By: C. Beaz
I love soul music. It ages very well. I do mean soul music, not R&B. They use to be the same thing, now they’re not. Let me use a modern example: Usher is R&B. Alicia Keys is Soul. If you still don’t get it then you’ve never listened to their records. I’m not talking about modern soul music anyway (Though there are some shining stars, most of it’s WAY over-produced for my taste). I’m referring to classic soul. Give me anything from the mid-sixties to the late 80’s. It smoothes my edges. All is well when I got Stevie!
This is precisely why I’ve been unable to stop listening to Rapheal Saadiq’s latest record. It’s not just a throw-back to 60’s-70’s soul records…it IS a 60’s-70’s soul record! Anyone who enjoys the Temptations, the Miracles, etc., MUST buy this record! It’s like a ride in a time machine. Everything about this record is reminiscent of the days of Motown, even the sound quality.
Rapheal Saadiq set out to make a straight forward tribute record to an era of music he loved. He did it, and only “slipped” once. That’s when he decided to include Jay-Z on the “bonus track”. Why is it always Jay-Z? Not all guest spots were quite so shameless…Joss Stone appears on “Just One Kiss”, sounding very much like a ninety pound white chick who wishes she was Gladys Knight. Also, on “Never Give You Up”, Stevie Wonder appears to play the same harmonica solo we’ve all heard a thousand times. Hey, I didn’t say they were GOOD guest spots, I said they weren’t shameless.
All around….this record is 95% fantastic!
Showing posts with label Reviews. Show all posts
Showing posts with label Reviews. Show all posts
Wednesday, October 1, 2008
“When the Fire’s Dead and Gone”
By: C. Beaz
It happens to a lot of bands, especially the successful ones. They reach the apex of their creativity (or commercial success) and spend the rest of their career trying to stay there. This rarely works out. There are few who manage to reclaim a spot on top, but it’s tough. The mountain of success, whether commercial or creative, has a very gradual climb and a dangerously steep drop. My point is that it’s not uncommon for the next big thing to suddenly become the previous best thing. These bands just have to realize it and come to terms with it!
There is a certain group I have in mind as I write this. It’s been twenty years since they released what I consider to be their best record. Two years later, they released their most successful (and most criticized) record. So here’s a band that has spent the better part of eighteen years trying to stay fresh. Needless to say, they’ve failed. And in case you haven’t guessed, I’m talking about Metallica. Their career since then has been a comedy of errors. Metallica rolled out record after record of useless crap.
Examples:
“Load” – all I really remember is that they cut their hair.
“Reload” – “…give me fuel, give me fire, give me that which I desire”?!?!?
“Garage, Inc.” – the Queen cover was cool…I guess.
“S&M” – the dweeb in me kinda liked it actually!
“St. Anger” – worst thing I ever paid for.
That brings me to the present: “Death Magnetic”
Apart from the silly name, which is nothing new really (see: “Ride the Lightning”), this isn’t the worst record they could have made. They are capable of FAR worse! Apparently when making this record producer Rick Rubin told them to make the second half of “Master of Puppets”. That’s obviously what they tried to do. There are two problems with that though. The first one being that “Master of Puppets” didn’t need a second half! The second one is that these guys are forty-something, Armani leather jacket wearing millionaires. Not twenty year old, zit-faced, pissed-off metalheads.
Metallica doesn’t have it anymore. Fade away Metallica….please! And for the love of God, give Rob Trujillio back to Suicidal Tendencies where he can do some good!
It happens to a lot of bands, especially the successful ones. They reach the apex of their creativity (or commercial success) and spend the rest of their career trying to stay there. This rarely works out. There are few who manage to reclaim a spot on top, but it’s tough. The mountain of success, whether commercial or creative, has a very gradual climb and a dangerously steep drop. My point is that it’s not uncommon for the next big thing to suddenly become the previous best thing. These bands just have to realize it and come to terms with it!
There is a certain group I have in mind as I write this. It’s been twenty years since they released what I consider to be their best record. Two years later, they released their most successful (and most criticized) record. So here’s a band that has spent the better part of eighteen years trying to stay fresh. Needless to say, they’ve failed. And in case you haven’t guessed, I’m talking about Metallica. Their career since then has been a comedy of errors. Metallica rolled out record after record of useless crap.
Examples:
“Load” – all I really remember is that they cut their hair.
“Reload” – “…give me fuel, give me fire, give me that which I desire”?!?!?
“Garage, Inc.” – the Queen cover was cool…I guess.
“S&M” – the dweeb in me kinda liked it actually!
“St. Anger” – worst thing I ever paid for.
That brings me to the present: “Death Magnetic”
Apart from the silly name, which is nothing new really (see: “Ride the Lightning”), this isn’t the worst record they could have made. They are capable of FAR worse! Apparently when making this record producer Rick Rubin told them to make the second half of “Master of Puppets”. That’s obviously what they tried to do. There are two problems with that though. The first one being that “Master of Puppets” didn’t need a second half! The second one is that these guys are forty-something, Armani leather jacket wearing millionaires. Not twenty year old, zit-faced, pissed-off metalheads.
Metallica doesn’t have it anymore. Fade away Metallica….please! And for the love of God, give Rob Trujillio back to Suicidal Tendencies where he can do some good!
Under The Radar: Skarp -"Requiem"
After finding out that Seattle Washington's Skarp had labeled their music as "Blackout Fucking Grindcore" it was inevitable that I was going to love it...I had no choice. With new genre names popping up every day...emo, screamo, industrial post-modern popcore hip-hop you're-boring-the-shit-out-of-me-I’ll-have-a-salad-core...it
's impossible to keep up. It's refreshing that a band will just get to the point and make some music. This is some of the most hard hitting, disastrously brutal music I've ever heard mixing elements of Grindcore, Crust Punk, and about 11 seconds of Ska. I'm not a fan of music this heavy usually, but there are several factors about Skarp that keep me listening. It's not often you hear female vocals in this type of music and Skarp does it well...Renae is clearly not fucking around. The drummer is the other winning point for me, very very quick, interesting snare drum sound, and some of the cleanest blast-beats I’ve ever heard. Even if you're not into this kind of music it's still amazing just to hear the musicianship if nothing else. I like this album more every time I hear it.
