OKKERVIL RIVER
I suppose it’s strange to say that a band who had an album in your Top 5 last year is a discovery. Yet my fandom kicked up to a higher level this year after it had come full circle. Allow me to explain. At the 2006 Austin City Limits Music Festival I got my first exposure to Okkervil River. In the 100 degree heat at Zilker Park my friend Stacy said, “We should stop and watch some of Okkervil River.” Even though I was wilting, I agreed. The second song we saw them do was “The President's Dead.” I was immediately hooked by this tale about how a simple and beautiful day in someone's life become memorable because of an assassination of a world leader. I found the song online once I got back to New York and it started me on my path to Okkervil River fandom. Flash forward two years—I saw Okkervill River twice in the space of nine days, the first at ACL and the second time at Webster Hall here in New York. Frontman Will Sheff opened this show up with a song that used “The President's Dead” music, but with some decidedly darker lyrics: "The President's alive. I see his face on FOX 5. My friends I feel so terrified.” However, “The President's Alive” isn't about our current ineffective leader. The lyrics go on to mention “The Vice standing by” with “just one tear in her eye.” To open up a show with this song, on the night of second presidential debate, well, damn, it was pretty powerful.
Tuesday, December 30, 2008
Rediscovery of the Year
The Temptations
I spent much of the fall listening to New York's oldies station CBS-FM. Perhaps it was just a function of another birthday rolling around and I felt like reveling in my past. Or maybe I didn't want to sit through another WFUV fund drive. Or perhaps I just didn't want to listen to baseball on the radio done by people not named Howie Rose. Whatever the reason, I woke up one night to hear “Papa Was a Rolling Stone” and it struck me that I haven't owned a single Motown album (and only a couple of tracks scattered on some compilations) since I scored a major case of burnout on all their acts in the early ’90s. “Papa” sounded so good that night I realized I needed to get that song again. And while I was at it, I decided to download all of The Tempts greatest hits. As I was scrolling through the various song selections, I stumbled upon “Shakey Ground.” I didn’t even realize that the funky gem from 1975 (which I remember hearing on WGY-AM growing up) was a Temptations song. Damn, what a killer track. 20 downloads later, I had filled in a crucial gap in my musical history.
I spent much of the fall listening to New York's oldies station CBS-FM. Perhaps it was just a function of another birthday rolling around and I felt like reveling in my past. Or maybe I didn't want to sit through another WFUV fund drive. Or perhaps I just didn't want to listen to baseball on the radio done by people not named Howie Rose. Whatever the reason, I woke up one night to hear “Papa Was a Rolling Stone” and it struck me that I haven't owned a single Motown album (and only a couple of tracks scattered on some compilations) since I scored a major case of burnout on all their acts in the early ’90s. “Papa” sounded so good that night I realized I needed to get that song again. And while I was at it, I decided to download all of The Tempts greatest hits. As I was scrolling through the various song selections, I stumbled upon “Shakey Ground.” I didn’t even realize that the funky gem from 1975 (which I remember hearing on WGY-AM growing up) was a Temptations song. Damn, what a killer track. 20 downloads later, I had filled in a crucial gap in my musical history.
2008's Top 10 Visual Aids
10) Costas Now With Aaron & Mays (HBO)
Full disclosure: Bob Costas tapes his radio show out of the studios on my floor, so I’ve had the chance to actually speak with him a couple of times. After seeing this hour long discussion with two of the greatest living ballplayers, I felt compelled to stop him and pay him a compliment. He replied with the simplest explanation possible about why this town hall meeting style show worked—“With those two up there, I just tried to stay out of the way.” And Costas largely succeeded, gently directing the pair to another topic when it was needed and smartly bringing in some select audience members (Dave Winfield and Jimmy Rollins) to further the conversation. It was an extremely well executed show on every front (most of the reaction shots from the star-packed audience were perfectly placed) and was one of the reasons I’m glad I kept up my HBO subscription this year. (Well, that and the fact that Flight of the Conchords returns in January of ’09.)
9) Psych (USA)
This fake-psychic-plays-detective show seems to draw a divisive line down the viewing audience. Folks like me enjoy the witty banter of James Roday’s character Shawn Spencer. Others can’t stand any line that the character says and feel that Roday comes off a smarmy. (I particularly enjoyed reading one TV critic’s blog where he said that “I’d enjoy watching an episode where Shawn repeatedly gets punched in the face.”) In other words, this Friday night comedy-mystery ain’t for everyone. I’ll admit that every plot is the same every week—Shawn takes a case, his partner Gus (Dule Hill) poo-poos Shawn’s antics, Shawn hits on detective Juliet O’Hara (Maggie Lawson), detective Carlton Lassiter (Timothy Omundson) gets annoyed in a laughable way, and Shawn’s dad (Corbin Bernson) gets in a few sarcastic remarks. Fortunately the first half of season three expanded on the show’s blueprint by giving Shawn and his father some emotional depth by bringing Shawn’s long-departed mother (played by Cybil Shepherd) into the mix for a couple of episodes. It brought a new light onto this prickly father-son relationship and gave Roday and Bernson some good scenes in which to explore the motives of their characters. The show also scaled new comedic heights with an entire episode set around a murder on a Spanish telenovella. Roday (whose real last name is RodrÃguez) looked especially gleeful in his scenes where he had to speak Spanish in a halting, ill-constructed manner. And now that I have a DVR, I’ll never miss an episode.
8) How I Met Your Mother (CBS)
This year has been a bit uneven on the first CBS show I’ve watched regularly since the days of Northern Exposure. The sitcom that never felt looked like it was shot, acted or written like a traditional sitcom fell into some of those long held plots and jokes that could have been on any other unfunny comedy polluting the networks. More than once I said to myself, “Isn’t this something I saw, or could have seen, on Friends?” Yet the high points have more than made up for the typical plots that are very atypical for this show. And the main reason for that is the award-worthy performance of Neil Patrick Harris. His portrayal of womanizer Barney Stinson discovering he’s in love with his friend Robin (played by Colbie Smothers) has brought a human edge to the character. And Harris was especially outstanding in the episode where Barney tries to resist the lure of single, horny women at a wedding while hoping to reconnect with Robin. Harris should win an Emmy based on those five minutes on screen alone. I’d also like to mention that this year the show has included goats as plot points in two episodes—and you can never go wrong with a goat.
7) Elvis Mitchell: Under the Influence (TCM)
Elvis Mitchell served as one of the New York Times film critics from 1999 to 2004. During that time I always looked forward to Friday’s paper, as I knew I’d get to read a humorous yet thoughtful take on everything from the latest Jerry Bruckheimer blow ’em up blockbuster to the smallest shoestring budget indie film. Mitchell wrote my favorite film review ever, a hysterical indictment of John Travolta’s hard-on for Scientology flick Battlefield Earth. (I still have the clip of it from the paper in my archives.) The opening few lines still make me laugh eight years later: “‘Man is an endangered species,’ announces one of the titles at the beginning. And after about 20 minutes of this amateurish picture, extinction doesn't seem like such a bad idea. Sitting through it is like watching the most expensively mounted high school play of all time…It may be a bit early to make such judgments, but Battlefield Earth may well turn out to be the worst movie of this century.” Ha ha ha! Mitchell’s post-Times career has seen him work for the L.A. NPR affiliate KCRW as an interviewer. This year he brought his ability of drawing the best out of his subjects to a cable talk show about films. Normally I’d yawn at that idea (and maybe even fall asleep typing out that sentence) but Mitchell’s soothing voice and way of posing questions that make his guests think works for me. His ability to get normally press shy actors like Bill Murray and Edward Norton to open up about their favorite films and actors is no small feat. Under the Influence is perfect show for a fan of film or smart, in depth conversation to watch as they wind down their week.
6) Nova: Parallel Worlds, Parallel Lives (PBS)
I’d never watched PBS’s Nova before this fall. I’m pretty doubtful I’ll ever watch it again. That’s what made the enjoyment of this episode so surprising to me. Parallel Worlds, Parallel Lives is a documentary about eels frontman Mark “E” Everett and his exploration of his father’s theory of parallel universes. Watching the guy who wrote “Novocaine for the Soul” learn about quantum physics from his father’s old college buddies and co-workers while saying he couldn’t even remember his father ever hugging him was damn fascinating. I felt smarter after the show was over—and that I definitely knew where Everett’s dark view of the world was formed.
5) Burn Notice (USA)
I am fearful for the second half of the second season of this lighthearted spy show. It’s coming back in January and I wonder if I’ll love it as much as I did during the summer. Will its mix of inventive action and comedy work when its not 65 degrees at night and I’m not sitting around in shorts sipping on a cold beer? I sure hope so. The first part of second season showed that the writers have really understood what makes these characters so memorable and watchable. The interactions between Jeffery Donavan and Sharon Gless (going to therapy together, Donavan’s Michael Weston sometimes revealing the dangerous line of work he was in) have been superb. Bruce Campbell is the glue that holds this whole action and comedy mix together. Campbell’s Sam is an old army green beret, and his old high school football coach look (a former athlete gone to seed) fits his role to a tee. His peculiar mannerisms and delivery might be a bit campy on another show, but here he's fantastic. I hope Burn Notice makes an easier transition to the “real” TV season. (As if anyone pays attention to the traditional beginning and end of the TV season anymore.)
4) Dr. Horrible’s Sing-A-Long Blog (Timescience Bloodclub)
Here’s how to make comedy/sci-fi fans like me crash a website (and keep checking iTunes day after day to download something new): have Joss Whedon (Angel, Buffy the Vampire Slayer) launch an online only tale in three acts about an evil doctor, a beautiful woman and a smarmy superhero that also happens to be a musical that stars Neil Patrick Harris and Nathan Fillon (Firefly). This hysterical program is the best thing that came out of the lengthy writer’s strike. (The second best is that my number two show of the year got to come back for a second season.) Whedon wrote Dr. Horrible as a way to prove that writers deserved a cut of internet profits networks were getting for showing episodes on the web. And with the amount of online buzz and server crashes that happened this summer, I think Whedon proved his point.
3) The Middleman (ABC Family)
The television landscape is littered with shows that lasted all of one season, got canceled and had a cult following pining for a resurrection that never came. That’s the (still unofficial, yet likely) scenario for The Middleman. The show’s title character, as played by Matt Kessler, is the guy that saves the world from aliens, demons, vampire puppets and other unlikely forms of evil that turn up in California. His sidekick Wendy Watson, as played by Natalie Morales, is a Middleman in training and can kick some serious ass on her own. On paper the idea for the show seems flat out stupid. On screen, it was a pure joy to watch. The Middleman is an almost too decent to be true good guy (drinks milk, doesn’t swear, watches old westerns for their heroic qualities) on TV today. Yet Kessler makes him absolutely believable because he doesn’t play him with a knowing wink to the audience. Kessler believes in the goodness of his character, and we in turn end up believing right along with him. The Middleman also had some of the finest pop culture references ever stacked into TV dialogue. (The show’s blog would list about 30 of them for every episode.) Sadly, the show seemed horrible misplaced on ABC Family, even at a more adult oriented 10:00 p.m. time slot. (And who knew that at 11:00 p.m., Pat Robertson still hosted the 700 Club on there from the old Family Channel days. Wow.) When the inevitable DVD comes out, add it to your Netflix que. You won’t be sorry.
2) Chuck (NBC)
Here’s exactly when I knew that the second season of Chuck might be one of the best second seasons ever for a TV show: a plot about how Missile Command had actual codes to control a satellite buried on the game’s final screen and how Chuck needed to play along to Rush’s “Tom Sawyer” to make it to that screen made complete sense. And inspired some gut busting laughter in my little slice of Kensington. The writer’s strike that shut down production of the first season did wonders for Chuck, as co-creators Josh Schwartz and Chris Fedak figured out how to make everything fit together on the series. The main plot of each episode (whatever bad guy is trying to control the world, etc.) now usually has a thematic link with the events at Chuck’s non-spy job, working at the Buy More. They also have squeezed in some top-notch guest stars. John Larroquette as a spy who was once the world's greatest lover and is now the world's biggest drunk, The O.C.’s Melinda Clarke as a Russian black widow and Morgan Fairchild and Bruce Boxleitner as Chuck’s sister’s future in laws. While stunt-casting has killed many a show, it works perfectly here. With such a large ensemble cast and so many different parts of Chuck's life to maintain plot-wise, there's never been much screen time to establish the one-shot characters. Having a Larroquette or a Clarke gives you a stronger sense of each character and helps fill in a lot of blanks. And as I said last year, any show with Adam Baldwin is always a good time.
