Monday, January 14, 2008

No. 321: Sail Away


Band: Randy Newman
Album: Sail Away
Why Rolling Stone gets it right: You know who's a badass? Randy Newman.
Why Rolling Stone gets it wrong: Newman is hardly rock and roll in any conventional sense. I imagine most people who love the preceding and following albums are big Newman fans. Or anyone who loves the first ten albums on the list.
Best song: "Political Science" is perfect for current American life, while "God's Song (That's Why I Love Mankind)" and "He Gives Us All His Love" are a great maltheistic track. "Burn On" features Newman's classic sarcasm.
Worst song: I don't really like "Simon Smith and His Amazing Dancing Bear"
Is it awesome?: Yes.

About his music... Randy Newman does a lot of film scoring and songwriting for children's movies these days. He's not really much in the way of a rock and roller, but he never really was. He has a giant pop sensibility and his ability to use old genre-style piano stuff -- honky tonk, New Orleans jazz, etc. -- backs up his catchiness.

The reason to listen to Newman, of course, is his world-famous sarcasm. Simply put, Newman is awesome. He opens the album with the title track, a song of a carnival barker singing the virtues of... The slave trade. In pure parody, he sings the virtues of America:

In America every man is free
To take care of his home and his family
You'll be as happy as a monkey in a monkey tree


A ridiculous notion and one that is wonderfully clever. And, of course, that's just the first song. From the sarcasm about Cleveland ("Burn On") to the prescient political theme song ("Political Science," in we the U.S. bombs the whole world) it's a wonderful record.

Friday, January 11, 2008

No. 320: Pink Moon


Band: Nick Drake
Album: Pink Moon
Why Rolling Stone gets it right: Drake's final album is his darkest and most sparse. He sings of death, alienation and sadness. The album was recorded over two two-hour sessions that began at midnight and contains his most touching work.
Why Rolling Stone gets it wrong: For some reason, I just don't love Nick Drake.
Best song: "Parasite" is excellent, as is "Know."
Worst song: I don't really like "Who Will."
Is it awesome?: Sure.

I haven't written a lot on Nick Drake, mostly because I am not the world's biggest fan.

A commentor, Roger, was disappointed in my not writing more about Drake's "Five Leaves Left."

He's right. I didn't do my duty as a reviewer. If I don't really like something, I should at least explain why and talk about the music a little.

---

And, on some level, Roger is going to be disappointed. I've listened to "Pink Moon" about 10 times in the last week (it's a pretty short album) and I still don't love it. I'm trying to force Stockholm Syndrome on myself, but it hasn't taken as well as I thought it would.

Roger mentions my love for Iron & Wine and Elliott Smith as reasons for the confusion as to my non-love of Drake. He's absolutely right. By all accounts, I should love Drake, but I don't.

---

One auxiliary benefit of doing this project is thinking more about why I like certain music. I try to think objectively about all this stuff and included in that is trying to eliminate all the "whatever, I like it because it's good" thinking.

This, of course, is impossible. As I've mentioned in my "Damn the Torpedoes" piece "derivative" and "showing its influences" are basically the same thing, yet one is an insult and the other a compliment. This stuff is very nebulous.

But, as shown with Petty -- the anti-Drake in that he's an artist tailor-made for me yto dislike -- I saw Petty as an early adolescent and was hooked.

The music that Nick Drake influence came to me at times when I was particularly open to that music. I first saw Iron & Wine (I didn't like his first record, by the way) live at a Sub Pop showcase hosted by David Cross at my first CMJ Music Marathon. The show was one of many of the trip's highlights. I started listening to Elliott Smith because I was amenable to being an emotional 16-year-old.

So.. Who's to say that I wouldn't have loved Nick Drake if his music was originally presented to me the same way instead of first seeing a VW ad with "Pink Moon?"