's impossible to keep up. It's refreshing that a band will just get to the point and make some music. This is some of the most hard hitting, disastrously brutal music I've ever heard mixing elements of Grindcore, Crust Punk, and about 11 seconds of Ska. I'm not a fan of music this heavy usually, but there are several factors about Skarp that keep me listening. It's not often you hear female vocals in this type of music and Skarp does it well...Renae is clearly not fucking around. The drummer is the other winning point for me, very very quick, interesting snare drum sound, and some of the cleanest blast-beats I’ve ever heard. Even if you're not into this kind of music it's still amazing just to hear the musicianship if nothing else. I like this album more every time I hear it.
Saturday, August 23, 2008
The Acyd Test August 2008
Walking through Cambridge on 8/9 was, for the most part, an enjoyable experience. Everyone I nodded to on the sidewalk either stared or looked away, but I get enough of that from family and friends not to really notice. And the girls in the Palace Family Restaurant gave me a new appreciation for Greek culture--or genetics, at least.
And when we parked across from Scoop Station on Muir Street, we met some more of the town's finest. Before I had time to finish my cigarette, a friendly police officer advised me not to loiter, and looked longingly at my Jeep, longing to search it, no doubt.
As punks and other local music fans gathered on the corner, a flock of cops gathered across the street, one or more of which sauntered around peering into parked cars. Those with a lot of bumper stickers received the most attention. Apparently no one left anything in plain view, because there were no searches, but it must have galled them to know that, most assuredly, a stash of drugs and alcohol lay right under their noses.
Is this usual behavior in Cambridge? Or is it, as I suspect, an example of stereotyping? We dress differently. Most smoke and stare blankly at the cops with contempt that can't be concealed. The dangerous element is there, the demeanor, not of sheep being led to slaughter, but of wolves, wolves that would eat the pigs.
So, instead of thinking…"Ah! A gathering of the city's youth at a musical event! It's simply smashing that they're out on a Saturday night exposing themselves to some culture!"…our cop friends see a criminal class. Vagrants. Trouble-makers. Wild dogs that need to be caged. They watch, hoping to spot one wrong move, and when it doesn't come, the group migrates a few blocks to Dunkin Donuts, most likely. Or one big blue-shirted circle jerk, for all I know.
Otherwise, the show at Scoop Station with Press Black, World Class Defects, Napalm in the Mourning, and a few others, was outstanding and a great way to spend a summer evening. Scoop Station is shaping up to be one of the best local venues, especially for underage bands. Check it out, buy some ice cream, and enjoy a local music act. Just try to avoid The Man across the street.
Chris Acyd
And when we parked across from Scoop Station on Muir Street, we met some more of the town's finest. Before I had time to finish my cigarette, a friendly police officer advised me not to loiter, and looked longingly at my Jeep, longing to search it, no doubt.
As punks and other local music fans gathered on the corner, a flock of cops gathered across the street, one or more of which sauntered around peering into parked cars. Those with a lot of bumper stickers received the most attention. Apparently no one left anything in plain view, because there were no searches, but it must have galled them to know that, most assuredly, a stash of drugs and alcohol lay right under their noses.
Is this usual behavior in Cambridge? Or is it, as I suspect, an example of stereotyping? We dress differently. Most smoke and stare blankly at the cops with contempt that can't be concealed. The dangerous element is there, the demeanor, not of sheep being led to slaughter, but of wolves, wolves that would eat the pigs.
So, instead of thinking…"Ah! A gathering of the city's youth at a musical event! It's simply smashing that they're out on a Saturday night exposing themselves to some culture!"…our cop friends see a criminal class. Vagrants. Trouble-makers. Wild dogs that need to be caged. They watch, hoping to spot one wrong move, and when it doesn't come, the group migrates a few blocks to Dunkin Donuts, most likely. Or one big blue-shirted circle jerk, for all I know.
Otherwise, the show at Scoop Station with Press Black, World Class Defects, Napalm in the Mourning, and a few others, was outstanding and a great way to spend a summer evening. Scoop Station is shaping up to be one of the best local venues, especially for underage bands. Check it out, buy some ice cream, and enjoy a local music act. Just try to avoid The Man across the street.
Chris Acyd
Pete Yorko The Sidebar, Baltimore MD, Aug 1, 2008
D. Van Skiver
If you’re a musician, you typically spend the hour before your set wishing these other guys would hurry up and finish, even if it’s a band you like. I mean, sure, they’re doing their thing, and you’d never take that away from them even if they suck, but come on, you’ve been waiting all week to play this show. As soon as their guitarist finishes showing off his spin kicks or his “fucking badass metal dude” moves, you can finally get your stuff heard.
Not so when the night’s billing includes Pete Yorko.
He was billed as a “one man band”, which conjured up unpleasant warnings in my mind. His setup consisted of two kick-pedal drums and an electric guitar. I thought to myself, “this could go one of two ways…”
It went the right way. Sure, the drums didn’t sound like John Bonham – how could they? But they weren’t all just boom-tap, boom-tap either. Yorko actually managed to make them interesting, while playing guitar, while singing, and, most impressive of all, while maintaining a good stage presence. And that was just what I noticed first…
His guitar playing took a while to announce itself to my brain. It was adequate, but about halfway through his set, I realized that this kid was better than that. He was GOOD. He didn’t show off, he didn’t play lead, but as someone who’s always appreciated rhythm over flash, his playing was exactly what I like to hear. And the way he played, I’d be willing to bet he’s capable of the flashy shit too.