1) Lost (ABC)
I’m running out of good things to say about this show, which rebounded in second half of season three and hit new peaks in season four. Giving the show’s writers a specific end date for the series was the best idea ever. Not every mystery has been answered (there’s at least 30 things I still don’t understand, some dating back to the freaking pilot) and I’m sure not all of them will. I don’t care. As long as we keep getting the twists and turns of the Oceanic Six and those left on the island for the next two years, I still won’t care. Well, I really would love a real answer about the polar bears on a tropical island.
Full disclosure: Bob Costas tapes his radio show out of the studios on my floor, so I’ve had the chance to actually speak with him a couple of times. After seeing this hour long discussion with two of the greatest living ballplayers, I felt compelled to stop him and pay him a compliment. He replied with the simplest explanation possible about why this town hall meeting style show worked—“With those two up there, I just tried to stay out of the way.” And Costas largely succeeded, gently directing the pair to another topic when it was needed and smartly bringing in some select audience members (Dave Winfield and Jimmy Rollins) to further the conversation. It was an extremely well executed show on every front (most of the reaction shots from the star-packed audience were perfectly placed) and was one of the reasons I’m glad I kept up my HBO subscription this year. (Well, that and the fact that Flight of the Conchords returns in January of ’09.)
9) Psych (USA)
This fake-psychic-plays-detective show seems to draw a divisive line down the viewing audience. Folks like me enjoy the witty banter of James Roday’s character Shawn Spencer. Others can’t stand any line that the character says and feel that Roday comes off a smarmy. (I particularly enjoyed reading one TV critic’s blog where he said that “I’d enjoy watching an episode where Shawn repeatedly gets punched in the face.”) In other words, this Friday night comedy-mystery ain’t for everyone. I’ll admit that every plot is the same every week—Shawn takes a case, his partner Gus (Dule Hill) poo-poos Shawn’s antics, Shawn hits on detective Juliet O’Hara (Maggie Lawson), detective Carlton Lassiter (Timothy Omundson) gets annoyed in a laughable way, and Shawn’s dad (Corbin Bernson) gets in a few sarcastic remarks. Fortunately the first half of season three expanded on the show’s blueprint by giving Shawn and his father some emotional depth by bringing Shawn’s long-departed mother (played by Cybil Shepherd) into the mix for a couple of episodes. It brought a new light onto this prickly father-son relationship and gave Roday and Bernson some good scenes in which to explore the motives of their characters. The show also scaled new comedic heights with an entire episode set around a murder on a Spanish telenovella. Roday (whose real last name is RodrÃguez) looked especially gleeful in his scenes where he had to speak Spanish in a halting, ill-constructed manner. And now that I have a DVR, I’ll never miss an episode.
8) How I Met Your Mother (CBS)
This year has been a bit uneven on the first CBS show I’ve watched regularly since the days of Northern Exposure. The sitcom that never felt looked like it was shot, acted or written like a traditional sitcom fell into some of those long held plots and jokes that could have been on any other unfunny comedy polluting the networks. More than once I said to myself, “Isn’t this something I saw, or could have seen, on Friends?” Yet the high points have more than made up for the typical plots that are very atypical for this show. And the main reason for that is the award-worthy performance of Neil Patrick Harris. His portrayal of womanizer Barney Stinson discovering he’s in love with his friend Robin (played by Colbie Smothers) has brought a human edge to the character. And Harris was especially outstanding in the episode where Barney tries to resist the lure of single, horny women at a wedding while hoping to reconnect with Robin. Harris should win an Emmy based on those five minutes on screen alone. I’d also like to mention that this year the show has included goats as plot points in two episodes—and you can never go wrong with a goat.
7) Elvis Mitchell: Under the Influence (TCM)
Elvis Mitchell served as one of the New York Times film critics from 1999 to 2004. During that time I always looked forward to Friday’s paper, as I knew I’d get to read a humorous yet thoughtful take on everything from the latest Jerry Bruckheimer blow ’em up blockbuster to the smallest shoestring budget indie film. Mitchell wrote my favorite film review ever, a hysterical indictment of John Travolta’s hard-on for Scientology flick Battlefield Earth. (I still have the clip of it from the paper in my archives.) The opening few lines still make me laugh eight years later: “‘Man is an endangered species,’ announces one of the titles at the beginning. And after about 20 minutes of this amateurish picture, extinction doesn't seem like such a bad idea. Sitting through it is like watching the most expensively mounted high school play of all time…It may be a bit early to make such judgments, but Battlefield Earth may well turn out to be the worst movie of this century.” Ha ha ha! Mitchell’s post-Times career has seen him work for the L.A. NPR affiliate KCRW as an interviewer. This year he brought his ability of drawing the best out of his subjects to a cable talk show about films. Normally I’d yawn at that idea (and maybe even fall asleep typing out that sentence) but Mitchell’s soothing voice and way of posing questions that make his guests think works for me. His ability to get normally press shy actors like Bill Murray and Edward Norton to open up about their favorite films and actors is no small feat. Under the Influence is perfect show for a fan of film or smart, in depth conversation to watch as they wind down their week.
6) Nova: Parallel Worlds, Parallel Lives (PBS)
I’d never watched PBS’s Nova before this fall. I’m pretty doubtful I’ll ever watch it again. That’s what made the enjoyment of this episode so surprising to me. Parallel Worlds, Parallel Lives is a documentary about eels frontman Mark “E” Everett and his exploration of his father’s theory of parallel universes. Watching the guy who wrote “Novocaine for the Soul” learn about quantum physics from his father’s old college buddies and co-workers while saying he couldn’t even remember his father ever hugging him was damn fascinating. I felt smarter after the show was over—and that I definitely knew where Everett’s dark view of the world was formed.
5) Burn Notice (USA)
I am fearful for the second half of the second season of this lighthearted spy show. It’s coming back in January and I wonder if I’ll love it as much as I did during the summer. Will its mix of inventive action and comedy work when its not 65 degrees at night and I’m not sitting around in shorts sipping on a cold beer? I sure hope so. The first part of second season showed that the writers have really understood what makes these characters so memorable and watchable. The interactions between Jeffery Donavan and Sharon Gless (going to therapy together, Donavan’s Michael Weston sometimes revealing the dangerous line of work he was in) have been superb. Bruce Campbell is the glue that holds this whole action and comedy mix together. Campbell’s Sam is an old army green beret, and his old high school football coach look (a former athlete gone to seed) fits his role to a tee. His peculiar mannerisms and delivery might be a bit campy on another show, but here he's fantastic. I hope Burn Notice makes an easier transition to the “real” TV season. (As if anyone pays attention to the traditional beginning and end of the TV season anymore.)
4) Dr. Horrible’s Sing-A-Long Blog (Timescience Bloodclub)
Here’s how to make comedy/sci-fi fans like me crash a website (and keep checking iTunes day after day to download something new): have Joss Whedon (Angel, Buffy the Vampire Slayer) launch an online only tale in three acts about an evil doctor, a beautiful woman and a smarmy superhero that also happens to be a musical that stars Neil Patrick Harris and Nathan Fillon (Firefly). This hysterical program is the best thing that came out of the lengthy writer’s strike. (The second best is that my number two show of the year got to come back for a second season.) Whedon wrote Dr. Horrible as a way to prove that writers deserved a cut of internet profits networks were getting for showing episodes on the web. And with the amount of online buzz and server crashes that happened this summer, I think Whedon proved his point.
3) The Middleman (ABC Family)
The television landscape is littered with shows that lasted all of one season, got canceled and had a cult following pining for a resurrection that never came. That’s the (still unofficial, yet likely) scenario for The Middleman. The show’s title character, as played by Matt Kessler, is the guy that saves the world from aliens, demons, vampire puppets and other unlikely forms of evil that turn up in California. His sidekick Wendy Watson, as played by Natalie Morales, is a Middleman in training and can kick some serious ass on her own. On paper the idea for the show seems flat out stupid. On screen, it was a pure joy to watch. The Middleman is an almost too decent to be true good guy (drinks milk, doesn’t swear, watches old westerns for their heroic qualities) on TV today. Yet Kessler makes him absolutely believable because he doesn’t play him with a knowing wink to the audience. Kessler believes in the goodness of his character, and we in turn end up believing right along with him. The Middleman also had some of the finest pop culture references ever stacked into TV dialogue. (The show’s blog would list about 30 of them for every episode.) Sadly, the show seemed horrible misplaced on ABC Family, even at a more adult oriented 10:00 p.m. time slot. (And who knew that at 11:00 p.m., Pat Robertson still hosted the 700 Club on there from the old Family Channel days. Wow.) When the inevitable DVD comes out, add it to your Netflix que. You won’t be sorry.
2) Chuck (NBC)
Here’s exactly when I knew that the second season of Chuck might be one of the best second seasons ever for a TV show: a plot about how Missile Command had actual codes to control a satellite buried on the game’s final screen and how Chuck needed to play along to Rush’s “Tom Sawyer” to make it to that screen made complete sense. And inspired some gut busting laughter in my little slice of Kensington. The writer’s strike that shut down production of the first season did wonders for Chuck, as co-creators Josh Schwartz and Chris Fedak figured out how to make everything fit together on the series. The main plot of each episode (whatever bad guy is trying to control the world, etc.) now usually has a thematic link with the events at Chuck’s non-spy job, working at the Buy More. They also have squeezed in some top-notch guest stars. John Larroquette as a spy who was once the world's greatest lover and is now the world's biggest drunk, The O.C.’s Melinda Clarke as a Russian black widow and Morgan Fairchild and Bruce Boxleitner as Chuck’s sister’s future in laws. While stunt-casting has killed many a show, it works perfectly here. With such a large ensemble cast and so many different parts of Chuck's life to maintain plot-wise, there's never been much screen time to establish the one-shot characters. Having a Larroquette or a Clarke gives you a stronger sense of each character and helps fill in a lot of blanks. And as I said last year, any show with Adam Baldwin is always a good time.
1) Lost (ABC)
I’m running out of good things to say about this show, which rebounded in second half of season three and hit new peaks in season four. Giving the show’s writers a specific end date for the series was the best idea ever. Not every mystery has been answered (there’s at least 30 things I still don’t understand, some dating back to the freaking pilot) and I’m sure not all of them will. I don’t care. As long as we keep getting the twists and turns of the Oceanic Six and those left on the island for the next two years, I still won’t care. Well, I really would love a real answer about the polar bears on a tropical island.
Sunday, December 28, 2008
Song of the Week 12/26/08
Fleet Foxes - "White Winter Hymnal"
There's always one song that catches my ears when I'm down to the nitty gritty on the annual list. This time around it was this Fleet Foxes track. Damn it sound greated as I looked out at the Hudson while on the Amtrak upstate and back for Christmas. As fine a winter song as I've heard in many a year.
BONUS: Here's a live perf from Chicago.
There's always one song that catches my ears when I'm down to the nitty gritty on the annual list. This time around it was this Fleet Foxes track. Damn it sound greated as I looked out at the Hudson while on the Amtrak upstate and back for Christmas. As fine a winter song as I've heard in many a year.
BONUS: Here's a live perf from Chicago.
