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A penny for your thoughts indeed. Around here that would be a raise.

What makes a good blog? I think thematic consistency, a little exhibitionism, and honest writing. I can promise you the last one.

Most of my posts seem to be about music or politics. Some of them are funny. But all of them would love to hear a comment from you.

Oh-- and please welcome God to the APW team. We're thrilled and humbled to serve as His earthly vessel.

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I was born at a relatively young age. Growing up consumed the better part of my childhood. As a young man I chased a lot of girls. But they kept getting away. Then I got older and even slower, so I got married. I've lived in New York City almost since before I moved here. I summer in Manhattan, which is like New York City, but with more humidity.

Here's me, without baby, thinking big thoughts. (Actually, what I'm thinking is, "Hey, these aren't Pringles!") I think I look better with baby.

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Top-20 Albums of 2015
Saturday, February 27, 2016
I'll be honest with you. I had a tough time this year finding 20 records to feature in my annual "top-20 releases of" list for 2015. I don't know why that is. I even looked at a bunch of high-profile and not-so-high-profile year-end lists for ideas and inspiration-- in magazines and on music websites-- and what I found was that records that tended to land at or near the top, I'd actually heard and wasn't thrilled by. Tame Impala's Currents was popular, but it did nothing for me-- and I generally like them (but they traded in their psychedelic chops for EDM, and, meh.) Likewise, everyone seemed to love Father John Misty's I Love You Honeybear, and I tried very hard to warm up to it (after all, it's produced by one of my recent new favorites, Jonathan Wilson.) But no such luck.

Then of course, everyone seemed to love the Kendrick Lamar, but you know, hip hop is just not my cup of tea. So I haven't heard it.

D'Angelo was one of my personal discoveries in 2015, and  this year I bought all three of his albums, and they're all great. Some Best of 2015 lists included his Black Messiah, and while it's true I didn't hear this till 2015, it was actually released December 15, 2014-- making it, based on my scrupulous and rigorous rules, ineligible. If I'd heard it in time for 2014 it would have been a top-10 pick, maybe higher. (Actually, the 2014 list is here; D'Angelo would have ranked somewhere between 4 and 7.)

So anyway, here's what I liked, with a real minimum of ado. I have indeed managed to find 20 albums I can stand behind. As always, RIYL is, Recommended If You Like. I've made you a Spotify playlist of as many as I could find; numbers 1, 7 13 and 20 aren't available on Spotify.

1. Jim O'Rourke, Simple Songs.
You may know O'Rourke from Wilco spin-off group Loose Fur... O'Rourke is a fixture in the US and European "experimental music" scenes, and since I'm wholly unfamiliar with his body of work, I can't really tell you where Simple Songs fits in amongst the rest of it. I do know this is his third "song" album, following 1999's Eureka and 2001's Insignificance... Most of his recent work has been instrumental. I bought this album very late-- like last few days of December-- but I haven't been able to stop playing it since. It is oddly, elusively beguiling. Rarely is there an album that I can listen to all the way through, where when it ends I want to go play it again. But this one I do... 8 songs, 38 minutes. I want to call it "guitar pop," but I suspect it's really some higher, more complex kind of music masquerading in pop's clothing. The guitars are beautiful, biting, lush and precise, and the recording let's every instrument breathe and pack maximum impact. Periodically a string section or some brass will weave into the song, do something wonderful, then weave out again. My first exposure to O'Rourke, but it won't be the last. RIYL: New Pornographers, The Shins, Wilco.

2. Keith Richards, Crosseyed Heart.
Keith's three solo records have been, arguably, the best Stones records of the last 30 years (and it's been 10 years since the last Stones record). On Crosseyed Heart he leavens the classic riff rocker persona with grizzled old bluesman, and it suits him well. I was sold half way through the opening track, just Keith and an acoustic guitar, two minutes of 8-bar blues, and if you didn't know better you'd swear he was an old blind black guy from the '30s (ditto the closer, a cover of Leadbelly's "Goodnight Irene.")  If your favorite pair of old blue jeans was a record, they'd sound like this. There is, as per usual, a little reggae, a little country, and lots of loose swinging rock'n'roll rhythmic riffage. RIYL: Talk Is Cheap, Main Offender, Muddy Waters, the Keith songs on Rolling Stones records.

3. Kamasi Washington, The Epic.
A triple album opus and declaration of purpose, this was Washington's fourth release, but the first on a formal record label. For a while I debated putting Washington the top spot for sheer breadth and audacity. While I haven't heard the Kendrick Lamar smash, To Pimp a Butterfly, I do know that Washington, a tenor sax player with a serious jazz pedigree, is all over it; he uses some of the same players here, notably Thundercat on bass (has there ever been a better name for a bass player than Thundercat?). Familiar themes weave in and out across the three hours or so of music on The Epic; there's some orchestral backing, some old school vocal balladry, acoustic small combo riffing, electric big band grooving. And all through, there's lots to please fans of Coltrane, who's influence Washington wears on his reed. RIYL: Coltrane, A Love Supreme, Charlie Haden's Quartet West.

