iPod Observer

Wolfmother

Mon, 19 Jun 2006 17:44:05 -0400

Black Sabbath, The White Stripes, The Stooges. There aren't many bands worth their salt that want to be compared to other bands, but when I listen to Wolfmother's self-titled American debut, I can't help but be reminded of those three other bands. Rather than sounding derivative, however, Wolfmother manages to evoke the spirit of those who came before them while also sounding fresh and interesting.

A power trio in the tradition of heavy metal's earliest roots, Wolfmother has a sort of raw and urgent sound that bespeaks youth. That they can hearken back to bands that recorded their first albums long before Wolfmother's members were born is just a product of rock's unprecedented longevity in the history of popular music.

The key to the band's sound is guitarist/songwriter/sing Andrew Stockdale. His vocals have often earned comparisons to Jack White ("Apple Tree," "Joker and the Thief") and early Ozzy Osborne ("Dimension," "Woman"), but it's his guitar that cuts through the noise that radio. Deceptively simple sounding riffs and chord progressions (usually mirrored by Chris Ross's bass lines) are coupled with guitar solos that actually seem to serve a purpose other than to break up the song.

Wolfmother may feel like a loose band at first, but don't let that fool you. The songs on this album are tight, solid, and well-crafted. To be so well-made without feeling too polished or over-produced may be part of the band's reach back in time to an era when rock, especially what was then considered "hard rock," was new.

Make no mistake about it, Wolfmother's influences are obvious, but they are still one of the most original new acts in rock and roll. Their music gets your head bobbing, your foot tapping, and your air guitar swinging.

Favorite Songs: "Dimension," "Woman," "The Joker and the Thief," "Love Train," "Vagabond"

Band Info:

Andrew Stockdale: Vocals, Guitar
Chris Ross: Bass, Keyboards
Myles Heskett: Drums

Album produced by Dave Sardy

Wolfmother Home Page

Pressure Chief

Mon, 17 Apr 2006 19:12:53 -0400

Pressure Chief, Cake's latest album, didn't immediately grab me. In fact, it took perhaps half a dozen listens before I started truly enjoying it. Anymore, however, and I just love it.

Pressure Chief is a product of a band that is not only maturing, but one that has grown more sophisticated. At least, that's my take on the band's increased usage of keyboards and de-emphasized guitars.

This is not to say that Cake went all Chicago on us, but Pressure Chief is decidedly subtler in its approach than an album like Fashion Nugget. What's not missing, however, are the band's signature guitar riffs (Xan McCurdy -- "Wheels," "No Phone"), weird vocal rhythms and excellent lyrics (John McCrea -- "No Phone"), awesome harmonies and fascinating trumpet (Vince DiFiore ("Tougher Than It Is"), foundation bass-lines (Gabe Nelson ("No Phone,"), and solid drums that compliment the music without getting in the way.

Those elements are still there, but they are somewhat softer than past offerings.

Pressure Chief also comes with Jon McCrea's usual, socially progressive preaching -- "No Phone" derides the evils of cell phones and "Carbon Monoxide" complains about the evils of cars -- but the bulk of the album is comprised of his somehwhat different brand of a breakup song, with impressionistic lyrics that paint a remarkably vivid picture ("She'll Hang the Baskets," "Take It All Away," "End of the Movie").

The band's customary cover is Bread's "Guitar Man." While lacking the "Man, this is how it should have been done in the first place" impact of "I Will Survive," it's still an enjoyable interpretation of a 70's mainstay.

If we did half ratings, I would have given this album a 3.5. As it is, Pressure Chief is a solid offering from a great band, and it's well worth the time it took for me to come to love it.

Gimme Fiction

Mon, 23 Jan 2006 15:46:25 -0500

Gimme Fiction by Spoon is a terrific album by an Austin band that I was lucky enough to catch on an Austin radio station during a Christmas visit. "I Turn My Camera On" was the name of the tune, and its slowed-down Franz Ferdinand meets Beck singing "Emotional Rescue" flavor immediately grabbed me, and I literally went out to get the CD a couple of hours later.