Sunday, December 21, 2008
Song of the Week 12/19/08
Neil Young - "Powderfinger"
Eight years. Yes, it had been eight freaking years since I had seen Neil Young play an entire show (I did catch his Farm Aid set at New York's Randall's Island in 2007) without the baggage of CSN on stage. It's not that I haven't had the chance to do so. I boycotted the 2003-4 Greendale tour with Crazy Horse as there was no way I was spending money to watch him perform his worst album ever. And the ticket prices for last year's theater tour behind Chrome Dreams II were just too pricey. This time the temptation to go to Madison Square Garden was even greater with the bonus of Wilco as the opening act. I hemmed and hawed about going until my dearest friend April (who was tired of the hemming, hawing and complaining) finally said, "I can buy tickets for you as a birthday present." Since she had never seen Young, I felt okay letting her buy seats that were really expensive. Wilco did a great opening set, with Jeff Tweedy bringing out his son Spencer to play drums on "The Late Greats." It was the younger Tweedy's birthday, which certainly made that appearance the best birthday present ever. Then Young came out with his Electric Band (made up of a cast of characters from throughout his career) and cranked out a decent version of the Ragged Glory gem "Love and Only Love." As Young continued playing the hits I've seen many times before ("Hey Hey, My My," "Everybody Knows This is Nowhere") I couldn't help but feel a little disappointed. I kept thinking "Crazy Horse did these songs better, I wish Crazy Horse was here." And then these opening lines rang out: "Look out mama, there's a white boat coming up a river." Instantly my doubts went away. I mean, I was seeing Neil freaking Young! Dude, this is fucking "Powderfinger!" This is awesome! The rest of the show was fantastic. It clocked in at over 2 and a half hours, which is the longest Neil show I've ever seen. And to prove that he's got some life in him yet, he mixed in nine new tunes. Alas most of them were subpar, yet it was great seeing an artist I respect taking a chance in "the World's Greatest Arena" by performing what basically was an entire unreleased album. It reminded me of the Neil shows I saw in the late '80s and early '90s where he would play songs that would end up on his next album. And considering the nostalgia trip I've been on during this trying year, that was alright with me.
Here's a nice chunk of "Powderfinger" from MSG on 12/16:
Eight years. Yes, it had been eight freaking years since I had seen Neil Young play an entire show (I did catch his Farm Aid set at New York's Randall's Island in 2007) without the baggage of CSN on stage. It's not that I haven't had the chance to do so. I boycotted the 2003-4 Greendale tour with Crazy Horse as there was no way I was spending money to watch him perform his worst album ever. And the ticket prices for last year's theater tour behind Chrome Dreams II were just too pricey. This time the temptation to go to Madison Square Garden was even greater with the bonus of Wilco as the opening act. I hemmed and hawed about going until my dearest friend April (who was tired of the hemming, hawing and complaining) finally said, "I can buy tickets for you as a birthday present." Since she had never seen Young, I felt okay letting her buy seats that were really expensive. Wilco did a great opening set, with Jeff Tweedy bringing out his son Spencer to play drums on "The Late Greats." It was the younger Tweedy's birthday, which certainly made that appearance the best birthday present ever. Then Young came out with his Electric Band (made up of a cast of characters from throughout his career) and cranked out a decent version of the Ragged Glory gem "Love and Only Love." As Young continued playing the hits I've seen many times before ("Hey Hey, My My," "Everybody Knows This is Nowhere") I couldn't help but feel a little disappointed. I kept thinking "Crazy Horse did these songs better, I wish Crazy Horse was here." And then these opening lines rang out: "Look out mama, there's a white boat coming up a river." Instantly my doubts went away. I mean, I was seeing Neil freaking Young! Dude, this is fucking "Powderfinger!" This is awesome! The rest of the show was fantastic. It clocked in at over 2 and a half hours, which is the longest Neil show I've ever seen. And to prove that he's got some life in him yet, he mixed in nine new tunes. Alas most of them were subpar, yet it was great seeing an artist I respect taking a chance in "the World's Greatest Arena" by performing what basically was an entire unreleased album. It reminded me of the Neil shows I saw in the late '80s and early '90s where he would play songs that would end up on his next album. And considering the nostalgia trip I've been on during this trying year, that was alright with me.
Here's a nice chunk of "Powderfinger" from MSG on 12/16:
Friday, December 12, 2008
Song of the Week 12/12/08
Letters to Cleo - "Because of You"
Perhaps it's seeing that dreaded age of 40 coming up in less than 11 months, or just acting like more like an adult this entire year that has made me a fan of reunions. The latest reunion to hit the SOTW is Letters to Cleo. The band hadn't played together in over a decade (and I hadn't seen them in over 11), so I was rather excited when their gig at Bowery Ballroom on December 11th was announced. I let my old roommate and fellow huge fan Joe S. know immediately and we grabbed tickets. Once again, this was a reunion that did not disappoint. Kay Hanley might just be a better frontperson now than she was a decade ago. Her voice has a warmer tone nowadays, which made songs like "Co-Pilot" and "Awake" sound better than I remembered them. She seemed to work the crowd more easily, which she might have picked up having to entertain thousands of kids as one of Miley Cyrus's backup singers. (Um, and she has gotten hotter in the past 10 years too.) The rest of the band (minus original bassist Scott Riebling) now plays with more confidence in their own abilities and material. Drummer Stacy Jones (who happens to front a great band on his own called American Hi Fi) is just a monster behind the kit. And it wasn't just the great performances that made the night so much fun. It was the chance to reveal in the memories the band's music brought back (their 1997 album Go! was in heavy rotation at 288 5th avenue that year) and to catch up with some of the band's friends (like Jed and Pete from The Gravel Pit). Yeah, I guess getting old can be fun sometimes.
I'd like to give LTC guitarist USA Mike (Michael Eisenstein) the last word on the Bowery show with a post he left on the Kay Hanley message board:
"What a great night. I haven't done an official ranking, but that was in the top 10 (maybe 5) Cleo shows of all time."
I'd have to agree. Below you can see why. I love how Kay smiles as the crowd sings along:
Perhaps it's seeing that dreaded age of 40 coming up in less than 11 months, or just acting like more like an adult this entire year that has made me a fan of reunions. The latest reunion to hit the SOTW is Letters to Cleo. The band hadn't played together in over a decade (and I hadn't seen them in over 11), so I was rather excited when their gig at Bowery Ballroom on December 11th was announced. I let my old roommate and fellow huge fan Joe S. know immediately and we grabbed tickets. Once again, this was a reunion that did not disappoint. Kay Hanley might just be a better frontperson now than she was a decade ago. Her voice has a warmer tone nowadays, which made songs like "Co-Pilot" and "Awake" sound better than I remembered them. She seemed to work the crowd more easily, which she might have picked up having to entertain thousands of kids as one of Miley Cyrus's backup singers. (Um, and she has gotten hotter in the past 10 years too.) The rest of the band (minus original bassist Scott Riebling) now plays with more confidence in their own abilities and material. Drummer Stacy Jones (who happens to front a great band on his own called American Hi Fi) is just a monster behind the kit. And it wasn't just the great performances that made the night so much fun. It was the chance to reveal in the memories the band's music brought back (their 1997 album Go! was in heavy rotation at 288 5th avenue that year) and to catch up with some of the band's friends (like Jed and Pete from The Gravel Pit). Yeah, I guess getting old can be fun sometimes.
I'd like to give LTC guitarist USA Mike (Michael Eisenstein) the last word on the Bowery show with a post he left on the Kay Hanley message board:
"What a great night. I haven't done an official ranking, but that was in the top 10 (maybe 5) Cleo shows of all time."
I'd have to agree. Below you can see why. I love how Kay smiles as the crowd sings along:
Wednesday, December 10, 2008
Song of the Week 12/5/08
Nada Surf - "Weightless"
I love how things can come full circle. Last October at Union Hall I saw Nada Surf play their first gig after finishing their fifth album Lucky. Monday night at Maxwell's I saw Nada Surf play the last show on their tour behind Lucky (which ended with a guy dressed as a chicken dancing on stage with band and their their crew). I saw them six times while they were supporting the album, and each gig had its own cool highlights. Both of the shows (I also saw them Saturday at Bowery Ballroom) this week featured a great crowd sing-a-long with "Weightless," which has grown to be one of my favorite tracks on Lucky. I couldn't find footage of that song at Bowery or Maxwell's, so Webster Hall will have to do:
BONUS: The band ran a contest for a fan to make the official video for "Weightless." And by this clip below, you can see why it won. Major label videos aren't ever this smart and creative:
I love how things can come full circle. Last October at Union Hall I saw Nada Surf play their first gig after finishing their fifth album Lucky. Monday night at Maxwell's I saw Nada Surf play the last show on their tour behind Lucky (which ended with a guy dressed as a chicken dancing on stage with band and their their crew). I saw them six times while they were supporting the album, and each gig had its own cool highlights. Both of the shows (I also saw them Saturday at Bowery Ballroom) this week featured a great crowd sing-a-long with "Weightless," which has grown to be one of my favorite tracks on Lucky. I couldn't find footage of that song at Bowery or Maxwell's, so Webster Hall will have to do:
BONUS: The band ran a contest for a fan to make the official video for "Weightless." And by this clip below, you can see why it won. Major label videos aren't ever this smart and creative:
Friday, November 28, 2008
Song of the Week 11/28/08
Kanye West - "Paranoid"
Kanye West's 808s & Heartbreak is one of the most intriguing albums of the year. Its sound is reminiscent of the early 80s rap tracks that I loved growing up. That doesn't make it some sort of retro album. (The autotune all over West's "sung" vocals places it squarely in the early 21st century.) Its just that most of the backing tracks come off like cold and clinical electro music, as if Newcleus ("Jam On It") had returned as West's producer.
My favorite song so far is "Paranoid." I had planned on writing much more about this track, then I read the always interesting blogger Matthew Perpetua's piece on Fluxblog about the same song. And he summed it up much better than I ever could. So I'd suggesting checking out his entry.
One last thing: 808s & Heartbreak is not for everyone. I can't imagine to many folks wanting to hear a poorly sung rap equivalent of Bob Dylan's Blood on the Tracks. However, I encourage you to give it a chance. If you "get" this album, it will likely blow your mind and become one of your favorite discs of the year. I know that's the case with yours truly.
Kanye West's 808s & Heartbreak is one of the most intriguing albums of the year. Its sound is reminiscent of the early 80s rap tracks that I loved growing up. That doesn't make it some sort of retro album. (The autotune all over West's "sung" vocals places it squarely in the early 21st century.) Its just that most of the backing tracks come off like cold and clinical electro music, as if Newcleus ("Jam On It") had returned as West's producer.
My favorite song so far is "Paranoid." I had planned on writing much more about this track, then I read the always interesting blogger Matthew Perpetua's piece on Fluxblog about the same song. And he summed it up much better than I ever could. So I'd suggesting checking out his entry.
One last thing: 808s & Heartbreak is not for everyone. I can't imagine to many folks wanting to hear a poorly sung rap equivalent of Bob Dylan's Blood on the Tracks. However, I encourage you to give it a chance. If you "get" this album, it will likely blow your mind and become one of your favorite discs of the year. I know that's the case with yours truly.
Sunday, November 23, 2008
Song of the Week 11/21/08
Estelle featuring Kanye West - “American Boy”
For the first time in say, oh, eight years, I feel proud to be American. And I credit it all to U.K. singer Estelle and this song. Okay, maybe she doesn’t deserve all the credit. It did take until after our Presidential election for this bouncy and oh so hummable song to click in my mind. I heard it all throughout the summer but thought it was the last single from West’s Graduation, an album that didn’t really hold up for me after repeated listens. Then the first Saturday after the election I heard “American Boy” cranked in the NHL store in midtown Manhattan. Standing there next to a batch of Sidney Crosby jerseys the lines “I just met this 5 foot 7 guy who's just my type/Like the way he speak here, his confidence is peaking” and “Take me to your hood/I neva been to Brooklyn and I'd like to see what's good” hooked me. She’s a very attractive singer (who has an English accent, which always slays me) proclaiming she likes guys from the good ol’ U S of A. How could you not like this song? I finally broke down and downloaded it Saturday afternoon. If we’re lucky, perhaps Estelle will lead a cultural revolution around the globe that makes us American boys seem just slightly less evil than we look right now to the rest of the planet.