Yorko can sing as well as anyone, but when the moment calls for it, his scream can put them all to shame. It’s a standard punk rock rule that at least 40% of all vocals must be yelled. All too often, though, singers take the easy way out by just trying to make it as sonically unpleasing as possible while counting on the theory that those “in the know” will get how artful it is. And while that may have been true the first 400 times, punk is 30 years old now, and the genre, along with its screaming, has been butchered by about 20 years worth of bad bands. The reality is that a good screamer is able to do it within the context of the song, not outside of it. He doesn’t distract from the music or cover it up; he enhances it. Yorko gets this, fully understands it, and delivers it flawlessly.
So what does he sound like? More good news for me… his influences are the same ones that made Uncle Tupelo and The Reverend Horton Heat what they are, but Yorko mixes this with the raw energy and loud, open chords of the early days of punk. He covers both Woody Guthrie and Hank Williams, but there is none of the laughter that one usually hears from a punk crowd when the band performs their token “cross-genre cover song”. Yorko conveys an honesty about him that tells you instantly that he’s covering these songs because he understands their connection to the “DIY” ethics of punk, because he disregards the genre-labels that so many fans use as a crutch, and most importantly, because he loves these songs.
He finished and we took the stage, but if he'd wanted another half-hour, I'd have gladly waited.
If you’re a musician, you typically spend the hour before your set wishing these other guys would hurry up and finish, even if it’s a band you like. I mean, sure, they’re doing their thing, and you’d never take that away from them even if they suck, but come on, you’ve been waiting all week to play this show. As soon as their guitarist finishes showing off his spin kicks or his “fucking badass metal dude” moves, you can finally get your stuff heard.
Not so when the night’s billing includes Pete Yorko.
He was billed as a “one man band”, which conjured up unpleasant warnings in my mind. His setup consisted of two kick-pedal drums and an electric guitar. I thought to myself, “this could go one of two ways…”
It went the right way. Sure, the drums didn’t sound like John Bonham – how could they? But they weren’t all just boom-tap, boom-tap either. Yorko actually managed to make them interesting, while playing guitar, while singing, and, most impressive of all, while maintaining a good stage presence. And that was just what I noticed first…
His guitar playing took a while to announce itself to my brain. It was adequate, but about halfway through his set, I realized that this kid was better than that. He was GOOD. He didn’t show off, he didn’t play lead, but as someone who’s always appreciated rhythm over flash, his playing was exactly what I like to hear. And the way he played, I’d be willing to bet he’s capable of the flashy shit too.
Yorko can sing as well as anyone, but when the moment calls for it, his scream can put them all to shame. It’s a standard punk rock rule that at least 40% of all vocals must be yelled. All too often, though, singers take the easy way out by just trying to make it as sonically unpleasing as possible while counting on the theory that those “in the know” will get how artful it is. And while that may have been true the first 400 times, punk is 30 years old now, and the genre, along with its screaming, has been butchered by about 20 years worth of bad bands. The reality is that a good screamer is able to do it within the context of the song, not outside of it. He doesn’t distract from the music or cover it up; he enhances it. Yorko gets this, fully understands it, and delivers it flawlessly.
So what does he sound like? More good news for me… his influences are the same ones that made Uncle Tupelo and The Reverend Horton Heat what they are, but Yorko mixes this with the raw energy and loud, open chords of the early days of punk. He covers both Woody Guthrie and Hank Williams, but there is none of the laughter that one usually hears from a punk crowd when the band performs their token “cross-genre cover song”. Yorko conveys an honesty about him that tells you instantly that he’s covering these songs because he understands their connection to the “DIY” ethics of punk, because he disregards the genre-labels that so many fans use as a crutch, and most importantly, because he loves these songs.
He finished and we took the stage, but if he'd wanted another half-hour, I'd have gladly waited.
Pete Yorko - “The Bigger Picture”
By: C. Beaz
Sometimes you don’t get what you expect. When I saw Pete Yorko perform earlier this month my first impression was “Great, a one man band…a guy who is so untalented that the only person that will play with him is himself!” But, what I got was a guy that was extremely talented. So talented in fact, that he didn’t need a band at all. He played a set of songs that were instantly memorable. I know this is true because when I got home and listened to the CD, “The Bigger Picture”, I knew the songs from his set the night before.
I didn’t just recognize them, I KNEW them! Maybe because songs like “Pennsylvania Line” and “Reno Café” have been written before. They were re-written standards. I don’t like the word generic, it sounds too much like an insult. Although I did seem to know where each song was going before it went there.
This all sounds like criticism, but the familiarity is exactly what I love about it! It’s GREAT. Get it, put it in your stereo and spend about an hour singing along to songs you’ve never heard before.
www.peteyorko.com
Sometimes you don’t get what you expect. When I saw Pete Yorko perform earlier this month my first impression was “Great, a one man band…a guy who is so untalented that the only person that will play with him is himself!” But, what I got was a guy that was extremely talented. So talented in fact, that he didn’t need a band at all. He played a set of songs that were instantly memorable. I know this is true because when I got home and listened to the CD, “The Bigger Picture”, I knew the songs from his set the night before.
I didn’t just recognize them, I KNEW them! Maybe because songs like “Pennsylvania Line” and “Reno Café” have been written before. They were re-written standards. I don’t like the word generic, it sounds too much like an insult. Although I did seem to know where each song was going before it went there.