---

There's a lot to love on "Pink Moon," however. "Parasite" -- a song I came to because Archer Prewitt covered it for a Drake tribute album -- is a brilliantly depressing song using an awesome metaphor. The title track is touching, though I can't really get the picture of a Volkswagen out of my head. "Free Ride" is awesome and you can see the influence on Archer Prewitt in a song like "Know."

But, for some reason, it took 10 listens for me to appreciate all this about "Pink Moon." I can't really explain why. Maybe I'm at a time in my life where whispery vocalled acoustic guitar stuff doesn't resonate. Maybe I am just contrarian and I'm pushing against the 10 years of "Hey, you should really like Nick Drake."

No. 319: Burnin'


Band: The Wailers
Album: Burnin'
Why Rolling Stone gets it right: The final full Wailers album, "Burnin'" has two of the band's classic tracks one of which is, easily, the best Peter Tosh/Bob Marley collaboration.
Why Rolling Stone gets it wrong: Save for those two tracks, the album isn't consistently strong.
Best song: That collaboration, "Get Up, Stand Up," is among the band's best work. "I Shot the Sheriff" is so vastly superior to the Clapton version, it's not even funny.
Worst song: Bunny Livingston's "Pass It On" isn't great.
Is it awesome?: Not really.

"Burnin'" isn't far from "The Harder They Come" in tone. I can't begin to understand the conflicts in Jamaica in the 1970s, but the militancy of the band shows through on "Burnin'."

The album's two standout tracks are, in fact, less conciliatory than previous Wailers tracks. In the same way that "The Message" is different than "Straight Outta Compton," "I Shot The Sheriff" is different from "Concrete Jungle." "I Shot The Sheriff" has Marley taking back the justice that he believes he deserves. Marley famously said:

"I want to say 'I shot the police' but the government would have made a fuss so I said 'I shot the sheriff' instead... but it's the same idea: justice."


The song's breakdown is nearly perfect. The guitar line -- I assume the reason Clapton took the song in the first place -- is striking as it moves down the scale and Marley wails "If I am guilty, I will pay!" It's a haunting song and among the band's greatest.

The rest of the record is full of rerecorded early Wailers songs, misplaces anger and mediocre cliched reggae. Overall, not the best work the band has done, but the highlights are awfully high.

Thursday, January 10, 2008

No. 318: Back Stabbers


Band: The O'Jays
Album: Backstabbers
Why Rolling Stone gets it right: As soul began to expand its reach in the 1970s, the O'Jays evolved into something of a more interesting group, hitting the classic themes in black music -- unity, peace, etc. -- on the band's fifth album.
Why Rolling Stone gets it wrong: The album was popular, but the O'Jays don't exist in the popular consciousness -- save for "Love Train" and that's only because of beer ads. They should and this album is brilliant.
Best song: The title track is brilliant.
Worst song: I don't love "Listen to the Clock on the Wall."
Is it awesome?: Yes.

You know, it's really a shame that no one knows anything about this album other than "Love Train." It's got some really cool general political stuff ("When the World's at Peace" and "Love Train"), black community uplifting songs ("Shiftless, Shady, Jealous Kind of People" ), party music ("Time to Get Down" ) and general life lessons (the title track).

Really, it's a fantastic album.

No. 317: The Eminem Show


Band: Eminem
Album: The Eminem Show
Why Rolling Stone gets it right: Eminem's ability to get introspective reaches its peak, as the rapper examines his impact on society, his own history and his fanbase.
Why Rolling Stone gets it wrong: With the wealth of producers, the album sounds sporadic and distant. Em's flow is meaner and more aggressive as he appears to have lost his sense of humor sometime along the road to fame.
Best song: "Without Me" has a nice beat, but the lyrics are sort of annoying. "Say Goodbye Hollywood" actually is pretty good.
Worst song: I really don't like "Cleaning Out My Closet."
Is it awesome?: Nope.

I don't really know where to put this -- it has absolutely nothing to do with this particular album -- but since I have the floor, I wanted to vent about two things I see on other Web sites' comment sections.