For the first time in say, oh, eight years, I feel proud to be American. And I credit it all to U.K. singer Estelle and this song. Okay, maybe she doesn’t deserve all the credit. It did take until after our Presidential election for this bouncy and oh so hummable song to click in my mind. I heard it all throughout the summer but thought it was the last single from West’s Graduation, an album that didn’t really hold up for me after repeated listens. Then the first Saturday after the election I heard “American Boy” cranked in the NHL store in midtown Manhattan. Standing there next to a batch of Sidney Crosby jerseys the lines “I just met this 5 foot 7 guy who's just my type/Like the way he speak here, his confidence is peaking” and “Take me to your hood/I neva been to Brooklyn and I'd like to see what's good” hooked me. She’s a very attractive singer (who has an English accent, which always slays me) proclaiming she likes guys from the good ol’ U S of A. How could you not like this song? I finally broke down and downloaded it Saturday afternoon. If we’re lucky, perhaps Estelle will lead a cultural revolution around the globe that makes us American boys seem just slightly less evil than we look right now to the rest of the planet.
Saturday, November 15, 2008
Song of the Week 11/14/08
Tom Petty - "I Won't Back Down"
I wanted to have an appropriate song to open up Groinstrong-a-thong last night. I think these lyrics prove why it was the perfect choice.
"Well I won't back down, no I won't back down
You could stand me up at the gates of hell
But I won't back down
Gonna stand my ground, won't be turned around
And I'll keep this world from draggin' me down
Gonna stand my ground and I won't back down
(I won’t back down) Hey baby, there ain't no easy way out
(I won’t back down) Hey I will stand my ground
And I won't back down"
We all love you Jonah. (And apparently we all love raffles too.)
I wanted to have an appropriate song to open up Groinstrong-a-thong last night. I think these lyrics prove why it was the perfect choice.
"Well I won't back down, no I won't back down
You could stand me up at the gates of hell
But I won't back down
Gonna stand my ground, won't be turned around
And I'll keep this world from draggin' me down
Gonna stand my ground and I won't back down
(I won’t back down) Hey baby, there ain't no easy way out
(I won’t back down) Hey I will stand my ground
And I won't back down"
We all love you Jonah. (And apparently we all love raffles too.)
Saturday, November 08, 2008
Song of the Week 11/7/08
The Replacements - "Election Day"
Last week I finally got the reissues of the Mats final four albums (Tim, Pleased to Meet Me, Don't Tell a Soul and All Shook Down). This new Pleased to Meet Me disc includes "Election Day," a track first issued on the 1997 compilation All for Nothing/Nothing for All. For some reason I listened to it a lot Monday and Tuesday. I wonder why...
Last week I finally got the reissues of the Mats final four albums (Tim, Pleased to Meet Me, Don't Tell a Soul and All Shook Down). This new Pleased to Meet Me disc includes "Election Day," a track first issued on the 1997 compilation All for Nothing/Nothing for All. For some reason I listened to it a lot Monday and Tuesday. I wonder why...
Sunday, November 02, 2008
Song of the Week 10/31/08
Paul Westerberg - "Love Untold" (Live)
I need to send props out to my friend Mike for sending me the link to the Westerberg boot this track comes from. It's a concert at Fantasy Studios in San Francisco broadcast on KFOG on September 12th, 1996. And this version of "Love Untold," originally on 1996's Eventually, crackles with an energy that makes me think Westerberg was going through his own dose of unrequited love at the time. Westerberg even changes the lyrics to a couple of lines. "They were gonna meet on a crummy little street/It never came to be I'm told" becomes "I'm too old" and "We were gonna meet on a crummy little street" becomes "We were gonna meet but it never came to be," with Westerberg yelling "too bad" right after the line is done.
Just another tremendous performance in a career filled with them. (With additional props to the smoking band that includes guitarist Tommy Keene and drummer Michael Bland. That was a great group.) Download it now. In fact, download the whole damn show while you can.
BONUS: Here's video of the first time I ever saw Westerberg perform the song, at Irving Plaza in New York in July of 1996.
I need to send props out to my friend Mike for sending me the link to the Westerberg boot this track comes from. It's a concert at Fantasy Studios in San Francisco broadcast on KFOG on September 12th, 1996. And this version of "Love Untold," originally on 1996's Eventually, crackles with an energy that makes me think Westerberg was going through his own dose of unrequited love at the time. Westerberg even changes the lyrics to a couple of lines. "They were gonna meet on a crummy little street/It never came to be I'm told" becomes "I'm too old" and "We were gonna meet on a crummy little street" becomes "We were gonna meet but it never came to be," with Westerberg yelling "too bad" right after the line is done.
Just another tremendous performance in a career filled with them. (With additional props to the smoking band that includes guitarist Tommy Keene and drummer Michael Bland. That was a great group.) Download it now. In fact, download the whole damn show while you can.
BONUS: Here's video of the first time I ever saw Westerberg perform the song, at Irving Plaza in New York in July of 1996.
Monday, October 27, 2008
Song of the Week 10/24/08
The Temptations - "Shakey Ground"
I've spent much of this month listening to New York's oldies station CBS-FM. Perhaps its just a function of another birthday rolling around and I feel like reveling in my past. Or maybe I didn't want to sit through another WFUV fund drive. Then again, maybe I just didn't want to listen to baseball on the radio done by people not named Howie Rose.
Whatever the reason, I woke up one night to hear "Papa Was a Rolling Stone" and it struck me that I haven't owned a single Motown album (and only a couple of tracks scattered on some compilations) since I scored a major case of burnout on all their acts in the early 90s. "Papa" sounded so good that night I realized I needed to get that song again. And while I was at it, I decided to download all of The Tempts greatest hits.
As I was scrolling through the various song selections last Thursday, I stumbled upon "Shakey Ground." I didn't even realize that this funky gem from 1975 (which I remember hearing on WGY-AM growing up) was a Temptations song. Damn, what a killer track. I love re-discovering songs from my past.
I've spent much of this month listening to New York's oldies station CBS-FM. Perhaps its just a function of another birthday rolling around and I feel like reveling in my past. Or maybe I didn't want to sit through another WFUV fund drive. Then again, maybe I just didn't want to listen to baseball on the radio done by people not named Howie Rose.
Whatever the reason, I woke up one night to hear "Papa Was a Rolling Stone" and it struck me that I haven't owned a single Motown album (and only a couple of tracks scattered on some compilations) since I scored a major case of burnout on all their acts in the early 90s. "Papa" sounded so good that night I realized I needed to get that song again. And while I was at it, I decided to download all of The Tempts greatest hits.
As I was scrolling through the various song selections last Thursday, I stumbled upon "Shakey Ground." I didn't even realize that this funky gem from 1975 (which I remember hearing on WGY-AM growing up) was a Temptations song. Damn, what a killer track. I love re-discovering songs from my past.
Thursday, October 23, 2008
Song of the Week 10/17/08
The Figgs - "The Loner"
Another Figgs show, another amazing take on Neil Young's "The Loner." So this gives me an excuse to post the video of the first time I saw them tackle it.
Quite simply, fucking awesome. And yes, the guitarist Mike Gent does dedicate it to me at the end.
Another Figgs show, another amazing take on Neil Young's "The Loner." So this gives me an excuse to post the video of the first time I saw them tackle it.
Quite simply, fucking awesome. And yes, the guitarist Mike Gent does dedicate it to me at the end.
Sunday, October 12, 2008
Song of the Week 10/10/08
At the 2006 Austin City Limits Music Festival I got my first exposure to Okkervil River. In the 100 degree heat at Zilker Park my friend Stacy said, "We should stop and watch some of Okkervil River." Even though I was wilting, I agreed. The second song we saw them do was "The President's Dead." I was immediately hooked by this tale about how a simple and beautiful day in someone's life become memorable because of an assassination of a world leader. I found the song online once I got back to New York and it started me on my path to Okkervil River fandom.
Flash forward two years--I saw Okkervill River twice in the space of 9 days, the first at ACL and the second time time Tuesday night at Webster Hall here in New York. Frontman Will Sheff opened this show up with a song that used "The President's Dead" music, but with some decidedly darker lyrics: "The President's alive. I see his face on FOX 5. My friends I feel so terrified." However, "The President's Alive" isn't about our current ineffective leader. The lyrics go on to mention "The Vice standing by" with "just one tear in her eye." To open up a show with this song, on the night of second presidential debate, well, damn, it was pretty powerful. And got me hooked on Okkervill River all over again.
BONUS: This week's song title links will take you to some cool live recordings. "The President's Dead" links to a recording from the very first time I saw Okkervill River play in 2006, while "the President's Alive" links to the very first performance of "The President's Alive" in Richmond, Virginia on October 4th. Click here to get a free download of the studio version of "The President's Dead."
Tuesday, October 07, 2008
Song of the Week 10/3/08
Death Cab For Cutie - "The Sound of Settling"
Simple SOTW addition:
A random WFUV playlist on my trip back into Brooklyn Saturday night
+
The shuffle setting on the Union Hall iPod Saturday night
+
Seeing Death Cab for Cutie do a kicking version of it during a kicking show last night at Radio City
=
SOTW.
I wish all math was that easy.
Simple SOTW addition:
A random WFUV playlist on my trip back into Brooklyn Saturday night
+
The shuffle setting on the Union Hall iPod Saturday night
+
Seeing Death Cab for Cutie do a kicking version of it during a kicking show last night at Radio City
=
SOTW.
I wish all math was that easy.
Wednesday, October 01, 2008
Co-Songs of the Week 9/26/08
Conor Oberst and the Mystic Valley Band - "Kodachrome"
Talking Heads - "Houses in Motion"
Ah, Austin in September. The Austin City Limits Music Festival. (Known in these and other parts as ACL.) Three days of sun, fun and great music in beautiful Zilker Park. My third year of the attending the fest was just as great as the first two trips. I saw 19 artists perform during the festival, most of it really good. If I had to pick the Top 5 performances, I would go with Okkervill River, Robert Plant and Allison Krauss, Sharon Jones and the Dap-Kings, What Made Milwaukee Famous and one of this week's SOTW performers, Conor Oberst and the Mystic Valley Band. I knew that the Bright Eyes frontman was keeping away from doing songs from that catalog on this solo tour, yet I didn't expect his hour-long set to be just focused on his self-titled album, one new song and one tremendous cover. When Oberst and company broke into the 1973 Paul Simon solo hit, I started chuckling. It seemed that most of the crowd at the AT&T stage had never even heard the song. There were a few pockets of people dancing--and I could tell those folks were probably my age or a bit older. No matter, Conor kicked some serious ass. I really hope that cover ends up being one of the track released when the ACL live recordings come to iTunes next month. Check it out for yourself:
Now David Byrne and his band did a great set at ACL as the sun was setting on the first day of the festival, but it paled in comparison to seeing him at the very tiny Paramount Theater the night before the festival opened. My Austin friend (and place-to-crash supplier these past three years) Stacy couldn't make the first day of ACL due to work, so we decided to take the plunge and get tix for this ACL aftershow...that was before ACL. Huh? In any case, it was a very wise decision. Byrne is touring behind his great new collaboration with Brian Eno, Everything That Happens Will Happen Today, and his set consists only of songs he wrote with Eno. (Or, in the case of the Al Green cover "Take Me to the River," Eno produced.) I am a huge fan of the Jonathan Demme-directed Talking Heads concert film Stop Making Sense, which takes simple staging and brings it to another level. Byrne's current show feels like an extension of all of that. The entire band is dressed in white and are supplemented by three dancers. And these dancers are tremendous. The choreography during the songs (I'd say about 75% of the set features the dancers) adds an extra dimension to the old Heads classics and the strong new material. Go see this show when it comes to your town. I promised you won't be disappointed. Check out one of the dancers in action:
And here you can check out what I thought was the best song of both Byrne sets I saw, "Houses in Motion" from Remain in Light:
Another great time in Austin (and Lockhart for some great bbq). I already have my tickets set for next year.
