jzb – Page 21 – Zonker.net

July 17, 2016

“Hollywood Town Hall” by The Jayhawks (No. 86)

The Jayhawks are usually categorized as “alternative country” or “country rock,” but neither label suffices to describe the band at its full power. Hollywood Town Hall, released in while founding member Mark Olson was still with the band, is definitely a snapshot of The Jayhawks operating on all cylinders.

Like R.E.M., The Jayhawks span multiple genres and audiences. Any cut from Hollywood Town Hall would be equally at home alongside 90s alternative rock, on a classic rock station, and would probably pass just fine on modern country stations as well. (I’m probably a bad judge of what fits on modern country, though.)

Continue reading ““Hollywood Town Hall” by The Jayhawks (No. 86)”

July 16, 2016

“Dreamboat Annie” by Heart (No. 87)

Before I owned this album, I’d happily empty my pockets of change – or beg my parents for a quarter – to put “Magic Man” on the jukebox. To this day it feels a little like cheating* that I can just play “Magic Man” any damn time I want.

Turns out, I want to pretty often. I turn to Dreamboat Annie all the time when I’m looking for something to listen to while I read or work on the computer. Continue reading ““Dreamboat Annie” by Heart (No. 87)”

July 15, 2016

“Tommy” by The Who (No. 88)

What can I say about The Who‘s Tommy that hasn’t already been said? Since its release in 1969, Tommy has been written about nearly as much as Sgt. Pepper. Tommy was a peak moment for a band that has had enormous impact on rock and roll, and broke new ground in several ways.

Arguably the first “rock opera,” Tommy spanned two LPs, and takes the unusual approach of telling a single (if somewhat muddled) story over the span of its 24 tracks.

Continue reading ““Tommy” by The Who (No. 88)”

July 14, 2016

“Singles – 45’s and Under” by Squeeze (No. 89)

This isn’t exactly in the “going uphill to school both ways, in the snow!” territory, but here’s something kids today can’t relate to: buying an album, cassette, or CD in its entirety without hearing more than one or two cuts.

But that’s exactly how I built most of my music collection in the 80s: scraping up enough money for one album at a time, and taking a chance on whether I’d like the entire thing, or just one or two singles. So when a band released an album that was all singles, that was the obvious choice.

And that’s exactly what Squeeze’s Singles – 45’s and Under is, an album of the band’s singles from 1978 to 1982. Twelve radio-perfect slices of new wavy goodness.

Yes, I’ll admit that 45’s is a bit dated. Like a fly trapped in amber, 45’s is a beautifully preserved specimen of slickly produced Britpop.

“Pulling Mussels (From the Shell)” and “Black Coffee in Bed” are the songs that just about everybody in the Karaoke bar will belt out along with you after a few beers. “Mussels” is a a rip-roaring pop/rock piece with more than a little Beatles influence.

“Black Coffee in Bed” starts off with a faux-soul keyboard intro, and winds into an impassioned song of “loss and regret” according to Squeeze’s Chris Difford. You might just catch that Elvis Costello is in the background. At a bit more than six minutes, “Coffee” is the longest track on 45’s by nearly two minutes.

Most of the songs on 45’s are short, to-the-point, and engineered for radio. It’s a great pick-me-up album, or to sing along with on a long car drive.

“Tempted,” a song about being caught out cheating, is probably my favorite cut on the album. Great harmonies, perfect tempo, and it effortlessly captures the regret of realizing the loss of a relationship through your own stupidity.

“Is That Love?” is a snarky, short little gem with a lovely and economical guitar solo. It moves along at fever pitch until winding down softly.

From start to finish, 45s is bright, easily accessible, unapologetic pop music meant to attack the charts. Bundled together in one easy collection, it’s a go-to album when I want something fun and comfortable.

July 13, 2016

“The Fate of the World Depends on This Kiss” by Whitehorse (No. 90)

Not only do The Barenaked Ladies put on one hell of a live show, they also have impeccable taste in opening bands. I’ve seen BNL live four times in the past five or six years, and they haven’t missed yet. The past two years, they’ve had legends like Colin Hay, OMD, Howard Jones, and the Violent Femmes, but in 2013 it was a little-known Canadian duo by the name of Whitehorse.

Whitehorse is Melissa McClelland and Luke Doucet, who have also had solo careers before getting together as Whitehorse.

It took about, oh, maybe thirty seconds before I was completely hooked by the band. When playing live, they make extensive use of loops and multiple instruments to get a full sound. It’s fascinating to watch them perform, building the layers to their songs — while at the same time, their songs are completely irresistible.