4. Ryan Adams, 1989.
Back when Cher's slick, schmaltzy, auto-tuned "Believe" was getting airplay, every time it came on the radio, I would turn it up. My wife couldn't understand why I liked that song-- it didn't make sense.  I was a rocker, and this was-- it was-- well, it was Cher! And not "Gypsies Tramps and Thieves" Cher, either-- disco diva Cher! But I was adamant that under all that production, there was a good song in there somewhere. Then I heard the Luxury Liners cover, and I knew I'd been right... which brings us to 1989, wherein Ryan Adams covers Taylor Swift's hit record 1989 song for song, ostensibly in the style of the Smiths. The record does run a little long, but that's her doing, not his. And I'm not convinced about the Smiths; it just sounds like the rock'n'roll version of Adams to me (that's rock'n'roll the musical persona, not the album title). This record doesn't sound unlike his self-titled 2014 release, or the singles he put out throughout 2014 and early 2015 (you could easily cobble together an album from those singles that would make this list.) Some of the songs that have been played to death on the radio (Tay-Tay's versions, obviously; the closest Adams gets to radio ubiquity is the Sirius/XM soccer mom channel) are less effective because the original is still burned into your brain (e.g. "Blank Spaces.") But check out how well he puts over "Welcome to New York"  or "Wildest Dream." Here's a great version of Swift playing "Wildest Dream," just voice and guitar; and here's Adams from the record. I admit, part of me thinks he just did this to get into her knickers, in which case, I wish him Godspeed. He does get a little messy with gender in the lyrics, but seriously, it's rock'n'roll, who listens to the words? And he's right; the Swift songs hold up. While my 11 year-old daughter may think it's heresy, I think Ryan's record rocks. RIYL: Ryan Adams, Taylor Swift, the Smiths.

5. Todd Rundgren, Emil Nikolaiasen, Hans-Peter Linstrom, Runddans.
Todd Rundgren put out two albums this year. The "main" one, Global, was his third EDM release in a row, and frankly, I have no use for it, or for the two previous ones either. Some of the big names in EDM (like Skrillex) have cited Todd, and especially his A Wizard, A True Star album, as a touchstone, and I guess he's returning the love. But it just aint my cup of Joe. Then there's this one... a long-distance collaboration with two Norwegian space-disco artists who are clearly enamored of Todd's classic work. The result is a twelve-song cycle that plays like one long piece, swirling, trippy, electronic, and far more evocative of todd's classic '70s "synthesized noise" than anything Todd himself has done in ages. You hear Todd's exquisite guitar soloing and unmistakable vocalization throughout (although I wouldn't go so far as to call these "songs"), with all three artists (or at least the Norwegian acolytes) paying tribute to the sounds of Todd's 1973-1975 output. If you can get your head around an extended piece of music that has no lyrics or hooks to hang your hat on, give this baby a spin. RIYL: Side 2 of Initiation, Todd Rundgren's Utopia, prog.

6. Dave and Phil Alvin, Lost Time.
Moving from the sublime to the... less sublime.  Dave and Phil were the driving forces in the Blasters, who's modern take on rockabilly placed them squarely in the middle of what I called at the time the Great '80s Roots Rock Revival (the Blasters, Del Fuegos, Del-Lords, Los Lobos, Long Ryders, Green On Red and so on). Big Brother Phil has the big, perfect rockabilly voice; baby brother Dave wrote the songs and played a nasty lead guitar. But since they were brothers in a band, naturally they fought; Dave left the Blasters in 1986, and the two didn't record together again till they teamed up for a couple of tracks on the Ghost Brothers of Darkland County album (20013).  Now they're making up for lost time; in 2014 they put out a record of Big Bill Broozy covers. Then in 2015 they followed that up with the aptly-titled Lost Time, in a similar vein but with covers of an array of old blues and R'n'B artists (there are  tunes by Willie Dixon, James Brown, and three by Big Joe Turner). The sound is a blend of Bakersfield country, Texas boogie, and Chicago blues, the playing is solid and organic. RIYL: The Blasters, the blues, juke joints, the Great '80s Roots Rock Revival.

