Tell Tale Signs

Dylan’s back, and he’s got everyone running for cover again. It’s true, as Larry Sloman points out in the liner notes for the Bootleg Series Volume 8, that Dylan’s eight ‘bootleg’ cds of ‘extra material’ are enough to make a career for any other performer. Indeed, what Bob leaves on the cutting room floor often surpasses his own official album releases. From Volume 1-3, Blind Willie McTell and Farewell Angelina rank among the best songs he’s ever written, and no one but Bob could explain why he chose to shelve them. The same is true for Volume 8, released on Tuesday and loaded with gems. It’s a combination of alternate versions, early demos, unreleased tracks and blistering live versions of songs from his ‘late period’, 1989-2006. His recent studio albums are astonishing, but Volume 8 gives us a bonus, and sheds some light on his creative process. The alternate versions of Someday Baby and Most of the Time are radically different from what ended up on the albums, but are nonetheless impressive. And the unreleased tracks, Born in Time and Red River Shore in particular, rank right up there in his whole immense catalog. You could buy this release (should buy it, in fact) and not feel like it’s a collection of oddities for hardcore fans only.

But alas, I have a complaint. A rather big one, in fact. I got the 2-cd set for $18.99, which is more than fair. But the limited edition release, priced at over $100, contains a third disc of treasures and a book of all of Bob’s single record picture sleeves. Why must I pay an extra $80 for that? I don’t care much about the book, but that third cd is important. For the majority of music fans, the 2-cd set is enough, but I count myself amongst a small group of fanatics that want that extra disc of material, and I feel like we’re being taken advantage of. Of course the third cd is not available on i-tunes. I noticed this trend with the U2 remastered releases, with a hefty price tag on the premium edition for the fans who just can’t say no. Well I want that third disc, but I’m saying no. Columbia should not be surprised when these tracks start showing up on blogs and torrent sites. For God’s sake, some of Bob’s fans have been buying his records for 45 years, and this is how you treat them? Shame.

Like sands through the hourglass....

Time to get back on track here, as I've had another extended lapse. Work/life burdens and a trip to Costa Rica have absorbed my blog time. I think the key is shorter, more frequent posts, so here we go...

Lately I've been really digging the new record by Stephen Malkmus and The Jicks, Real Emotional Trash. I missed the heyday of Pavement, in fact I missed a lot of the indie rock scene in the 90's for a variety of reasons. Fast forward to I think his fourth solo record and I'm getting drawn in. Although this doesn't really sound anything like the Pavement songs I have heard, it's hard to ignore. Malkmus caught my ear recently with his Dylan covers on the I'm Not There soundtrack. Malkmus is not for everyone, and this is not the most accessible music you'll run across, but if you like great guitar work, quirky songwriting and absolutely surreal lyrics, this is for you. The music reminds me of Cracker and at times, Lou Reed. It's uniquely American. I like Malkmus because he's in his 40's, a father, and he's just trying to break some new ground.



Speaking of unique, I'm also digging the debut album by Yeasayer, All Hour Cymbals. This music is hard to describe. It's indie rock with a tribal undertone,containing Eastern, African and even Native American influences. No debut album should be this adventurous and this good. These guys are a quartet from Brooklyn, which makes it all even more surprising. The only down side to Yeasayer is their name, which reminds me of 70's pop artist Leo Sayer (if you remember 70's you know why this is bad).


2080 - Yeasayer

Silver and Gold

The last album I bought in 2007 was the first one I bought in 1987. I suppose I dwell on 'classic rock' a little too much here, and it's a little depressing that The Joshua Tree, at 20 years old, is now in the same category. Oddly, it was also the first CD I bought that sounded like crap. Like the other early U2 CDs (debut through Unforgettable Fire), the sound quality was muffled and lifeless, which is exactly why I bought this remastered version. The good news is that there's a dramatic improvement in the sound quality and a second disc of rarities that is an essential CD on it's own.

Arguably the greatest album of the 1980s, the Joshua Tree is one of three tremendous musical peaks in U2's work (the other two being Actung Baby and All That You Can't Leave Behind). If you have to choose one U2 album to take to that desert island, this has to be the one. The mere fact that there is an album's worth of unused music from this period is testament to this creative peak. The bonus tracks range from more experimental material to very strong compositions that could have easily fit on the album (the Joshua Tree clocks in at 50 minutes, part of its strength, in my opinion). I always liked the live take of Silver and Gold from the Rattle and Hum disc, and on this bonus disc, we get a studio version and the Sun City version, with Bono, Keith Richards and Ron Wood.