"Was It You?" also reveals the Beck influence on this band, but the rest of the album seems to have more roots in the 70s -- and I do mean the part of the 70s that didn't suck -- than anything more recent.

The band lays down instrumental tracks somewhere between minimalist and layered that act as the perfect backdrop to the vocals of Britt Daniel. At the same time, however, neither those vocals nor the instrumentation sound like an afterthought, and that's something few bands know how to do.

For instance, listen to the interplay between bass, guitar, and vocals in "Was It You?" or the integral role the sparse clapping plays in "They Never Got You." In Gimme Fiction, every note and every sound seems to have a purpose, combining into one of the best albums of 2005, and one of the better recordings of the last five years.

You can stream a video for "Sister Jack," the single the band's label is pushing, at Merge Records' Web site.

Favorite Tunes: I Turn My Camera On, Was It You?, My Mathematical Mind, They Never Got You, The Infinite Pet

Spanks for the Memories

Mon, 14 Nov 2005 17:00:36 -0500

The Asylum Street Spankers are...well...The Spankers. Hailing from Austin, where I saw them live dozens of times, the band played entirely acoustically, with a style that borrows equally from the Blues, Jazz, Country, and Bluegrass, while dipping into the 1920s, 30s, 40, and 50s. Few bands can attempt such a montage and pull it off, and fewer still can do it without spiraling into a morass of stale kitsch, but this incarnation of The Spankers did it, and Spanks for the Memories is in most ways a great representation of that.

While each of the band members sings a song or two, it is guitar god Guy Forsyth's numbers which stand out the most, starting with a cover of Robert Johnson's rocking and stomping Blues classic "If I had Possession Over Judgement Day." Guy Forsyth at his best in both his singing and playing, this song is what The Spankers were all about.

Another Guy showcase on the album is "Hometown Boy," a not-so pretty look at growing up in a small town in Texas, though you have to listen hard to catch the themes of racism and violence. It's truly beautiful, in a sad and haunting way, and the sparse harmonies are about as close to perfect as you can get.

Co-front person Chrstina Mars shines on "Shave 'Em Dry," though the version found on Nasty Novelties is better (Note: The Explicit Lyrics warning is quite appropriate for that record). Colonel Josh's cover of "Hesitation Blues" and Stan Smith's rendition of "Walkin' & Whistlin' Blues" are also standouts for those two performers, while "Lee Harvey" is one of the few numbers from band-member Wammo that I like.

On the negative side, the engineering on this album is weak, and few of the recordings do the performances justice. The beautiful harmonies in "Tradewinds" are barely heard, and everything is muddied in the amusing rework of "Smoke that Cigarette" that The Spankers call "Funny Cigarette."

The problem stems from the fact that this is a large band that is entirely acoustic, and few studios have the ability to properly record such performances in this age of isolation booths and directional mics. Indeed, Spanks for the Memories was recorded in an empty house, and not one that is known for its acoustic prowess. Still, it's a great album, despite its technical shortcomings.

Note the hidden track from Pops Bayless called "Pinch Me" at the end of "Hometown Boy."

Favorite songs: "If I Had Possession Over Judgement Day," "Walkin & Whistlin Blues," "Tradewinds," "Funny Cigarette," "Hometown Boy," "Lee Harvey."

Now Here Is Nowhere

Tue, 18 Oct 2005 16:48:53 -0400

The Secret Machines' inaugural album, Now Here is Nowhere is both old and new in its sonic assault. The trio's surprisingly big sound evokes Pink Floyd (without ever sounding like any Pink Floyd song), the Violent Femmes, Jellyfish, The Beatles, and even band member Ben Curtis's former project, Tripping Daisy, but it all somehow comes out sounding fresh and original.