This all sounds like criticism, but the familiarity is exactly what I love about it! It’s GREAT. Get it, put it in your stereo and spend about an hour singing along to songs you’ve never heard before.
www.peteyorko.com
“Under the Radar” August 2008
by: Cody
Scratch Acid - "The Greatest Gift" (1982-1986)
Frantic, Grinding, Far-out, truly terrifying Texas punk rock...chances are you will never hear anything quite like Scratch Acid. The Greatest Gift is the bands complete catalogue on one CD (Two EP's and one full length). The material consists of some sort of whacked out psychedelic punk reminiscent of early Butthole Surfers and maybe a touch of Mr. Bungle thrown in but not really like either of those bands at all if that makes any sense because any comparison is far fetched honestly. This music scares me not in a cheesy ass Michale Graves-era Misfits kinda way (for the record Michale Graves-era Misfits are too cheesy to be anything but laughable)...There are songs about human incineration, cannibalism, mold taking over someone's house, and a cover from the "Jesus Christ Superstar" soundtrack all on the same album...That shit keeps me up at night...Get it on I-tunes or Amazon, good luck finding it in a store...
Scratch Acid - "The Greatest Gift" (1982-1986)
Frantic, Grinding, Far-out, truly terrifying Texas punk rock...chances are you will never hear anything quite like Scratch Acid. The Greatest Gift is the bands complete catalogue on one CD (Two EP's and one full length). The material consists of some sort of whacked out psychedelic punk reminiscent of early Butthole Surfers and maybe a touch of Mr. Bungle thrown in but not really like either of those bands at all if that makes any sense because any comparison is far fetched honestly. This music scares me not in a cheesy ass Michale Graves-era Misfits kinda way (for the record Michale Graves-era Misfits are too cheesy to be anything but laughable)...There are songs about human incineration, cannibalism, mold taking over someone's house, and a cover from the "Jesus Christ Superstar" soundtrack all on the same album...That shit keeps me up at night...Get it on I-tunes or Amazon, good luck finding it in a store...
Thursday, July 24, 2008
The Acyd Test: World Class Defects
The Acyd Test
Greensboro’s resident punk band World Class Defects made the Eastern Shore proud on Saturday, July 5th, when front man Danny Automatic and crew rocked Independence Fest in Milford DE.
Held at the Moose Lodge and put on by Mike Calloway of Dover hardcore band Dr Professional, the first annual Independence Fest was a mash of stifling humidity, cheap beer, great bands, some not-so-great bands, and the most social misfits I’ve seen gathered in one place since…well, probably Think Forward on June 29th.
Nevertheless, bands and fans sweated out the day until it began to grow dark. Pressure was on the bands to move quickly and bring the show to a close, and WCD played next to last to a crowd that had been rocking out for about eight hours straight, coming on after several extremely good bands in a row. As the guys came on, I thought to myself 'They’ll really have to put on a show to keep the crowd.'
And, of course, they delivered, opening with “Past Due Since 1732” and thrashing through several other favorites, all of which are on their new CD “Past Due”. With scarcely a pause between songs, the energy of the show reached a new high as fans moshed and drummer Jesse managed to hurt his hand, but didn’t relent. The set ended abruptly with the crowd wanting more, and no doubt many left that night as brand new WCD converts.
While you won’t find the new CD alongside less tasteful albums in Wal-Mart and FYE, it’s only five bucks and is readily available at one of the band’s frequent shows. Whether in Easton, Cambridge, or across the bridge, the World Class Defects are rocking whether you like it or not.
~ Chris Acyd
Greensboro’s resident punk band World Class Defects made the Eastern Shore proud on Saturday, July 5th, when front man Danny Automatic and crew rocked Independence Fest in Milford DE.
Held at the Moose Lodge and put on by Mike Calloway of Dover hardcore band Dr Professional, the first annual Independence Fest was a mash of stifling humidity, cheap beer, great bands, some not-so-great bands, and the most social misfits I’ve seen gathered in one place since…well, probably Think Forward on June 29th.
Nevertheless, bands and fans sweated out the day until it began to grow dark. Pressure was on the bands to move quickly and bring the show to a close, and WCD played next to last to a crowd that had been rocking out for about eight hours straight, coming on after several extremely good bands in a row. As the guys came on, I thought to myself 'They’ll really have to put on a show to keep the crowd.'
And, of course, they delivered, opening with “Past Due Since 1732” and thrashing through several other favorites, all of which are on their new CD “Past Due”. With scarcely a pause between songs, the energy of the show reached a new high as fans moshed and drummer Jesse managed to hurt his hand, but didn’t relent. The set ended abruptly with the crowd wanting more, and no doubt many left that night as brand new WCD converts.
While you won’t find the new CD alongside less tasteful albums in Wal-Mart and FYE, it’s only five bucks and is readily available at one of the band’s frequent shows. Whether in Easton, Cambridge, or across the bridge, the World Class Defects are rocking whether you like it or not.
~ Chris Acyd
Ummm…show review?
(from one of my all-time favorite ranters…)
Radiohead - May 11 2008
5 hours in the car on an inward spiraling detour into the surprisingly cold pits of suburban Virginian suck. Park car. Swim up to the stage. 8 minutes of pure spectacular insight into the art of rip-off. Return to car, 3 hours of blinding rage, red bull, 1 hour lost in DC, idiot, 40 seconds of joy in escaping DC, route 50 closed, fuck. 2 hours home.
Suck my balls Radiohead, suck ‘em long and good.
Patrick Moffett
Radiohead - May 11 2008
5 hours in the car on an inward spiraling detour into the surprisingly cold pits of suburban Virginian suck. Park car. Swim up to the stage. 8 minutes of pure spectacular insight into the art of rip-off. Return to car, 3 hours of blinding rage, red bull, 1 hour lost in DC, idiot, 40 seconds of joy in escaping DC, route 50 closed, fuck. 2 hours home.