The first is an extension of my annoyance with "IM talk" as a way of communicating. Every once in a while, you'll see someone write "effing" or "eff" in a blog post or comment section.

This is fucking stupid.

The reason that one says "eff" or "effing" is because they are trying to use a verbal version of "f" or "f-ing." It's pretty simple; They are simple naming the letter to invoke a bad word. While this annoys me a little in speech (we're all adults and bad words are still just words), I have a potty mouth. That particularly thing may be a Ross problem.

Nevertheless, when you're typing and you're self-censoring, what is the goddamned point of writing "effing." First off, "eff" is not a word. "F" is what you would be saying. That's it. If you're writing an e-mail, type "what the f?" Or "What the f--k?" If you're posting a blog comment, say "f-ing." Don't spell it out. It's two more keystrokes.

People I know and like do this, which makes it even worse.

The second annoyance is a speech pattern-type thing. I was toiling around the Tubes, reading about baseball and came upon this comment on an ESPN.com story:

Jim Rice, The Goose, The Rock, Andre Dawson - all should be in the Hall of Fame. There should be a way to enshrine at least 5 players a year. I don't like the present system. But that is just my opinion.


(Emphasis is mine)

Few things annoy me more than "That is just my opinion." It's one of those speech/typing crutches that take any and all weight of your opinion. I know people who say it are trying to be polite and not forceful, but, goddamnit, this is the Internet. There is no room for being polite. None.

Moreover, have you ever seen anyone in any particular position of power say "That is just my opinion?" By it's nature, that sentence makes anything you say totally forceless. Have you ever seen a presidential candidate say "It's just my opinion, but everyone should have health care?" Of course not. Has Osama bin Laden ever said "The United States is the great Satan. That is just how I feel?" Of course not. No one would take him seriously if he did.

More importantly, it's repetitive. We know it's your opinion. Your name (or login) is attached to it and it's a blog comment. You're expressing an opinion with the word "should." No right-minded person would look at that as fact, and if that person did, he or she is a moron.

OK, I'm done ranting.

---

"The Eminem Show" is Eminem's third album and the one where he looks the most inward. Normally, I'd love the full fruition of an introspective rapper like Em, but it's also the point where Em gained more creative control of the beats on his records. So, we have Em twiddling knobs and losing his sense of humor.

Introspection, in his case, appears to just be an exploration of Em's victim complex and his massive ego. That's fine; Eminem is a rapper. That's what they do. Still, it's obnoxious and his worst record so far.

---

"White America" is the album's opener (for all intents and purposes) and is something of a campaign speech for Eminem. That he mentions that he could be someone's kid and that TRL loves him in the hook is Em's best asset; He knows that being white has really helped him and he scares a lot of people. I enjoy that Em touts free speech -- I'm a free speech absolutist -- but that he is so excited about how Congress is out to get him is annoying.

It's a theme that Em works through on nearly every track. "Soldier" is the classic gangsta rap record that just sounds unconvincing. The best beat on the record is on "Without Me," but, unfortunately, Em spends the song mentioning that he's going to kick the asses of a member of *NSync, the folks in Limp Bizkit and Moby (also, calling Moby a "fag." Classy, Marshall.) and saying that the rap world is "empty without me."

(Note to Em: The rap world has been fine without you the past few years. Ghostface has put out two amazing records and your protege 50 Cent has put out some fine music. Lupe Fiasco is smart and clever and Kanye West has taken Euro disco and sampled it for hip hop. So, really, no, it's not empty without you.)

Em avoids "the world is out to get Em" storyline, as he raps in "Say Goodbye Hollywood," which is good, but that ability doesn't gain enough traction, partially thanks to some questionable beats. "Cleaning Out My Closet" is another song wherein Em sounds vulnerable -- something most rappers don't do often -- but the beat is some sort of staccato thing that doesn't compliment the lyrics.