Silver and Gold (Studio)

Silver and Gold (Sun City)

More remastered U2 album releases are promised, and hopefully we will get an equal share of bonus tracks.

Is it 2008 yet?

Egads I'm behind. No posts for over a month. I meant to publish a review of my favorite songs of 2007 weeks ago. At this point it seems like old news. However, I need to do it just so I can turn the page. So here they are, briefly, in no particular order:

Impossible Germany - Wilco. Really any song from Sky Blue Sky. Here's a nice live performance from their appearance on Austin City Limits:



Alaska - Dr. Dog. The 70's live again. Their records are low-tech affairs, but I saw them perform live last fall and they've got the chops.

Country Caravan - Blitzen Trapper. More 70's gold from this Portland, OR band. A real schizo album (Wild Mountain Nation). Loads of fun.

Icky Thump - The White Stripes. Jack does it again. A Led Zep/rap masterpiece. It's too bad Meg's breakdown sidelined their tour last year.

Silver and Gold - U2. Yes I know it came out in 1987, but a studio version was released on the Joshua Tree box set reissue. I love this song. More on this one later.

Sea Legs - The Shins. An engaging song from a really good album.

Please Read The Letter - Robert Plant and Alison Krauss. A fantastic album. I'm looking forward to their tour.

Imitosis - Andrew Bird. It took me a while to warm up to the album, Armchair Apocrypha. All of a sudden it clicked. This guy is hugely talented. He reminds me of Beck in some ways.

Apartment Story - The National. Sometimes one song leaps out at you from a album. This one certainly did.

Crumble - Dinosaur Jr. A welcome reunion. I don't care if it sounds like their work in the 90's. I love that guitar sound.

You Got Yr. Cherry Bomb - Spoon. I find Spoon a little tedious over the course of a album, but in small doses they are brilliant.

I'm Not There - Sonic Youth
The Wicked Messenger - The Black Keys. It's hard to pick a favorite from the I'm Not There soundtrack, so here's one from each disc.

The Wicked Mesenger - The Black Keys

There. On to bigger and better things.

I'm Not There - The Soundtrack

I raved about the film earlier this week, so how's the soundtrack, you ask? Well, I've listened to both discs about 10 times, and overall it is enjoyable. Dylan is one of the most covered songwriters of all time, so the bar is raised. Two discs, with an interesting combination of veteran performers and some of the newest indy-alternative artists around. The result? Most of it is very good, with the standout performances mixed between the old and the new. A good cover respects the original but succeeds in conveying the cover artist's style in the song. There's nothing interesting in mimicking the original. However, a cover that totally obliterates the original seems like a cop-out. On I'm Not There, there's some of the former, and very little of the latter, which overall is a good thing.

The best part of the collection is that many of the songs are Dylan's lesser known material. This may be due to Todd Hayne's influence in the musical backdrop for his complex film, or the individuality of the artists, but it works. There's no Like A Rolling Stone or Blowing In The Wind here, but instead Dark Eyes and Goin' To Acapulco, to name two examples.

The mother of all Dylan Covers is All Along the Watchtower by Hendrix. How do these compare? Here's the summary, with my one blurb review. This review is for the non-Dylan fanatics. If you're not planning on buying the 2-CD set, buy the tracks in green. You won't be disappointed.

Disc 1
All Along the Watchtower - Eddie Vedder and The Million Dollar Bashers (MDB) (the soundtrack's 'house band'.) Nothing new here. Not the best way to start the CD.
I'm Not There - Sonic Youth. Fantastic. Thurston Moore nails this beloved 'lost track' from the Basement Tapes.
Goin' To Acapulco - Jim James and Calexico. James vocal breathes new life into this overlooked track from the Basement Tapes. A haunting scene from the film too.
Tombstone Blues - Richie Havens. Not exactly revolutionary, but it's hard not to like Havens style.