"First Wave Intact" is the album's opener, a driving and intent song that grabbed me the first time I heard it. The same can be said for "Nowhere Again" (and the continuation title track, "Now Here is Nowhere"), though it has a much more prominent vocal component (There's a woman in the mirror in a fiery state/ She motions to me, I start pulling away/Lifting her dress up, all the way up). Still, it's the simple, repetitive guitar line that moves the song forward, and makes me want to hear it again and again.

"Sad and Lonely" is one of the most heavily Classic Rock-influenced songs on the album. It has a big guitar and a John Bonham drum vibe, but it is married to a Jellyfish-like lead vocal that lends the song a lilting and airy feel. A more straight-ahead vocal line would have burdened the song into mediocrity.

I don't want to review each song, but suffice it to say that many different sides of the band are represented, along with a variety of sounds. While not a concept album, Now Here is Nowhere is best listened to from start to finish, and it's one of my favorite work and poker soundtracks.

Favorite Songs: First Wave Intact, Sad and Lonely, Nowhere Again, Pharoah's Daughter, Light's On

Hello

Mon, 03 Oct 2005 13:48:30 -0400

Poe rocked my world with "Angry Johnny" (I want to kill you/I want to blow you/Away) and "Trigger Happy Jack" (Trigger Happy Jack/ You're gonna blow/But I'm gonna get off/Before you go), as powerful and clever songs about feminine power as Alanis Morrisette's "You oughta know" was trite and crude in comparison.

The first half of this album is the best, in my opinion. In addition to the aforementioned two songs, there's the guitar-driven "Cherry," which packs a musical and lyrical punch that I can't get enough of. "Hello," and "That Day" (listen to that over-driven cello!) are also favorites. Poe is one of those rare artists who writes great music, writes great lyrics, sings great melodies, and is able to mix them altogether into a cohesive whole that is even better than the sum of its parts. While her second album, Haunted, is a better testament to that, Hello is still a great album.

For a special bonus, find a copy of "Hello (remix)." It's action-packed, loud, and rockin'.

Favorite songs: "Hello," "Cherry," "Angry Johnny," "Trigger Happy Jack," "That Day," "Dolphin," "Fly Away"

The Stooges

Mon, 08 Aug 2005 18:25:25 -0400

Another pillar of my musical foundations, The Stooges' first album is one those records whose influence far outweighed its popularity. Like The Velvet Underground & Nico, hordes of people who bought this album went out to form their own bands, and that's because it is powerful, driving, direct, and straight ahead rock and roll.

Raw in its primitive assault, The Stooges foretold the coming of both the Punk movement and Heavy Metal. From Iggy Pop's nasally vocals to the brute force guitar work of Ron Asheton, this album was one of the first great examples of what can happen when a garage band gets a recording contract. Of course The Troggs, The Kingsmen, Blue Cheer, The Seeds, and others blazed that trail, but Iggy Pop is still recording today, and The Stooges themselves weren't one-hit-wonders.

The album is not perfect, however; "We Will Fall" drones on for about eight and half minutes too long, and "Ann" feels out of place. Fortunately, the rest of the album rocks my world.

Favorite Songs: 1969, I Wanna Be Your Dog, No Fun, Real Cool Time, Little Doll

Chicago Transit Authority

Thu, 28 Jul 2005 14:12:37 -0400

For those of you who don't know, Chicago didn't always suck, and everyone in the band didn't always play a keyboard. When the band started off they were pioneers of rock and jazz fusion, and guitars and horns were the driving force behind the music. The Chicago Transit Authority album (the band was sued by the real CTA, and changed its name to just Chicago after this first album) packs a punch, and takes you from jazzy preludes to straight ahead rock tunes, to deep grooves that'll make your head bob.

