think that I just had a lot of time invested.

Anyway, the Deluxe Edition of Barenaked Ladies Are Me has a whopping thirty tracks as opposed to the standard version’s thirteen...or fifteen if you buy it from the iTunes Music Store. You may be thinking that for someone who’s a casual fan of the band, thirty tracks seem like a lot.


Question: Was I duped by the evil and subliminal marketing strategies of the BNL sales juggernaut?

Answer: Most definitely, but you know what?

Barenaked Ladies Are Me is a really good album…not only the first thirteen “official” songs, but additional seventeen as well. That being said…


Here are my first impressions of Barenaked Ladies Are Me:

* With fear of sounding cliché, this album was recorded by a more mature BNL…not necessarily a more serious BNL mind you, just more mature.

* The album still has that signature BNL “tongue in cheek” feel, but it is not afraid to venture beyond that signature BNL “tongue in cheek” feel.

* The album seems to have a more raucous feel to it.

* There seem to be lots of guitars…lots of electric guitars.

* It feels like a more “electric” album than their past albums.

* There are very good instrumental and vocal performances by everyone.

* Bob Clearmountain did a great job mixing the disc.

* There seem to be infinitely more Ed songs on this album than usual…which is a good thing.

* Speaking of Ed…I love the line, “I was a baby when I learned to suck, but you have raised it to an art form” from Wind It Up.

All in all, I think Barenaked Ladies Are Me, in which ever form you find it; the normal edition, the normal edition with bonus tracks, the expanded edition, deluxe edition or the extremely rare and hard to find (not the least of which is because it doesn’t exist) supercalifragilisticexpialidocious edition; is a winner. By the way, you don’t have to feel too bad if you only managed to find a normal, thirteen song edition of Barenaked Ladies Are Me because the band has plans to release Barenaked Ladies Are Men, a follow up disc, in the new year that should contain most of the other tracks from the deluxe edition.


Peter Frampton – Fingerprints


Peter Frampton – Fingerprints

Peter Frampton’s new album, Fingerprints fits nicely into place following his last two studio albums; 1994’s Peter Frampton and 2003’s Now. The curveball comes when after the first few measures of Boot It Up, the first track from Fingerprints, you begin to realize there are no vocals. The man responsible for the best selling live album of all time, Frampton Comes Alive, and such legendary songs as Show Me the Way and Do You Feel Like We Do seems to have abandoned the microphone in exchange for his guitar and released the first instrumental album of his career.

Fingerprints is eclectic, carefully crafted, well played and most definitely a Peter Frampton album. Anyone who is familiar with Frampton as an artist can attest to his particular guitar “sound,” made up of his guitar tone and thoroughly influenced by his instrumental technique and musical phrasing. His sound is, just as the name of the album implies, a fingerprint and the longer a musician plays, the more defined that fingerprint becomes…and Peter Frampton has been playing for a long time.

It’s an interesting experience to hear an instrumental album from a musician who is intimately familiar with the workings of writing a song with both music and vocals. The songs on Fingerprints are more about being songs and less about the technique needed to play the instrument. The melody lines played by Frampton’s guitar are much more like vocal passages than your typical instrumental guitar album, which this is not.

The songs, while all identifiable as Frampton, are all unique to each other. Each of the fourteen tracks is a composition unto it self. Fingerprints is not disappointing in it’s variety; you have full on rockers, contemplative acoustic pieces, blues, a little jazz and even a French vignette courtesy of the album’s closer, Souvenirs de Nos Peres.

Some may look at Fingerprints as being a work of self-indulgence, in that Peter Frampton has chosen to only focus on his passion for guitar. However, a different argument could also be made. Fingerprints may just be a small jewel in the vast career that Peter Frampton has had.


John Mayer - Continuum


John Mayer – Continuum


I had these two ideas for the John Mayer review. I couldn't decide, so I included them both...you pick.



Review #1:

Having written at length about John Mayer and the songs on Continuum previously, I am left with only two things to say about Mr. Mayer and his new album:

1 – Thank whichever God applies that John Mayer started his career early. That God willing, he will be with us to a ripe old age and making music all the while.

2 – Stop reading this and proceed with one of the following:
A - Log in to iTunes and buy a copy of John Mayer’s Continuum right now.

B - Get in your car, drive to your favorite place to buy music and buy a copy of John Mayer’s Continuum right now.