Ballad of A Thin Man - Stephen Malkmus and MDB. Malkmus and the band deliver almost a copy of the 1965-66 sound, but despite the unoriginality, it really works. Malkmus seems to be relishing every nuance in the song.
Stuck Inside Of Mobile With The Memphis Blues Again - Cat Power. Uninspired. I didn't like the Dead's version either. Maybe only Bob can deliver this one.
Pressing On - John Doe. A killer version of a song from Bob's overlooked Christian period.
Fourth Time Around - Yo La Tengo. This one kind of lulled me to sleep.
Dark Eyes - Iron & Wine & Calexico. Has a nice percussive quality. An interesting cover.
Highway 61 Revisited - Karen O and the MDB. A pointless cover. Maybe ok if you're a bar band, but otherwise....
One More Cup of Coffee - Roger McGuinn and Calexico. Adequate. The mariachi horns of Calexico add a nice feeling, but it's not essential.
The Lonesome Death of Hattie Carroll - Mason Jennings. A faithful, folk style rendering of the original, but not essential.
Billy 1 - Los Lobos. A great job from a great band. I wish they would have done another one on this collection. I never listen the Pat Garrett soundtrack Dylan did, so this feels fresh.
Simple Twist of Fate - Jeff Tweedy. Tweedy uses the lyrics from the New York demo version, but it's not enough. I didn't like the way Jeff sang this one. Disappointing for me.
Man In The Long Black Coat - Mark Lanegan. Very similar to Bob's own version. Good, but not essential.
Senor (Tales of Yankee Power) - Willie Nelson & Calexico. Sounds like Willie phoned this in. Of course, I'm not a big fan.

Disc 2
As I Went Out One Morning - Mira Billotte. A pleasant rendition from this folk artist, but she doesn't really bring much of her own style.
Can't Leave Her Behind - Stephen Malkmus and Lee Ranaldo. More Malkmus! He never sounded this good in Pavement.
Ring Them Bells - Sufjan Stevens. Hmmmmmm. This version is totally different from the original, but I'm not big fan of Stevens musical style. Probably the most radically different of the entire collection, so for that I'll say yes.
Just Like A Woman - Charlotte Gainsbourg & Calexico. A predictable version of this song by a female lead vocalist. You don't need this one.
Mama. You've Been On My Mind - Jack Johnson. Jackson throws in part of Dylan's speech 'Last Thoughts On Woody Guthrie,' but Johnson's barefoot, carefree style doesn't suit this song.
I Wanna Be Your Lover - Yo La Tengo. The band sounds like the Sir Douglas Quintet, which suits the Stones parody of this song completely.
You Ain't Goin' Nowhere - Glen Hansard. I love this song, and the performance is rollicking, but it's probably not essential.

Can You Please Crawl Out Your Window? - The Hold Steady. Described as blend of the Replacements and 1973 era Bruce (who was trying hard to be Dylan), this one of my favorites. Perfect song choice.



Just Like Tom Thumb's Blues - Ramblin' Jack Elliott. A folk version with a little bluegrass, and it's hard not to be charmed. Elliott, who's 76, was a huge influence on young Bob, and it's great to hear things come full circle.
The Wicked Messenger - The Black Keys. Oh Yeah! A blistering blues version. A lot of artists maybe be intimidated by a Dylan song and afraid to depart from the original. The Black Keys obviously are unafraid.
Cold Irons Bound - Tom Verlaine and the MDB. A tortured Verlaine goes on for 7 minutes. I liked it, but it's tough to recommend it to a non-fanatic.
The Times They Are A-Changin' - Mason Jennings. Again, a copy of Bob's original version.
Maggie's Farm - Stephen Malkmus and the MDB. Like Ballad a Thin Man, this is a 1965 era facsimile, but what the hell, Malkmus is so into it that's it's fun.
When The Ship Comes In - Marcus Carl Franklin. Franklin is the 11 year old African-American boy who plays a version of Bob in the film. Amazing.
Moonshiner - Bob Forrest. A traditional song rearranged by Dylan, so it's not really a cover. Good song, though.
I Dreamed I Saw St. Augustine - John Doe. Also fantastic. It has a gospel feeling, and Doe's vocal performance is jaw-dropping.
Knockin' On Heaven's Door - Antony and the Johnsons. An aching version of this song from a relatively unknown NY band. I need to check this band out.
I'm Not There - Bob Dylan and the Band. Finally, an official release of this fanatic favorite. A legendary outtake from the Basement Tapes sessions, you've got to own this one.