Favorite songs: Does Anybody Really Know What Time It Is, Beginnings, Listen, I'm a Man (cover of the Spencer Davis Group hit), Liberation

Buffy the Vampire Slayer - Once More, with Feeling

Thu, 28 Jul 2005 13:53:11 -0400

Most musical episodes of TV shows frankly stink. They are usually little more than ill-conceived vehicles intended to let the stars show off what musical talent they have. Once More, With Feeling, however, is one of my favorite musicals because it was intended first and foremost to be a musical that told a story. That it's set in the Buffyverse of Joss Whedon is incidental to it being a musical.

The funny thing is that Joss Whedon learned how to write and play music for the sole purpose of writing this episode of Buffy, but you'd never know it listening to its melodies and themes. I have literally listened to this soundtrack scores of times, and before it was released, I listened to the audio track of the episode itself. The music is that good, the lyrics are that good, the plot is that good, and the performance by this cast of actors is mostly that good.

Indeed, Joss wrote to the strengths and weaknesses of each of his cast members, plying the strongest singers (Tony Head, James Marsters, Amber Benson) with the strongest songs. Sarah Michelle Gellar turns in a passable, but still enjoyable performance, and only agreed to use her own voice when she learned of the important plot elements that would be revealed in the episode. The performance of veteran Broadway actor Hinton Battle is killer.

Favorite songs: I'll Never Tell, I've Got a Theory/Bunnies, Going Through the Motions, Under Your Spell, What You Feel.

King James Version

Mon, 11 Jul 2005 01:28:10 -0400

The sophomore effort from Harvey Danger, I was really looking forward to this followup to "Where Have All the Merrymakers Gone?" Unfortunately, "King James Version" failed to deliver any of the brilliance found in "MerryMakers." Flat and uninteresting, it was hard for me to give this album the additional listens I felt I owed myself. Still, it's better than anything from Mariah Carey.

Bowie at Beeb: Best of BBC Radio 68-72

Sun, 10 Jul 2005 23:49:57 -0400

The companion CD to a BBC television concert, BBC Radio Theatre has some of the best renditions of many of Bowie's best songs throughout his career. "I'm Afraid of Americans" is substantially harder and more driving than the studio version produced by Trent Reznor, and "Fame" is more funky than the original.

The reinterpretation of "Let's Dance" made me appreciate the song all over again, and "Cracked Actor" packs a punch that will knock you off your feet. (I should also note that having women sing the backup vocals on that song transforms it from a vulgar complaint to a curiously sexy power song).

The band in this performance is a who's who of top studio pros, but they fit Bowie like a glove. [NOTE: BBC Radio Theatre is the third CD included with Bowie at the Beeb; the first two CDs in the boxed set are BBC appearances from Bowie's early career, and are unrelated to the 2000 performance reviewed here.]

Is This It

Sun, 10 Jul 2005 23:10:08 -0400

The Strokes set the music world on fire with this 2001 album, with headlines declaring that the New York band was here to save Rock and Roll. While the band hasn't made as much of a splash since then, Is This It remains one of the best albums in the last 20 years.

Smart, guitar-driven, but vocal-carried rock songs jump out of this album, allowing us to forget about all of the bad music the record industry tries to foist on us every day. "Last Nite" was the hit on the album, but "The Modern Age," "Is This It," "Barely Legal," and "New York City Cops" are all great listens, too. The entire album reflects the band's roots of The Velvet Underground, The Modern Lovers, The Stooges, and a host of New York bands.

Favorite Songs: "Last Nite," "The Modern Age," "Is This It," "Barely Legal," and "New York City Cops"

Modern Lovers

Sun, 10 Jul 2005 22:59:48 -0400

This timeless masterpiece is little known, but it has inspired almost as many bands as The Modern Lovers' own inspiration -- and only slightly better known -- The Velvet Underground & Nico. "Pablo Picasso" is the closest thing to a hit on this album (mainly because it has been covered by so many other acts), but it's the anthemic "I'm Straight" that is the band's masterwork.

The guitar-driven music is garage-rock in its simplicity, spare in its production, and brilliant in its conception. In some ways it captures young life in the early 1970s, though clearly with Jonathan Richman's perspective thrown into the mix.