7. Prince, HitNRun Phase 2.
You may be thinking that I'm just a sucker for Prince, and whatever he does, I'll love. But I was decidedly underwhelmed by HitNRun Phase 1, also released in 2015, and I came THIS close to not even buying Phase 2 (because I couldn't find a physical copy, and I'm not keen on lossy audio formats.) Plus, I'd heard almost half the songs already, as he'd released them previously as digital singles ("Screwdriver," "Groovy Potential," "Rocknroll Loveaffair.") But I finally relented, and with the exception of "Baltimore," all the previously released tracks appear here in somewhat different form. As for the album as a whole, it's sweet, soulful, groovalacious and melodic. In "Stare," Prince sings, "I'd rather let the music talk while you and me walk into the past," and that pretty much sums it up. He's self-referential throughout-- you'll spot the quote from "Kiss," and maybe even the synth line from "Take Me With You." Of course nothing here is as insanely catchy as his greatest hit songs-- there's no "Purple Rain" or "Little Red Corvette" to hang your hat on. But honestly, if someone besides Prince put this exact album out, you'd call it one of the best of the year (and wish Prince still made records like this.) RIYL: Emancipation, 3121, Musicology, The Rainbow Children. 

8. Taylor Locke, Time Stands Still.
Locke is the guitar player in the power pop band Rooney, and this is is first solo release, although he has recorded in a band called Taylor Locke and the Roughs. This record luxuriates in the 70s singer-songwriter sound; it feels like a lost recording from Laurel Canyon in say 1972, spiked with a dose of radio pop from the same vintage. If you can imagine a place where classic early Jackson Browne and Emmett Rhodes intersect, with maybe a dollop of The Ballad of Todd Rundgren, that's where this album lands. Charming songs that will, if you're about my age, remind you of 8th grade. Or, if you're that age of the kids in my office, it will remind you of that damn XM station your mom listens to. RIYL: Emmett Rhodes, Jackson Browne, Blake Mills, Dawes, Paul McCartney's Ram.

9. Natalie Prass, self-titled.
An alumnus of Jenny Lewis's touring band and opener for Ryan Adams (basically hopping on the tour right after Lewis left). At one show she missed due to a flight snafu, Adams memorably opened for himself in a dress as "Natalie Sass" and played her set. This is her first album, on the Spacebomb label and produced by Mark E. White; White provides the Spacebomb house band, and the Spacebomb strings, which Prass uses to excellent effect. This is another singer-songwriter record in the tradition of the '70s Laurel Canyon sound, but swathed in rich and textured orchestrations-- strings and brass augment a more traditional "folk-rock" instrumentation, in a fashion reminiscent of Dusty In Memphis. There's so much going on on each of these nine tracks that the songs open up and unfold with repeated listens; they manage to be lush and yet somehow quirky and elusive. I think Prass is an artist to watch. RIYL: Jenny Lewis, Dusty in Memphis, Lilith Fair, lush orchestration.

10. Los Lobos, Gates of Gold.
Los Lobos were up for the Rock'n'Roll Hall of Fame this year, and of course they didn't get in-- but if there was any musical justice, they'd have been first ballot inductees. All they do is grind out great meat-and-potatoes-- or, more accurately, arroz y frijoles-- rock'n'roll. I've been a fan since 1983's EP, ...and a Time to Dance.  I saw them three times this year, and the show at the beach to ring in summer was just so joyous and rocking (although my nephew Laszlo with the perfect pitch wondered, "Why is every song in G?") This one doesn't have any jump-out-at-you hits, although the moody, minor-key "When We Were Free" sounds like a classic, the groove melancholy, subtle and insistent as David Hidalgo's sad, emotive vocals weave a tale of woe and innocence-lost over the top. Then of course, Ceasar Rosas hits you between the eyes immediately after with his patented boogie; that's basically the Los Lobos formula. If you like the grinding, Tex-Mex, heel-pounding, feel-good stomp that Los Lobos have long since perfected, well, here's a big ol' mess of it for you. You're welcome. RIYL: Tex-Mex, Norteno, Alejandro Escovedo, the Silos, other Los Lobos records.

11. Amy Helm, Didn't It Rain.
When it comes to the musical genre of Americana, it's hard for Amy Helm to go wrong. Her dad was Levon Helm of The Band (and her mom was Libby Titus; talk about a pedigree) and her '00s band, Ollabelle, was one of my favorites. (I first came upon them in 2004 when they opened for Ryan Adams, who sat in on guitar for their set.) This is her first solo work, and it's largely what you'd expect-- rootsy, authentic, impeccably played, with more than a little of the ethereal, ghost-voodoo vibe that made the first Ollabelle record so memorable. Actually, this album and the Campbell/Williams record below could almost be a double album; Larry and Theresa are on Amy's record, Amy's on theirs, they share both musicians and musical sensibility, and all are graduates of Levon's band and his Midnight Rambles. RIYL: The Band, Ollabelle, Larry Campbell and Theresa Williams, mandolins, midnight rambles.

