In addition to Independence Day and National Hot Dog Month, July marked Cell Phone Courtesy Month.  Let me challenge you to celebrate year round!

If ring tones were more sonically pleasing, perhaps it wouldn’t matter if we forgot our manners and failed to silence our cell phones in public places.  Enter composer Max Richter.  Richter’s 2008 album 24 Postcards in Full Colour is a collection of dreamy and atmospheric musical moments, composed with the intention they be used as ring tones. The longest track is a mere 2 and a ½ minutes.

Richter was born in Germany, but his family moved to the UK when he was a young lad.  Growing up he listened to a whole lot of Philip Glass, Pink Floyd, The Clash, and artists in the electronic music scene such as Kraftwerk.  After completing studies in composition and piano, Richter spent time in an ensemble that played works by composers such as the aforementioned Philip Glass, Brian Eno, and Steve Reich.  Richter eventually began to focus on his own compositions releasing solo albums in the 2000’s, which brings us back to 24 Postcards.  Some music snobs will say these very brief compositions are a creative cop-out, I say don’t forget it’s a concept album!

The album name, 24 Postcards in Full Colour, not only refers to the 24 tracks, but to the 24 accompanying photos in the liner notes.  These snapshots, some of which were taken by Richter, add more facets of insight and enjoyment to the listening experience.   He has also scored films, including last year’s Waltz with Bashir.

So always remember to practice cell phone courtesy.  And the next time you decide to assign a new ring tone, think of Max Richter.  Or consider John Cage’s most famous composition…

Anyway, for those of you whole missed all the fun, just wanted to let you know that we’ve got a few albums from Sir Paul that you can listen to instead:

These are just a sampling of the Paul.  We also have several Beatles albums in our catalog. (Unfortunately, no Beatles songs are available on freegal, just FYI.) 

Now if you’re saying, “But Amanda, I don’t like to rock out,” that’s fine.  Paul also has a couple of classical albums as well.  Take a listen:

True Paul fans also know that he’s been playing around in a group called The Fireman, and here at NPL, we’ve even got one of their CDs for your listening pleasure:

By the by, I think this one might be available on freegal, but I haven’t downloaded it myself (yet.  Oy, so many downloads so little time!).

So for all of you who got to see the former Beatle, it was nice to spend an evening with you – severe weather and all.  And if you didn’t make it this time, you better get listening, so when he comes back (in 30 years), you’ll be ready…there might even be a quiz.

Amanda

Need another reason why free downloads are fun?  You get to explore and hear music to which you might not otherwise be exposed.  I was puttering around in freegal the other day and came across this hidden gem.  It was listed in the classical genre, by Alanis Morissette (under A for Alanis, naturally) – so I was intrigued.  And for good reason. 

I had never heard of this work before, so I Googled it.  According to Wikipedia, The Prayer Cycle is a nine movement piece that was originally used in the ABC documentary, The Century.  Along with Morissette, it features other big pop names in more classical settings:

I. Mercy (Alanis Morisette)
II. Strength (Richard Bona)
III. Hope (Alanis with The American Boychoir)
IV. Compassion (the now-deceased Nusrat Fatah Ali Khan)
V. Grace (James Taylor)
VI. Innocence (Salif Keita)
VII. Forgiveness (Nusrat)
VIII. Benediction (Linda Ronstadt)
IX. Faith (Alanis and Nusrat)

The piece is sung in twelve languages, but the only bad thing about downloading it is that I cannot find a complete translation of the Elias-penned text anywhere.  Maybe that’s good though.  Maybe that means I just have to be more Zen about it and simply experience it for what it is without analyzing everything.  (That said, if you can find a complete version, please let me know.)

 Sometimes such an eclectic collection of artists can come across as cheesy or overly commercial. But this album is everything you want it to be – relaxing, poignant, hopeful, yet powerful and haunting, all at the same time.  It’s definately not something you put on to dance around the house to. And I probably wouldn’t recommend it for driving either…you might get too relaxed.  But it would be excellent for that quiet, introspective evening in.

Intrigued yet?  Well, don’t take my word for it.  Log on to freegal yourself (here’s how) and check it out.  If you don’t want to download all nine tracks, just listen to the 30 sec. samples to get an idea of what I’m talking about.  Since our new limit is 5 songs a week (still better than nothing, folks, let’s be honest), it will take you two weeks to get the whole thing.  But, it’s worth it.

Trust me.

Amanda

The Avett Brothers introduce Emotionalism

This 2007 disc was my introduction to this excellent band, featuring the brothers Seth and Scott Avett who play a multifaceted, often joyous, plain-spoken, freewheeling mix of Americana ballads, love songs (one of their specialties are the “Pretty Girl from ___” songs), folk, country, bluegrass and flat out rock.  Their harmonies are often spot on and you’ll have no trouble understanding the lyrics (almost unusual). Their  stellar banjo and guitar interplay is also quite impressive.
They may be tough to categorize but are very easy to enjoy!  I know there was quite a buzz among a few of my coworkers as they eagerly sought tickets for their upcoming shows at the Ryman. I can see why –  this would be a fun group to see live! No pretentions – just good songs played with enthusiasm and wit here.

I’d be remiss to not point out some  possible influences I hear (as I usually do when listening to anyone “new”). The pop bliss of The Reivers comes to mind (another great North Carolina band from the late ‘80’s early ’90’s), The Delevantes, The Band and even John Prine a bit on “Salina”.  Their inclusion of a phone message from Gabriella (“Pretty Girl from Chile”) is great; reminds me of the Replacements. But this is a band that doesn’t seem derivative at all – just very talented and refreshing.
This CD is in heavy rotation in my car system (along with the likes of Marshall Crenshaw’s “What’s in the Bag?”) and is great for summer listening. Give them a whirl – if you like great pop-tinged folk songs you should like this one a lot.

-Phil

Ramble On is the best tune to start off any road trip, even though the lyrics speak of Autumn.  Buckle your seat belt, and obey all speed limits.   “The time is come to be gone.”

My high school BFF Amy and I used to ride in my old Oldsmobile, windows down since it had no AC, and sing along to my cassette tape of Depeche Mode’s Never Let Me Down Again.   “I’m taking a ride with my best friend…”

Heroes may be Bowie’s best song ever.  Guaranteed to generate inspiration and motivation even during the hottest day in August. “We can be heroes just for one day.”  (A version of Heroes from Bowie’s Reality Tour can be downloaded at freegal!)

Any Bob Marley song is worthy of a summer mix, but my favorite is Redemption Song.  “Emancipate yourselves from mental slavery.  None but ourselves can free our mind.”  What a lovely reminder to let go of your burdens.

For those that want to stir up a little summer romance, Jeff Buckley’s Lover You Should Have Come Over is sure to melt anyone’s heart, and ice-cream!  “So I’ll wait for you…and I’ll burn.  Will I ever see your sweet return?” (A live version of Lover You Should Have Come Over, included on the compilation Grace Around the World, can be downloaded at freegal!)

So be safe and have fun the rest of your summer.  If you’re looking for more ideas for entertainment,  my colleagues and I have  put together a display of movie alternatives to the summer blockbusters.  Stop by the Main Library and check out our suggestions!

-crystal

Glee

Attention all Gleeks!  Are you missing your musical slushiness?  Are you going into withdraw from not getting to enjoy all new Glee songs each week?  Summertime means no new episodes (boo), but to tide you over until next fall, NPL has teamed up with freegal to bring you lots of free (that’s right, I said, free) downloads – including…drum roll please…the entire Glee selection (cymbals crash randomly in the background)!  Yeah!

Choose from Mercedes favorites like “Hate on Me” or “Bust the Windows.”  Or maybe you’re a Rachel fan?  How about “Hello” or “Don’t Rain on My Parade”? So many choices so little time.  And how can we forget about Sue Sylvester’s reimagination of “Vogue”…I want to go listen to it right now.  Hold on a minute…

Strike a pose…

Ok, I’m back.  Vogue-ified.  Now to access freegal:

1. Simply visit the library website.
2. Go under Books Movies Muisc.
3. Use the freegal linkl.
4. Enter your library card number and PIN to log in.
5. Download!

