The Black Keys-"Attack & Release"

Originally written for bigblackdisk.ning.com

Is heavy, riff based Rock back in style? If the likes of The White Stripes, Wolfmother, Secret Machines, and The Black Keys have anything to say about it the answer is a rousing “Hell Yes!” “Attack and Release” was originally planed as a collaboration between Dan Auerbach, Patrick Carney (or The Black Keys as they are collectively known), Ike Turner and producer Danger Mouse. However with the passing of Ike Turner this became impossible and so it became a Black Keys project. Recorded in just 14 days the album has a strong DIY feel from the water color and pencil cover to the hand built recording console that was used during the sessions.

Side A: “All You Ever Wanted” starts off at a medium simmer but mid way through the song the organ enters and it rivals the eruption of Mt. Vesuvius in terms of sheer surprise. “I Got Mine” is a stylistic cross pollination of The White Stripes and Robert Johnson, with an unexpected left turn that heads straight for psychedelia and ends with the gentle hum of the guitarist’s tube amp. The third song on the album, “Strange Times” literally stomps. Being propelled by a big bass drum sound and hand claps. The lead melodic instrument of “Psychotic Girl” is an odd lurching bass guitar riff with flourishes of honky tonk piano and banjo. All of this with the addition of the creepy backing vocals are enough to make anyone remember a crazy ex or two. Is she at the front door? Is she going to stab me in the hand with a pencil again? How up to date is my restraining order anyway? All questions this song brought to my mind. Following hot on the heals of “Psychotic Girl” is “Lies,” a master stroke. Once one starts thinking about that crazy ex pondering all of the out there things she used to say is a natural progression. Of course the creepy soundscape is extended throughout this song as well, even more effectively than the previous number.

Side B: At the beginning of “Same Old Thing” the tape machine can be heard getting up to speed adding to the audio-vérité feel present throughout the album. The lyric “No matter where you been/Those people try to do you in/Every day till dawn/There’s some thieving’ going on.” are worthy of being part of any blues standard. The heavy groove and flute have a Black Sabbath meets Jethro Tull feel. “So He Won’t Break” has the best groove on the record. It is the sound of pure seduction aided by a xylophone. The guitar solo is an affectionate nod to Neil Young. “It Doesn’t Mean a Thing” is the perfect song to close the album. While calling it epic would be a bit of a stretch its obvious that it’s slower tempo and vocals were meant to invite the listener to follow it’s story of loss and regret. Both the organ and the backing vocals add a sympathetic touch to the song.

The pressing is extremely quiet and utilized the half speed mastering technique. Included with the record is a copy of the album on CD, at $18 the package is a bargain. Other artists should take note, it’s a nice touch for many reasons. It makes importing into iTunes a snap, listening to it in the car easy, it aids in the comparison of vinyl vs. CD for those on the fence, and it comes in handy for loaning to friends who are curious about the band. After spending the last several years servicing other people’s turntables it’s doubtful that I’ll ever lend out my records. The number of people who feel that it’s appropriate to put spare change on top of their tone arms in order to make sure that it tracks or are completely missing the diamond of their stylus is just plain alarming. Records, like girlfriends and wives are not for lending. Use the CD to help spread the word, cherish and hoard the record.

Of course the record has a much wider and deeper soundstage than the CD, no surprise there. What was surprising was how much better the bass was, not just in a tonal sense but dynamically as well. On a few of the songs the low-fi aesthetic goes a bit too far, by adding needless effects to the vocals. That slight misstep wasn’t enough to mar the overall presentation, it just seemed like an unnecessary indulgence.

What are any of the songs about? For the most part who cares? This isn’t a record about lyrics. It’s about the sound, the feel, and the groove. An atmospheric tour de force. While moments on the album remind me of this band or that , overall the album doesn’t remind me of anything else. The Black Keys are very much themselves, creating their own art. With little regard for how it will be received. Seemingly unaffected by corporate interests and focus groups. Something all too rare today.

Sound ***
Performance *** and 1/2

Guster-"Ganging Up On The Sun"

Originally posted on Big Black Disk

GUSTER “Ganging up on the Sun”
(2006 Reprise)

Sound: ****
Performance: ****

Hidden on Chicago’s FM dial is one of the most eclectic stations in the country. Driving with the windows down on a forgotten Saturday afternoon WXRT played the Cure’s “Just Like Heaven”, Muddy Waters’ “I’m a Man”, and Queen’s “Fat Bottom Girls” back to back to back. How many radio stations would play these three songs in the same year, let alone as part of the same set? XRT displays the same passion and courage when championing new talent. They freely lend their support to Guster and many other under-exposed artists. If you’re thinking about being jealous, don’t. Through the miracles of the internet it’s now available world wide, make sure to send Al Gore a nice thank you note written on a palm leaf using soy ink, delivered by Pony Express. Maybe he’ll read it while riding on a private jet to one of his $175,000 speaking engagements. (Remember do as he says, NOT as he does and Mother Earth will be just fine).