12 Warren Haynes, Ashes and Dust.
Typically records by Haynes, with or without Gov't Mule, don't make this list, despite my devout fondness for the artist, because I almost always end up listening to live versions of the songs on the album. Haynes is a jam band all star, and that means he lives in the here-and-now of live performance. For this album of folky Americana, which dips into his North Carolina, Appalachian roots, Haynes works with fellow jam bandsters and roots rockers Railroad Earth, and together they offer up a bunch of Haynes originals, plus some choice covers (his take on Fleetwood Mac's "Gold Dust Woman" with Grace Potter is a highlight.)  In a softer musical setting than Gov't Mule, Haynes's songwriting takes a more central place in the mix; his writing voice is distinct (at some point you can be pretty sure a protagonist wrestling with doubt will find himself heading down a road), and continues to grow and blossom. "Spots of Time," a tune he wrote with Phil Lesh, and which he performed in the Allman Brothers the last couple of years of that band's touring life, is a centerpiece, and a lyric from the song provides the album's title. The tour was great, with Haynes and backing band Chessboxer stretching out on many of these and other songs from the Haynes multi-band oeuvre.  RIYL: The Band, mandolins, Amy Helm and Larry and Theresa Williams, mountain music.

13. Neil Young + the Promise of the Real, The Monsanto Years.
I give Neil Young a lot of credit. His unique brand of ornery grit has served him well for the long haul; he's one of the very few artists who's made great records in the '60s, and pretty damned good ones this century. This is a pretty good one. The Promise of the Real is the band that Willie Nelson's two sons front, and the racket they make together with Neil is very much like Crazy Horse. But the new, young whippersnapper band is bringing a freshness to Neil and the ghosts-from-a-sacred-Indian-burial-ground bray of his signature electric guitar style. I regret missing what I heard was a great show they put on at Jones Beach in July, and I won't miss them if they come around again. Some of the songs get a little preachy, and with very few exceptions, even if I 100% agree with you, chances are if I hear your politics overtly in your songs, you're trying too hard (one tune has this chorus: "Too big to fail/Too rich for jail." Hardly "Tonight's the Night.") RIYL: Crazy Horse, Psychedelic Pill, MSNBC.

14. North Mississippi Osborne, Freedom and Dreams.
A collaboration between the roots blues trio North Mississippi Allstars (NMAS), and guitarist Anders Osborne. As with the Prince, this release loses points because I can't get a damned physical copy, so I can only hear the MP3s, which means I haven't really "heard" it at all... I first caught Osborne and Main NMAS man and ax stud Luther Dickinson together in 2014, when they both toured in a line-up of Phil Lesh & Friends. Honestly, all the jam band kids were telling me I'd love Anders, but generally I thought Luther stole the show via the sheer electricity with which he imbues every bluesy lick. Given that collaboration, it's not surprising that this record has an unmistakable Grateful Dead vibe, the dewy, bluesy guitars reminiscent of that band's more straight ahead rock'n'roll, and their more slippery, laid back, drunken lopes.  One song aptly features the refrain, "space dust turns into milky rain." Indeed. RIYL: North Mississippi Allstars, Phil & Friends, "US Blues."

15. Larry Campbell and Theresa Williams, self-titled.
Campbell is a long-time associate of Bob Dylan, and he and wife Theresa were part of Levon Helm's midnight ramble crew, and frequent live collaborators of Phil Lesh. Nowadays, if you want to inject a little "The Band" vibe into your set, you call on Campbell; see also, Gov't Mule's second set this past New Year's eve. This record is, as noted above, a neat companion piece to the Amy Helm record.  Tasteful Americana, with Campbell's tasteful but not showy guitar shining throughout. RIYL: The Band, Ollabelle, Amy Helm, Dylan from the last 20 years, mandolins.

16. Pugwash, Play This Intimately (As If Among Friends).
An Irish band making Britpop in the spirit of XTC, the Beatles, the Beach Boys, and especially ELO. Heroes Jeff Lynne (ELO), Andy Partridge (XTC) and Ray Davies of the Kinks each make a brief appearance on the record (think of that more as a stamp of approval than anything else.) For me, Pugwash is at their best when you an hear the acoustic guitar strums and the layered backing vocals, as on "Lucky in Every Way." Lovely, gentle, breezy psychedelia. RIYL: Psychedelic Beatles, ELO, World Party, Skylarking.

17. JD McPherson, Let the Good Times Roll.
Three seconds into Let the Good Times Roll, and the bass line to Eddie Cochran's "C'Mon Everybody" has already been quoted. So it's going to be that kind of a ride. This is Okie McPherson's second solo release. Let the Good Times Roll is equal parts Chicago bar band blues, Little Richard, juke joint jump and jive, classic R'n'B, and Sun rockabilly, with all the slap back and twang you could ask for. Yet the retro verities are presented in a fresh and vibrant context. I've never seen the guy live, but I'd love to-- especially in a standing room club. They really just make 'em like this anymore... except, thankfully, once in a while, they do.  RIYL: Bar bands, juke joints, Little Richard, Stray Cats, the Blasters.