That’s it.  No need to create a new account with new log in info – which is awesome because I already have, like, 453 passwords for things.  And each week, you get 20 free songs.  20!  2. 0.   Each week.  So after the first two weeks - once you’ve downloaded all the yummy goodness that is Glee, you can move on to other great artists, like Beyonce or Journey! Is this cool or what?

Now for those of you who aren’t computer savvy – you can still enjoy all the great Glee music by checking out the old-school CDs.  Still cool(ish).  Still free (but please don’t copy the CDs because that violates copyright laws and I’m contractually obligated to tell you this otherwise the RIAA will come in and punch me*…and who wants that?).

Some of you might be asking, what, exactly, is this Glee of which you speak?  You guys need to go right now, get the DVDs from the library (or at least put them on hold) and sit in front of a TV until you’ve seen every minute of the first 13 episodes.  Do not pass Go, do not collect $200.

It’s a long time until we get new Glee (sigh), but somehow, fellow Gleeks, we’ll make it.  Don’t stop believing…

Amanda

*Umm…so the RIAA probably won’t come punch me, but it’s still illegal to copy CDs, just FYI.

Eric Dolphy at the Five Spot Vol.

Along with Miles, Monk and ‘Trane, Eric Dolphy is one of my all-time favorite jazz musicians. His exuberant playing on alto sax and sometimes bass clarinet on these stellar sessions recorded at NYC’s Five Spot club in 1961 is often mind-boggling.

Dolphy is intense, passionate, creative and clearly following some inner logic as he blazes away with Charlie Parker-like cascades of notes on “Fire Waltz” over the steady 3/4 beat. “The Prophet” clocks in at over 21 minutes and features some impressive solos by the other band members. Key players include pianist Mal Waldron, bassist Richard Davis (who would become more known for playing on Astral Weeks) and drummer Ed Blackwell along with superb, young trumpet player Booker Little.
This group is capable of an astounding range of styles and is just bursting with energy and chops. Ah, to have been there for this night would have been really memorable but this lively recording, along with volume 2,  is a great aural snapshot of a pivotal time in jazz and always gives me a lift.
Five stars!

Phil

I’m a lady that’s gaga over an artist who goes by the name Ladyhawke.  Wait a minute, isn’t Ladyhawke that movie from the 80’s with Rutger Hauer, Michelle Pfiefer, and a pre-Ferris Bueller Matthew Broderick?  Yes, you’re correct!  But if your musical influences and pop culture obsessions hail from that decade, what better movie to name yourself after…

Ladyhawke (aka Pip Brown) grew up in New Zealand, and joined her first band named after a movie: Two Lane Blacktop.  Pip later relocated to Australia, participating in various musical projects, before branching out on her own.  She then moved to London and co-wrote and recorded her debut album with the help of various producers.    If you love 80’s pop music, listening to this album will evoke those songs you adore, while maintaining originality and enthusiasm for the genre.  Standout tracks include the album opener “Magic,” and power pop anthem “My Delirium,” but all the songs are instantly accessible to the pop-friendly ear.  So put on your “Frankie Say Relax” t-shirt and give Ladyhawke a spin. -Crystal

Ever Present
By Alvin Lucier

Featuring pieces for bagpipe, flute, triangle, and koto, each instrument is warped into a droning soundscape that will sooth and startle you in equal measure. Lucier is primarily concerned with acoustic spaces and chance overtones. When the most recognizable sound on an album by a Western composer is the koto it is needless to say you have never heard a triangle played quite like this before.

Records
By Christian Marclay

The original vinyl scarifying, four+ turntable improvisational composer par excellence is represented here with a collection of super-limited cassette and LP recordings compiled for CD. Marclay mixes decayed/destroyed thriftstore castoffs on four to eight turntables simultaneously. This is the new music, the rest is memory.

Stimmung
By Karlhienz Stockhausen

Experimental song-cycle from the high priest of tape manipulation, St. Stockhausen drops the voltage control and writes an acoustic piece for vocal sextet. A droning B-flat is interspersed with erotic poems and the shouted names of pagan gods. Think Glass’ Einstein on the Beach but actually about something and of tolerable length.

It might get loud

This is a very interesting and unique movie – part documentary, part travelogue and part cross-generational rock star meet up. Great use of various archival footage, still photos and current film of these three guitarists alone and together keeps things moving along nicely.

I went into this not really caring for Jack White that much (or at least his singing) but I now understand his attitude and inspiration – Son House, and realize for him it’s all about passion and getting a feeling across. The White Stripes may be a slightly manufactured band but there is a core of real honesty in their music. The Edge is clearly and admittedly all about sound craft and getting the perfect tonal quality and feel from his guitars and the arsenal of effects he uses. “It’s my voice.”  One scene has him listening to early U2 guitar parts in his kitchen (on cassette!) as he taps out the various digitally delayed time signatures, obviously second nature to this musical alchemist. There is also a wonderful outtake of him running through some classic U2 riffs on a soundstage – the tonal palette is unmistakably and uniquely The Edge.

Jimmy Page is like a wizard steeped in rock history; partially responsible for some of the heaviest, most creative sounds of the 70’s. He is a joy to watch and highlights include his unpretentious and remarkably luminous presence, complete with priceless facial expressions when he listens to someone sharing a story. Another great outtake is him demonstrating the intricacies of “Kashmir” on guitar as the Edge and Jack try to absorb it, with wonder in their eyes. Having Jimmy Page run through vintage Led Zep tunes in front of you has to be a thrill for anyone!
I liked this movie quite a bit – it shows three unique and very different musicians for who they are and shows some genuinely entertaining and sometimes amusing interactions. Never taking itself too seriously, there is sure to be something worthwhile here for everybody!

Phil

Need a little smooth groove in your life?  Then have I got the CD for you.  Back in Black from the Australian rock band AC/DC is a soothing collection of tunes that will help you while away the upcoming summer nights.

Ok, you got me.  I’m just kidding.  No one in their right mind would connect AC/DC with the word soothing.  Which is why we need artists like Norah Jones.  Jones’ latest release, The Fall, is a groovelicious album full of tunes that will make you forget about the guy who almost hit you on the way home for work or the fact that you spilled coffee on your favorite pair of jeans.

Jones can kind of go up and down for me – some things I really like and some things I could live without.  This album’s probably not my favorite, but there are a few songs I’ve enjoyed quite a bit.  Off the top of my head, I would say “Back to Manhattan” is a good one.  As is the lead-off single, “Chasing Pirates.”  In fact, it was the video for “Chasing Pirates” that got me interested in the album in the first place.  It is pretty creative.  Take a look. I don’t know how you get a pirate-ship-building in downtown New York, but this makes me kinda want to try…

Arr, matey!

Amanda

The Words of Every Song
By Liz Moore

 April is poetry month, and I don’t know about you, but I like my poetry with a little bit of melody and here in Music City we’ve got some great songs that have both.  We’ve also got some good books about music.  Take, for instance, Liz Moore’s novel The Words of Every Song. This debut novel contains 14 short stories about various people in different aspects of the music business, and it mixes and matches characters together like a patchwork quilt. 

  The book’s title actually comes from the Leonard Cohen song, Teachers.  You know the one:

              I was handsome, I was strong
              I knew the words of every song
              Did my singing please you?
              No, the words you sang were wrong

Now I know none of you would ever get the words to a song wrong, but my all-time favorite messed-up lyric is CCR’s song “there’s a bathroom on the right.”  To this day, every time I hear it, I still sing it that way b/c I think it’s funnier. For more on this discussion, take a listen to our April edition of the Popmatic Podcast.  So what’s your favorite misheard lyric? 