---

You know, the farther Em gets away from Dr. Dre, the most his beats tend to stray. His lyrics continue to be interesting, if mostly humorless (the "This shit's about to get heavy/I just settled all my lawsuits. Fuck you, Debbie!" couplet notwithstanding). It's too bad, because Em is talented, he just takes himself too seriously sometimes.

Wednesday, January 9, 2008

No. 316: Rock Steady


Band: No Doubt
Album: Rock Steady
Why Rolling Stone gets it right: On the band's fifth album, the band took up keyboards and took serious lessons in Jamaican music. In doing so, No Doubt went from being just another TRL favorite to a real force in music and in doing so, sold a whole lot of fucking records.
Why Rolling Stone gets it wrong: No Doubt is often seen as a bastardization of real music, basically copping the shallowest features of the music they admire and mess with it. At best, it's post-modern. At worst, it's just bad copying.
Best song: The album's third single, "Hella Good," is an awesome party anthem.
Worst song: I despise "Hey Baby."
Is it awesome?: Yeah, actually.

I don't care for Gwen Stefani's personal style but I always likee "Tragic Kingdom" for what it was: A pop record. The songs are catchy and radio played the hell out of them.

But, enough about that record.

"Rock Steady" is No Doubt's third record of note (as far as their fame is concerned) and I really wanted to hate it before actually listening to the whole thing. I despise "Hey Baby" and generally don't like the idea of Orange County skaters trying to cop ragga and dancehall.

Then, I listened to the record. There's a lot to like here. The band worked with several producers in order to vary the sound up and it works well. "Running" and "In My Head" have the keyboard sound of an 8-bit Nintendo game, while the Prince-co-written "Waiting Room" sounds, um, a little like a Prince song. "Platinum Blonde Life" is an odd song, but has the sheen of Rick Ocasek's song. "Don't Let Me Down," another Ocasek-produced track, sounds like an update on the Cars' sound. "Hella Good" is a great party anthem.

Oddly, I like the Jamaican-influenced stuff the least on the record. "Underneath It All" sounds like a bad Police cover band and "Hey Baby" is repetitive and obnoxious, echoing the Reggaeton nonsense that I hate.

Nevertheless, I like the record. It's varied and interesting.

No. 315: Surfer Rosa


Band: The Pixies
Album: Surfer Rosa
Why Rolling Stone gets it right: The Pixies' debut was a revelation when it was released in 1988, with throbbing basslines and Kim Deal's fine, fine vocals.
Why Rolling Stone gets it wrong: I'm not the world's biggest Pixies fan, so I can't judge this well.
Best song: "Where Is My Mind?" is a good song. "Gigantic" is just all right.
Worst song: "Vamos" isn't great.
Is it awesome?: Nah.

Hey, you know what? This is the first album on the list to be produ-- sorry, engineered by the man who I mostly worship, Steve Albini. However I may feel about the record, the production is amazing and Albini's hand is perfect for the band.

"Surfer Rosa" is, in fact, a big reason Albini was recruited to engineer "In Utero," "Rid of Me" and the subsequent early 1990s bands he worked with.

---

At the risk of disappointing some of you guys, I am totally ambivalent about this album, so I can't write it well. How's this for blasphemy? I liked the album as background music, but found it to be pretty boring.

That's right, indie rockers. I called the Pixies boring.

Tuesday, January 8, 2008

No. 314: The Velvet Underground


Band: The Velvet Underground
Album: The Velvet Underground
Why Rolling Stone gets it right: The Velvet Underground's third album has Lou Reed growing inward and taking a shot at folk music and toning the band's sound down from the spasms that was "White Light/White Heat."
Why Rolling Stone gets it wrong: Only one of the band's iconic songs is represented here, "What Goes On," though the rest of the album is excellent.
Best song: "After Hours" is, due to Mo Tucker's voice, the most tender thing the band ever released. "What Goes On" is one of the band's most famous songs and is fantastic.
Worst song: Here's my statement that will take away any indie cred I had previously had: I don't like "The Murder Mystery."
Is it awesome?: Yep.