BONUS: Okkervill River were just so much fun, and I was very pleased to see this video for "Lost Coastlines" when I returned to the old grind:
Talking Heads - "Houses in Motion"
Ah, Austin in September. The Austin City Limits Music Festival. (Known in these and other parts as ACL.) Three days of sun, fun and great music in beautiful Zilker Park. My third year of the attending the fest was just as great as the first two trips. I saw 19 artists perform during the festival, most of it really good. If I had to pick the Top 5 performances, I would go with Okkervill River, Robert Plant and Allison Krauss, Sharon Jones and the Dap-Kings, What Made Milwaukee Famous and one of this week's SOTW performers, Conor Oberst and the Mystic Valley Band. I knew that the Bright Eyes frontman was keeping away from doing songs from that catalog on this solo tour, yet I didn't expect his hour-long set to be just focused on his self-titled album, one new song and one tremendous cover. When Oberst and company broke into the 1973 Paul Simon solo hit, I started chuckling. It seemed that most of the crowd at the AT&T stage had never even heard the song. There were a few pockets of people dancing--and I could tell those folks were probably my age or a bit older. No matter, Conor kicked some serious ass. I really hope that cover ends up being one of the track released when the ACL live recordings come to iTunes next month. Check it out for yourself:
Now David Byrne and his band did a great set at ACL as the sun was setting on the first day of the festival, but it paled in comparison to seeing him at the very tiny Paramount Theater the night before the festival opened. My Austin friend (and place-to-crash supplier these past three years) Stacy couldn't make the first day of ACL due to work, so we decided to take the plunge and get tix for this ACL aftershow...that was before ACL. Huh? In any case, it was a very wise decision. Byrne is touring behind his great new collaboration with Brian Eno, Everything That Happens Will Happen Today, and his set consists only of songs he wrote with Eno. (Or, in the case of the Al Green cover "Take Me to the River," Eno produced.) I am a huge fan of the Jonathan Demme-directed Talking Heads concert film Stop Making Sense, which takes simple staging and brings it to another level. Byrne's current show feels like an extension of all of that. The entire band is dressed in white and are supplemented by three dancers. And these dancers are tremendous. The choreography during the songs (I'd say about 75% of the set features the dancers) adds an extra dimension to the old Heads classics and the strong new material. Go see this show when it comes to your town. I promised you won't be disappointed. Check out one of the dancers in action:
And here you can check out what I thought was the best song of both Byrne sets I saw, "Houses in Motion" from Remain in Light:
Another great time in Austin (and Lockhart for some great bbq). I already have my tickets set for next year.
BONUS: Okkervill River were just so much fun, and I was very pleased to see this video for "Lost Coastlines" when I returned to the old grind:
Tuesday, September 23, 2008
Song of the Week 9/19/08
Old 97's - "Designs on You"
I love when a playlist I made over 2 years ago brings up a song I had totally forgotten about. "Designs on You" is a great track buried towards the end of Satellite Rides. The narrator is a guy who just can't help but say the truth to a woman (Annette) who's about to get hitched. As I was on the F train at 7:30 a.m. Sunday it totally hit the spot--and probably kept me awake too damn long once I got home.
I love when a playlist I made over 2 years ago brings up a song I had totally forgotten about. "Designs on You" is a great track buried towards the end of Satellite Rides. The narrator is a guy who just can't help but say the truth to a woman (Annette) who's about to get hitched. As I was on the F train at 7:30 a.m. Sunday it totally hit the spot--and probably kept me awake too damn long once I got home.
Monday, September 15, 2008
Song of the Week 9/12/08
The Zombies - "Care of Cell 44"
It's been a Zombies' couple of weeks here at the ol' Reynolds office in Brooklyn. Moria the concert pal and I went to benefit concert headlined by Nada Surf a couple of weeks ago. Sam Champion was also on the bill, and they did a cover of the Odessey and Oracle track "This Will be Our Year." I hadn't heard the original--and considering the concert pal was seriously considering it as her future wedding song--so I needed to borrow a copy of the album from someone at the office posthaste. And damn, Odessey and Oracle definitely lives up to all the critical kudos its gotten. What a pop masterpiece. And I may steal Moria's wedding song idea when I get hitched. (Sorry MM.)
Thursday night I stopped by Sample to see two of my good friends, Heather and Vanessa, have a beer or two, and give each of them a copy of a certain singer's new album. As I sat down a song came on that sounded familiar. It was Susanna Hoffs singing, yet it wasn't The Bangles. By the second time Vanessa had played the song (and jumped around while it was playing) I had to know what it was. She explained it was Susanna Hoffs and Matthew Sweet covering The Zombies "Care of Cell 44." That's when it all made sense. I owned that Sweet and Hoffs album Under the Covers Vol. 1, and I had just been listening to that Zombies track Thursday morning on the F train.
Mystery solved--Song of the Week found.
It's been a Zombies' couple of weeks here at the ol' Reynolds office in Brooklyn. Moria the concert pal and I went to benefit concert headlined by Nada Surf a couple of weeks ago. Sam Champion was also on the bill, and they did a cover of the Odessey and Oracle track "This Will be Our Year." I hadn't heard the original--and considering the concert pal was seriously considering it as her future wedding song--so I needed to borrow a copy of the album from someone at the office posthaste. And damn, Odessey and Oracle definitely lives up to all the critical kudos its gotten. What a pop masterpiece. And I may steal Moria's wedding song idea when I get hitched. (Sorry MM.)
Thursday night I stopped by Sample to see two of my good friends, Heather and Vanessa, have a beer or two, and give each of them a copy of a certain singer's new album. As I sat down a song came on that sounded familiar. It was Susanna Hoffs singing, yet it wasn't The Bangles. By the second time Vanessa had played the song (and jumped around while it was playing) I had to know what it was. She explained it was Susanna Hoffs and Matthew Sweet covering The Zombies "Care of Cell 44." That's when it all made sense. I owned that Sweet and Hoffs album Under the Covers Vol. 1, and I had just been listening to that Zombies track Thursday morning on the F train.
Mystery solved--Song of the Week found.
Tuesday, September 09, 2008
Song of the Week 9/5/08
Okkervil River - "Lost Coastlines"
It's not often I'll use the Song of the Week to plug an album, but the The Stand Ins by Okkervil River is worth making an exception. It's the third brilliant disc in a row (after 2005's Black Sheep Boy and 2007's The Stage Names) from frontman Will Sheff and company. It's a continuation of the themes Sheff explored on The Stage Names -- namely the life of a performer, either as a movie star or a rock star. (Or, as one caustic track on The Stand Ins explores, a "Singer Songwriter.") Sheff is by far the best lyricist in rock today (might have been that schooling at Macalester in St. Paul, I'm not sure). Each song is a compelling, funny, sometimes heartbreaking, yet always tautly constructed short story. "Lost Coastlines" is ostensibly about a crew departing on a ship, yet it's a great metaphor for a band leaving on what looks to be a hard slog of a tour. ("Leaving behind/All the faces that I might replace if I tried/on that long ride/Looking deep inside/but I don't want to look so deep inside yet.") And recently departed keyboardist-vocalist Jonathan Meiburg makes a great counterpoint to Sheff's distinctive off-kilt delivery with a smooth baritone that takes two verses. A fantastic lead off song from one of the (if not the) best albums of the year. I suggest you pick it up now. I can't wait to see them in their hometown of Austin in three weeks.
BONUS: Okkervil River got their friends to "stand in" on The Stand Ins by covering all the album's songs. They filmed each friend's performance and posted them on their YouTube channel. And damn, it's a totally great idea. This take on "Lost Coastlines" find The New Pornographers' A.C. Newman taking Sheff's vocal while Sheff himself slides right into Meiburg's part:
It's not often I'll use the Song of the Week to plug an album, but the The Stand Ins by Okkervil River is worth making an exception. It's the third brilliant disc in a row (after 2005's Black Sheep Boy and 2007's The Stage Names) from frontman Will Sheff and company. It's a continuation of the themes Sheff explored on The Stage Names -- namely the life of a performer, either as a movie star or a rock star. (Or, as one caustic track on The Stand Ins explores, a "Singer Songwriter.") Sheff is by far the best lyricist in rock today (might have been that schooling at Macalester in St. Paul, I'm not sure). Each song is a compelling, funny, sometimes heartbreaking, yet always tautly constructed short story. "Lost Coastlines" is ostensibly about a crew departing on a ship, yet it's a great metaphor for a band leaving on what looks to be a hard slog of a tour. ("Leaving behind/All the faces that I might replace if I tried/on that long ride/Looking deep inside/but I don't want to look so deep inside yet.") And recently departed keyboardist-vocalist Jonathan Meiburg makes a great counterpoint to Sheff's distinctive off-kilt delivery with a smooth baritone that takes two verses. A fantastic lead off song from one of the (if not the) best albums of the year. I suggest you pick it up now. I can't wait to see them in their hometown of Austin in three weeks.
BONUS: Okkervil River got their friends to "stand in" on The Stand Ins by covering all the album's songs. They filmed each friend's performance and posted them on their YouTube channel. And damn, it's a totally great idea. This take on "Lost Coastlines" find The New Pornographers' A.C. Newman taking Sheff's vocal while Sheff himself slides right into Meiburg's part:
Monday, September 01, 2008
Song of the Week 8/29/08
Neil Young - "The Loner"
It would be more factually correct to make the artist for this Song of the Week The Figgs, but no one has posted a YouTube clip of their mind-blowing version of this song they broke out at the Knitting Factory Friday night. I didn't expect it at all, which made it even more incredible. It had to be one of the Top 5 moments I've ever experienced at a Figgs show. (And there have been over 80 shows now.) Mike Gent, Pete Donnelly and Pete Hayes just rocked the hell out of it, while keyboardist Scott Janovitz absolutely nailed the keyboard parts that Young discarded after he recorded the song for his 1969 self-titled solo debut.
I don't know what else to write. It was one of those rock moments that can probably never be duplicated. I don't even remember the two songs they played afterwards.
BONUS 1: Here is Neil tackling the song earlier this year in Amsterdam.
BONUS 2: My friend Eric went with me to the show, and he knew how mind-blowing it was for me to see my favorite ever band do a song by my favorite ever solo artist. Below he chimes in with his own review from the Holland Tunnel.
It would be more factually correct to make the artist for this Song of the Week The Figgs, but no one has posted a YouTube clip of their mind-blowing version of this song they broke out at the Knitting Factory Friday night. I didn't expect it at all, which made it even more incredible. It had to be one of the Top 5 moments I've ever experienced at a Figgs show. (And there have been over 80 shows now.) Mike Gent, Pete Donnelly and Pete Hayes just rocked the hell out of it, while keyboardist Scott Janovitz absolutely nailed the keyboard parts that Young discarded after he recorded the song for his 1969 self-titled solo debut.
I don't know what else to write. It was one of those rock moments that can probably never be duplicated. I don't even remember the two songs they played afterwards.
BONUS 1: Here is Neil tackling the song earlier this year in Amsterdam.
BONUS 2: My friend Eric went with me to the show, and he knew how mind-blowing it was for me to see my favorite ever band do a song by my favorite ever solo artist. Below he chimes in with his own review from the Holland Tunnel.
Friday, August 22, 2008
Song of the Week 8/22/08
Ingrid Michaelson - "Be Ok"
It's not often I really connect with someone I interview. Ingrid Michaelson is one of the very few exceptions. I spoke with her last fall when her song "The Way I Am" was going up the charts and within minutes we were cracking each other up like old friends. She came by the day job this week to talk about her new single and upcoming EP called Be Ok, and within a minute we were bantering like a longtime morning drive show. I don't usually dig this kind of music, but knowing that there's such a cool person behind it somehow removes that barrier. "Be Ok" is wickedly catchy and is done in under 2:30, which plants it right in my wheelhouse. And part of the proceeds will go to Stand Up 2 Cancer. So basically you'd have to be an asshole not to dig this song, which you can check out a live version below recorded earlier this month.
It's not often I really connect with someone I interview. Ingrid Michaelson is one of the very few exceptions. I spoke with her last fall when her song "The Way I Am" was going up the charts and within minutes we were cracking each other up like old friends. She came by the day job this week to talk about her new single and upcoming EP called Be Ok, and within a minute we were bantering like a longtime morning drive show. I don't usually dig this kind of music, but knowing that there's such a cool person behind it somehow removes that barrier. "Be Ok" is wickedly catchy and is done in under 2:30, which plants it right in my wheelhouse. And part of the proceeds will go to Stand Up 2 Cancer. So basically you'd have to be an asshole not to dig this song, which you can check out a live version below recorded earlier this month.