Guster’s “Ganging Up on The Sun” is a meticulously recorded and mixed, ambitious pop album lovingly crafted to induce toe tapping. By the second or third listen the album already sounds familiar, like an old favorite. Except of course it isn’t, it’s a brand new favorite. ”Satellite” has such a perfectly written melody it feels familiar after the first listen. The day after the first spin odds are good that you’ll be humming this one. “Manifest Destiny” combines romance, revolution, and the yearning for a new beginning. ”You and I could quit this scene/Build a town and then secede/Like Adam and Eve.” The pop arrangement stops the song from sounding holier-than-thou and assures that the band’s brand of wide-eyed optimism comes through unscathed. ”One Man Wrecking Machine” has a similar theme, a need for a simpler time. The tune expresses a desire to return to the simpler times of High School via a homemade time machine. The spacey beginning and ending are a nice garnish. The song contains the oddly poetic and yet apathetic line, “I’m going to see the homecoming queen/Take her to the Christmas dance/Maybe now I’ll get in her pants, whatever.” Except for a lack of money and having to follow far too many arbitrary rules I share certain sympathy with the sentiment.

Start with ingredients that include banjo and a shuffling drum rhythm. Stir in a dollop of twang in the form of a guitar solo and “The Captain” has a surprising country flavor. ”The New Underground” is a straight-ahead rocker reminiscent of The Clash in its guitar tone and angry staccato chords. ”Ruby Falls” is a beautiful song that begins with an intimate vocal nestled in soft sheets of arpeggio guitar cords and a bed of organ. A muted trumpet provides a mysterious coda. It would be a tragedy if this song didn’t become a centerpiece of their concerts. This song taps into whatever instinct forces audiences to simultaneously break out their lighters and slowly wave them to and fro. It would be the perfect song to use to leave the stage and say “goodnight,” then of course return for some really rocking encores. ”C’mon” is a call to arms to abandon the tendency of people in their late 20’s and early 30’s to “sell out.” Maracas and tambourine take turns giving the song a nice pacing and the appearance of mandolin is a nice flourish. ”Hang On” has an anthemic, life affirming feel and matching lyrics. Not in the cheesy 1990’s Elton John way, but in the “Hey life ain’t so bad. Everything is going to be ok after all” vein. Imagine Tears For Fears meeting the Beatles in the modern day and you’re there. In short it’s the perfect song to end the album on an emotional high note.

I’ll admit it, I’m a bonus track slut and I don’t care who knows! Live stuff, unreleased songs, b-sides, alternate takes, demos; bring them on. The pure joy of having something that most people don’t even know exists is exhilarating. I like to think of myself as John Cusack’s character from the film “High Fidelity” but truth be told I’m more of a cross between Jack Black and the really awkward one. The spiritedly performed four demos on the fourth side would have been deemed ”good enough” by most bands and record labels to have been unapologetically released as finished product, even though they sound a bit “digital” and lack depth. But that wasn’t allowed to happen here. Bottom line, we have them and the poor bastards who buy the CD don’t.

Every song is too short, only one song totals more than five minutes. In the spirit of a great appetizer they tease, leaving me wanting more, more, more. The album, much like Jennifer Lopez, has a healthy bottom end that is to be admired. Unlike Ms. Lopez it also has musical substance. Every spin rewards the listener with previously unnoticed nuances that add to the experience. With a near perfect distribution of introspective, poppy, and more rockers it’s clear that a great deal of thought went into the running order of the album. This is the type of music that will be appreciated by its owner more and more as the years pass. It’s hard to say what my tastes will be in ten years time, but chances are good that I’ll still be spinning this disc on occasion. Is there any higher compliment?

Rough Mix

The ability of music to instantly and powerfully remind us of a very specific time in our life is one of its most magical qualities. For me “Rough Mix” will always be inextricably linked to a drive between Indianapolis and Lexington Kentucky with my friend and former boss Duke. There’s nothing like a road trip with good tunes to get to know someone. He brought the album along as an evaluation tool when we were visiting the manufacturing facility of Thiel Audio. When we got back into town he lent it to me. I enjoyed it, returned it then promptly forgot all about it. Until a saw it again 8 years later, I just had to buy it.

The story began when Ronnie Lane of “The Faces” approached his friend Pete Townshend of “The Who” for a loan. Townshend declined but offers to work with Ronnie on an album instead. Initially Ronnie thought that he would produce a solo album for him but Pete had little interest in sitting behind the console. Mr. Townshend offered to do a joint album (stop your snickering DAMN IT!) and recommends Glyn Johns to produce.