Suck my balls Radiohead, suck ‘em long and good.
Patrick Moffett
Goldfinger - “Hello Destiny” & Less Than Jake – “GNV FLA”
By J. Beasley
Since Goldfinger and Less Than Jake are currently touring together and have followed virtually the same paths to this point AND each have brand new records out, I figured why not write a review for both records at the same time? Should be easy…
I love both bands. They are hold-over’s from my youth. BOTH started as indie in the mid 90’s, BOTH moved on to main stream success during the ska-everything boom of ’97 and BOTH subsequently “jumped the shark” in the early 00’s and changed their sound to accommodate the times. Goldfinger aligned themselves with the dreaded Good Charlotte and LTJ all but dropped their horn section in favor of layered guitars and pop sensibilities…bummer.
I remained optimistic (bad record after bad record) that they would turn things around, and I kept buying their stuff (bad record after bad record) despite the deficiencies. Well, I’ve finally gotten what I’ve been waiting for!
“Hello Destiny” could be “Goldfinger” part 2. It’s really good, and they return to their old formula of writing good pop-punk/ska songs. There are a few throw away tracks, but by in large it is the first cover to cover TOLERABLE Goldfinger record since 2000’s “Stomping Ground”. They even got lead guitarist Charlie Paulson back! Check out the song: “Get Up”. Good record.
Now, “GNV FLA” is a GREAT record. If you like early LTJ you will love this! They have returned from the crap that was 2006’s “In With The Out Crowd”, re-inserted the horns (I’m biased.) and stopped writing ridiculously sappy emo-esque pap. The songs are catchy without being over-the-top and the band sounds full and loud. The way nature intended. The whole record runs about 30 minutes, and sports 14 tracks! They have truly come full circle. If you spent as much time listening to “Losing Streak” as I did, you’ll be ecstatic with this release. Check out: “Does The Lion Still Roar?” Great record.
Since Goldfinger and Less Than Jake are currently touring together and have followed virtually the same paths to this point AND each have brand new records out, I figured why not write a review for both records at the same time? Should be easy…
I love both bands. They are hold-over’s from my youth. BOTH started as indie in the mid 90’s, BOTH moved on to main stream success during the ska-everything boom of ’97 and BOTH subsequently “jumped the shark” in the early 00’s and changed their sound to accommodate the times. Goldfinger aligned themselves with the dreaded Good Charlotte and LTJ all but dropped their horn section in favor of layered guitars and pop sensibilities…bummer.
I remained optimistic (bad record after bad record) that they would turn things around, and I kept buying their stuff (bad record after bad record) despite the deficiencies. Well, I’ve finally gotten what I’ve been waiting for!
“Hello Destiny” could be “Goldfinger” part 2. It’s really good, and they return to their old formula of writing good pop-punk/ska songs. There are a few throw away tracks, but by in large it is the first cover to cover TOLERABLE Goldfinger record since 2000’s “Stomping Ground”. They even got lead guitarist Charlie Paulson back! Check out the song: “Get Up”. Good record.
Now, “GNV FLA” is a GREAT record. If you like early LTJ you will love this! They have returned from the crap that was 2006’s “In With The Out Crowd”, re-inserted the horns (I’m biased.) and stopped writing ridiculously sappy emo-esque pap. The songs are catchy without being over-the-top and the band sounds full and loud. The way nature intended. The whole record runs about 30 minutes, and sports 14 tracks! They have truly come full circle. If you spent as much time listening to “Losing Streak” as I did, you’ll be ecstatic with this release. Check out: “Does The Lion Still Roar?” Great record.
"Think Forward" Show Recap
The big day finally came, and began with most fans getting lost. Dance Harrison Street is a rather difficult place to find, somehow located behind every surrounding building without actually having a front, and a sketchy entrance that makes one sure that it's the rear. But punks came from near and far, between the buildings, over the broken parking lot, past the dumpsters and weeds, up three flights up metal stairs to rock out with some of the region's best.
Perfekt Khaos opened a one man act of recorded laptop sounds, vocals, and keys. Though a bit different from the rest of the bill, the guy had a decent voice and though I didn't catch his name, I'll look forward to hearing from him in the future.
The Abolitionists came on at about 3:45 and sang Happy Birthday to me, then blazed through some originals and covers, by bands like Operation Ivy, the Ramones, and Sublime. Still in high school, this is a band to watch develop as they mature in their sound and gain experience playing shows even at a young age.
The Traumas came next with a style that I really dug, thoroughly punk but with a little extra. I didn't see the entire set, but the originals were catchy and their cover of a Beatles song was well-received by the crowd. Definitely a band I'd like to see again.
The Reticents took things in more of the hardcore/oi direction, rocking us out like a modern Black Flag as the singer dominated the mic and the axemen wheeled around and thrashed. Another band that I'd like to see again, even if I have to go to Baltimore/DC to do it.
The International Jet Set was, of course, amazing. Just for the amount of talent onstage, both in quantity and quality. As the only ska band playing, they calmed down all the visitors who were beginning to think it was a screamo show and took us through their originals. I'm not familiar with enough ska bands to fairly compare their sound, so come out the next time you get a chance and see the guys (and girl) for yourself!
The World Class Defects didn't pay me to wear their shirt to the show, though I encourage you to buy one. They're very comfortable and don't shrink (much). But at any rate the punks from Greensboro thrashed through their set, with sick bass riffs from Chris and a sicker sense of humor from frontman Danny, who walked off during the last song after a series of decidedly phallic thrusting motions with the mic. WCD was also selling copies of their new CD, which I'm listening to right now. It's excellent. More on that later…
Somediva--ooh boy. These drunk fuckers blundered their way through an earsplitting set of hardcore/metal, informing the crowd that they didn't give a fuck what we thought of them, and knocking over equipment from time to time. Most attendees chose this as a good time to go outside for a smoke, while those left alternately moshed and watched with trepidation. They made it through without hurting anyone, except my ears.