Song of the Week 8/15/08
Wilco - "Walken"
This post is not brought to you by the makers of Crestor. Fuckers.
Anywhoo, Wilco.
In Brooklyn.
Outdoors.
With the horn section, The Total Pros, on 11 songs.
Fucking magnificient.
And this gem from Sky Blue Sky never sounded better. I hummed it the whole way home on the G train.
(There are no clips from the Brooklyn show, but this version from Lollapalooza is just as good.)
This post is not brought to you by the makers of Crestor. Fuckers.
Anywhoo, Wilco.
In Brooklyn.
Outdoors.
With the horn section, The Total Pros, on 11 songs.
Fucking magnificient.
And this gem from Sky Blue Sky never sounded better. I hummed it the whole way home on the G train.
(There are no clips from the Brooklyn show, but this version from Lollapalooza is just as good.)
Friday, August 08, 2008
Song of the Week 8/8/08
I love hearing songs wildly out of context in a public place. The latest example? Today I walked in the Chipotle on 48th street, saw the line was wicked long, turned around and got five steps before I stopped and realized that "God's Comic" was playing. I actually laughed out loud before I walked back out onto the street.
And now I've had the damn song in my head all afternoon. It certainly was one of my favorites in the spring and summer of 1989 when I worked at my college station, which is kind of ironic (in the Alanis Morissette kind of way) for a guy who didn't believe in God then and still doesn't now.
Monday, August 04, 2008
Song of the Week 8/1/08
Old 97's - "Rollerskate Skinny"
I wish Old 97's had done more songs from Satellite Rides Friday night at Webster Hall. (And I wish they didn't do that horrible electric arrangement of "Question," but I've been wary of Rhett Miller's song and arrangement judgement for a few years now so I shouldn't have been surprised.) At least they did "Rollerskate Skinny," my second favorite song on the album. The way Miller screams the line "I believe in love, but it don't believe in meeeeee" has always slayed me.
Really, that re-arrangement of "Question" has almost ruined the song for me as much as the version Miller recorded for his crappy second solo album. Check it out for yourself:
I wish Old 97's had done more songs from Satellite Rides Friday night at Webster Hall. (And I wish they didn't do that horrible electric arrangement of "Question," but I've been wary of Rhett Miller's song and arrangement judgement for a few years now so I shouldn't have been surprised.) At least they did "Rollerskate Skinny," my second favorite song on the album. The way Miller screams the line "I believe in love, but it don't believe in meeeeee" has always slayed me.
Really, that re-arrangement of "Question" has almost ruined the song for me as much as the version Miller recorded for his crappy second solo album. Check it out for yourself:
Monday, July 28, 2008
Song of the Week 7/25/08
Lucinda Williams - "Essence"
Here's a simple explanation for this SOTW--I had a dream with this song in it Tuesday night. Then Thursday morning I heard this song. Can't remember anything about the dream, except that this song was playing the entire time. I brought the album into work Friday to rip "Essence" into my iTunes, and it was already in there. I had no idea it was--I don't recall ever ripping it in when I first got my iTunes off the ground 3 and 1/2 years ago.
Kinda creepy.
Here's a simple explanation for this SOTW--I had a dream with this song in it Tuesday night. Then Thursday morning I heard this song. Can't remember anything about the dream, except that this song was playing the entire time. I brought the album into work Friday to rip "Essence" into my iTunes, and it was already in there. I had no idea it was--I don't recall ever ripping it in when I first got my iTunes off the ground 3 and 1/2 years ago.
Kinda creepy.
Sunday, July 20, 2008
Song of the Week 7/18/08
This past week I went in for my second stint of jury duty in Brooklyn--and once again I got picked. In 2003 I served two weeks on a murder trial. Fortunately this time it was a civil case that got settled before we went into the courtroom. And each time I walked to the building I found myself singing the first single from the new Hold Steady effort. It's another great slab of (I almost hate to write this phrase but I will) Springsteen-esque rock with frontman Craig Finn spinning the tale of a guy being questioned by the cops. It was the perfect antidote to being wrapped up in the clutches of our jurisprudence system.
On the plus side, I don't have to go to jury duty for another eight years. By that point society might have broken down completely and vigilante justice will rule. Woo-hoo!
Monday, July 14, 2008
Song of the Week 7/11/08
The Black Crowes - "Locust Street"
I've always been a sucker for the slower entries in the Crowes catalog. "Thorn in My Pride" from The Southern Harmony And Musical Companion, "Miracle to Me" from Lions and especially "Wiser Time" from Amorica all received multiple plays from yours truly. ("Wiser Time" must have been on every mix tape I made in the second half of 1994.) I learned that Warpaint had two great ballads when earlier this year I had to produce an album premiere special. We didn't play "Locust Street" in that special, but hearing the song four times last week on WFUV sure makes me wish we had.
BONUS: Here's the Crows playing the song live for the first time in Sayreville, New Jersey.
I've always been a sucker for the slower entries in the Crowes catalog. "Thorn in My Pride" from The Southern Harmony And Musical Companion, "Miracle to Me" from Lions and especially "Wiser Time" from Amorica all received multiple plays from yours truly. ("Wiser Time" must have been on every mix tape I made in the second half of 1994.) I learned that Warpaint had two great ballads when earlier this year I had to produce an album premiere special. We didn't play "Locust Street" in that special, but hearing the song four times last week on WFUV sure makes me wish we had.
BONUS: Here's the Crows playing the song live for the first time in Sayreville, New Jersey.
Tuesday, July 08, 2008
The Baseball Project is Out Today. You Should Purchase It.
Full disclosure: yours truly wrote the bio for the debut album from The Baseball Project, and even if I didn't I would still say it is one of my favorite albums of the year. Check out the band's blog (and Myspace) and listen to the entire album here. A fan of baseball or good catchy rock music needs a copy of it in their collection.
And since I wrote the bio (and it says everything I could say about such a fantastic album) I'm going to reprint it here:
What happens when two great songwriters decide to focus their talents upon their favorite sport? You get the highly entertaining debut disc from The Baseball Project, Volume One: Frozen Ropes and Dying Quails. The album is the brainchild of Steve Wynn (Dream Syndicate, Steve Wynn and the Miracle 3) and Scott McCaughey (Young Fresh Fellows, Minus 5, and R.E.M). The two musicians were longtime fans of each other's work throughout the 80s but never met until the early 90s. Wynn recalls, "I honestly think the first time we met was side-by-side at the urinals at the Offramp in Seattle when I played there in 1992." He adds, "Scott didn't try to shake my hand."
After that fortuitous (and sanitary) meeting, the pair quickly discovered that they were both huge baseball fans. The two casually talked about an album of baseball material for a few years, but the idea for The Baseball Project crystallized at a chance meeting in 2007.
"It finally took flight at the R.E.M. pre-Hall of Fame induction party in New York," Wynn remembers. "Everyone was happy. The wine was flowing, the food was incredible and spring training had just started. Scott and I talked baseball until most of the party guests had cleared out. And we actually remembered it the next day."
Soon the pair started working on songs extolling the feats and defeats of players like Curt Flood, Satchel Paige, Ted Williams, and Black Jack McDowell, and convened last December at McCaughey's home in Portland. After a none-too-strenuous week of writing, refining, and rehearsing with Wynn's Miracle 3 drummer Linda Pitmon, they headed into Jackpot! Studios with producer/engineer Adam Selzer (M. Ward, Norfolk & Western), and were soon joined by longtime partner-in-crime Peter Buck.
The end result is an album that impresses not only with its depth of both widely known and obscure baseball lore, but with its melodic sensibility, walls of guitars, and catchy choruses. No, Frozen Ropes & Dying Quails does not require a PhD in pitching mechanics or membership in three fantasy leagues to enjoy on a purely musical level. The joyous chorus of "Ted Fucking Williams" would probably compel Babe Ruth to sing along. "Broken Man" is about slugger Mark McGwire, yet anyone can identify with the semi-tragic tale of being built up and then being humiliated in public in such a brief span of time. And in "Jackie's Lament", Mr. Robinson's trials while breaking baseball's color barrier become an anthemic call to anyone who overcomes life's obstacles.
McCaughey and Wynn admit that the inherent task of including so many names, dates and places required a different mindset than the standard three minute pop gem. McCaughey credits drummer (and Minnesota Twins fan) Linda Pitmon's "keen ear for editing" as a big help in keeping the songs from getting too encyclopedic or list-oriented. He adds, "It wasn't hard to find the inspiration for the songs, but it was hard to fit in the all the lyrics necessary to tell the stories. It really helped to keep the music fairly simple."
Wynn cites "Harvey Haddix" as perhaps the most difficult song to finish. The track makes the case for the Pittsburgh Pirates pitcher to be credited with a perfect game (no hits, no base runners over nine innings) after he lost one in the 13th inning. The chorus names all 17 pitchers in history that are officially recognized with the rare feat--alas, the names of Randy Johnson, Addie Joss and Dennis Martinez aren't really found in rhyming dictionaries. Wynn explains, "It was like lyrical Sudoku. We had to somehow fit in all 17 pitchers. The last piece of the puzzle was a visit to Wikipedia and finding that Catfish Hunter threw his for the A's--I knew that already--and that Len Barker threw his against the Blue Jays. I didn't know that, and a natural rhyme was born!"
Wynn and McCaughey also take time to pay tribute to their favorite baseball players of all time. McCaughey's "Sometimes I Dream of Willie Mays" blends personal memories of his hero into a psychedelic time-warp. For Wynn, "Long Before My Time" marks the amazing career of Dodgers pitcher Sandy Koufax, who quit at his peak in 1966. Wynn says, "He had such an incredible five year run and then he just walked away. He was in the Hall of Fame at an age where most players are renegotiating their contract."
Both Wynn and McCaughey's love of baseball and its legendary players made its way sporadically into songs during their distinguished careers. The Young Fresh Fellows named-checked Seattle Mariners slugger Gorman Thomas on "Aurora Bridge" from 1986's Refreshments, while Wynn tipped his cap to Hall of Famers Mickey Mantle and Stan Musial in his 1990 solo hit "Kerosene Man."
Wynn also penned the closing song for the 2005 baseball romantic comedy Fever Pitch. "I wrote 'Second Best' when Fever Pitch was meant to be about the futility of being a Red Sox fan," he explains. "The hook line was 'Why do I settle for second best, why is everything a test, just this once can't nice guys finish first and break this curse of always second best.' Then they won the World Series. Maybe I should take credit."
With Volume One in the album title, the question begs to be asked, is there more to come? "It seems inevitable," McCaughey says. "After all, we haven't written songs about (Seattle Mariners star) Ichiro or (innovative owner) Bill Veeck yet." Wynn adds, "Or (the one time midget pitch hitter) Eddie Gaedel!"
BONUS: Here's Scott, Steve, Linda and Peter on Letterman June 20th.
And since I wrote the bio (and it says everything I could say about such a fantastic album) I'm going to reprint it here:
What happens when two great songwriters decide to focus their talents upon their favorite sport? You get the highly entertaining debut disc from The Baseball Project, Volume One: Frozen Ropes and Dying Quails. The album is the brainchild of Steve Wynn (Dream Syndicate, Steve Wynn and the Miracle 3) and Scott McCaughey (Young Fresh Fellows, Minus 5, and R.E.M). The two musicians were longtime fans of each other's work throughout the 80s but never met until the early 90s. Wynn recalls, "I honestly think the first time we met was side-by-side at the urinals at the Offramp in Seattle when I played there in 1992." He adds, "Scott didn't try to shake my hand."
After that fortuitous (and sanitary) meeting, the pair quickly discovered that they were both huge baseball fans. The two casually talked about an album of baseball material for a few years, but the idea for The Baseball Project crystallized at a chance meeting in 2007.
"It finally took flight at the R.E.M. pre-Hall of Fame induction party in New York," Wynn remembers. "Everyone was happy. The wine was flowing, the food was incredible and spring training had just started. Scott and I talked baseball until most of the party guests had cleared out. And we actually remembered it the next day."