Naturally I snagged their albums immediately after the show, and The Fate of the World Depends on This Kiss has become one of my all-time favorites.

From the first track, “Achilles’ Desire,” which kicks the album off with sinewy guitar and Doucet’s impassioned delivery, all the way to the last strains of “Mexico Texico” Fate of the World is a rewarding journey.

Singly, Doucet and McClellan have great voices. Sparks really fly when they sing together, though. Stevie Nicks and Lindsey Buckingham have nothing on this pair. Well, maybe not nothing but my money’s on Whitehorse.

Check out this video for “Devil’s Got a Gun.” The album version is a little cleaner and a bit richer sound-wise, but their live in the studio take is just as electric.

“Cold July,” is a beautiful and haunting piece that will stick with you for days afterward. Be forewarned, Fate of the World harbors a number of earworms. I usually have “Cold July” stuck in my head for at least a week after listening to it.

“Jane” is a slinky little number with some excellent guitar and bass work. Echoes of surf guitar and complex bass make this one so much fun.

There’s a little tinge of rockabilly here and there, and more than a little 60s/Beatlesque tinge to some of the frills in “Out Like a Lion.”

“No Glamour In The Hammer,” brings the groove and more irresistible bass work. Actually that sounds like there’s a limited amount of groove on the album, which couldn’t be further from the truth. Just listen to “Radiator Blues” and you’ll see what I mean.

For a two-piece, Whitehorse manages to develop a lush, complex sound that holds up to repeated listening. They do have a little additional help in the studio, but they did an amazing job recreating that complexity live as well.

Oh, in addition to being a ridiculously talented duo, they’re also super-nice in person. After turning in a blistering set, they came out to sign merch in the lobby before BNL took the stage. In addition to signing CDs they were kind enough to let me get a picture with them while I fanboyed out about their set.

Fate of the World is on Spotify, Google Play Music, and other services – so you’ve no excuse not to check them out. If their success is commensurate with their talent, this pair is going to take over the world.

July 12, 2016

“Red Sails in the Sunset” by Midnight Oil (No. 91)

Midnight Oil’s breakthrough in the United States came with “Beds Are Burning,” off Diesel and Dust. That’s a fine album, as are many in Midnight Oil’s catalog, but Red Sails in the Sunset is the album I reach for most often.

Sunset preceded Diesel by three years, and while both albums are excellent representations of the band, Sunset is rawer and a more interesting piece.

Continue reading ““Red Sails in the Sunset” by Midnight Oil (No. 91)”

July 11, 2016

“Vivid” by Living Colour (No. 92)

How much was I into Living Colour‘s 1998 debut album, Vivid? I was willing to go to a concert with my mother just because Living Colour was the opening band.

Sure, you think, that doesn’t sound so bad. But at 19, going to a Rolling Stones concert with my mother and two of her friends was the pinnacle of things I definitely didn’t want to do. And yet, I girded myself for the inevitable embarrassing spectacle of my mother screaming her head off in public at Mick Jagger, just so I’d get to catch like 40 minutes of Living Colour from nosebleed seats. Yeah, it was worth it. Continue reading ““Vivid” by Living Colour (No. 92)”

July 10, 2016

“Bricks Are Heavy” by L7 (No. 93)

Let’s turn up the volume a little bit, shall we? This one needs to be played loud. L7’s Bricks Are Heavy, from 1992, is today’s top 100 pick.

L7, apparently slang for “square,” features Donita Sparks, Suzi Gardner, Jennifer Finch, and Demetra Plakas. Sparks wrote most of the songs and handles vocals, with Gardner taking lead on “Slide,” “Monster,” and “This Ain’t Pleasure.” Bassist Finch does lead vocals on two tracks, and wrote “One More Thing” and co-wrote “Everglade.”

Coming along soon after Nirvana’s breakthrough, it was tagged “grunge,” though it would have been equally at home in the “metal” category. Continue reading ““Bricks Are Heavy” by L7 (No. 93)”

July 9, 2016

“World Outside” by Psychedelic Furs (No. 94)

The Psychedelic Furs‘ 1991 swan song, World Outside has been one of my go-to albums since its release.

The Furs snuck this one in just before grunge, industrial, and second (or maybe third) wave punk took over the alternative music world. Released in July 1991, Pearl Jam’s Ten and Nirvana’s Nevermind came out in September and crowded out the old school new wavers like the Furs.

Critically, World Outside was dinged (basically) because the band had the audacity to mature a bit, and because it didn’t have another “Pretty in Pink” on it. While it’s fair to say none of the songs are quite worthy of a John Hughes film, it’s a solid album from start to finish.