Press Black closed out the day, playing to a tired but appreciative crowd, and one beach ball that made it all over the room. I'd like to thank Caroline from Cambridge for (literally) giving me a shoulder to lean on at this time...let's just say grain alcohol can sneak up on you. She and a friend came to the show after seeing me post a flyer in Cambridge, which made all two hundred that I put up worth it!...If you don't have Press Black's recently released CD, get it. It's very well-recorded, has great energy, and I listen to it all the time.
Some notes:
- It looked like there were about seventy people at a time at the show, though some left early and others came late...
- To the guy playing guitar with the skaters, and singing Rancid tunes: You're the man. I'm gonna post that video, and hope I come across you again. A parking lot of kids on a Sunday afternoon, skating and hanging out as two play guitars and sing...that's the essence of punk.
- The "Think Forward" zine is a great read, I ate it up and will have eight copies at "Independence Fest" on Saturday for those that are interested...the interviews are interesting, the columns alternately funny and thought provoking, and the production entirely DIY. I'm planning on posting some tips, with input from the Think Forward guys, so that some like-minded individuals can start something similar for their own scenes.
- Chris Acyd
Perfekt Khaos opened a one man act of recorded laptop sounds, vocals, and keys. Though a bit different from the rest of the bill, the guy had a decent voice and though I didn't catch his name, I'll look forward to hearing from him in the future.
The Abolitionists came on at about 3:45 and sang Happy Birthday to me, then blazed through some originals and covers, by bands like Operation Ivy, the Ramones, and Sublime. Still in high school, this is a band to watch develop as they mature in their sound and gain experience playing shows even at a young age.
The Traumas came next with a style that I really dug, thoroughly punk but with a little extra. I didn't see the entire set, but the originals were catchy and their cover of a Beatles song was well-received by the crowd. Definitely a band I'd like to see again.
The Reticents took things in more of the hardcore/oi direction, rocking us out like a modern Black Flag as the singer dominated the mic and the axemen wheeled around and thrashed. Another band that I'd like to see again, even if I have to go to Baltimore/DC to do it.
The International Jet Set was, of course, amazing. Just for the amount of talent onstage, both in quantity and quality. As the only ska band playing, they calmed down all the visitors who were beginning to think it was a screamo show and took us through their originals. I'm not familiar with enough ska bands to fairly compare their sound, so come out the next time you get a chance and see the guys (and girl) for yourself!
The World Class Defects didn't pay me to wear their shirt to the show, though I encourage you to buy one. They're very comfortable and don't shrink (much). But at any rate the punks from Greensboro thrashed through their set, with sick bass riffs from Chris and a sicker sense of humor from frontman Danny, who walked off during the last song after a series of decidedly phallic thrusting motions with the mic. WCD was also selling copies of their new CD, which I'm listening to right now. It's excellent. More on that later…
Somediva--ooh boy. These drunk fuckers blundered their way through an earsplitting set of hardcore/metal, informing the crowd that they didn't give a fuck what we thought of them, and knocking over equipment from time to time. Most attendees chose this as a good time to go outside for a smoke, while those left alternately moshed and watched with trepidation. They made it through without hurting anyone, except my ears.
Press Black closed out the day, playing to a tired but appreciative crowd, and one beach ball that made it all over the room. I'd like to thank Caroline from Cambridge for (literally) giving me a shoulder to lean on at this time...let's just say grain alcohol can sneak up on you. She and a friend came to the show after seeing me post a flyer in Cambridge, which made all two hundred that I put up worth it!...If you don't have Press Black's recently released CD, get it. It's very well-recorded, has great energy, and I listen to it all the time.
Some notes:
- It looked like there were about seventy people at a time at the show, though some left early and others came late...
- To the guy playing guitar with the skaters, and singing Rancid tunes: You're the man. I'm gonna post that video, and hope I come across you again. A parking lot of kids on a Sunday afternoon, skating and hanging out as two play guitars and sing...that's the essence of punk.
- The "Think Forward" zine is a great read, I ate it up and will have eight copies at "Independence Fest" on Saturday for those that are interested...the interviews are interesting, the columns alternately funny and thought provoking, and the production entirely DIY. I'm planning on posting some tips, with input from the Think Forward guys, so that some like-minded individuals can start something similar for their own scenes.
- Chris Acyd
Tuesday, June 24, 2008
CD Review: Scarlett Johansson - Anywhere I Lay My Head - J. Beasley
So anyone who knows me well knows I am a Tom Waits freak.
I love him. I love the 70's "bourbon drinkin' lounge lizard" Tom Waits, I love the 80's "angry pirate dwarf" Tom Waits and the 90's/00's "mid west manic preacher" Tom Waits. I have every record he's made on CD, a bunch on vinyl, and every b-side, hard to find, movie soundtrack cut I could download (legally of course).
So imagine my surprise when I found out last year that silver screen starlet of the hour Scarlett Johansson was recording a Tom Waits record! What? MY Tom Waits? This couldn't be. I mean the only music made by movie stars these days is, well crap of course. I have no beef with Johansson, I like her even! The Bill Murray movie was good enough, but most everything with Bill Murray is (I'm a BIG Ghostbusters guy). I had heard her sing "Summertime" on a download (legal!) and it wasn't half bad. However I was intrigued that she would choose to do this project over anything else to choose from. Tom Waits is MY savior, but I have a large contingent of friends (almost ALL actually) who not only don't care for Waits, but REALLY, REALLY, REALLY hate him. So the "mass appeal" of such an undertaking had to be a gamble at best.