Back to the book.  Moore is a wizard at weaving the various storylines and characters together, with major characters becoming minor characters, minor characters taking their turns in the spotlight, and surprise cameos throughout the book.  If you’re having trouble picturing this, think about how the movies Crash or Love Actually are structured.  You know, like in Love Actually, how Hugh Grant was the Prime Minister, but also Emma Thompson’s brother and then they all showed up at the kids Christmas pageant where someone was a lobster?  It sounds complicated, but it’s actually an interesting narrative technique, if you can keep all the people straight.

The other aspect of Moore’s writing that I enjoyed is her use of Flash Forwards.  For those of you not up on the Lost lexicon, a Flash Forward is the same as a Flash Back, except you see the future that hasn’t happened yet, but will, as opposed to the past you’ve already lived and know.  Normally this kind of thing bugs me, but for some reason it works in Moore’s book.  Maybe because we only get to see the characters for such a brief moment, that getting a little bit of future resolution to their story lines makes it easier to move on so quickly. 

Good read, great discussion starter.

  Amanda

If you’re looking for some good music, then I have got the group for you. (Even if you’re not looking, you should still hear these guys). Two years ago the relatively unknown group Lady Antebellum hit the country music scene, selling just 40,000 copies of their self-titled debut album in their first week out. Made up of two guys and a girl (but sadly no pizza place), it took a while for the sound of Charles Kelley (brother to pop star, Josh Kelley), Hilary Scott, and Dave Haywood to catch on at radio.

Last July, however, “I Run to You” became the band’s first number one hit.  Partially because of the successes of “Run to You” and the debut single from their second album, “Need you Now,” but also because of high profile performances, like at the Grammy Awards and on Oprah, Lady A’s sophomore release sold almost 500,000 copies its first week out in January.  It’s since done about 200,000 more, meaning the album is certified gold.  In this depressing age of decreasing sales, those numbers are huge.  What a difference a coupla years makes.

Need You Now is more mature, with a little more depth to their material than the first album. “For this record,” Charles said, “We wrote a lot…but we [also] went and found a couple of really strong songs that we didn’t write, and I’m just as proud of those as I am of the ones we wrote. And again, we’re storytellers and not everything has to be a personal experience, but something you can relate to.”

I bet most of you have heard “Need You Now” or “American Honey” the latest single. If you want to listen to a couple of Lady A’s musical offerings, you can check out March’s Popmatic Podcast.

Before I leave you, I want to give a shout out to Michael Rojas, keyboard player extraordinaire for both Lady A albums.  I met Michael when I first moved to town to intern at Sony, and he was always one of my favorite session players.  In listening to the songs, I was loving what I was hearing – enough that I pulled out the booklet to see who it was. I should have known.  So congrats to Michael for some awesome finger work. Rock on, my friend. And rock on, Lady A.

 In 2003, Miranda Lambert came in a disappointing third place on the first season of the now defunct Nashville Star.  Seven years later, Lambert has released her third CD, Revolution, and her career is hotter than ever.  She is the most successful musician of any that were on Nashville Star.

On Revolution, Lambert shows her softer side with songs like my favorite, “Dead Flowers,” and “The House that Built Me.”  Miranda performed a one night show at The Ryman in September ‘09 to celebrate the release of this album, and when she played “The House that Built Me” with her parents in the audience, there wasn’t a dry eye in the place (including mine, and I’m not a crier.)

Ran doesn’t shy away from her rowdy side, though, rocking the house with songs like “Somewhere Trouble Don’t Go” or the big single “White Liar.”  You can hear a short clip of “Dead Flowers” by listening to our Popmatic Podcast. Revolution was definately one of my favorite albums of 2009.

- Amanda

Throw Down your Heart: tales from the acoustic planet Vol. 3 Africa sessions
by Bela Fleck

Anyone who saw the engrossing documentary on PBS some months ago or packed into the Belcourt Theatre one hot Sunday evening for a one time showing (with a special appearance by Bela) of Throw Down your Heart knows what this is all about.

This is the soundtrack that resulted from the ambitious trip made by Bela Fleck to several African countries in early 2005 to, essentially, “bring the banjo home” and jam with many outstanding musicians and groups in places like Uganda, Tanzania, Madagascar and Mali.

I’ve always enjoyed the purity and spirit of various African musical styles, and my Hi life compilations and King Sunny Ade juju recordings prepared me somewhat, but this is some really far-reaching, varied and impressive music! Eighteen tracks, many featuring serious polyrhythms, djembe drums, various stringed instruments along with possibly the thumb piano or even a giant wooden miramba comprise this soundtrack.  Vocalists can be anyone from Oumou Sangare to a group of villagers.

Some of my favorites are the funky, bass heavy D’Gary Jam and the sublime title track which features raga like drones, ngoni (the banjo of Mali) runs and Bela’s intricate  picking.  What a tour de force!  Zawose features some amazing gogo singing styles by an entire family that may sound jarring at first but is really unique. The song Mariam features phenomenally fast African guitarist Djrlimady Tounkara in a duet of sorts with Bela. Wow!

Overall, the first several tracks drew me in with really interesting and varied vocal stylings  then after the title track I was thoroughly mesmerized by tracks 10 through till the end.  In short, this is more about the fantastic musicians of Africa and their instruments; Bela Fleck often fades into the background and lets them shine.

A wonderful project; great documentary and superb soundtrack!

Phil

Dwight Sings Buck

This is quite a straight-forward, enjoyable and lively set of tunes by one acknowledged master of the Bakersfield sound doing traditional country songs mainly penned by his idol, Buck Owens. Three others not written by Buck but part of his repertoire are (thankfully) included: “Act Naturally,” “Love’s Gonna Live Here” and “Close up the Honky Tonks.”

Yoakam’s voice is stellar here, with just the right joyfully sly yet reverential tone seeping through the lines. The band is confident, impressive and never too slick, just like you’d expect.

Usually Dwight just slipped in a tune or two from Buck on his many great releases; this one is All Buck! If you like that snappy, twangy sound done right you’ll love this release.

Don’t be surprised if you find yourself tapping a foot while listening to someone clearly at the top of “his game” here.

- Phil

Ever since I can remember reading “rock journalism” three albums (as they were called) reigned on most respected journalists’ all time best type polls: Derek and the Dominoes’ Layla and other Assorted Love Songs, The Rolling Stones’ Exile on Main Street and Van Morrison’s Astral Weeks. I have come to completely agree with their collective wisdom in deeming these all time classics (I never understood their strange fascination with Captain Beefheart’s Trout Mask Replica though; I disagree on that one.) In any case, it is over forty years since the seminal, jazzy, reflective, literate, brooding, celebratory song cycle masterpiece known as Astral Weeks was released by Van Morrison. Can he still do these songs justice in a live format? The short answer is a resounding “Yes!”

Van’s rich Belfast voice inhabits these songs with passion as he stretches them out, drops in some scatting and new inflections and generally brings them alive for the lucky audience at the Hollywood Bowl. The recording is excellent with no crowd histrionics (I could have done without the voice from the stage calling out his name between the encore break but it’s a minor quibble.) and a rich balance of acoustic guitar, brushes, string bass that compliments Van’s inimitable voice. Hearing songs like Cyprus Avenue, Ballerina and Madame George played with such soulful, focused intensity and joy is wonderful to behold.

I’ve listened to this recording numerous times in a variety of settings and conditions and it always gives me satisfaction, which can’t be said for a lot of live recordings. Like the original recording – I just don’t get tired of it. Very well done indeed.

- Phil

Lots of bands with animal names lately, huh? Here’s one to remember:  The White Rabbits. Their sophomore album is called It’s Frightening. I say it’s amazing! The first track comes out of the gate like a thoroughbred at the Kentucky Derby, and the next 9 songs keep the racehorse pace. It was produced by Spoon frontman Britt Daniel, who helped the Rabbits add a musical gloss to their sound. Radiohead fans should definitely check this one out.