18. Walter Salas-Humara, Work Part One.
I've been a fan of Walter (WSH) and his band The Silos since coming home with his solo record Lagartija (on vinyl) in 1988. So I was more than happy to fund the Kickstarter campaign for this and his next album. On Works Part One, WSH revisits what he considered to be his best songs from the beginning part of his career-- two from About Her Steps (1985), five from Cuba (1987), and three from the self-titled "one with the bird on the cover" (1990). The songs are presented in a stripped-down, acoustic setting; Walter is accompanied by producer Richard Brotherton on an assortment of stringed instruments, by Mary Rowell of Ethel on violin, and Amy Allison on vocals; Allison and Rowell graced many of the originals that are reworked here. Rowell's exquisite violin features on "Mary's Getting Married," a song about her very own wedding. WSH's songs are simple, beautiful and true; they speak of life in an honest and heartfelt way, and to me he's one of our best, and most underrated, songwriters. Hearing these songs again is like reconnecting with an old friend. RIYL: Early Silos, Unplugged, Los Lobos, Alejandro Escovedo.

19. Jeff Lynne's ELO, Alone in the Universe.
For better or worse, Jeff Lynne has a SOUND. Worse, if you're a rocker like Tom Petty or Dave Edmunds, and he's producing your album, because it's going to sound like Lynne, not you. Better, if you've just bought the latest release by Jeff Lynne's ELO. Not as giddily grandiose as those classic '70s sides (there's no "Telephone Line" here, for example), but if you long for those sweet harmonies and that classic sound, you've got it. Lynne sounds a little older, a little more mature maybe, but the fat, lush, rollicking post-"I Am the Walrus" vibe is here in all it's glory. With 12 tracks in 37 minutes, not a note is wasted (I have the version with two bonus tracks).  Swim out to the deep end and immerse yourself in "Love and Rain" and the rest of it. RIYL: Electric Light Orchestra, "I Am the Walrus," Traveling Wilburys.

20. The Wind, Re-Wind.
It's tough for me to be objective about the Wind, or really any of Lane Steinberg's bands, as I've known him since we were kids at Trail's End Camp in the early '70s (I remember circa '74, the camp counselor being impressed because Lane could name all three members of Cream. Lane remembers me hitting him in the head with a softball.) The Wind blew out of Miami in the '80s, putting out a couple of power pop records that were evocative of Big Star and the Beatles, at a time when Big Hair, fairights, and fake drums were ruling the charts; in a way they were anachronistic in the same sense that Big Star had been a decade before. Lane and Steve have worked together since, in Tan Sleeve. Re-Wind grabs you right out of the gate; I told Lane, they had me at the hand claps 4 seconds in. Smart, quirky songs by both primary writers; great harmonies, solid guitar-driven pop, perky drumming, and some lovely guitar solos. RIYL: Big Star, Tan Sleeve, the Archies, 1965 Beatles.

Posted by: --josh-- @ 6:58 PM  0 comments

My Belated Top-20 Albums of 2014
Wednesday, February 18, 2015

This is probably the latest I've been with my annual round up. And it's surprising, given that I spent a bunch of time in December at home on painkillers and listening to records (I was recuperating from a hip replacement.) In any case, the wait is over! Here is the much-anticipated round-up of my top-20 favorite albums of the year. As I usually say, this is not intended to be an objective list of the 20 best; it's a list of the 20 albums that this one particular guy liked best. Very much not the same thing.

I usually rag on in this preamble about fidelity and digital and buying hard copy. This year, it crystallized for me that I actually like the experience of buying, and owning, music. It's something I've always known, but maybe took a little bit for granted.

Like all the other cool kids, I subscribe to Spotify, one of the more popular music subscription services; five bucks a month for unlimited streaming of most of the music in the world, to any device I choose (and soon I'm sure I'll be able to choose my refrigerator.) And if you don't mind the ads, you can subscribe for free. Even better, there's Deezer, a high-fidelity music subscription service that I heartily recommend if you can hear the difference (I absolutely can; but if you can't, don't sweat it.) I use and enjoy both at our beach house through Sonos. Indeed I heartily recommend the Sonos/Deezer combo; the two services integrate quit nicely. 

But if there is an album that I like, I want to buy a hard copy. If I discover a new record on Deezer or Spotify, and I really like it, then I will buy a copy, even though I can obviously stream the dang thing to my heart's content from any of my seemingly infinite number of connected devices. This makes the kids in the office think I'm a consummate idiot.

But when it comes to music, the concepts of ownership, value, and appreciation are all inextricably intertwined for me.  I realized that with some clarity this year-- and I have U2 to thank.