So after months of speculation and waiting, the record "Anywhere I Lay My Head" has been released. I heard the first single "Falling Down" right here on myspace a few weeks before the record came out and......frankly i didn't like it.
I won't say I hated it. I just didn't care much for it. Too echoey (is that how you spell echoey?) and monotone. So I didn't really hold out much hope. The single, "Falling Down" (off the Waits record Big Time) is one of my all-time favorites.......in fact I'm going to my itunes quick to play it..........there.......gooood........oh, where was I?
Oh yeah, it's one of my favs, so maybe I'm just a little biased. But it seems that when you hear a "cover" of a song you love it's never as good. I was also pretty surprised that of the 10 Waits tracks she covers (there's one original as well) there were only three that I counted among my favorites! And not a single "standard" Tom Waits tune that's already been covered. Ya know, "Ol '55" by the Eagles or "Downtown Train" by Rod Stewart (who oddly enough is a big Waits fan) or "Heartattack and Vine" by Screamin Jay Hawkins (probably lesser known). I actually had to go back and make a mix of the Tom Waits versions of the songs before the record came out so I could really familiarize myself with the material and make an honest judgement when this certain rotten egg of a record by a know nothing movie brat was laid on the public!
So here, after a week of listening is my most precious opinion......it's really good.
Yup. There it is. I kid you not, I like it as much as any other record I've purchased this year (though I haven't gotten my hands on the new Cure record yet) and more than most! Now let me be clear, Johansson's voice is not a power. She has been surrounded with a who's who of indie darlings from various unsuccessful indie bands (save the guitarist from the Yeah Yeah Yeahs with the kooky hair) and they are good, but she gets a little lost. And I know she CAN sing, I've heard it, but she doesn't really do it on this record. But despite all this it is solid record (my wife hates it when I call things "solid" or "tight" it's kinda funny to watch her squirm). The tracks are intrestingly arranged and her voice at times is simply hypnotic. I even like the dance version of "I Don't Wanna Grow Up" (last done by the Ramones in the late 90's)! The clincher is that I've CHOSEN to listen to it at least once a day for a week! weird.
So, my respect goes out to Scarlett. She did what not many could do in my book. She did Waits a bit of justice, maybe it will even expand his audience!!!!
No, probably not. But maybe it will give her that first push of "indie cred" she was certainly trying to obtain by releasing this rather than some crappy pop song.
I love him. I love the 70's "bourbon drinkin' lounge lizard" Tom Waits, I love the 80's "angry pirate dwarf" Tom Waits and the 90's/00's "mid west manic preacher" Tom Waits. I have every record he's made on CD, a bunch on vinyl, and every b-side, hard to find, movie soundtrack cut I could download (legally of course).
So imagine my surprise when I found out last year that silver screen starlet of the hour Scarlett Johansson was recording a Tom Waits record! What? MY Tom Waits? This couldn't be. I mean the only music made by movie stars these days is, well crap of course. I have no beef with Johansson, I like her even! The Bill Murray movie was good enough, but most everything with Bill Murray is (I'm a BIG Ghostbusters guy). I had heard her sing "Summertime" on a download (legal!) and it wasn't half bad. However I was intrigued that she would choose to do this project over anything else to choose from. Tom Waits is MY savior, but I have a large contingent of friends (almost ALL actually) who not only don't care for Waits, but REALLY, REALLY, REALLY hate him. So the "mass appeal" of such an undertaking had to be a gamble at best.
So after months of speculation and waiting, the record "Anywhere I Lay My Head" has been released. I heard the first single "Falling Down" right here on myspace a few weeks before the record came out and......frankly i didn't like it.
I won't say I hated it. I just didn't care much for it. Too echoey (is that how you spell echoey?) and monotone. So I didn't really hold out much hope. The single, "Falling Down" (off the Waits record Big Time) is one of my all-time favorites.......in fact I'm going to my itunes quick to play it..........there.......gooood........oh, where was I?
Oh yeah, it's one of my favs, so maybe I'm just a little biased. But it seems that when you hear a "cover" of a song you love it's never as good. I was also pretty surprised that of the 10 Waits tracks she covers (there's one original as well) there were only three that I counted among my favorites! And not a single "standard" Tom Waits tune that's already been covered. Ya know, "Ol '55" by the Eagles or "Downtown Train" by Rod Stewart (who oddly enough is a big Waits fan) or "Heartattack and Vine" by Screamin Jay Hawkins (probably lesser known). I actually had to go back and make a mix of the Tom Waits versions of the songs before the record came out so I could really familiarize myself with the material and make an honest judgement when this certain rotten egg of a record by a know nothing movie brat was laid on the public!
So here, after a week of listening is my most precious opinion......it's really good.
Yup. There it is. I kid you not, I like it as much as any other record I've purchased this year (though I haven't gotten my hands on the new Cure record yet) and more than most! Now let me be clear, Johansson's voice is not a power. She has been surrounded with a who's who of indie darlings from various unsuccessful indie bands (save the guitarist from the Yeah Yeah Yeahs with the kooky hair) and they are good, but she gets a little lost. And I know she CAN sing, I've heard it, but she doesn't really do it on this record. But despite all this it is solid record (my wife hates it when I call things "solid" or "tight" it's kinda funny to watch her squirm). The tracks are intrestingly arranged and her voice at times is simply hypnotic. I even like the dance version of "I Don't Wanna Grow Up" (last done by the Ramones in the late 90's)! The clincher is that I've CHOSEN to listen to it at least once a day for a week! weird.
So, my respect goes out to Scarlett. She did what not many could do in my book. She did Waits a bit of justice, maybe it will even expand his audience!!!!
No, probably not. But maybe it will give her that first push of "indie cred" she was certainly trying to obtain by releasing this rather than some crappy pop song.