Lastly, note that this album was actually recorded as a demo that was later remixed as best as could be for commercial release, after the band had broken up. Note, too, that the keyboardist is Jerry Harrison, who later joined Talking Heads, while drummer David Robinson went on to join The Cars. RockInBoston.com has an excellent history for the band.

Favorite Songs: "I'm Straight," "Pablo Picasso," "Roadrunner," "Girlfriend,"

Guero

Sun, 10 Jul 2005 22:23:09 -0400

Beck is the modern master of the groove, and Guero is merely the latest example of this. From the opening power chords of "E-Pro," to the Pac-Man cuteness of "Girl," to the dirge-like lullaby of "Broken Drum," to the brilliant guitar hook in "Farewell Ride," this album is one great song after another. While "Debra" (Midnight Vultures) remains my favorite Beck song, Guero is every bit as great a collection as Odelay or Midnight Vultures.

Favorite Songs: "Girl," "Farewell Ride," "Broken Drum," "E-Pro"

Mezzanine

Fri, 08 Jul 2005 06:19:25 -0400

"Black Milk" knocks me off my feet in this collection of moody and eclectic songs. Massive Attack uses samples and keyboards in a very unique way, but not all the songs pack the same punch.

While "Angel" drives like a Dust Brothers song, the vocals on "Man Next Door" make me want to punch the singer just to get him to shut up. The good outweighs the annoying, however, even while the latter drives down the album's overall rating.

Favorite Songs: "Angel," "Black Milk," Risingson,""Teardrop"

Priest = Aura

Fri, 08 Jul 2005 05:55:50 -0400

Another of my all-time favorites, Priest = Aura is one of those rare albums where every song is simply fantastic, and a testament to how good pop-rock can be.

Each song immediately reaches out and grabs you with either a great hook (Aura) or compelling lyrics (You�re so deluxe, you�re so divine/You�re so fifty light years ahead of your time/You�re a riddle, you�re a ripple/You�re the human sacrifice to the goddess of ice/Your hairdo is filled with diamonds and lice - "Ripple"), or both. The band's mix of unexpected bass lines and airy guitars blend to form the perfect backdrop to Steven Kilby's haunting vocals.

I've listened to this album at least a hundred times, and it only gets more enjoyable with time.

Favorite Songs: "Aura," "Ripple," "Paradox," "Mistress" "Feel," "Kings," "The Disillusionist," "Chaos"

Pretty Hate Machine

Fri, 08 Jul 2005 05:44:58 -0400

For years I wanted to make music that sounded like something between Love and Rockets and Ministry. In 1989, Trent Reznor beat me to it with this genre-defining album, and it smacked me upside the head. "Head Like a Hole," "Terrible Lie," and "Sanctified" are only some of the great tunes.

The Printz

Fri, 08 Jul 2005 05:35:36 -0400

Part white rap, part alternative, part pop, and part rock, the Bumblebeez grabbed a hold of me with "Pony Ride," and didn't let go.

This group does a marvelous job of moving seamlessly between samples, keyboards, and guitars, sometimes fairly hard guitars. This is a nice mixture that leverages modern recording and performing techniques, while still leaving them to feel like a band. The Printz leaves me hungry for more from the Bumblebeez.

Favorite songs: "Pony Ride," "Step Back," "Rappa," "Pink Fairy Floss."

Quadrophenia

Fri, 08 Jul 2005 05:15:46 -0400

Quadrophenia is everything that Tommy wanted to be, a rock opera that told a story, but one where every song could still stand alone. It was also Pete Townshend's farewell tribute to the Mod movement, while it ironically gave rise to a Mod rebirth. Most of all, it's an album that has given me hundreds of hours of listening pleasure.

Favorite songs: "I'm One," "5:15," "The Real Me," "Sea and Sand," "Drowned," "Cut My Hair"