See, I own a hard copy of every U2 record they've commercially released, and a bunch they haven't; some of them, I've bought more than once. But not Songs of Innocence, the one they gave you digitally for free if you have iTunes, whether you wanted it or not.. I saw it in iTunes, listened to it a couple of times, and shrugged it off. Yes, I know it was Rolling Stone's album of the year. But I listened to the free digital copy, wasn't especially moved, and that was that. It's the first and only U2 album I didn't buy. And believe me, if I really dug it I'd have probably bought the CD.

And let's face it. if I'm not gonna buy it, who will?

This U2 experience reinforced for me just how deeply the concept of buying music-- unwrapping the CD or vinyl, admiring the packaging, holding the thing, touching it, smelling it, dusting it off, reading the booklet-- is enmeshed for me with loving music. See, if it hadn't appeared in my iTunes library, I would certainly have bought a copy, held it in my hands, played it on the big living room stereo. And oddly, I feel a little cheated that I didn't get to (but I feel sillier buying a record I already decided was kind of "meh.") I know some of my younger friends will never "get" that, and I understand why. Why buy the cow whene you're getting the milk for free, or something like that. But I think maybe they're missing something...

And I guess I just like cows.

U2 notwithstanding, there were a lot of good records that I did buy in 2014-- a bunch more than the 20 we humbly present here. I thought it was a good year for music. Of course my tastes have so little in common with whatever slim target market the music business still pursues, that my assessment is indeed wholly irrelevant in any sort of objective context. Hell, all I do is buy the stuff; why would anyone target folks like me...

...One nice thing is that this year my list features fewer artists over the age of 60, and more under the age of 30, than has generally been the case.

This was a year where the rankings didn't readily suggest themselves.  My choice for number one, I picked out of a bunch of worthy candidates because they are clearly making a GRAB for the top spot. It's the War on Drugs, a young band who were totally new to me, although they've been around four years or so. They've been number one on a couple of lists I've seen, and those lists were compiled by people who are way hipper than me. But there are probably another five or six records here that at some point during the year I considered as my favorite.

I also want to mention Benmont Tench, of all people. He's been a Heartbreaker (as in "Tom Petty and the...") for almost 40 years, and is a crucial architect of that band's perfect wall of rock'n'roll sound. He's made dozens of other people's good records better. This year he put out his first solo record, which makes this list-- in fact, it ranks higher than the record by the mother ship. And he features prominently on the Blake Mills and Ryan Adams-- his trademark organ drives Adams' rock-jam-of-the-summer single, "Gimme Something Good." I haven't bothered to scour the credits on all these picks, but I would not be flummoxed if it turned out he was one a couple more of my 20. Let's induct him into the Hall of Fame as unsung hero.

I've noticed in the past that sometimes specific musicians (or producers) turn up on a surprising number of my favorite records of the day. It happened with T-Bone Burnett in the mid-80s, and recently with Danger Mouse and Jonathan Wilson. As you'll see below, a handful of players (including Tench) seemed to crop up on the credits to a lot of these albums, I usually take this as a sign that I'm on to something.

Anyways, that feels like a good amount of ado. As always, RIYL is, "Recommended If You Like." And here's a link to a Spotify playlist with as many of these records as I could find there (a couple are missing, but Spotify's got most of them.)

1. The War On Drugs, Lost in the Dream
I didn't know anything about The War On Drugs till this year. AllMusic describes them as "Philadelphia-based purveyors of stripped-down, haunted rock perfection," which pretty much hits the nail on the head. I am still unfamiliar with their earlier work, but this album is shimmery, undulating rock'n'roll beauty. It manages to be both moody and atmospheric on the one hand, bracing and urgent on the other-- a pretty neat trick if you can pull it off.  And they sound like they're trying to make the album of their lives, like Springsteen used to sound circa his first 5 records. It's not like you'd confuse Lost in the Dream with Born to Run or Darkness (although the comparisons have been made). But on this album, the War On Drugs have that Springateen-at-his-peak, metatextual thing going on; they let their intentions show, and that reveal enhances the charm of the music. They sound like they're shooting for greatness, and you can't help but root for them. If they don't quite get there, they get more than close enough for rock'n'roll.  RIYL: Darkness on the Edge of Town, classic rock, indie rock, Mr. Smith Goes to Washington.