One thing that bugs me a little when anyone writes about this record is how they describe it as being so different than their other stuff. The Velvets released four albums (I don't count "Squeeze" and neither should you) and none of them sounds like the others. The first record follows some song forms while rocking out, while "WL/WH" is wildly experimental. This record is softer while "Loaded" is, essentially, a pop album.

So, to say that this one sounds so different is silly. They all sound different.

---

Listening to it again, the album is strikingly good. Lou Reed's ability to tell the dissonant and bizarre stories of the world (as his personality profile in "Candy Says" is fantastic) peppers the album as well as his pop sensibilities. The album highlight, "What Goes On" is a beautiful little pop love song with Reed singing "you know it'll be all right."

Padraig, one of my commentors, recently calledthis album his favorite VU record. I don't know that it is my favorite, but it is full of tracks that always sound good. "Pale Blue Eyes" is wonderfully personal, allegedly leading Sterling Morrison to protest "if I wrote a song like that, I wouldn't make you play it" when Reed first played it for him. "Jesus" is a touching religious number and "The Murder Mystery" is a word experiment.

"After Hours" closes out the album in a way no other Velvets song could. Solely a guitar and Maureen Tucker's voice occupy the soundspace. Tucker's voice is feminine and tender, something fitting the album more than Reed's Long Island growl. The song's themes of ends and darkness work within the band's oeuvre, but sound refreshing in Tucker's hands.

---

Like every other Velvets album, "The Velvet Underground" is different and amazing. It may not be their best album, but it's certainly amazing.

No. 313: Damn the Torpedoes


Band: Tom Petty and the Heartbreakers
Album: Damn the Torpedoes
Why Rolling Stone gets it right: Petty's third album is his first consistent effort. While his previous two had iconic songs ("American Girl" on his debut and "Listen To Her Heart" on the second album), "Damn The Torpedoes" is, start to finish, a fine album.
Why Rolling Stone gets it wrong: I don't know, this sounds OK. "Full Moon Fever" is probably Petty's best, though.
Best song: "Refugee?" Great. "Here Comes My Girl?" Also great.
Worst song: "What Are You Doin' in My Life?" isn't great.
Is it awesome?: It is.

Here's a thought I probably should put in "My biases" or create a separate post about, but I'm just too lazy:

Music fandom and love for any particular band is so nebulous that I have contradicted myself a lot on this project and will continue to contradict myself. I don't mean in the "I love this band/I hate this band" way; I try to stay consistent on that front.

But, often, I'll criticize a band for not being experimental enough, then criticize another for being too experimental. Often, I'll do it in subtle ways when I call one band "derivative" and say another is "showing its influences." Those are mostly the same thing, I guess. I know this is hedging; I am probably just giving your readers another reason to not give a shit as to what I'm doing here. So, sorry.

But, sometimes, a record is just great, despite the fact that I should hate it.

Tom Petty and the Heartbreakers are a band like that. I should absolutely hate them. Petty's music is, for the most part, the derivative sort that toes the line between populist blue collar rock and mainstream, boring nonsense. I should resent Petty for this. I should hate it.

I don't. I adore it. I adore Petty's Dylan-by-way-of-Florida drawl. I love his McGuinn-wannabe guitar sound. I love his mid-tempo middlebrow rock and roll. Love it love it love it.

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Is "Damn The Torpedoes" the best Petty? Hardly. "Full Moon Fever" (also on this list) is his best-selling and is chock full of hits. "Wildflowers" has Petty as his most introspective and the "She's The One" soundtrack is Petty at the top of his game.

But, DTP is the closest Petty comes to being a fervent, who-gives-a-damn punk rocker. The cover, with Petty's devil may care stare as he hold his Rickenbacker 330 with one hand. The title itself is a fuck you to the industry. But, it was also the band's breakthrough and contains a few of the band's most popular concert standards and, arguably, Petty's best song.

