New Pornographers "Together"

This is the followup to the Minus the Bear post earlier this month.  Finally sprung for this record from the Canadian "supergroup" and now wished I hadn't.  I did not know that Neko Case was one of the members, and if I had, I know I would have saved my money.  Never been a fan.  Lots of great music comes from north of our border, but this doesn't qualify in my book.  If you think you would like a 21st century version of The Mamas & The Papas draped over a poor man's ELO cello track, then this is for you. And there are plenty of you out there, as this has been a Top 20 record, as well.  This wasn't a total loss as the first two tracks were quite catchy.  They seemed to quack a little like Crowded House, whose new album preceded it in the changer ( a fine record it is, too...post later), but the remainder seemed to swim in mediocrity.  So I altered the musical order in the player, and yes, the first two songs were still good, but not anywhere close to the Decemberists, as one reviewer told me.  If I was Colin Meloy, I'd be pissed at that diss...

Grace Potter & the Nocturnals

Thank you, Greg A., for turning me on to this talented band.  I find that I'm coming in on album #3 for the band and #4 counting her solo debut beforehand.  Obviously, they are not a secret as this album has been in Billboard's Top 20, but it's called a Rock record, yet I certainly hear tons of Country radio potential in light of what the format sounds like these days.  The final listed track on the record is a bonafide smash if some country programmers have the cojones to play it.  Sure, there is plenty of bluesy rock n' roll here, too, as one track brought the Black Crowes to mind and Ms. Potter's Hammond B-3 is a nice spice throughout the album.  This record is a very polished, major label release, and while I normally bash the big boys, this one they certainly got right.  Can't wait to see them live, which shouldn't be too long a wait since they play about 200 dates a year.  A concert recording may be just what the Dr. ordered. 
So let me see how I can describe this in summation...how about a fine Bordeaux or CA Meritage, predominantly Joan Osborne, some Melissa Etheridge & Bonnie Raitt, a splash of Heart's Wilson sisters, and more than a touch of Sugarland's Jennifer Nettles.  Sounds good to me!

The final connection to Bonnaroo 2010

I know Bonnaroo was two months ago, but I finally removed this CD from the player just this week. While trolling through the live videos from the festival looking for connections to make for you, the reader, I recalled that many attendees were commenting on the LCD Soundsystem set. So I click on the link for the track "I Can Change" and immediately I'm transported back in time to an Oingo Boingo show in Nashville at the Exit/In when they were supporting Dead Man's Party. I've since watched the other videos from Bonnaroo and I'm convinced Danny Elfman HAD to be an influence on this guy, James Murphy, who basically is LCD. Think TV On The Radio with a sense of humor. I detect a Cracker sensibility, too, also based on wryly humorous. Apparently, Mr. Murphy had a chance to write for Seinfeld, so I get the funny aspect of LCD. I hear a hundred other musical influences, all dating back decades ago. In addition to the aforementioned Boingo, there's a lot of Talking Heads, OMD, Yello, some Trent Reznor, and one song that morphs from Blancmange into the Cars....wow...

Anyway, I guess I had passed on this band before maybe thinking it was some techno crap based on the name. It's danceable, no doubt, with nine tracks weighing in at approx. 65 minutes, but it is far more intelligent than just dance music, it's also fun!

One of the best of 2010 so far...

Bummed that I didn't get to see them at Bonnaroo, and now even more so because this is a truly outstanding piece of work. Thankfully, they are coming to the Social in October and I will not miss it! Found them in 2008 with the "Furr" record and had no idea they'd been around all decade. Probably relegated to their home Northwestern region for the first few years, more than likely helping to initiate the "beard rock" movement. This is more than folk/Americana, this is a palate of aural history from the 60's through the 80's. These are stories set to song, much like Mike Scott and the Waterboys used to do. Great production with multi-tracked harmonies more in the foreground than back. OK, I'll just throw out the influences I hear as a 50+ year-old with a deeper background than most of the reviewers I've read so far: latter-day Beatles (with Billy Preston); Supertramp; Klaatu (is that redundant w/the Beatles?); ELO; Guess Who; City Boy (that prog-rock "Mutt" Lange production); Elton John "Tumbleweed Connection" era); and Wilco for something a little more current. Now if that list doesn't intrigue your ears, then what the hell are you doing reading my blog?!