CD Review: Old 97’s – Blame it on Gravity - D. Van Skiver
The Old 97’s are back – sort of. In the sense that they released their first
album of new material in four years last month, they’re back. In the sense
that front man Rhett Miller seems to have, at least temporarily, gotten the
solo pretty-boy pop star thing out of his system, they’re back. In the sense that
their last CD left something to be desired, they’re sort of back.
Miller and his band mates spent the 90’s crawling their way up the indie
ladder one solid, amazing record at a time. It didn’t hurt that they quickly
ascended to the top of the alt. country ladder and were often mentioned in
the same breath, and seen on the same stage, as Wilco and Whiskeytown. By
the time of 2001’s Satellite Rides, they’d largely left the country part behind,
and it really looked like they could conceivably be the next big thing. But then
came a three-year hiatus between albums, during which Miller put out a mediocre
solo record, followed by Drag It Up, a collection of three or four stellar songs
amidst a sea of filler. Another Miller solo record followed, along with two
97’s releases – a hits package and a double live CD, neither of which featured a note of new music.
Miller’s songwriting sounds more like the Old 97’s these days and less
like the frosted-haired crooner he’s been impersonating for the last few
years. His lyrics are, as always, witty and clever, and his vocals sound as
good as ever, especially on "Early Morning" and "The Fool”. Speaking of
getting things out of their system, those who scratched their
heads at Drag It Up’s “Coahuila” will be happy to know that guitarist Ken Bethea
isn’t singing lead on Blame it on Gravity.
Bassist Murray Hammond delivers only one lead vocal here, breaking the two-song
tradition they’ve followed for years, and the record suffers a bit for it. Hammond
has a knack for writing songs that sound as though they were written decades ago
without sounding like he’s trying to be hip and retro. His offering here, “This Beautiful Thing”,
isn’t as memorable as “Up the Devil’s Pay” or “West Texas Teardrops”, but it’s still Murray, and
that’s never a bad thing.
Blame it on Gravity finds the band sounding much more like Satellite Rides, with
just enough poppy hooks to rope you in without overdoing it. There are, unfortunately,
no “Time bombs” or “Barrier Reefs” here, but there are 13 solid songs and the band sounds
fresher than they did four years ago. There are even a few, such as “Dance With Me”,
the first single, that call back to their late 90’s sound, and that’s also never a bad thing.
album of new material in four years last month, they’re back. In the sense
that front man Rhett Miller seems to have, at least temporarily, gotten the
solo pretty-boy pop star thing out of his system, they’re back. In the sense that
their last CD left something to be desired, they’re sort of back.
Miller and his band mates spent the 90’s crawling their way up the indie
ladder one solid, amazing record at a time. It didn’t hurt that they quickly
ascended to the top of the alt. country ladder and were often mentioned in
the same breath, and seen on the same stage, as Wilco and Whiskeytown. By
the time of 2001’s Satellite Rides, they’d largely left the country part behind,
and it really looked like they could conceivably be the next big thing. But then
came a three-year hiatus between albums, during which Miller put out a mediocre
solo record, followed by Drag It Up, a collection of three or four stellar songs
amidst a sea of filler. Another Miller solo record followed, along with two
97’s releases – a hits package and a double live CD, neither of which featured a note of new music.
Miller’s songwriting sounds more like the Old 97’s these days and less
like the frosted-haired crooner he’s been impersonating for the last few
years. His lyrics are, as always, witty and clever, and his vocals sound as
good as ever, especially on "Early Morning" and "The Fool”. Speaking of
getting things out of their system, those who scratched their
heads at Drag It Up’s “Coahuila” will be happy to know that guitarist Ken Bethea
isn’t singing lead on Blame it on Gravity.
Bassist Murray Hammond delivers only one lead vocal here, breaking the two-song
tradition they’ve followed for years, and the record suffers a bit for it. Hammond
has a knack for writing songs that sound as though they were written decades ago
without sounding like he’s trying to be hip and retro. His offering here, “This Beautiful Thing”,
isn’t as memorable as “Up the Devil’s Pay” or “West Texas Teardrops”, but it’s still Murray, and
that’s never a bad thing.
Blame it on Gravity finds the band sounding much more like Satellite Rides, with
just enough poppy hooks to rope you in without overdoing it. There are, unfortunately,
no “Time bombs” or “Barrier Reefs” here, but there are 13 solid songs and the band sounds
fresher than they did four years ago. There are even a few, such as “Dance With Me”,
the first single, that call back to their late 90’s sound, and that’s also never a bad thing.
Show Review: Battles @ 9:30 club 6/14/08 - C.Beaz
I used to like Battles. My roommate got me into them. Their debut record "Mirrored" was my top record of last year. So naturally I was excited to see them live. On June fourteenth they came to the 9:30 Club in D.C. Now I love Battles. I believe that they are one of the best things happening in music right now. They, in one and one half hours, managed to change the way I see and appreciate music and musicians. They opened my eyes a little wider. Unfortunately, some artists I used to see as visionary and brilliant just aren't anymore. It doesn't matter who those people are. I'm telling you this because that's how good they were. They did things with their instruments that were incredible. That's it. They were incredible. They played with total abandon and absolute precision at the same time. They made me love music even more.
Their set was a blur, honestly. I stood paralyzed for the entire thing. Stunned by what I saw and heard.
It was perfect.
It's been a long time since I've seen a show that gave me that feeling. It made want to be better at what I do.
It was an honor to be there, Thank you Battles.
Their set was a blur, honestly. I stood paralyzed for the entire thing. Stunned by what I saw and heard.
It was perfect.
It's been a long time since I've seen a show that gave me that feeling. It made want to be better at what I do.
It was an honor to be there, Thank you Battles.
Saturday, June 21, 2008
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