Soon the pair started working on songs extolling the feats and defeats of players like Curt Flood, Satchel Paige, Ted Williams, and Black Jack McDowell, and convened last December at McCaughey's home in Portland. After a none-too-strenuous week of writing, refining, and rehearsing with Wynn's Miracle 3 drummer Linda Pitmon, they headed into Jackpot! Studios with producer/engineer Adam Selzer (M. Ward, Norfolk & Western), and were soon joined by longtime partner-in-crime Peter Buck.
The end result is an album that impresses not only with its depth of both widely known and obscure baseball lore, but with its melodic sensibility, walls of guitars, and catchy choruses. No, Frozen Ropes & Dying Quails does not require a PhD in pitching mechanics or membership in three fantasy leagues to enjoy on a purely musical level. The joyous chorus of "Ted Fucking Williams" would probably compel Babe Ruth to sing along. "Broken Man" is about slugger Mark McGwire, yet anyone can identify with the semi-tragic tale of being built up and then being humiliated in public in such a brief span of time. And in "Jackie's Lament", Mr. Robinson's trials while breaking baseball's color barrier become an anthemic call to anyone who overcomes life's obstacles.
McCaughey and Wynn admit that the inherent task of including so many names, dates and places required a different mindset than the standard three minute pop gem. McCaughey credits drummer (and Minnesota Twins fan) Linda Pitmon's "keen ear for editing" as a big help in keeping the songs from getting too encyclopedic or list-oriented. He adds, "It wasn't hard to find the inspiration for the songs, but it was hard to fit in the all the lyrics necessary to tell the stories. It really helped to keep the music fairly simple."
Wynn cites "Harvey Haddix" as perhaps the most difficult song to finish. The track makes the case for the Pittsburgh Pirates pitcher to be credited with a perfect game (no hits, no base runners over nine innings) after he lost one in the 13th inning. The chorus names all 17 pitchers in history that are officially recognized with the rare feat--alas, the names of Randy Johnson, Addie Joss and Dennis Martinez aren't really found in rhyming dictionaries. Wynn explains, "It was like lyrical Sudoku. We had to somehow fit in all 17 pitchers. The last piece of the puzzle was a visit to Wikipedia and finding that Catfish Hunter threw his for the A's--I knew that already--and that Len Barker threw his against the Blue Jays. I didn't know that, and a natural rhyme was born!"
Wynn and McCaughey also take time to pay tribute to their favorite baseball players of all time. McCaughey's "Sometimes I Dream of Willie Mays" blends personal memories of his hero into a psychedelic time-warp. For Wynn, "Long Before My Time" marks the amazing career of Dodgers pitcher Sandy Koufax, who quit at his peak in 1966. Wynn says, "He had such an incredible five year run and then he just walked away. He was in the Hall of Fame at an age where most players are renegotiating their contract."
Both Wynn and McCaughey's love of baseball and its legendary players made its way sporadically into songs during their distinguished careers. The Young Fresh Fellows named-checked Seattle Mariners slugger Gorman Thomas on "Aurora Bridge" from 1986's Refreshments, while Wynn tipped his cap to Hall of Famers Mickey Mantle and Stan Musial in his 1990 solo hit "Kerosene Man."
Wynn also penned the closing song for the 2005 baseball romantic comedy Fever Pitch. "I wrote 'Second Best' when Fever Pitch was meant to be about the futility of being a Red Sox fan," he explains. "The hook line was 'Why do I settle for second best, why is everything a test, just this once can't nice guys finish first and break this curse of always second best.' Then they won the World Series. Maybe I should take credit."
With Volume One in the album title, the question begs to be asked, is there more to come? "It seems inevitable," McCaughey says. "After all, we haven't written songs about (Seattle Mariners star) Ichiro or (innovative owner) Bill Veeck yet." Wynn adds, "Or (the one time midget pitch hitter) Eddie Gaedel!"
BONUS: Here's Scott, Steve, Linda and Peter on Letterman June 20th.
Sunday, July 06, 2008
Song of the Week 7/4/08
a-ha - "Take on Me"
Okay, this was weird.
Since Wednesday night I've been listening to 101.1 WCBS-FM's A to Z countdown. They've been playing tons of songs I haven't heard in ages. Yesterday, as my Most Productive Holiday Weekend Ever [(C) 2008] continued, I started my long term project of dubbing over all my cassettes into digital files. This morning I was dubbing over an 80s Artists Only I did with my friend (and current Zisk co-editor) Mike Faloon on 92 WICB in May 1991. At the same time I was listening to CBS-FM in my living room while cooking breakfast. As "Take On Me" came on, I decided to go into my bedroom to see how much was left on one side of the tape. I turned the speakers up--and "Take On Me" was coming out of the computer. I did a doubletake, and realized that the "Take On Me" on the cassette was about :30 seconds ahead of the version coming out of the living room speakers.
Weeeeeeeeiiiiiiiiiird.
Okay, this was weird.
Since Wednesday night I've been listening to 101.1 WCBS-FM's A to Z countdown. They've been playing tons of songs I haven't heard in ages. Yesterday, as my Most Productive Holiday Weekend Ever [(C) 2008] continued, I started my long term project of dubbing over all my cassettes into digital files. This morning I was dubbing over an 80s Artists Only I did with my friend (and current Zisk co-editor) Mike Faloon on 92 WICB in May 1991. At the same time I was listening to CBS-FM in my living room while cooking breakfast. As "Take On Me" came on, I decided to go into my bedroom to see how much was left on one side of the tape. I turned the speakers up--and "Take On Me" was coming out of the computer. I did a doubletake, and realized that the "Take On Me" on the cassette was about :30 seconds ahead of the version coming out of the living room speakers.
Weeeeeeeeiiiiiiiiiird.
Monday, June 30, 2008
Song of the Week 6/27/08
The time: Saturday night, June 28th just before midnight.
The event: David Lame Roth vs. Sammy Haggard for supreme karaoke domination of Union Hall.
The winner: All the people there.
Sometimes a picture is worth more than a thousand words. This is one of those times:
Wednesday, June 25, 2008
Song of the Week 6/20/08
R.E.M. - “Ignoreland”
It’s rare when I can say this about a band, especially an act who I’ve been a devoted fan of for 23 years:
Thursday’s R.E.M. show at Madison Square Garden was the best I’ve ever seen them.
Ever.
You might ask, "Why do you feel this way after 20 years of seeing them perform?" Well, I would reply that the set list was about as diverse as I’ve ever witnessed. The band finally seems comfortable without Bill Berry behind the drum kit. (Bill Rieflin is the second best Bill the band has ever had.) Michael Stipe, Mike Mills and Peter Buck looked like they actually enjoyed each other’s company and were having a terrific time going through their past (“Harborcoat?” “Disturbance at the heron House?” OMFG!) and their present (“Living Well’s the Best Revenge” from the great Accelerate is a quintessential set opener). And my friend and fellow baseball fanatic Scott McCaughey was his typical cheery on stage self. (Not as much bouncing as usual this time, but it's because he has a lot more to do this tour.)
Oh, and it might have helped that I had 5th row seats.
(The view from said seats via Molly’s iPhone)
There are times where I am way past my job being cool. (Well, pretty much the entire time at this point. I mean Coldplay walked around my office today and I was just annoyed.) Having someone the R.E.M. office calling me 2 hours before showtime to offer a last-minute pair of free tickets that ended up being that good? Holy shit, that is fucking cool.
It’s been five days since the show and I’m still listening to R.E.M. albums every day on my commute. It feels like a rebirth of my love of this band from Athens, Georgia. They’ve played such a huge part in my life from the moment I got to college. One of my first memories of Ithaca is buying Document (on CD--woo woo!) the day it came out at the college bookstore just after having my first classes. I waited out in a cold line for tickets for the Green tour with a bunch of friends. I was honored to be the first person to play “Losing My Religion” fresh out off the Fed Ex package. (And I’m sure there’s other stuff as well, but there are only so many brain cells left.) There have been times over the past few days when I’ve felt like that brash kid who was into radio all over again.
Sigh.
Anyways, on to the Song of the Week. “Ignoreland” has always been the stepchild of the mostly downbeat Automatic for the People. It’s got loud guitars, a funky clavinet part and sounds distinctly out of place next to “Monty Got a Raw Deal” and “Star Me Kitten.” Michael Stipe spits out the lyrics about the Reagan/Bush 1 era as co-producer Scott Litt makes Stipe’s voice sound as if it’s being broadcast over distorted speakers at the world’s largest political rally. It’s a song that would fit snugly on Life’s Rich Pageant or Document, yet the band never played it live until this tour. And my oh my, it really was a treat to see and hear. Stipe’s biting words are still applicable 16 years later:
“These bastards stole their power from the victims of the us v. them years,
Wrecking all things virtuous and true.
The undermining social democratic downhill slide into abysmal
Lost lamb off the precipice into the trickle down runoff pool.
They hypnotized the summer, nineteen seventy-nine.
Marched into the capital brooding duplicitous, wicked and able, media-ready,
Heartless, and labeled. super U.S.. citizen, super achiever,
Mega ultra power dosing. relax.
Defense, defense, defense, defense. yeah, yeah, yeah.
Yeah, yeah, yeah. ignoreland. yeah, yeah, yeah. ignoreland.”
Perhaps it’s best that R.E.M. waited until now to play “Ignoreland.” The track fits in with the political motif that runs through most of Accelerate and the songs that filled out the MSG set. (“These Days” was just phenomenal.) R.E.M. will be back just in time for the fall elections and hopefully the cries of “Ignoreland” won’t be needed after November 4th.
BONUS:
Here’s the set list, with as many YouTube selections as I could dig up.
“Living Well is the Best Revenge”
“These Days”
“What’s the Frequency Kenneth”
“Bad Day”
“Drive”
“Hollow Man”
“Ignoreland” (Alas, its from Chicago, not NYC, but needs to be heard/seen live)
“Man-Sized Wreath”
“Leaving New York”
“Disturbance at the Heron House”
“Houston”
“Electrolite”
“Don’t Go back to Rockville”
“Driver 8”
“Harborcoat”
“The One I Love”
“Until the Day is Done”
“Let Me In”
“Horse to Water”
“Pretty Persuasion”
“Orange Crush”
“I’m Gonna DJ”
Encore:
“Supernatural Superserious”
“Losing My Religion”
“Begin the Begin”
“Fall on Me” (with Johnny Marr)
“Man on the Moon” (with Johnny Marr)
It’s rare when I can say this about a band, especially an act who I’ve been a devoted fan of for 23 years:
Thursday’s R.E.M. show at Madison Square Garden was the best I’ve ever seen them.
Ever.
You might ask, "Why do you feel this way after 20 years of seeing them perform?" Well, I would reply that the set list was about as diverse as I’ve ever witnessed. The band finally seems comfortable without Bill Berry behind the drum kit. (Bill Rieflin is the second best Bill the band has ever had.) Michael Stipe, Mike Mills and Peter Buck looked like they actually enjoyed each other’s company and were having a terrific time going through their past (“Harborcoat?” “Disturbance at the heron House?” OMFG!) and their present (“Living Well’s the Best Revenge” from the great Accelerate is a quintessential set opener). And my friend and fellow baseball fanatic Scott McCaughey was his typical cheery on stage self. (Not as much bouncing as usual this time, but it's because he has a lot more to do this tour.)
Oh, and it might have helped that I had 5th row seats.
(The view from said seats via Molly’s iPhone)
There are times where I am way past my job being cool. (Well, pretty much the entire time at this point. I mean Coldplay walked around my office today and I was just annoyed.) Having someone the R.E.M. office calling me 2 hours before showtime to offer a last-minute pair of free tickets that ended up being that good? Holy shit, that is fucking cool.
It’s been five days since the show and I’m still listening to R.E.M. albums every day on my commute. It feels like a rebirth of my love of this band from Athens, Georgia. They’ve played such a huge part in my life from the moment I got to college. One of my first memories of Ithaca is buying Document (on CD--woo woo!) the day it came out at the college bookstore just after having my first classes. I waited out in a cold line for tickets for the Green tour with a bunch of friends. I was honored to be the first person to play “Losing My Religion” fresh out off the Fed Ex package. (And I’m sure there’s other stuff as well, but there are only so many brain cells left.) There have been times over the past few days when I’ve felt like that brash kid who was into radio all over again.