An atypical Mad Rocker selection

We had some friends over a couple of weeks ago and I slipped this CD in the player on background volume. When it finished, I reached to change it and both MJ and Kelley said, "What was that? That doesn't sound like you." I put it on again last night and MJ said, "Oh, I like this one." Yes, this isn't like me, but as I've said all along, I appreciate all kinds of music, and "Night Work" by the Scissor Sisters is proof. I think I mentioned their cover of Pink Floyd's "Comfortably Numb" a few posts ago. It was a brilliant re-creation of the classic, and who would dare to try it? That's why I like this band. They were glam before Lady Ga Ga and much more talented. "Night Work" is a dance record with a sense of humor and style. The band has had so much more success in Europe than here, it was no wonder they made the track "Fire With Fire' the first single. I would have sworn it was Robbie Williams. The next track is a Bee Gees song, or should have been. Think of the Eighties bands like Pet Shop Boys, Duran Duran, OMD, etc., and roll it into some Elton John flair. The band members all use stage names, and male lead singer, Jake Shears, is a Freddie Mercury/Holly Johnson mix, absolutely wired up on something in every live video I've seen, so hurry up and try this band before he burns out. Speaking of Mr. Johnson, the final song on the record is without a doubt the best, channeling Frankie Goes To Hollywood to perfection. If you are a fan of dance/club music, or any of the artists mentioned, or you've seen Mama Mia more than once, this is a record for you.

Two Superstar releases

I don't normally acquire records by major names such as these two any longer because they do not need my support, they have plenty of yours. But there has been a blues wave to hit some of these major artists and my interest was piqued. First was Cyndi Lauper's "Memphis Blues." This one was wrong on soooooo many levels. Truly an incredibly bad decision to make. Jonny Lang and B.B. King couldn't pull this record up from the abyss. You can tell when BB is uninspired, and this is proof.




Now Sheryl Crow's record, "100 Miles From Memphis", is a 50/50 chance. I love what she's done with her career since 1993's "Tuesday Night Music Club." I was really behind that record as a David Baerwald fan. What is this, her 7th album of new material? In 17 years? Now that's a career path to emulate. Anyway, this album has the sunny Sheryl formula. She sings all over the damn thing. Finally, she shuts up late in the record and Doyle Bramhall II gets to shine on guitar once. He is why I gave "100 Miles" a shot in the first place, he co-wrote most every song yet he yields to Ms. Crow's stardom and stays in the background. There is a laundry list of credits as she provides jobs for half of L.A., waking up Keith Richards for one track and getting Justin Timberlake to sing backgrounds on TT D'Arby's "Sign Your Name", which is one of the tracks that works. I've seen her panned several times for her take on "I Want You Back", the Jackson 5 song she is said to have sung background on at the age of 12. Probably most of those reviewers weren't old enough or even alive in 1970 to have a true feel for the song. I think it's a spot on take and very well done, indeed.

And now we come to the winner of the bunch, "Mojo" by Tom Petty and the Heartbreakers. This record is solid from start to finish. Great songs, lyrics, guitar, everything! If you are looking for rockin' blues, this isn't it, but if you want a sampler of many other blues styles, run right out and get a copy. If you enjoyed the Mudcrutch sessions, you will love this. My second spin through Mojo happened during the cover of darkness of 4 A.M., driving I-24 on my way back from Tennessee. No distractions, just enveloped by the sound in my little 70 mph cocoon. Found myself turning the volume up with a big grin on my face. There may not be a "radio hit" per se on Mojo, but mark my words, track 11, "Don't Pull Me Over", will be a reggae smash by somebody before 2010 is over!

Minus the Bear "Omni"

This is the first of two bands I will blog upon who have been on my radar over the years but wasn't ever motivated enough to delve further until now (the other is the New Pornographers, and they will be a few posts from now). All of you know what I mean; you've been told by friends a band is good, you read about them, they tour through your town regularly, but you just can't get off your hump to investigate. Minus the Bear is that band for me. Don't ask why I picked their fourth album as my full-on initiation, I don't know. What I've jumped into is a warm, breezy pop album, not simple by any definition, filled with strong, up-front vocals, mucho keyboards, and yet there is an abundance of guitars on several tracks, though they strike me as secondary to the keys. The piano based songs remind me of Keane and a California band I am very fond of called The Velvet Teen. When synths are used, they almost sound dated, lending a retro feel to the record. I will happily add this indie release to the vault, but I doubt it will encourage attending a concert. It may, however, be enough to seek out the next album down the road.