Whew. That's a lot to digest. Go see the movie, and buy at least some of this wonderful soundtrack. For more the best source on the bottomless sea of Dylan covers, go here.

Amazing Journey - Discs 2 and 3

Picking up where I left off, here are my thoughts on the 2nd and 3rd discs in the new Amazing Journey: The Story of the Who DVD box set. Disc 2 is a feast for Who fans. Split into 6 parts, the first 4 segments are in depth studies of the band members musical prowess, spliced with historic footage and interviews. Among lots of interesting revelations, you've got the Edge explaining Pete's flamenco guitar style, and session drummer Rob Ladd trying to breakdown Keith's unorthodox drumming. Cut to Keith literally leaping out his seat while playing, from the Live at Leeds footage. It may be more information than the casual music fan will care about, but for a Who fan, particularly anyone with an interest in the band members extraordinary talents, it is spectacular. Best of all, we get more rare and previously unseen video. I've read dozens of articles and books on the Who, and I still learned quite a bit from these segments.

Part 5 focuses on the art school origins of Pete and its influence on the visual aspects of the band, including the mod symbology and guitar smashing. Again, this is important stuff that has been previously unexplored in a documentary format. It's fun to see the original early 60's Coke commercial that the Who did the music for. Part 6 takes us to the sessions for Real Good Looking Boy, and is somewhat reminiscent of the footage from the Kids Are Alright when the band is working on Who Are You. As a finale, the disc includes the earliest known video of the band, taken at the Railway Hotel in 1964 as the High Numbers. Primal, that's all I can say. Oh, there's also a Scrapbook section with other anecdotes, but it's worthless.

Disc 1 and 2 comprise the basic package, and overall I would probably recommend this DVD set over The Kids Are Alright to someone that wants a good overview of the band. As I said in my previous post, The Kids is a really entertaining film, but it doesn't offer the insight of Amazing Journey. Disc 3 is a bonus, and is currently available in a limited edition package at Best Buy. Containing about 90 minutes of footage from the December 11, 1979 performance at the International Amphitheater in Chicago, this is particularly thrilling for me, as I was at that show. Ticket demand for this tour was huge, and in Chicago, fans without tickets were able to watch the show on a live simulcast at outlying theaters. Hence, a pretty decent video of the show exists, and this version is improved in both audio and visual quality.

I'm not complaining though. I paid $25 at Best Buy for the 3-disc set, so this bonus disc was practically free. And, I get to relive my first Who show. Rock concerts are of the moment; even the best ones leave only fleeting memories. I remember a lot from this show that was nearly 30 years ago, and this video helps me fill in the blanks. Coming only 6 days after the tragedy in Cincinnati, it's miracle our parents let us go. The Amphitheater was in a rough neighborhood, and none of us could drive. We got a ride down by a friend's older brother, and chipped in for a long cab ride home. From our seats we couldn't really discern the facial expressions of the band. The video reveals that Pete was quite clearly drunk, with the toussled hair and glassy eyes of his 'cognac period.' The band was asked to acknowledge the fans out in the movie theaters, and there's a funny bit where Pete says through his shifty eyes and sideways grin " We would like to say hello to (reading from a cue card)......the people in...Gateway and Nortown. Both of those places are my hometown. We were born there." These were our heroes, in the flesh.

Musically the band is in fine form, despite a new drummer who was certainly no substitute for Moon, and retrospect, the wrong guy for the job. It's an unbelievable set list, including Young Man Blues and lots from Quadrophenia. I remember the surprise of hearing The Punk Meets The Godfather at this show and it is a great moment in the video. We expected to hear Love Reign O'er Me and 5:15, but not this one. When I think of that show I always go right to that song. Quadrophenia was only 6 years old in 1979, and seeing them perform it that night feels like my slim link to the Who's past.

But I'm rambling. The bottom line is that the limited edition set is worth the extra money if you are a Who fan, but maybe not so much for the casual observer or those of you who are just curious.