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Let's talk a little about "Refugee." It mirrors Petty, in my mind. At its heart, it isn't really anything much, simply a nice rock anthem with a cool keyboard line. But, having heard it live, the record takes on a totally new meaning. Petty's slight hesitation and the band's harmony vocals on the chorus become otherworldy when one is sitting fifth row at United Center (admittedly, I was, like, 12 and knew nothing about music, but I loved that goddamned show [Thanks, Pop]) with 15,000 of your best friends. You don't care that the place's acoustics were built for hockey and basketball. You don't care about anything except this:

Don't!
Have!
To live like a refugee!

The guitar riff, the keyboard's backup of the riff and the tiny little drum roll... They all just exist to make that vocal better. Like the best albums and songs, I can hardly explain how much I love that song. It is... It is... It's just great.

Monday, January 7, 2008

No. 312: The Miseducation of Lauryn Hill


Band: Lauryn Hill
Album: The Miseducation of Lauryn Hill
Why Rolling Stone gets it right: A self-critical look at black culture at the end of the 20th century, "The Miseducation of Lauryn Hill" is a neo soul landmark. Hill's frankness of speech predates Chris Rock's most famous criticisms of black America by a few years, yet sounds just as good.
Why Rolling Stone gets it wrong: The songs are good, but, by the end of the record, it gets tedious.
Best song: "Doo Wop (That Thing)" is, of course, the highlight of the album, but the title track is also very good. "Every Ghetto, Every City" has tinges of Stevie Wonder in it.
Worst song: "Final Hour" isn't great.
Is it awesome?: Yep.

People need to understand that the Lauryn Hill they were exposed to in the beginning was all that was allowed in that arena at that time. There was much more strength, spirit and passion, desire, curiosity, ambition and opinion that was not allowed in a small space designed for consumer mass appeal and dictated by very limited standards. I had to step away when I realized that for the sake of the machine, I was being way too compromised. I felt uncomfortable about having to smile in someone’s face when I really didn’t like them or even know them well enough to like them.


I normally would call Hill a moron for saying this nonsense, but I have some level of respect for her because she did duck out of the limelight. Basically, being an entertainer means you have to do interviews and smile for people you may not like. If you want a large level of success, you will have to deal with this nonsense. If not, get out of the game.

Hill did that. She hasn't released a ton of material and appears to be happy with her life outside of the music industry. She'll play a show, get everyone riled up and fall back into the ether. I respect that, on some level.

(Of course, she did address herself in the third person. No one should ever do that.)

---

Named after a 1933 racial tome and with a cover referencing a Bob Marley record, "The Miseducation of Lauryn Hill" lays its cards out on the table within the first few songs. Lauryn Hill is outspoken, smart and opinionated.

The record takes Hill's personality and puts it on a record. The story of putting her baby before her career is the story of "To Zion," while her breakup with Wyclef Jean is recounted on "Ex-Factor." D'Angelo turns "Nothing Even Matters" into a gem while Mary J. Blige makes "I Used To Love Him" into a great sad love song.

"Doo Wop (That Thing)" is the highlight of the record, as Hill takes on both genders, saying women need to stop looking towards men for worth and men need to actually think about something other than cars.


---

Chris Rock ranks the record as the 23rd best hip hop album of all time:

Lauryn Hill was groundbreaking because for the first time since Salt-N-Pepa the world was hearing a heterosexual woman rap an couldn't believe it. This is a masterpiece of a record. I know there's a lot of singing on there, but there's a lot of rapping, too. People don't have a problem with conscious rap; they have a problem with conscious beats. If you make some ignorant beats, you can say all the smart shit you want.


(Emphasis is mine)

Overall, I can't disagree, but I'm always left wanting something a little better from Hill. Maybe it's because the album is long (almost 78 minutes) and has a ton of filler, but this album could be better.