2. Hard Working Americans, Hard Working Americans
In a year where Ryan Adams and Tom Perry both put out good albums, ranking this particular pure rock'n'roll record this high says something. The Hard Working Americans are something of a "supergroup,"  including singer/songwriter Todd Snider, Neal Casal on guitar, Widespread Panic's Dave Schools on bass, and Derek Trucks's kid brother Duane on drums. This is a record of thematically linked cover versions, 11 songs addressing in some way the plight of the working man. It's loose, it rocks, it swings, mining the place where jam bands and Chuck Berry-inspired four-on-the-floor rock'n'roll converge. Casal, who we know from his stellar work with Ryan Adams and the Cardinals and the Chris Robinson Brotherhood, has found another band to shine in.  He's not flashy, but everything he touches is good. Hard Working Americans also put out a rockin' live album at the end of the year, but I generally leave live albums out of this annual round-up. RIYL: Black Crowes, gritty Tom Petty album tracks like "Swingin'," North Mississippi All Stars, Drive-By Truckers.

3. Chris Forsyth and the Solar Panel Band, Intensity Ghost
Another band with a back story about which I was clueless; I bought this album, knowing virtually nothing about it, based on a very short review I saw in Mojo (I think.) Forty minutes, 5 songs, no singing. I know, that doesn't exactly sound like a hit (and I assume my wife would hate it)... It's a serious guitar record, with a two-guitar/bass/keys/drums line-up. The first time through you'll be immediately reminded of Television-- in particular, the stretch from 4:27 through 9:15 of "Marquee Moon," one of the most dramatic instrumental breaks in rock.  It's impossible to avoid the Television comparison, but the music opens up over time and repeated listens, and it unfolds and grows richer with repeated listens, revealing textures and collisions and throbbing waves of color.  The more you listen, the more you'll hear, and I'm a sucker for records that get better and better as you get more familiar with them. Once you blow past the obvious Television reference points, there's no telling what this music will evoke for you.  RIYL: "Marquee Moon," modal Indian music, the blues, trebly guitars.

4. Neil Finn, Dizzying Heights
Sure, good old Neil Finn! You might remember him from such bands as Crowded House, Split Enz, and the Finn Brothers. He's one of the most underrated melodic geniuses in pop/rock music; how Crowded House isn't in the Rock'n'Roll Hall of Fame is beyond me. Finn's solo work is uniformly solid, although he hasn't made a proper solo album since 2001. This time out he collaborates with producer Dave Fridmann, best known as THE contemporary go-to acid rock/psychedelic mixer/producer (his credits include both Tame Impala records, most of the Flaming Lips catalog since Soft Bulletin, Mercury Rev, and Future Clouds and Radar--who's trippy, stellar self-titled 2007 release ranked second here.) Fridmann bathes Finn's melodicism in gauzy, psychedelic effects; the songs wash and pulsate and whoosh their hooks over you, the production effects burying those hooks a little, so you have to find them. Once you do though, it's blissful. I saw him at Town Hall in the spring, and he was outstanding, and the songs off Dizzying Heights stood up against the liveliest Crowded House tunes. RIYL: Paul McCartney, "Hole in the River," Tame Impala, Try Whistling This, that gum that squirts in your mouth.

5. Ryan Adams, Ryan Adams
A straight ahead rock record-- maybe even a "rawk" record-- from one of my very favorite artists. "Gimme Something Good," the lead-off track, would have been THE rock'n'roll song of the summer, if there was still such a thing as a rock'n'roll hit single (or if, say, they replaced Benmont Tench's organ with an Iggy Azalea rap in the middle...)  The whole album harkens back to a big '80s rock sound, sleek and shiny and solid; Tench's presence tends to underscore that fact, his signature organ sound having graced many hallmark rock records of that era (hell, he even shows up on Rattle and Hum.) But Adams's favorite new collaborator is singer/guitarist Mike Viola (Candy Butchers), who's on this record and in the touring band. When Ryan Adams is operating at his peak, he pretty much throws off records like you or me tossing socks into the hamper at the end of the day; like Prince, he has almost as many unreleased albums as official ones. After taking some time off due to his Meniere's Disease, he's solidly back in that zone now. In addition to this album, he's been putting out a series of singles on Pax Am; some of his best songs of the year aren't even on this record (I love "Jacksonville," the title track of the second Pax Am single). And of course, his live gigs have been great. I can't wait to see what he does next. RIYL: Lone Justice, the Del Fuegos, the Long Ryders, Tom Petty and especially the Heartbreakers.

6. Eric Clapton & Friends, The Breeze: An Appreciation of J.J. Cale
Call him the breeze, indeed... If you've heard Clapton's work from say 1974-1979, and if you've heard the first two Dire Straits records, then you've heard J.J. Cale-- or at least you've heard his influence. Songs like "Lay Down Sally," "I Can't Hold Out," "Once Upon a Time in the West," and "Water of Love" are pure Cale; indeed two of Clapton's biggest '70s hits, "Cocaine" and "After Midnight," are Cale covers. Now, I'm no Clapton pushover-- I thought his last release, Old Sock, could just as easily have been called Has-Been. But he's just SO comfortable in the breezy, gentle, laconic, utterly unhurried Cale mode, and his friends here-- including Tom Petty, Mark Knopfler, Derek Trucks, and Willie Nelson-- are the perfect round of foils and compatriots to help give Cale his due. A great record for the summertime, especially for the window right fter you've come back from the beach, but before you've started up the barbeque (and believe me, I tested it in that slot many times last summer.) A loving testament to the timeless appeal of Cale's distinct vibe, and it's impact on his acolytes. RIYL: J.J. Cale, the first two Dire Straits records, Slowhand, Backless.