Review #2:

Having written at length about John Mayer and the songs on Continuum previously, I am left with only one thing to say about Mr. Mayer and his new album:

fan-F$%#ING-tastic


Friday, September 08, 2006

New: On the pod

New: On the pod

Bitter:Sweet – The Mating Game
Breaking Benjamin – Phobia
BT – This Binary Universe
George Lynch – Furious George
Glenn Gould - Robert Schumann: Piano Quartet/Brahms: Piano Quintet
Gran Bel Fisher – Full Moon Cigarette
Iron Maiden – A Matter Of Life And Death
Jani Lane – Back Down To One
Kaki King – Until We Felt Red
Los Lonely Boys – Los Lonely Boys
Los Lonely Boys – Scared
Lyle Lovett – My Baby Don’t Tolerate
Lyle Lovett – Step Inside This House
Michael Schenker Group – Adventures Of The Imagination
Nina Gordon – Bleeding Heart Graffiti
Scrubs – Soundtrack
Soul Asylum – Grave Dancers Union
Steve Stevens – Flamenco A Go-Go
The Who – Wire & Glass


Audiobooks:

Cornelia Funke – The Thief Lord



Quick Audiobook Review:

Whitley Strieber – The Grays


Grays
The Grays


Whitley Strieber’s The Grays is a perfect example of how accessible Science Fiction can be to a popular audience. As a genre, Sci-Fi can be a hard sell to a lot of people, but The Grays doesn’t have the typical pitfalls like alien names with too many consonants or so much made up science that it feels as if you’re reading a technical manual. The real strength of The Grays is it’s humanity. Strieber gives us a story in which everyone, both human and alien alike, is looking for the answer to who they are and what that means. The writing is beautiful, most especially so in the scene of a young boy becoming who he is destine to be. The Grays is an exciting read, which once started will be hard to put down.



News: On the pod

Hi everybody,

Well, I'm back from the road trip with lots of new music to write about as you can see. I should have a few new album reviews up shortly, so check back soon for those.


While we were on the Charlotte trip, I met a great guy and artist by the name of Tom Davidson. He has a very cool comic called D-tails that you can check out over at his website, www.watchtomdraw.com. There’s an online version as well as a print version, which I highly recommend you buy several copies of, because I picked one up myself and it was great…and did I mention inexpensive?


As for the the quick audiobook review...If you get a chance, check out The Grays. I really dug that book.

I also blew through Neal Stephenson’s Zodiac which was a blast to read. Very different from his other books like Snow Crash and The Diamond Age, I’d actually have to say that Zodiac was light in comparison. Oh, and it’s a very easy read, unlike...well...um...let's say...hmmm...I don't know...Cryptonomicon. I’m still working on that one.

Zodiac: The Eco-Thriller
Zodiac: The Eco-Thriller


I’m currently reading Loser Goes First by Dan Kennedy which is a fun little book too. I’ll let you know just how much when I’m done.

Loser Goes First: My Thirty-Something Years of Dumb Luck and Minor Humiliation
Loser Goes First: My Thirty-Something Years of Dumb Luck and Minor Humiliation


I think that pretty much sums up what’s going on around here so I’ll let you get back to your lives. As always, check back soon for updates.

Thanks and keep listening,

Joe

Monday, August 14, 2006

Strummin’ With the Devil: The Southern Side of Van Halen


Van Halen: The Where Are They Now Extravaganza - Part I

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Strummin’ With The Devil: The Southern Side of Van Halen Featuring David Lee Roth (2006)


Stummin’ With The Devil is the latest in a string of Bluegrass tribute albums that have been released in the last few years. AC/DC, Metallica, Pink Floyd, Aerosmith, Dave Mathews, John Mayer and the Red Hot Chili Peppers are just some of the artists whose material has received the Bluegrass treatment and now Van Halen joins their ranks. What makes this time out different from the others is not the endorsement of, but the contribution to the album by original Van Halen frontman David Lee Roth.

Roth lends his trademark vocals to the first two tracks, Jump and Jamie’s Cryin’, on Strummin’ With The Devil which are preformed by the John Jorgenson Bluegrass Band. Jump is also included a second time at the end of the disc as a “Radio Edit” version. David Lee Roth’s presence on the tracks is unmistakable and while he is more laid back here than in any other of his recorded performances, he is still, unmistakably, Diamond Dave.

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Several artists, some of which include the previously mentioned John Jorgenson Bluegrass Band on Jump and Jamie’s Cryin’, Cornbread Red playing Panama, The Nashville Bluegrass Band covering Could This Be Magic? and an outstanding rendition of I’ll Wait by Blue Highway help to round out the album’s fifteen tracks.

All the tracks on Strummin’ With The Devil are stripped down acoustic versions of their original classic Van Halen counterparts. While the presentation of such signature electric tracks such as Jump, Unchained and even Eruption may at first seem odd and out of place, with each subsequent listen that misconception fades away to reveal the intricate arrangements and extraordinary musicianship that makes up Strummin’ With The Devil.

The versions of the songs made famous by the Van Halen brothers, Michael Anthony and David Lee Roth that are included on Strummin’ With The Devil are elegant in their new skin while still holding onto the feel that made them classics in the first place. Van Halen, David Lee Roth and Bluegrass fans should love Strummin’ With The Devil equally for the reverent treatment of the material as well as for its genre bending renditions. Van Halen has always been fun, especially the Roth era Van Halen. As a tribute, Strummin’ With The Devil hits that nail right on the head and yet manages to do so respectfully.