Amazing Journey - Disc 1

For my next trick, I will provide a un-biased review of the recently released DVD Amazing Journey: The Story of the Who. Many of you know that I'm a huge Who fan. The Kids Are Alright, released in 1979, had a profound effect on me, and up until now has been the only definitive documentary on the band. The Kids was a labor of love by a true fan, Jeff Stein, who pulled together video footage and interviews into a racous story. We were led to believe that Stein had unearthed all of the decent footage of the band, and the long awaited DVD reissue a few years ago added almost no new material.

Along comes Murray Lerner, who scoured the Earth to find more, including the earliest known footage of the band from 1964 and actual video from the beloved Leeds show in 1970. The film was destined for a theatrical release this fall, but apparently the decision was made to go the 'direct-to-video' route. It's a two disc package, with a limited edition third bonus disc of the December 1979 performance in Chicago. More on that later. Here are my thoughts on Disc 1:

In many ways, this film does a better job of explaining the birth and evolution of the band than The Kids. Wheareas Kids contains more musical performances (and complete songs in some cases), Amazing Journey is a true documentary, done in chronological format with more inteviews and historical context. Beginning with wartime London and childhood experiences, the film does a great job of explaining the early years, how the boys met, and the transformation from dance hall band to singles band to international rock stars. It is a little frustrating that the live footage is cut so short, but overall it's a much more informative story. The film spends a lot of time on the 1964-1969 period (through Tommy), but I was disappointed in the brief, glossed over coverage of Who's Next and Quadrophenia, the band's best work, and arguably the best rock albums of the 1970s.

The band members, family and close confidants are interviewed separately, and their comments are woven throughout the story. Pete's comments are characteristically flippant at times, but insightful. John's brief bits are obviously older, don't shed much light and are a little depressing, as it is clear that he was in failing health at the time. It's Roger's interview that cements the entire film together. You really learn it all from his interview bits. If the DVD had a feature to watch his interview in it's entirety, it would be riveting. It is clear that the Who was, and is, everything for Roger, and he candidly recalls the high points and low points with complete honesty. It's heartbreaking when he talks about being kicked out of the band, or when he discusses his inability to approach Pete during the increasingly difficult periods of writing new material. As the film progresses, the complex friendship between Pete and Roger, always a source of wonder, is slowly revealed.

Overall, Amazing Journey is a must for all Who fans, and will satisfy anyone curious about the history of this great band. The Kids are Alright is great entertainment. Amazing Journey is enlightenment. I'll review Disc 2 in the next post.


I'm The Face - The High Numbers (The Who, 1964)

Robert Plant soars over the Mothership

Tomorrow the Mothership lands, officially signaling the beginning of the 2007 Led Zeppelin market saturation, just in time for the holidays. How many greatest hits collections do we need anyway? Who among us does not have all of the Zeppelin albums? What frustrates me is the attempt to sucker us in again to re-buy all the old material so we can get the bonus DVD filled with rarities. Hopefully the box set finds its way to a new audience, but for us old guys, enough is enough.

Then there's the reissue of The Song Remains The Same DVD and CD, a remastered version of the most preposterous concert film of all time. Back in the day, I used to doze through this at the late night showing at my local theatre, waiting for The Kids Are Alright. I always used to wake up during the Page sequence when he ages in 30 seconds at the climax of Dazed and Confused and his face looks like a shrunken apple. It's Spinal Tap, only it wasn't a parody. Oddly though, I'm compelled to pick up the soundtrack with six extra tracks, because some of it really rocks, and I'm a sucker for nostalgia (and I lost my vinyl copy).

Of course, the focus this month is really on the upcoming reunion concert, and the concert CD that will surely follow. You can't help but be intrigued by Page-Plant-Jones on stage again, and I sincerely hope they do more that simply go through the motions.

What really prompted me to write today is the new album by Robert Plant and Alison Krauss, Raising Sand, which I've been listening to heavily in the last few weeks. In a word, the record is exquisite. I usually shy away from records like this, and certainly the duet with Tori Amos on the Encomium disc was enough to give me second thoughts (they did Down By the Seaside and it was horrible). Plant has always has an interest in acoustic folk music, most fully realized on Led Zeppelin III. On this record, Plant uses his voice like a stringed instrument, providing beautiful accompaniment to Krauss' angelic voice. When he takes the lead, it's in understated manner, perfectly suited to the material. It's really encouraging that the king of over-the-top rock god vocalists is capable of this kind of performance, 30 years after his 'prime.' Flawlessly produced by T-Bone Burnett, this is one of the best records I've heard in a while.