Sigh.
Anyways, on to the Song of the Week. “Ignoreland” has always been the stepchild of the mostly downbeat Automatic for the People. It’s got loud guitars, a funky clavinet part and sounds distinctly out of place next to “Monty Got a Raw Deal” and “Star Me Kitten.” Michael Stipe spits out the lyrics about the Reagan/Bush 1 era as co-producer Scott Litt makes Stipe’s voice sound as if it’s being broadcast over distorted speakers at the world’s largest political rally. It’s a song that would fit snugly on Life’s Rich Pageant or Document, yet the band never played it live until this tour. And my oh my, it really was a treat to see and hear. Stipe’s biting words are still applicable 16 years later:
“These bastards stole their power from the victims of the us v. them years,
Wrecking all things virtuous and true.
The undermining social democratic downhill slide into abysmal
Lost lamb off the precipice into the trickle down runoff pool.
They hypnotized the summer, nineteen seventy-nine.
Marched into the capital brooding duplicitous, wicked and able, media-ready,
Heartless, and labeled. super U.S.. citizen, super achiever,
Mega ultra power dosing. relax.
Defense, defense, defense, defense. yeah, yeah, yeah.
Yeah, yeah, yeah. ignoreland. yeah, yeah, yeah. ignoreland.”
Perhaps it’s best that R.E.M. waited until now to play “Ignoreland.” The track fits in with the political motif that runs through most of Accelerate and the songs that filled out the MSG set. (“These Days” was just phenomenal.) R.E.M. will be back just in time for the fall elections and hopefully the cries of “Ignoreland” won’t be needed after November 4th.
BONUS:
Here’s the set list, with as many YouTube selections as I could dig up.
“Living Well is the Best Revenge”
“These Days”
“What’s the Frequency Kenneth”
“Bad Day”
“Drive”
“Hollow Man”
“Ignoreland” (Alas, its from Chicago, not NYC, but needs to be heard/seen live)
“Man-Sized Wreath”
“Leaving New York”
“Disturbance at the Heron House”
“Houston”
“Electrolite”
“Don’t Go back to Rockville”
“Driver 8”
“Harborcoat”
“The One I Love”
“Until the Day is Done”
“Let Me In”
“Horse to Water”
“Pretty Persuasion”
“Orange Crush”
“I’m Gonna DJ”
Encore:
“Supernatural Superserious”
“Losing My Religion”
“Begin the Begin”
“Fall on Me” (with Johnny Marr)
“Man on the Moon” (with Johnny Marr)
Monday, June 16, 2008
Song of the Week 6/13/08
Tom Petty and the Heartbreakers - "The Waiting"
I'm hatching a new project this fall, and "The Waiting" is a part of it (I hope). So I've been listening to the live version from Pack Up the Plantation quite a bit over the past few days. Sunday I'm at the second game of an unexpected doubleheader at Shea and the people who run the music decide to play this song (the studio version) as we waited for a Texas Rangers relief pitcher was warming up.
The live version below is tremendous. I love Petty's lengthy intro:
I'm hatching a new project this fall, and "The Waiting" is a part of it (I hope). So I've been listening to the live version from Pack Up the Plantation quite a bit over the past few days. Sunday I'm at the second game of an unexpected doubleheader at Shea and the people who run the music decide to play this song (the studio version) as we waited for a Texas Rangers relief pitcher was warming up.
The live version below is tremendous. I love Petty's lengthy intro:
Friday, June 06, 2008
Song of the Week 6/6/08
Death Cab For Cutie - "No Sunlight"
Death Cab's new album Narrow Stairs is easily one of my favorite discs of the year. Ben Gibbard and company have created an album that serves the many moods of Steve--happy ("Long Division"); sad ("The Ice Is Getting Thinner"): contemplative (yeah, it happens) ("Bixby Canyon Bridge"); Beach Boys-esque ("You Can Do Better Than Me") and finally poppy, which brings us to "No Sunlight." It's a perfect pop composition--great quick piano and guitar riffs, two instantly-memorable choruses ("in sunlight" and "no sunlight"), a head-bobbing bridge that comes around twice and it all clocks in at a brisk 2:40. I kind of hope "No Sunlight" doesn't become a single. It would be nice to have a favorite song on an album not be sullied by radio play.
You know what? I'm going to listen to the song for the sixth time today. I suggest you do the same.
Death Cab's new album Narrow Stairs is easily one of my favorite discs of the year. Ben Gibbard and company have created an album that serves the many moods of Steve--happy ("Long Division"); sad ("The Ice Is Getting Thinner"): contemplative (yeah, it happens) ("Bixby Canyon Bridge"); Beach Boys-esque ("You Can Do Better Than Me") and finally poppy, which brings us to "No Sunlight." It's a perfect pop composition--great quick piano and guitar riffs, two instantly-memorable choruses ("in sunlight" and "no sunlight"), a head-bobbing bridge that comes around twice and it all clocks in at a brisk 2:40. I kind of hope "No Sunlight" doesn't become a single. It would be nice to have a favorite song on an album not be sullied by radio play.
You know what? I'm going to listen to the song for the sixth time today. I suggest you do the same.
Sunday, June 01, 2008
Song of the Week 5/30/08
The Doobie Brothers - "What a Fool Believes"
Wow, what a fun night of Yacht Rock at Union Hall. Hearing my friend Jed Parish sing this song live with Joe McGinty of Loser's Lounge was awesome. And then seeing Yacht Rock co-creator JD Ryznar do a William Shatner-esque take during the Hawl and Oatz Soft Rock Karaoke was fantastic.
Wow, what a fun night of Yacht Rock at Union Hall. Hearing my friend Jed Parish sing this song live with Joe McGinty of Loser's Lounge was awesome. And then seeing Yacht Rock co-creator JD Ryznar do a William Shatner-esque take during the Hawl and Oatz Soft Rock Karaoke was fantastic.
Saturday, May 24, 2008
Song of the Week 5/23/08
Ryan Adams - "Touch, Feel and Lose"
Note to self: DO NOT listen to this song if again you happen to be walking through a neighborhood you haven't been to in a while, and you haven't been there for strictly emotional reasons.
Sheeesh, that kind of sucked the wind out of my Friday.
Note to self: DO NOT listen to this song if again you happen to be walking through a neighborhood you haven't been to in a while, and you haven't been there for strictly emotional reasons.
Sheeesh, that kind of sucked the wind out of my Friday.
Monday, May 19, 2008
Song of the Week 5/16/08
I finally got around to picking up this new (well, I guess a reunion after 33 years isn’t that new) Tom Petty side project last week after hearing “Scare Easy” for the umpteenth time on WFUV. After one spin on the subway ride home, my initial suspicious were confirmed--this is the best Petty original in a decade. It’s catchy as hell, it has a great “let’s get this down on tape live here in our rehearsal space” sound, guitarist and fellow moonlighting Heartbreaker Mike Campbell plays the hell out of the solo and the chorus is one of Petty’s strongest in age. He sounds absolutely recharged, which I’m grateful for after seeing some average Heartbreakers performances over the past two tours.
I love how Petty snarls these lines in harmony with guitarist Tom Leadon on the chorus:
“I don’t scare easy
I don’t fall apart
When I’m under the gun
You can break my heart
And I ain’t gonna run
I don’t scare easy
For no one”
Mudcrutch is the band that Petty and Campbell (along with keyboardist Benmont Tench) were in before the Heartbreakers were born. I’m pretty sure this country-rock-slash- psychedelic sound would not have brought them a Rock and Roll Hall of Fame career like the Heartbreakers. But unlike most of us who will never have that opportunity, Petty and company got to get back together with some old friends and see if that magic from long ago was still there.
BONUS: Here’s the official video:
And to prove the undeniable greatness that is named Mike Campbell, check out his solo in this live version from Santa Cruz last month.
I love how Petty snarls these lines in harmony with guitarist Tom Leadon on the chorus:
“I don’t scare easy
I don’t fall apart
When I’m under the gun
You can break my heart
And I ain’t gonna run
I don’t scare easy
For no one”
Mudcrutch is the band that Petty and Campbell (along with keyboardist Benmont Tench) were in before the Heartbreakers were born. I’m pretty sure this country-rock-slash- psychedelic sound would not have brought them a Rock and Roll Hall of Fame career like the Heartbreakers. But unlike most of us who will never have that opportunity, Petty and company got to get back together with some old friends and see if that magic from long ago was still there.
BONUS: Here’s the official video:
And to prove the undeniable greatness that is named Mike Campbell, check out his solo in this live version from Santa Cruz last month.
Tuesday, May 13, 2008
Song of the Week 5/9/08
Michael Jackson - "Off the Wall"
No big statement behind this song--my co-worker Doug suggested I play songs that had "wall" in the title, and this was the first one I thought of. A couple hours later at happy hour, the only song I could make out over the din was "Off the Wall."
And I suppose the less comments I make about this song's performer the better.
Monday, May 05, 2008
Derby Day Party 5/3/08
I was once again honored to DJ at Michael Boyd's annual Derby Day Party. This was the first time at Union Hall, and the place is so big (and was way crowded) I'm sure much of the music got lost in space. But that didn't stop me from coming up with a set that was chock-filled with Derby-related material. I'm already looking forward to next year.
Chet Atkins and His Galloping Guitar - "Kentucky Derby"
Ryan Adams and The Cardinals - "Cold Roses"
The Rolling Stones - "Dead Flowers"
Wilco - "Casino Queen"
Beau Brummels - "Old Kentucky Home"
Oasis - "Cigarettes and Alcohol"
Elvis Presley - "Kentucky Rain"
Loretta Lynn - "Van Lear Rose"
The Hold Steady - "Chips Ahoy!"
The Flaming Lips - "Race for the Prize"
Mike Doughty - "The Gambler"
Pavement - "Kentucky Cocktail"
Dave Clark Five - "Catch Us If You Can"
The Smithereens - "Blood and Roses"
The Arcade Fire - "Keep The Car Running"
Big Star - "Back of a Car"
Echo and the Bunnymen - "Bring on the Dancing Horses"
R.E.M. - "Horse to Water"
Elvis Costello and the Attractions - "King Horse"
The Figgs - "Breaking Through These Gates"
Graham Parker - "High Horse"
Sonic Youth - "Bull in the Heather"
The Monkees - "All the King's Horses"
Nada Surf - "Whose Authority"
Tom Petty and the Heartbreakers - "You Got Lucky"
Nick Lowe - "Music for Money"
Social Distortion - "Bad Luck"
Dramarama - "Last Cigarette"
The Who - "You Better You Bet"
Count Basie - "Plenty of Money and You"
Ricky Nelson - "Sure Fire Bet"
Big Bad Voodoo Daddy - "You and Me and the Bottle Makes 3 Tonight (Baby)"
Cake - "The Distance"
Old 97s - "King of All of the World"
Joboxers - "Just Got Lucky"
Devo - "Whip It"
Mates of State - "Along For the Ride"
The Kinks - "David Watts"
The Strokes - "Trying Your Luck"
Big Dipper - "Ron Klaus Wrecked His House"
Guided By Voices - "Bulldog Skin"
Xavier Cugat - "One Mint Julep"
The Backbeat Band - "Money (That's What I Want)"
Matthew Sweet - "Girlfriend"
Warren Zevon - "Lawyers, Guns and Money"
Psychedelic Furs - "All That Money Wants"
Big Audio Dynamite - "The Bottom Line"
Song of the Week 5/2/08
Wilco - Jesus, Etc.
I heard this song every single day this week--twice in bars, once at random on my iPod and twice on WFUV at totally different times of the day. I love how it's become such a sing-a-long over the past seven years. (The above clip is from Wilco's great five night run in Chicago this past February.)
I heard this song every single day this week--twice in bars, once at random on my iPod and twice on WFUV at totally different times of the day. I love how it's become such a sing-a-long over the past seven years. (The above clip is from Wilco's great five night run in Chicago this past February.)
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