- Crystal

The Long Fall Back to Earth

5 stars…but it takes a while to get there

When I first heard the latest album from Jars of Clay, I kinda didn’t know what to think about it. It was a complete departure from their normal sound with all the electronic music and whatnot. I’ve been a Jars fan since high school and this album was disappointing in that it didn’t sound like them…at first. However, I kept the CD in my car and as it spun through I began to really listen to the songs. Eventually I found the Jars of Clay I love. If you only listen to two tracks, make sure you hear #9 (Boys) and #10 (Hero). The title track’s pretty good as well. The soul of the music was always in this album…it just took me a little longer to find it.

- Amanda

Pafuera telerañas

By Bebe, 2005

3 stars

Fun, smart, sexy pop along the lines of Ingrid Michaelson, Yael Naim, or Feist, but en español.

Jessica  at Bordeaux

The year 1960 was not a transitional time for jazz. Be-bop and its successor hard-bop were still the order of the stylistic day and the free approach of Ornette Coleman had yet to take hold. The Newport Rhode Island Festival was an annual gathering of the jazz clan. And it was in July 1960 that a group of Nashville’s finest players made the journey to Newport for a much-anticipated performance.

Chet Atkins, Boots Randolph, Hank Garland were the best of Nashville session musicians, playing on many country and pop recordings day in and day out. They were all jazz music fans and very proficient jazz players too, jamming at every opportunity in local Nashville clubs. They would often be joined by 17 year old vibes prodigy, Gary Burton.
So this all-star band headed to Newport, Rhode Island for what I’m sure would have been a tremendous show. Unfortunately, festival organizers had trouble managing an unruly crowd and most of the schedule was scrapped, including the appearance of the Nashville All-stars.

But the guys were determined to document their music anyway and recorded what is today a milestone album yet widely overlooked jazz classic – After the Riot at Newport. Germany’s Bear Family label reissued the long out of print LP a few years back and Nashville Public Library was fortunate enough to obtain a copy for the jazz collection. Especially noteworthy is the fabulous playing of Gary Burton and Hank Garland. To me these two have never played better. In fact, the whole project stands as proof that there is so much more to the Nashville music scene than meets the eye. It is highly recommended.

-Lew

Eye to the Telescope

Does John Mayer have a sister? For some reason I can’t quite put my finger on yet. K T Tunstall reminds me of him. Eye to the Telescope is great if you’re looking for non-abrasive pop music, peppered with a little funk and soul to keep things interesting. There’s no great poetry in her lyrics, but all the songs are catchy, especially “Suddenly I See.” One listen and you’ll be singing along; it’s unavoidable! My favorite track is not one of her hits, rather a tune halfway through the CD called “Miniature Disasters.” I like to give any newly discovered CD a “Will it get me through my household chores?” rating. On a scale of 1 to 10, K T gets an 8. You’ll have your dishes washed and your laundry done in no time at all.

- Crystal

Gypsum Strings

As much as you may be scared that this is some lame banjo and fiddle, it’s pure hipbilly sunshine. Listen to the rolling beats of songs like “If I Was In El Dorado” and the waddling banjo in “Spanish Fandango”.

- Raffi

Radiance
By Keith Jarrett, 2005

5 of 5 Stars

Double live solo improvisations on grand piano – Keith building, working, exploring and mesmerizing here in this series of related pieces. Philip Glass meets Thelonious Monk – love it!

- Phil

Vampire Weekend
By Vampire Weekend, 2008

4 stars

I have got to say, I had only heard one track on this cd and loved it. I listened to the rest of the cd and was pretty impressed. The best quick description I can give is a modern Techno-Calypso feel. “A-punk” is the track I first heard, and then went back and listened all the way through.

- Chris

Orphans brawlers, bawlers & bastards
By Tom Waits, 2006

4.5 stars

Tom Waits Orphans: Brawlers, Bawlers & Bastards CD triple set Diverse collection of great stuff, covers and out takes from the gruff and beguiling tunesmith. Gotta love the Ramones cover “Danny says” – beautifully done.

- Phil

Distorted Lullabies

This band, hailing from New Jersey, includes the best rock voice out there today; singer and songwriter Jimmy Gnecco’s vocals are reminiscent of the late Jeff Buckley and U2’s Bono during his younger days. Both music and lyrics paint a dark and bleak landscape:

“The beast flies tonight
and the world he describes
Suffer, suffer..”

If you like Distorted Lullabies, try Precious (2002), Ours’ sophomore effort. It includes a cover of Velvet Underground song “Femme Fatale,” penned of course by Lou Reed.

- Crystal

Because of the Times

The Kings’ third full-length album includes more of the same super-charged southern-fried rock n roll as Youth and Young Manhood and Aha Shake Heartbreak, but their “on tour” music education (along with their continuing relationship with producer Ethan Johns) has definitely influenced these songs.

Standout tracks include:

1 – Knocked Up – a direct rebellion against the 2 ½ minute punk songs of their past, this “baby-daddy epic” (as one reviewer pegged it) clocks in at 7 minutes.

2 – Charmer – this could be a Pixies cover if I didn’t know otherwise…Turn it up!

4 – McFearless – Is that an Edge riff I hear? After opening for U2, the Followills couldn’t help picking up a few musical soundscapes from the veteran rockers, especially in the chorus of this song.

6 – My Party – This song could have been left over from Youth and Young Manhood recording sessions. – Classic Kings theme and sound.

8 – Ragoo – This reggae-splashed tune should have been the first single (instead of On Call) and I predict it will become your favorite summer song of 2007 if you give it a listen.

9 – Fans – KOL are HUGE in England – this is a shout out to their loyal fan base.

12 – Camaro – Every Southern band needs a song about a hot chic in an even hotter sports car….this songs makes me want to trade in my compact eco-friendly car for that Chevy Nova I’ve always wanted.

13 – Arizona – This is a perfect last song to an album, the kind of song you should listen to when you’ve almost arrived at your destination, whether it’s the grocery store, or the Southwest…

- Crystal

Aha Shake Heartbreak

Tennessee quartet Kings of Leon’s sophomore record Aha Shake Heartbreak begins with what I describe as an “open highway roll your windows down driving anthem,” and ends with an irreverent sing-songy “it’s time to crash” rock n’ roll lullaby. The songs between these two tracks, packed with high testosterone lyrics, wild guitar riffs, quirky bass lines, and the ever-pounding drums won’t disappoint either.

I love this band. If you experience a live show, you’ll be hooked too. They’re young, full of refreshing rock n’ roll energy, and this record shows it.

- Crystal

9

One of my favorite CDs of 2007 may turn out to be a CD released in 2006. Damien Rice’s sophomore effort, called 9, offers much of the same as his first album “O”: confessional yet universal lyrics, bare instrumentation, and intensely emotional singing. Standout tracks include 9 Crimes, Elephant (which at times reminds me of Jeff Buckley’s “Lover You Should Have Come Over”), and Me, My Yoke & I, on which Rice rocks out for a few minutes before turning back into a coffeehouse troubadour.

I love the fact that band member Lisa Hannigan’s voice is featured more as an instrument rather than a backup singer. I couldn’t imagine these songs without her. And if you’re like me, you’ll be singing right along with her and Rice after a couple listens.