[youtube https://youtu.be/dNEDY9I_wOk]

World Outside is a lush and complex album, there’s a lot going on in each track and it rewards repeated listens. “Valentine,” the first track on World Outside sets the tone perfectly. Butler’s trademark rasp rides on layered guitars and a lazy, steady beat.

“In My Head” picks up the tempo a bit, a no-frills crowd-pleaser that wouldn’t have been out of place as a single. (But wasn’t.)

The two singles on the album “Until She Comes” and “Don’t be a Girl” show a softer side of the band. “Until She Comes” is synth-heavy and melodic. “Don’t be a Girl,” keeps the same pace, but replaces the acoustic guitar with a undercurrent of heavier guitar and bleating sax that echoes earlier Furs tracks.

On album, World Outside feels introspective and at times sleepy. “Better Days” is the only cut where the band really cuts loose. It has the trademark warbly sax, unrestrained guitar, and Richard Butler tearing into the vocals with abandon.

Live, though, there’s plenty of room for the Furs to open up and tear the songs open at the seams. While this may not be the Psychedelic Furs best album, I have a strong fondness for it because I had the opportunity to see the band touring for the album in early 1992. The Furs played Mississippi Nights, an all-ages music club that ran from 1979 to 2007 in the Laclede’s Landing area of St. Louis.

[youtube https://youtu.be/pzIgeOh36_I]

The opening band, Pale Divine, was a local favorite at the time. Butler nabbed Pale Divine’s guitarist (Richard Fortus) for his next project, Love Spit Love.

“All About You,” the final cut on World Outside, is one of those songs that really needs an album format to support it. It never really takes off, just sort of glides along and takes you with it. It’s a fitting closer for the album and the Furs’ discography, leading off with Butler pronouncing “Now the time is almost done, the race for last is almost run, and almost paid.” Of course, the song seems to be about love gone cold, but also reads as shutting the door on the band as well.

The Psychedelic Furs’ World Outside is like a coda for 80s “new wave” bands. Along with Duran Duran’s second self-titled album, it was the last good album from a band that helped define the 80s.

The difference is, Duran Duran kept recording, while the Furs wisely went out on a high note. Sure, the Furs are touring again, but World Outside was the last studio output from Butler and company. After 25 years, I’d be skeptical of fresh output from the band. (But, hey, what do I know? Despite all odds, The Monkees managed to whip up a decent comeback album this year.)

July 8, 2016

“All the Roadrunning” by Mark Knopfler and Emmylou Harris (No. 95)

Mark Knopfler has a tendency to make magic when he picks up a guitar. If he’s written a bad song or recorded a dud, I’m not aware of it. His work with Dire Straits, his solo work, and work composing film scores (I love the Wag the Dog soundtrack) is all fantastic. So when I say that All the Roadrunning is a stand-out in Knopfler’s career, that’s saying something.

I’ve been familiar with Knopfler since “Money for Nothing” was a big hit, but hadn’t delved into the Dire Straits catalog or his solo work deeply until about 2010.

Harris is generally categorized as a country artist, which is a genre I don’t generally find interesting. (Johnny Cash notwithstanding, and I put Cash in a category all his own anyway…) I’ve checked out some of her work since discovering Roadrunning, and been impressed with her work as well.

But the mash-up of Knopfler and Harris is just phenomenal. The opening track, “Beachcombing” is a mid-tempo ballad that melds Harris’ beautiful voice with Knopfler’s bluesy growl to perfection. The guitar is understated but essential.

“This is Us” is an upbeat duet with a driving beat and plenty of Knopfler’s signature guitar work. If you’re not tapping your toes or moving your body to this one, seek medical attention immediately. The live version on YouTube is even better than the album version, and must have been amazing live.

“Beyond My Wildest Dreams” has Knopfler taking the lead with Harris lending harmony. It’s a slow, gentle song that you’ll be humming to yourself when you think you’ve forgotten it.

Harris takes the reins on “Belle Starr,” one of her songwriting contributions to the album. It’s a rollicking piece, showcasing her vocal talents with Knopfler’s guitar providing a solid foundation.

“All the Roadrunning” is another slow ballad that calls to mind the trials of touring life. Harris and Knopfler sell this one with the combined weight of many decades touring. Knopfler’s guitar takes a backseat to the fiddle and the vocal interplay on this one.

There’s not much in the way of outright rockers on Roadrunning. “Right Now” has a bit of a punch, and “Red Staggerwing” chugs right past energetically as a piece that’d be right at home in a country bar on Friday night.

Closing out the album, “If this is Goodbye” is another slow burn duet that brings together all the elements just right. It’s the kind of closer that makes you sad the album is over, because the ride was just that good, and over too quickly.