Stick With Me Baby - Robert Plant & Alison Krauss

2006 Music In Review - Part 2

Continuing my mini retrospective of favorite tunes this year:

Lightning Blue Eyes – Secret Machines, Ten Silver Drops. These young guys from Texas have a sound that is both totally unique and reminiscent of 70's hard rock, again, a little Floyd, 80’s industrial rock, even some hard rock stomping. I love the whole album, but this track and I Hate Pretending are outstanding. I read a lot of reviews of this one, and many cried the sophomore blues in comparison to their debut full length record Now Here Is Nowhere. I disagree. This one is better.


Lion's Jaws – Neko Case, Fox Confessor Brings the Flood. This disc is on most people’s best of lists, and rightly so. The songwriting is unbelievable, and Neko just has a stone cold gorgeous voice. As a lead singer in the New Pornographers, her sparkling voice doesn't have the same impact as on her solo records. There seems to be a little more of a twang, and as a result, the music soars. It’s tough to pick a favorite track, but I keep coming back to this one, Star Witness, and Maybe Sparrow. The whole disc is wonderful.


Tea and Theatre – The Who, Endless Wire. The last time I bought a new Who album (new music, not reissues) was 24 years ago, I was in college and the Who were riding on fumes. I honestly never thought I'd see another batch of new Who tunes. Endless Wire has moments of brilliance interspersed with some uneven, maybe overambitious music, but as a whole it’s growing on me. There's bits of Who's Next, Quadrophenia, Who Are You and even the pre-Tommy singles days woven into the music, which is at times grounding, and at other times too derivative. Tea and Theatre is nothing like anything that has come before from Pete and Roger. I first heard it performed live in Chicago in September, as Pete and Roger took the stage in a quiet, poignant acoustic moment to end the show. It was touching, and the song is equally moving on the disc.

Corvette - Golden Smog, Another Fine Day. I'm a big fan of Wilco and the Jayhawks. It's been eight years since the last Golden Smog record, Weird Tales. A supergroup combining Jeff Tweedy from Wilco, Gary Louris and Marc Perlman from the Jayhawks, and Dan Murphy from Soul Asylum. I get the feeling that Golden Smog is a diversion for the unofficial Smog leaders Tweedy and Louris, a way to explore different song styles and make music without the scrutiny they get from fans and critics when writing for their regular bands. This record has much less of a Tweedy influence than Weird Tales, and has loads of 60's and 70's pop rock influences.

Modern Times- The Black Keys, Magic Potion. If I told you the best blues music right now is being recorded by two white guys in their basement in Akron, you'd probably think I was nuts. Well folks, it's true. Heavy riffs, driving percussion and the ghosts of the Delta bluesmen, cut and recorded in very few takes, in a raw, primal manner. This is their fourth, and best record so far. A two-man band that makes a hell of a lot of noise, they are not a cheap imitation of the White Stripes. These guys are for real.



Nettie Moore - Bob Dylan - Modern Times. And then there's Dylan. Completing a trilogy of astonishing albums that started with 1997's Time Out of Mind, Modern Times is quite an achievement. A synthesis of many different musical styles that are distinctly American, the record becomes richer with each listen. There was a brief backlash shortly after it's release, with critics asserting plagiarism, but those accusations miss the point entirely. Dylan has always drawn heavily from music history and folklore. He's not stealing from the past, he'e embracing it, making it a part of his own musical legacy. If his Theme Time Radio Hour is any indication, Dylan's vast knowledge of American music should be treasured. What you hear in Modern Times is a blend of folk, blues, country, early rock and roll, a bit of jazz, crooning 1940's popular song, to name but a few, performed through the weary soul of a 65 -year old man. Netty Moore is a masterpiece. With a chorus taken from a 19th century folk song and lines borrowed from W.C. Handy, it's a heartbreaking wonder. Dylan was quoted this year as saying "I feel like I'm in my middle period. I have no plans of retiring." To me, that has to be the best music news of 2006.

Also worth noting, All This Time by the Heartless Bastards, and Firecracker, by the Wailin' Jennys, but I've run out of time for now. See you all next year. Drink responsibly and drive safely.