- Crystal

For me, jazz/rock fusion was always as much about rock as jazz. In the earliest days of the genre, it was Larry Coryell’s rock guitar on Gary Burton’s “duster” or Tony Williams’ funky backbeat on Miles Davis’ “Stuff” that attracted me as much as the jazzy writing and chops galore. I’ve loved electric instrumental music as far back as Duane Eddy in the late ‘50s so I was naturally drawn to this musical hybrid that began in the late ‘60s. After the golden age of fusion in the early to mid ‘70s, I found myself more attracted to the rock oriented fusion that that of the jazz giants like Chick Corea and Herbie Hancock who seemed to switch back often to straight ahead jazz. By this time it was Jeff Beck, The Dixie Dregs, and Bill Bruford who were making the most exciting contributions. The last few years have seen classic fusion all but die out, kept alive only by a few innovators such as Scott Henderson’s tribal tech and Bunny Brunel’s cab. Both these excellent players recorded and toured with Corea’s fusion bands way back when. Corea continued to play in both styles and headed up one of the greatest groups, the electric band, periodically. It was from Bunny Brunel’s Cab Band that I discovered two outstanding players, guitarist Tony MacAlpine and drummer Virgil Donati. Which brings me to Planet X…

While not strictly speaking a fusion band, the music of Planet X defies easy categorization. Initial listening would tend to link this band to progressive or even metal rock but to me the compositions are much more advanced than any prog rock I’ve ever heard. There always was a link between classic fusion and prog rock especially Corea’s Return to Forever. Perhaps the best description of Planet X I’ve seen was when progressive magazine coined the phrase “black hole fusion.” Intricate time shifts and tradeoff are among the hallmarks of Planet X music. This is due primarily to the contributions of sophistication of this music reflects the influence of MacAlpine who was a classical child prodigy. Rounding out the band is keyboardist Derek Sherinian who also composes and provides the foundation and textures for the songs. 2002’s “Moonbabies” was my introduction to Planet X. At first I was unsure what I thought about what they were doing but the music really grew on me. I heard their live disc from the previous year that represents the dynamics of their in-person show. I am eagerly awaiting the release of their next project sometime next year which will mark the debut of super fusion guitarist Allan Holdsworth as MacAlpine’s replacement. Music for me has always been about discovering new styles and plotting how they evolved from what came before. As a fusion lover I am gratified by how the last great jazz instrumental trend has evolved thanks to musicians of the caliber of the players in Planet X.

- Lew

Unfinished Music No.2: Life with the Lions

5 of 5 stars

Within the avant-garde canon Yoko Ono is not a witch to be feared, but a goddess to be revered. Lesser known than its predecessorUnfinished Music No.1: Two Virgins (probably due to its lack of nude cover art), Life with Lions would be more positively regarded if created by an outsider artist or an academic composer and not one of the world’s most iconic pop stars. Dominating the record is a mammoth first cut, the twenty-six minute, “Cambridge 1969.” Lennon improvises guitar noise while Ono unleashes a concentrated banshee wail with enough power to knock the moon out of orbit. Ono is clearly the dominant figure, and though she screaming, she is control throughout, undulating the pitch for maximum glass shattering / hysteria inducing effect. Death to false metal. The rest of the album consists of bedroom recorded lowest-fi anti-folk and music concrete tape recorder experiments, i.e., direct precursors to so much of today’s underground music. Is this my favorite John Lennon record? Yes, it is.

- Bryan

3 stars

Girl Talk, the DJ responsible for Feed the Animals, mashes current pop and hip hop with classic rock and 80s and 90s hits and more obscure tracks. Imagine Tag Team’s “Whoomp (There It Is)” mixed with ’80s classic “In a Big Country”, or Salt ‘n Pepa rapping over Nirvana’s “Lithium”, with a little bit of Deee-Lite thrown in. Music snobs might cringe at a song that commits the blasphemy of mashing up Ludacris and “God Only Knows” by the Beach Boys, but those with a sense of humor will enjoy idenifing the songs featured in the irreverent mashups. This is a great album to listen to while getting ready for a night on the town, or just to get happy on your way to work.

- Jessica

The Island Years

4 of 5 Stars

Though not as much of a cult figure as his shall-be-unnamed Velvet Underground counterpart, John Cale has recorded a broad and challenging solo discography since unnamed counterpart booted him from the Velvets in 1968. This set collects a trio albums Fear, Slow Dazzle, and Helen of Troy) released in the 1970s on Island Records which have only been sporadically in print since their initial release. Though firmly rooted in rock and pop, Cale intentionally genre hops from track to track. The lyrics are obtuse, almost obscurantist, and the melodies blissful. Does it sound like your favorite indie rock band yet? Yes, it does. Recorded during a time when Cale suffered a fierce cocaine addiction and lived in a small Paris apartment intentionally listening to only the Beach Boys’ Pet Sounds and a set of Gustav Mahler’s complete symphonies, many consider it his peak phase.

- Bryan

Flavors of Entanglement

2 1/2 of 5 stars

Alanis Morissette’s best album will always be Jagged Little Pill. Most artists achieve this musical perfection on their 2nd or 3rd release. It must be extremely difficult to top one’s self, but she continues to write songs and put out new records. Morissette’s songwriting is at its best when she has a broken heart, and there are 2 stellar tracks on “Flavors of Entanglement” to prove it: “Not as We” and “Torch.” The rest of the tracks are OK, but often too wordy and hard to understand, as well as the production making her sound a bit too much like Evanescence. Still, Flavors is worth a couple repeats in your stereo. It will grow on you.

- Crystal

Soul Journey

4 stars

I don’t know why but it took Gillian Welch four albums to finally record something that had a little soul; i.e. something that sounds like a record you’d actually hear on a scuffed up jukebox as opposed to anemic rip offs of old 78s. Purists might be a little peeved she added drums, but real purists wouldn’t be listening to a folk singer that went to Berkeley in the first place. Either way you slice it “Wayside / Back in Time” is still my second favorite Nashville song. As long as you’re buying the drinks you might just get the name of my first favorite Nashville song out of me by time we get hit with the devastating closer, “Wrecking Ball,” “Well now, boys, I’m a rollin stone / That’s what I was when I just left home / I took every secret that I’d ever known / And headed for the wall / Like a wrecking ball.” That’s a song that digests from the top. She grew up in Manhattan? Death to false country.

- Bryan

Bone Palace Ballet

4.37 stars

I don’t know how to best describe the style of this band. They do hardcore screaming metal, but the lead singer also has a sweet tenor voice that really goes more emo on the ballads. Some arrangements contain nice keyboard work, and a few of the songs have minimalistic cello passages that are reminiscent of Steve Reich. I saw them live with Linkin Park and their show was Gothic and dark, which I really liked. If classical music and heavy metal mated and had a child, Chiodos would be its weird first cousin hiding in the corner, waiting to be discovered. Plus, hands downs, they have the best song titles ever – “is it progression if a cannibal uses a fork?” or “i didn’t say i was powerful, i said i was a wizard”! Gotta love that.

- Amanda

Icky Thump

5 stars

Ok, so I know I’m about 8 months behind the rest of the world, but I just found The White Stripes latest release, Icky Thump. I came because of the “300 M.P.H. Torrential Outpour Blues” but I stayed because the whole album is a stimulating musical experience. My only previous White Stripes enjoyment came from their first single, “Fell in Love with a Boy,” and then it was mostly because of Joss Stone’s cover. I just wasn’t impressed with a single guitarist and drummer. A band should have more members, right? Jack and Meg bring their A-game with this album, though. Not only do I get drums and guitar, but there are bag pipes, trumpets, and mandolin. Song styles range from traditional rock to folk to some indescribable conglomeration of many different genres that shouldn’t fit together but somehow do. Anyone who can be this unabashedly artistic is ok in my book. So if you haven’t heard Icky Thump yet, check it out. Seriously, you’ll thank me. As for me, I am going to continue my musical journey and explore this band called Led Zeppelin. I’ve heard they’re keen.

- Amanda

Red Carpet Massacre

By Duran Duran, 2007

Like any proper child of the 1980’s, I fed myself a steady diet of pop music from bands like Duran Duran. Although they have never topped 1982’s Rio, I still continue to keep tabs on their musical career. The end of 2007 brought their latest comeback effort, Red Carpet Massacre. There are some real “Rio” like moments here – “Red Carpet Massacre”, “Box Full O’ Honey”, and “Tempted” are stand-out tracks. The rest of the album is pretty good, too. They worked with top producers Danjahandz and Timbaland; and Justin Timberlake co-wrote the song “Falling Down.” By the way, if you have a “Second Life” online, you may run into Simon, John, Nick, and Roger. As for me, I’ll wait for their next comeback tour stop close to Nashville.

- Crystal

ESG, a South Bronx story

4 of 5 Stars.