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Sammy Hagar – Livin’ It Up


Van Halen: The Where Are They Now Extravaganza - Part II

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Sammy Hagar - Livin’ It Up (2006)


Sammy Hagar is slowly but surely encroaching on Jimmy Buffett’s territory. Both are kings of the beach party, both own restaurants or clubs and both hock tequila to the thirsty masses. Hagar even mentions Buffett by name on his new album Livin’ It Up near the end of his song Sailin’.

Come to think of it, have you ever actually seen Jimmy Buffett and Sammy Hagar in the same place at the same time? No? I didn’t think so…interesting. Who knows, they may actually be the same person…kind of like Michael and Latoya.

Anyway…Sammy Hagar is back with his latest album, Livin’ It Up and he finally got it right. There are a few issues, but on the whole Livin’ It Up is a party from start to finish. Since his original departure from Van Halen, his albums have been spotty at best, the only consistency being that they have all contained the good, the bad and the filler.

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This time out, Hagar has managed to put together a consistent album both in feel and theme. The songwriting is probably his best as a solo artist to date and definitely his least “cheesy” since his Van Halen days…Amsterdam not withstanding. The songs all fall into the atmosphere of the Mexican beach party that he has been trying to get across since Cabo Wabo was released on OU812.

Another interesting turn of events it that the former member of Montrose, HSAS and Van Halen openly embraces several aspects of the Country genre on Livin’ It Up including the trademark twang of Pedal Steel guitar on tracks like Halfway To Memphis.

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My biggest problem with Sammy Hagar’s new album is…product placement. Livin’ It Up, while being a really good album, seems at times to be nothing more than a sales pitch for Hagar's Cabo Wabo and Cabo Tahoe resort destinations and his Cabo Wabo brand tequila, as fine as it may, in fact, be. The song Just One Sip could, and most likely will, be the official Cabo Wabo Tequila jingle. Both the tequila and the clubs are mentioned by name more than once on Livin’ It Up which does make his former ode to salt-rimmed glasses, Mas Tequila, seem subtle by comparison.

We live in an advertising age and the boy does have something to sell...I guess his thought was why not sell to a captive audience.

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Tribe of Judah – Exit Elvis


Van Halen: The Where Are They Now Extravaganza - Part III

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Tribe of Judah – Exit Elvis (2002)


Tribe of Judah’s Exit Elvis is an excellent example of a great debut album by a band not many people ever heard of. Why didn’t anybody ever hear of them? Any number of reasons really…timing, marketing, climate, band members. Band members you ask? Band members, I say. Tribe of Judah came into existence with an EP release in 2001 by members Steve Ferlazzo, Leo Mellace, Mike Mangini and Pat Badger. Any of those names starting to look familiar? How about this one, Tribe of Judah was/is fronted by none other than Van Halen’s last, and seemingly most loathed (by everyone except me), frontman Gary Cherone.

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The reason I asked about the names starting to look familiar is that when added to Cherone, Mike Mangini and Pat Badger make up three quarters of the seemingly recently reformed Boston based band Extreme. In many ways, Tribe of Judah is a rebirth of Extreme, sans Nuno Bettencourt of course. You can hear aspects of the old band, but placed in a new and more modern context. Aside from their first album, Extreme always seemed to be much more progressive than their contemporaries and not just in terms of their musical technicality but also socially and politically.

Take that existence, add in the more sonically experimental aspects of Van Halen III and incorporate all of the technical advances in music and the bands that came after who helped redefine the sound of music into the new century and you begin to have an idea about the sound of Tribe of Judah. There are layers of industrial and electronic music mixed in to the heavy guitars and theatrical vocals that are Cherone and were Extreme…and Van Halen for that matter.

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The album, taken as a whole, is tight and an altogether different experience than one might expect. There are, as with most things, parts that don’t work so well, but as an album it creates something interesting and unique. Exit Elvis is an experience as much as it is an album. There is a certain theatricality running through it, which concludes with the album’s title track, that seems to make it a little heartier than your average disc.

It’s hard not to wonder if Tribe of Judah would have been better known and Exit Elvis would have done better had Cherone’s tenure in Van Halen gone over better with the public in general. In my opinion, Van Halen fans weren’t ready to hear a new band, which was just what they got when Gary joined. It wasn’t Roth and it wasn’t Hagar and it never was going to be…and, people just weren’t ready for that. It’s unfortunate, because I think a second Cherone era Van Halen album would have been something that had the potential to be very special as the band would have had the time to gel and explore each other musically. I guess that’s something we’ll never know. On thing is certain though, if Van Halen III did better…Tribe of Judah never would have existed, and that would have been unfortunate too.

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Eddie Van Halen – Music from Sacred Sin

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