Rough Mix is anything but! There are lots of layers, a virtual tapestry with everything perfectly in it’s place. For the most part it’s an intimate album with hushed, almost confessional vocals. It’s an album of quieter moments. Choosing to whisper the truth instead of scream nonsense. This is all the more surprising when one considers the number of guest musicians. None of whom try to call attention to themselves, instead they chose to contribute tastefully. Special guests include Charlie Watts of “The Rolling Stones”, Eric Clapton, John Entwistle of “The Who”, Ian Stewart sort of from “The Rolling Stones (see foot note*)”, and future Who member John “Rabbit” Bundrick.

The Pete Townshend contributions are universally strong. “My Baby Gives It Away” is mid-tempo rocker. “Misunderstood” can be said without a trace of irony to have the perfect amount of cowbell. It also contains other nice percussion touches. The harmonica also adds a nice counter point to his vocals, and what’s not to love about the chorus (“coolwalkingsmoothtalkingstraightsmokingfirestoking.”) “Street in the City” is a nice little song about the goings on during the day on an average street with a nice little string arrangement. “Heart to Hang on to” has some nice moments of vocal interplay between the pair and a nice brass interlude. “Till The Rivers All Run Dry” is just beautiful and is a great example of a cover so perfectly chosen and performed that the artist really makes it their own.

I find the Ronnie Lane contributions less moving. The sole songwriting collaboration between Lane and Townshend is an instrumental called “Rough Mix” where Eric Clapton singularly fails to do anything interesting and John “Rabbit” Bundrick upstages everyone with his performance on the organ. “Annie” has a nice sad Irish drinking ballad feel to it, which is added to by the accordion and violin. For whatever reason his song “Catmelody” sounds like an outtake from “The Rocky Horror Picture Show” intended for Meat Loaf, the sax solo really seals it too. I would add “in a bad way” to the previous sentence but I feel that it goes without saying since we‘re talking about Meat Loaf. “April Fool” really benefits from Clapton’s Dobro playing, which is a nice touch. The bonus tracks, while not essential are nice to have too. All three of the outtakes have a loose audio-vérité feel that adds to their charm.

The sound of acoustic guitars are not just strings, but the body behinds the strings and the pick against those strings. The album also has quick accurate bass, and extended shimmering cymbals. While the dynamics are not overly compressed, if they were a little more open this album would go from great for a Rock recording to exceptional for a Rock recording. The newest version of the disc is a Dual Disc that in addition to it‘s DVD-Audio layer (The DVD-A is 24/48 for surround and 24/96 for stereo. In addition it has Dolby Digital stereo and surround for backwards compatibility.) also features a short documentary. The default on the DVD-A side is multi-channel, unforgivable from the two-channel audiophile without a monitor perspective.

*He was kicked out for not being cool enough though he continued to record with them and play with them live. Maybe Mick didn’t want to split the money six ways. Sorry but I simply never pass up a chance to take a shot at Mick Jagger, even a cheap unfounded one.

Going Home Again

On the Cowboy Junkies newest album, "Trinity Revisited" they celebrate the 20th anniversary of their landmark 1988 album "The Trinity Sessions." Even going as far as returning to Toronto's Church of the Holy Trinity, the sight of the original recording. At first blush this sounds like possibly the worst idea of their career. The original is a certified classic, whatever they did with it they were bound to ruffle lots of feathers.

With such an endeavor there were two courses that were the obvious ones. First they could try to meticulously duplicate the original. But what’s the point in that, lightning never strikes in the same place twice in exactly the same way. The second clear path would be to do something completely different with the same batch of songs. Of course with so many listeners that love the music this could also make the Cowboys the victims of a lynching.

The Junkies chose a third, less clear path. To stay true to the original spirit, while breaking new ground with the arrangements. Along for the ride are some impressive guest musicians. Again, Cowboy Junkies avoid the pitfall of just picking current “hot” musicians. Instead they find sympathetic souls that understand the original masterwork, but aren’t afraid of it. It’s impossible to imagine a better supporting cast than Ryan Adams, Vic Chesnutt, Natalie Merchant, and Jeff Bird (whose a given.) Gone is the minimalist miking of the original. The sound isn’t as spacious as the original but the tonality of the individual instruments, particularly the vocals is arguably more accurate.

Overall the guests are used to good effect. Everyone is perfect in their rolls. While it wasn’t rehearsed and recorded in one day, like it’s inspiration the pace was still breakneck. One day for technical set up (lighting, cameras, sound) the second day for rehearsals, and a third for the performances. This surely helps keep things fresh, fun, and just a little dangerous.

The set comes not only with a CD, but also a DVD. Production of both is first rate. The video was shot 1080, at 24 frames per second (actually 23.976 if you want to be specific about it.) and the audio was recorded at 24/96, so they’ve prepared for the future as well as making a great looking and sounding package for today. The DVD defaults to the PCM stereo track, handy for those who want to listen to the 24/96 track of the DVD but either don’t have a monitor to navigate menus, or simply don’t want to turn it on. Someone was thinking. Bravo! Also contained on the DVD is a documentary covering both the making of the original and the updated version which runs about 30 minutes, as well as the band’s early “creative” touring methods.