Authoring the blueprint for a decades indie grooves, ESG invented “dancepunk” before some music nerd coined the term. Or at least that is the blurb that is constantly bandied about. When I hear this record, I think “dance” first and “punk” about ten free associations later. Though the music is great, and it does predate some contemporary trends in dance music, I can’t help feel ESG are mythologized as much as they are simply because they played “real” instruments and this fact satisfies some critics’ techno-phobic notions of authenticity. A South Bronx Story really amounts to a collection funky minimal grooves. But the funk is fun enough and grooves subtle enough to satisfy both 80s-retroheads looking for a neon party and icy cold techno DJs voiding into a speakercone abyss. Tracks like “Tiny Sticks” can even make curmudgeons like myself look foolish by inducing head bobbing at stoplights.

- Bryan

Nights from the Alhambra

Recently, a friend asked me about my favorite concert moments from 2007. One of the best would have to be Loreena McKennitt and her band performing “Marco Polo” at the Ryman last winter. If you weren’t there, you definitely missed out! To me, Loreena is like the James Brown of world music. If you’re puzzled yet intrigued by this statement, then check out the CD Nights from the Alhambra, which was recorded in Spain during her tour last year. This 2 CD set also includes a concert DVD!

Mothership
By Led Zepplin, 2007

3 stars.
While Mothership best serves the Zep neophyte, this is a fun compilation for hardcore fans too, especially when you add in the remastering factor.

Anchors and Anvils
By Amy Lavere, 2007

Ready to have your ears dazzled? Request this CD at your local library! Standout tracks include “Killing Him”, “Pointless Drinking”, and “People Get Mad”. Lavere lived in Nashville during the 1990’s, but has since relocated to Memphis. I hope she and her touring band visit again soon…

Blackout
By Britney Spears, 2007

3 1/2 stars. Forget all the drama that surrounds her, and check out Ms. Spear’s lastest!

The Black and White Album
By The Hives, 2007

In the mood for a mean little rock record? Check out The Hives’ latest release!

- Crystal

Last of the Jewish Cowboys: The Best of Kinky Friedman

Novelist Kinky Friedman is also a salsa maker, animal lover, humorist, independent candidate for the office of Governor of Texas, and, the reason for this review, a singer-songwriter. Last of the Jewish Cowboys: The Best of Kinky Friedman, includes a wonderful array of tunes from this entertaining Renaissance man. The songs are a mixture that includes soulfulness (Sold American), sometimes in bad taste (The Ballad of Charles Whitman), a dash of politically incorrectness (Get Your Biscuits In The Oven And Your Buns In The Bed), and downright gross (Ol’ Ben Lucas). Granted he ain’t Gershwin but, Kinky Friedman is an American original. Be a fine American and give this one a listen!

- Bill

4 1/2 stars

I’ve been listening to The Pretenders since high school (Class of 81!) and it’s generally acknowledged that their debut and Pretenders II may have been their recorded peak. Certainly many interesting CDs and memorable songs by Chrissie Hynde and company have followed in their wake. This release is outstanding – with a nice varied batch of tunes and an engaging return to roots feel.

After the title tune you get the ethereal “Nothing Maker” with some nice pedal steel guitar, followed by the beautiful “Don’t Lose Faith in Me.” Along the way you get rockabilly, Bo Diddley beats and stutters and classic raveups. You get “Love’s a Mystery” which would not have sounded out of place on “side two” of Pretenders II. Classic Chrissie! “You Didn’t Have To” has some wonderfully treated ambient guitar sounds and a truly sublime lead vocal – nobody but Chrissie sings like that.

No Martin Chamber beating the skins this time around. This band includes Jim Keltner on drums, Eric Haywood on pedal steel and the terrific James Walbourne on lead guitar, piano, accordion and backing vocals. They sound very together, organic and real. No over-processed, “hot” volume compression nonsense – these songs breathe a bit. And it’s a breath of fresh air.

- Phil

Boys and Girls in America

Blender magazine said of The Hold Steady that they “sound like the best bar band in the world,” and I would have to agree.

When The Sun Goes Down
By Langhorne Slim, 2005

This rambunctious, foot-stomping album has been cannily described as “punk-grass.” Perfect for a bad-mood day and essential listening for fans of the Avett Brothers.

Emotionalism
By Avett Brothers, 2007

5 stars

This is my favorite album of 2007, hands down. It’s completely addictive.

Rabbit Fur Coat
By Jenny Lewis and the Watson Twins, 2006

5 stars

Jenny Lewis of Rilo Kiley shows off her gorgeous voice on some twangier tunes.

Asking For Flowers
By Kathleen Edwards, 2008

Kathleen Edwards’ lyrics tell stories of flawed characters with sympathy, and her voice brings to mind a gentler Lucinda Williams.

- Beth

Mirrored

4 Stars, Ben

.

Up In Flames
By Caribou, 2006

4 Stars, Ben

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Made of Bricks
By Kate Nash

She’s British, she’s cheeky, she’s awesome!

5 stars, Kyle

Kala
by M.I.A., 2007

Guaranteed to make you dance.

- Alexandra

Lost Objects

4 stars

What would a collaboration between an avant-garde compositional collective, a purist Baroque chamber ensemble, and one the world’s most famous DJs sound like? It sounds awesome to me. I’m speaking now of Bang on Can’s Lost Objects. Bang on a Can are a collective of composer-performers conceived by Michael Gordon, Julia Wolfe and David Lang. Bang on a Can & friends have reinterpreted much of the forward thinking classical and popular canon, on record or on stage during their eponymous Bang on a Can festival. For Lost Objects they recruited Deborah Artman to write a libretto concerning all things lost. Each section features a different lost item: lost socks, lost species, lost modes of communication (e.g., extinct languages, passenger pigeons and Morse code), lost children, and the loss of animal sacrifice in religious rituals. Vocal duties are performed by the RIAS Chamber Choir, one Berlin’s most highly regarded troupes. Bang on a Can enlisted Baroque ensemble Concerto Koln to provide instrumentation. Concerto Koln only use period specific instruments with are tuned to a lower pitch but provide a wider array of timbres. Rounding out this motley crue are the members of Bang on a Can & friends who play the accoutrements of popular music: drums, electric guitars, and keyboards. Between thematic sections DJ Spooky provides remixes of the tracks you’ve just heard. The results are minimalist, but not academic. Big clear melodies soar, and simple militaristic percussion drives it all home. What really makes Lost Objects are the rock touches: the staccato guitar and the short length of pieces. The brevity of the entire composition saves it from the doldrums where most oratorios go to die, and short length of individual sections suits Bang on Can’s minimalist approach. The melodic statements do not lose their energy or crumble under the emotional weight of libretto. Lost Objects is a rare example of postmodern art music which is listenable and emotionally engaging without pandering to folkisms.

- Bryan

Nina Simone and Piano!

4 of 5 Stars

I’ve always loved sad songs the most.Nina Simone and Pianodumps ice water on your soul. But isn’t there something warm and fuzzy about feeling depressed? This is music for sipping scotch. If the album has a flaw, it is its one dimensionality. It is literally just Ms. Simone and a piano. Then again, are there two more expressive instruments in the universe besides Nina Simone’s voice and the pianoforte? Like I said, a rainy night and scotch.

Belladonna
By Daniel Lanois, 2005

4 of 5 Stars

Better know for being a high profile rock and country producer, Lanois’ solo work isn’t afraid to venture into more ethereal realms. Belladonna is a series of short, lush pedal steel guitar instrumentals – the sonic equivalent of watching flowers bloom. Bordering on avant-improv, sometimes the melodies slip apart. Other times, with the accompaniment of light keyboard and drums, it makes you feel like you’re in the perfect bar a little too early in the afternoon. For fans of Brian Eno and Angelo Badalamenti.