2006 Music in Review - Part 1

This is the time of year when you about all you see in the media is the famed ‘Best Of’ list. Indeed, the blogosphere contains hundreds, if not thousands of Best Of 2006 lists. I am always amused at the blogs that list dozens of best songs by obscure bands, as if saying “Look how cutting edge I am. These are the best tunes I’ve heard this year, and you’ve probably never even heard of these bands.” At least that’s the feeling I often get reading some of this stuff. Who’s to say what is the best, anyway? Music, like beauty, is a very personal matter. The bloggers told me that Clap Your Hands And Say Yeah, Tapes & Tapes, The Decemberists, Sufjan Stevens and The Arcade Fire were the cream of the crop, but I wasn't overly impressed. In the case of Clap Your Hands, it was almost unlistenable. Massive hype is running rampant in cyberspace, and often misdirected.

I’ll admit that at 43 I’m pretty set in my ways musically, and tend to stick to artists I've listened to for years. This year I’ve made an extra effort to seek out some new music. I know there’s worlds of music out there that I’ve missed, so instead of giving you a Best of List, I present my Preferred Songs of 2006. The following, in no particular order, are songs that really made an impression on me. Some of these songs were not even released this year, and in one case, were recorded 36 years ago. There's no hype in what follows here, just my honest opinion of what I liked this year.


Off The Record – My Morning Jacket, Z. Ok, right off the bat I'm talking about an album released in late 2005, but I bought it in early 2006, so it's this year for me. This song is probably their most accessible and not the best one on the disc, but I couldn’t get enough of it. Simple and catchy, with a moody, Floyd-like finish. A band to see live, I’m told. I will try to see these guys in 2007.

Ruby Falls – Guster, Ganging Up On The Sun. Guster is one of those bands that been around for a while, writes great pop songs, and supposedly is a great live act, but ask 100 people if they’ve heard of them, and you’ll get a lot of ‘nos.’ A 7-minute pop masterpiece, also with a Floyd-like ending (there is no theme here, I promise).

Woman – Wolfmother. Fuzz-tone, power chords, wailing vocals and big hair. Wolfmother is so immersed in 70’s rock that at first you think the whole thing is a parody. The fact that they’re serious makes this even better. And best of all, a new band that my 11-year old son and I can both appreciate. Rock On!

Down By The River - Neil Young, Live At The Fillmore East (March 6-7, 1970). Speaking of distorted, feedback drenched music, there’s ‘Ol Neil. This disc is a fantastic piece of rock music history, and let’s hope it’s the first of many releases from Neil’s archive. It’s only 43 minutes long, but it is glorious. From a guy with a ridiculous number of live albums out there, we need more.

The Riverside– Cracker, Greenland. A comeback record of sorts, Greenland is an exotic mix of musical styles that I haven’t fully absorbed yet, but this hard rocking track stands out for the moment. I’ve always admired Cracker and David Lowery; they have steadfastly defended their artistic integrity, although it has clearly cost them some commercial success.

More tunes in the next post.

Store Bought Bones

The latest disc that has been in my car CD player since I bought it is the debut from the Raconteurs, Broken Boy Soldiers. 34 minutes of pure pleasure. Short but sweet, a la Weezer, sometimes less is more. Contrary to what you might have heard, this band is not led by Jack White, he is simply in it. The Raconteurs don't try to do anything special, or even anything overly original; it's just rock music for the sheer joy of it. If you've read negative reviews, they are probably by writers that were expecting (or hoping) for a four man White Stripes. This is not that, and that's a good thing.

Opening with Steady, As She Goes, a song that flat out steals the bass line from Joe Jackson's Is She Really Going Out With Him?, it sounds like it could be a pop hit you might hear on the Disney Channel. From there it's a variety of 70's rock, grunge and just a hint of Jack; he never dominates with the expected White Stripes bombast. In fact, White sounds completely content as merely a band member here. The stand out track for me is Store Bought Bones, a great track with loads of prog-rock and Deep Purplish flavor.

I picked up this CD for $9.99, with an offer for a $3.00 rebate. For this reason, I will not post a song from the CD here. Go out and buy it!

Instead, a live track, a cover of the Ron Davies composition It Ain't Easy. I'm sorry, I don't know the date or location, but enjoy it just the same.