Not only has the new version been played numerous times, but it’s mandated more listenings to the original. There is no higher praise than that.

33 1/3

Originally Written: Monday, August 01, 2005

Lately I've been thinking about why albums of the 1960's and 1970's are, on the whole better than albums of today. There are probably a number of factors that are part of this situation but I believe that one is head and shoulders above the others, namely length. New albums are simply too long. Older albums were limited by the length of the LP record,about 40 minutes or so. Also because of their two sided nature artists had to seriously consider running order. Today artists don't even need to think about running order. Sequencing an album is a lost art. New albums can be as long as 80 minutes giving artists too much space. They don't need to ask if they are repeating themselves because they have the space and time to do so. The same thing goes for song length, they never ask if a given song is too long.

In the past if an artist really liked a song but it didn't fit on the album because of time they could hold it over for a later album or use it as a B-side. Led Zeppelin held many songs over because of too much material as did The Who. In fact many of the truly great double albums are roughly the length of today's single albums. Pink Floyd's "The Wall" is less than 79 minutes. Don't agree with me? Just imagine Pink Floyd's "Dark Side of the Moon" 15 minutes longer. How about The Beatles "Sgt. Pepper's Lonely Heart's Club Band" with three extra tracks. In both cases the impact of the album would be greatly lessened and their genius would be diluted. Another circumstance that I believe supports this premise is that when I listen to classic albums that have been reissues with bonus tracks I usually stop the CD after the album proper is over.

Ten Favorite albums

Originally written: Wednesday, March 16, 2005

In no particular order here goes:

1. Dire Straits-Brothers in Arms Very atmospheric and melancholy. Meticulously arranged and recorded. It's ironic that this album has only one upbeat song and that is probably the most famous cut, "Walk of Life." It is also the least representative of the rest of the album.

2. The Who-Who's Next For my money the ultimate hard rock album, containing the ultimate hard rock song "Won't Get Fooled Again." Great songs and great performances. It's hard to believe that this album was really the cobbled together bits and pieces of a failed masterpiece.

3. The Beatles-Abby Road On this album they were hitting on all cylinders and couldn't make a mistake if they had tried. Great songs, cool vocal harmonies, and they take risks with song structure that no one else had nor has anyone else since. This may be the only time that a band did their best album as their last. Let it Be was released later but it was recorded first.

4. Robert Johnson-The Complete Recordings I discovered Robert Johnson because he was mentioned so many times by Jimmy Page and Robert Plant. He only recorded about three sessions over the course of two years in the late 1930's but the impact that this music has had can't be under estimated. Led Zeppelin, The Rolling Stones and Eric Clapton of Cream all admire this guy and have covered his songs.

5. Led Zeppelin-Physical graffiti Possibly their most diverse album. I love Led Zeppelin so much it was really hard to choose just one but this album will give you an idea of what they were all about. Also unlike most double albums there is no filler songs and no repeated musical ideas.

6. Pink Floyd-The Wall What can I say about this masterpiece that hasn't already been said? Many will tell you that Dark Side of the Moon is a better album and musically and sonically it probably is. Where this album really comes into it's own is the sheer scale of the story it tries to tell. It is a concept album with a plot and numerous subplots. Briefly it is about: the death of a parent, the oppression of the modern education system, an over protective mother, the fear of nuclear war, the isolation that fame causes, the excesses of stardom, and ultimately madness.

7. The Beach Boys-Pet Sounds An album about the kind of romantic first love that only comes once in a life time and it's inevitable end. No one every comes close to touching these guys when it come to their ability to harmonize with each other. This is almost more of a Brian Wilson solo album with the rest of the band along for the ride. Brian also throws every instrument he could get his hands on into the mix and it all works.

8.Sheryl Crow-Tuesday Night Music Club Probably the strongest first album by any artist ever. All of the songs are smartly written and the arrangements are near flawless. The other musicians that worked with her on this album really contributed whole heartedly. I love everything that Sheryl has ever released but she has yet to top her first album.

9. Theloneous Monk-Straight, No Chaser Believe it or not I had a pet rabbit named Hope that used to love this album. Whenever I would play it she would fly into the room and run around kicking her feet up in the air for about the first five minutes and then settle in at my feet to listen to the rest. She also loved Pink Floyd's Meddle and had the same reaction. Most other music she ignored as noise.

10. Chuck Berry-The Great 28 Elvis may have been the King of Rock and Roll but Chucks was it's father. The amazing thing about this music is that unlike most 1950's Rock it sounds as fresh today as it did when it was first released. It is feel good music that forces you to tap you toe.