- Bryan

Real Things

If you live in Nashville long enough, eventually the music will rub off on you.” Well, my mother was right. I can’t stop listening to Joe Nichols’ 2007 release “Real Things.” He has the best male “traditional country” voice going right now. If you hear just one song off this record, make it “My Whiskey Years” which was co-written by Tom Hambridge and Jeffrey Steele, and beautifully interpreted by Nichols (my new favorite NOT rock’n'roll singer…).

The Story
By Brandi Carlile

T Bone Burnett is one busy man. I know of at least two great records released in 2007 that he produced. One involves a legendary rock n roll singer and bluegrass artist which has received much critical acclaim(I’m sure you know the record I’m referring to), the other has fallen off most people’s musical radar. Allow me to refresh your memory: check out Brandi Carlile’s “The Story” produced by T Bone Burnett. She’s a great songwriter, with an amazingly soulful voice.

Get Awkward
By Be Your Own Pet, 2008

4 of 5 Stars

The sophomore effort by local band Be Your Own Pet, is as fast and loud and PUNK ROCK as their first record, just a bit more polished. Song themes include (but aren’t limited to) backstabbing girlfriends, secret crushes, alienation, paranoia, and not wanting to grow up. My favorite track is a tribute to Russ Meyer’s Beyond the Valley of the Dolls called “The Kelly Affair,” which is so darn catchy it flirts with being a straight-up pop song.

- Crystal

Critical Beatdown

4 of 5 Stars

Most of the tracks being cut by Ced Gee, an unheralded member of the highly influential Boogie Down Productions, Critical Beatdown is a vibrant slice new school hip hop. It is the first record to feature Kool Keith, one of my all time favorite MCs. Keith is maniac. Recorded at a time when hip hop just beginning to split off into ideologically conflicted directions, the rhymes are equal parts gansta and backpacker. Nothing explodes like an unhinged MC going off over a simple but wicked funky breakbeat. This isn’t music for earbuds. This is music to fill the room.

- Bryan

Watina

I saw this by happenstance and what a great find. It was, as far as I am concerned, the best world music CD of 2007. Unfortunately it also ended up being Andy Palacio’s swan song. He died in Jan 2008. The Garifuna are a descendents of Central American slaves who escaped to the mountains and forests and became intermixed with natives. Andy Palacio brings that culture and music together on this wonderfuly conceived and produced CD. Like so much of the African-American music of the Caribbean and Central/South America it feels like party music but it speaks to the trials, tribulations and hopes of the the people. If you like reggae, calypso or samba you will love this.

- Jai

Load Blown

5 of 5 Stars

Load Blown weaves a psychedelic tapestry of resonant timbres. Creating most of their sounds with microphones ran through guitar effects pedals, these once fierce noise terrorists have evolved a mature intricate style. Each element equally serves a melodic and rhythmic function. (Indeed, their drummer quit two albums ago). By adding and subtracting richly textured sonic events, structures materialize only to dissolve and reoccur via permutation. This playful boundary jumping between structure and chaos is usually reserved for the best free jazz or IDM. Abstract, but brightly colorful, Black Dice are a magenta-tinted mackerel sky on the far horizon of music.

- Bryan

Fun House

5 stars

It can take years before you understand a classic. I’d given The Stooges’ Fun House multiple spins in the past only to be left scratching my head. This time around, for whatever reason, the deities of rock-n-roll rang my bell, and for the first time I got Fun House, or should I say Fun House got me. Iggy Pop’s yelping mixed the Asheton brothers’ sludge pit of a rhythm section is the only punk rock you’ll ever need to know. The repeative slogging pushes the boundries between rock music and noise. Indeed, The Stooges are the living embodiment of critics’ fears about rock music. It would appear the cavemen have crashed the party, and it’s wildest one you’ve ever been too, the one you’ll talk about for years.

- Bryan

Grinderman
By Grinderman, 2007

A recent episode of Fresh Air with Terry Gross reminded me to listen to Grinderman, a 2007 side project of Nick Cave’s. If literary punk rock is your bag, check it out!

4 stars, Crystal

Under the Blacklight
By Rilo Kelly, 2007

Jenny Lewis is an amazing talent. This album is fun and quirky, full of lyrics that will at times break your heart.

4 Stars, Kyle

Easter
By Patti Smith Group, 1978

This is one of my favorite of Patti’s albums. Often noted for its accessibility, it also includes some wicked slam poetry, “Babelogue,” and tribal incantations, “Ghost Dance.” This is not to underplay the value of her searing remake of Bruce Springsteen’s “Because the Night.” The library’s copy also includes the b-side bonus track “Godspeed” which Thurston Moo

re of Sonic Youth declared his favorite song ever in a recent interview.

4 stars, Bryan

Mercury
By Long-View, 2005

If you like Coldplay, you’ll love Long-View.

4 Stars, Carrie

Till the Sun Turns Black
By Ray LaMontagne, 2006

4 stars, Jessica

4 stars

Harry Partch was an American composer, instrument builder, and music theorist who abandoned the equal tempered chromatic scale in favor of microtonal scales. This put him in a one man battle against entire popular and classical music establishments of his day. The four CD set Enclosure Two preserves a large portion of Partch’s legacy. Consisting of archival recordings of Partch’s musical works, demonstrations of his tonal theories, and contemporary performances of select pieces, Enclosure Two offers a glimpse into the idiosyncratic mind, and often tragic life, of an autodidact genius trying to survive in the American West during the Depression Era. Always interested in tonality of speech, Partch composed Barstow around graffiti he found written under a bridge in Barstow, California.

Partch’s intention was to capture the pitch and rhythm of natural English speech as opposed to the formal unnatural English typically found in the concert hall. Partch had ample opportunity pick up very natural speech, as he was forced to live as a hobo and migrant worker through much of the 1930s. A testament to the strength of his spirit, he managed to keep writing music and building instruments through those years. Partch’s journals of his hobo years were published as Bitter Music. Included on Enclosure Two is an abridged reading of Bitter Music by Warren Burt recorded for the Australian Broadcasting Corporation.

Later in life Partch reestablished his ties with (cough cough) respectable society and found a small but extremely devoted group of admirers and even had recordings released by Columbia Masterworks. His influence has only grown since his death in 1974. He inspired a generation of microtonal composers, and his stranger than fiction biography has turned him into something of a hipster icon. Check out Enclosure Two for a different take on musical tonality and a view of American history from the margins.

- Bryan

Collabs3000: Metallism

4 stars

If you made to the Main Library in January you probably saw the staff’s favorite things display. Bryan, one of whose favorite things was electronic music, is yours truly and it is true, I like electronic music. Techno jumped ship from Detroit to Berlin in early nineties. It was in Europe that beats became fetishized while Americans still thought it was cool to wear a dirty flannel shirt. Jochem Paap, aka Speedy J, was one of a handful of producers who rose above an avalanche of bedroom beatmakers to create music architectural in form and hip-twitching in function. In other words, it’s arty but you can still dance to it.

A great example is Speedy J’s collaboration with Chris Liebing -Collabs3000: Metalism. This isn’t house music. This is TECHNO with grotesque sans serif capital “t”. There was a moment when the acid house movement had crested and DJs wanted their beats a little harsher, a little faster. They wanted sounds with a little more clank than the rubbery timbre of the Roland 303, producers then synthesizer of choice. Collabs3000 is definitely born from that moment. There’s a reason this album is subtitled “metalism.” If you liked the first wave of industrial music, but couldn’t stand when that genre became a parody of itself, this is where your muse should turn.

Collabs3000 was produced by the original artists, but if you’ve a penchant for banging the library owns some wicked DJ sets in same stylistic vein. Check out Carl Cox’s double disc explosion Global, and Danny Howell’s Global Underground: Miami, the later of which features Simon Ratcliffe’s soaring remix of Throbbing Gristle’s classic “Hot on the Heels of Love.”

- Bryan

4 1/2 stars

OK, Beck cruises in with a solid effort here, full of samples (sometimes it seems like he samples himself), techno beats, slurs, rhythms and sometimes post-apocalyptic lyrics. It grooves, twists, mashes, echoes and remains distinctively Beck. Some highlights (obscure reference alert) for me: “Gamma Ray” reminds me of the thrilling mid-80’s Buffalo, NY band the Celibates – funky pop grooving techno with suitably detached vocals. I love this one. “Chemtrails” has great thumping bass and vocal harmonies and treatments. Add psyched out guitar and propulsive drumming and away we go. The title track is just very cool with more techno trap drums, and electro bleeps in a very ‘80’s vein again. “Youthless” – classic Beck with techno flourishes – this would be a killer dance floor track! Following that is a real change of pace – “Walls”, a bit of dance hall style reggae/dub – think Bruce Cockburn meets Lee “Scratch” Perry and includes the aforementioned post-apocalyptic lyrics. Rounding out my favorites – “Soul of a Man” has a twisted groove that just gets inside my head. “Profanity Players” revisits the great techno/ drum laden underpinnings we once heard with Joy Division and early New Order. Well done. In short – 10 tracks – all good. Tip of the hat to producer Danger Mouse, know for his pop noir style which works well here with Beck’s multi-layered junk-pile dredging inventiveness.

- Phil

4 stars

Nashville Public Library is pleased to have in our collection amazing music from around the world. The band I’m highlighting here is just one of the many, so go to your local library and make a musical discovery!

First a little background about the band whose name is TINARIWEN, and how they came to be. The Touregs have lived as nomads in the Sahara for hundreds of years. In the 1960’s, the newly created African nations of Mali, Chad, and others, didn’t know how to handle these nomads. The Malian Touregs rose in rebellion against restrictions on their lifestyle, but were crushed by the new government. Then severe drought forced many to migrate to the other side of the Sahara, to live in refugee and military training camps in Algeria and Libya. It is in those camps the future band members of TINARIWEN met and were exposed to the sounds of Western music icons, such as Hendrix, Marley and Dylan.

TINARIWEN formed an ensemble that created a new musical tradition, trading in their traditional lutes and shepherd’s flutes for electric guitars. In 2003, they released a record called Amassakoul. The lyrics often speak of political awakening, exile, and the repression of their people. Their music grooves like the ever-changing waves in the desert sand. You’ll hear the rock, folk, and blues influences, flavored with their own musical traditions. We also have TINARIWEN’S 2007 release called Water is Life, so grab your library card – you know what to do!

- Crystal

James Taylor’s most recent release, Covers, is a collection of songs originally performed by other artists. Among those artists are people like Glen Campbell, Eddie Cochran, John Anderson, and Elvis Presley. That he took this diverse approach is not all that surprising, considering that some of his biggest hits have been cover songs, like “How Sweet It Is” and “Handy Man.”

A feature that has helped him achieve success with such material was his unique treatment of it; he has had his own take of each song, sort of “James Taylorizing” it, making it song almost like he wrote it himself. (He has always had a particular fondness for 60’s Motown music). One would logically expect him to repeat that approach here, and he does. The problem is sometimes it works better on certain songs than on others:good on “It’s Growing,” and “Hound Dog,” ( he has the sense not to try to imitate Elvis), but no so great on “Wichita Lineman” and “Seminole Wind,” in which neither song is given that much different a treatment than the original version.

Purist JT fans will notice right away the absence of Peter Asher at the production helm. There seems to be a hard to define something missing in that sense, but if you’re an avid JT fan, he could “sing the phone book,” as one review stated, and you wouldn’t mind.

-Ric

Feed the Animals

3 stars

Girl Talk, the DJ responsible for Feed the Animals, mashes current pop and hip hop with classic rock and 80s and 90s hits and more obscure tracks. Imagine Tag Team’s “Whoomp (There It Is)” mixed with ’80s classic “In a Big Country”, or Salt ‘n Pepa rapping over Nirvana’s “Lithium”, with a little bit of Deee-Lite thrown in. Music snobs might cringe at a song that commits the blasphemy of mashing up Ludacris and “God Only Knows” by the Beach Boys, but those with a sense of humor will enjoy idenifing the songs featured in the irreverent mashups. This is a great album to listen to while getting ready for a night on the town, or just to get happy on your way to work.
- Jessica

I was happy to discover Roscoe Mitchell’s Composition / Improvisation Nos. 1, 2 & 3 in our stacks. Few names are more prominent in the history of improvised music than Mitchell’s. Founder of the Art Ensemble of Chicago, one of free jazz’s most high profile groups, Mitchell was commissioned by the city of Munich to compose a piece for a symposium on improvised music being held at Ludwig Maximillian University. Together with Evan Parker, a sax improv legend in he his own right, they hand picked twelve other prominent players from around the world for a group they dubbed “The Transatlantic Art Ensemble.” Besides a full range of saxophones, the group included trumpet, clarinet, flute, a string section, piano, two basses and two percussionists.

As the title implies the piece is part composed and part improvised. Mitchell has always had a tendency towards European atonalism more so that other free jazz composers. Yet for every nod to concert hall there is one to the club. Sometimes this record actually swings, but it is a fever dance, the rhythm is there but the melody is in an offkey modality. The unique instrumentation lends itself to such juxtapositions. As does the Mitchell’s method of controlled improvisation: sometimes asking players to improv on a limited number of notes; sometimes giving players six cards with scored motifs and asking players to improvise around those motifs; sometimes whole sections traditionally scored with space for individual solo improvisation.

Though this piece, as with most Mitchell’s music, is all about creating tension, such tension has no reference point without a little release. There are fiery moments. Free jazz isn’t free you know? Someone has to burn. Besides Composition / Improvistion Nos 1,2 & 3, which is attributed to Mitchell as the sole composer, the library owns a handful of albums by Art Ensemble of Chicago which are definitely more hi-tempo jazz oriented affairs with a bit of surrealist Africana thrown in to really subvert your expectations.

- Bryan

4 stars

I really like this fine two disc collection of outtakes, live tracks and alternate versions of songs from a 17-year period of fertility, spanning Oh Mercy through Time Out of Mind.  I’ll admit the haggard, shadowy voiced Dylan of late Modern Times era was not my favorite Bob, so these tracks are often really refreshing and illuminating. I sometimes feel they are indeed “better” than the originally released versions, such as the plain acoustic ballad “Most of the Time”. A very listenable, flowing collection – full of gems.  Thanks  Bob!

- Phil

Untrue

4 stars

Burial is an anonymous London techno producer who has received massive hype within electronic music circles. Burial’s second full length Untrue was atop many a critic’s list last year, but some listeners may have been put off by the pidgeonholing genre tag “dubstep.” That is a hybrid dub and British house music. In Burial’s case needless genre politics and “I’m more true than you” scene posturing has obscured some wicked tracks that deserve a broader stateside audience. Present are the off kilter rhythms of 2 step garage, and the repetitive vocal samples of dub. These elements can be found in most dubstep productions, but Burial results are far more affecting. Few musicians can better simulate the emotional impact of urban blight. Especially via his of use static, pops, and warped fragmented vocal hooks. He has taken the detritus the world around him, a world of soiled concrete and broken windows, and recycled it into something haunting. Far too often, producers employ plunderphonic methods to create absurdist mash-ups, the only goal of which is to make you laugh. Burial is trying to make you cry. If you enjoy the atmospheric mood music of Radiohead & Portishead you should definitely give Burial a spin. The library has Untrue and his first self-titled album as well. Burial recently broke his anonymous persona and leaked his real name via his myspace page. I wonder if admitting he’s a real live human will effect his mystique?

- Bryan

For each of these bands, there exists a rabid following somewhere waiting for the next record or a bootleg to turn up. And for every kid who’s ever picked up a guitar, there exists something mysterious in finding a record that connects with this primal urgency to hear something so fresh. So next time you’re browsing the CDs and see something strange, give it a spin, you might uncover something that was never lost. Remember after all – it’s free!

Enjoy:  Cult Bands

†Merriam-Webster’s Collegiate Dictionary, 11th ed. Merriam-Webster, Inc. Springfield, MA, USA. 2003.