7. David Crosby, Croz
No, seriously. David Crosby... Look, I was as surprised as you are. This is his first solo record in 20 years, although he's made group records in that time (CSNY, CSN, CN, CPR) But I think it's fair to say, this is his best, most consistent work since his touchstone 1971 album, If I Could Only Remember My Name. It's less hazy than that record, more present and bracing (there's something to be said for sobriety I guess), but notably, given that the artist is 72 years old, it sounds remarkably fresh, and unlike some recent records by others in his age cohort, it's not morbid. Some credit for all this probably goes to James Raymond, Crosby's son (and the R in CPR) who is the primary musical collaborator here. Some extra-tasty (but not gaudy) guest appearances too, like Wynton Marsalis, who adds a lovely break during "Holding On to Nothing," a song you could slip onto Deja Vu without missing a beat. RIYL: If I Could Only Remember My Name, CSN, breezy California pop.

8. Blake Mills, Heigh Ho!
Mills is a 28 year-old singer/songwriter/guitar player who went to high school with, and was a founding member of, the Dawes. As a session player he's a hot commodity; nevertheless, I'd never heard of him until this past autumn. Heigh Ho! is a SoCal singer/songwriter record in the vein of some of those classic early-70s artists, but with a bit of a country bent... It took me a while to really ease into this album, because to my ears the first three songs are the weakest ones, so if you check it out, be patient (or skip to track 4)... If you're a read-the-album-credits kind of guy or gal (and if you've read this far, you may well be) then check out the core band Mills uses: Benmont Tench on keys, Don Was on bass, Jim Keltner on drums. It would be tough to go wrong... and delicate pop genius Jon Brion colors several songs, and two of the best songs here ("Seven," "Don't Tell Our Friends About Me") feature Fionna Apple on counterpoint vocals. Lots of traditional instruments, elegantly deployed, with lots of space in the songs so that each element carries maximum impact. And the songs themselves are good ones. RIYL: Jackson Browne, the Dawes, Jonathan Wilson, early Iron and Wine.

9. Prince, Art Official Age; Prince and 3rd Eye Girl, Plectrum Electrum
Yes, I'm cheating by treating these as a single entry. But they came out on the same day, and hell, they could have easily been packaged as one double album... It is tough for me to be objective about Prince right now; every once in a while I go on a Prince binge, where I listen to almost nothing else for weeks. I'm on just such a binge right now, immersing myself in '90s Prince, an underrated era I should write about some time (but find and download the fan-assembled 3-CD comp, The Dawn, for a revelatory Prince '90s listening experience.) He didn't stop being great just because he passed out of the epicenter of pop cultural relevancy; if you need a reminder, check out his show-stopping 8-minute stint on SNL last fall... For me, Art Official Age is the better of the two; it's psychedelic, audacious, colorful, eccentric, melodic music. Unaccountably, given that Plectrum Electrum was recorded with an all-female backing band, Art Official Age is the one where I hear Prince really indulging his feminine side, which has always been a major element in his work ("If I Was Your Girlfriend." all the songs that were supposed to be on aborted release Camille.) Art Official Age is more of a studio record, complete with silly (but for me, endearing) connecting segments, a female narrator helping "Mr. Nelson" come to from his 45 years in suspended animation. Plectrum Electrum is more of a rock record, and yeah, dude can rock (as can his lady friends in 3rd Eye Girl, who have been immersed in Prince's College of Funkified Knowledge for at least 2 years now). One of my musical buddies has said that you could make one great album from the best tracks across the two discs; but Prince has never been one for self-editing, and shut up, damn, we love that about him. RIYL: Emancipation, Parade, Dream Factory (Art Official Age); Gold, Chaos and Disorder (Plectrum Electrum)

10. Dave and Phil Alvin, Common Ground
'80s roots rockabilly revivalists the Blasters are another in a storied line of bands that were fractured by brotherly disharmony (see also: Kinks, Oasis, Black Crowes.) Brother Dave went off, did a stint with X, cut two records with the Knitters (basically an acoustic version of  X), and crafted a great string of manly country-rock records as a solo artist. Brother Phil continued to periodically front the Blasters, but without Dave they really weren't the same.  There was a Blasters reunion tour with Dave in the fold circa 2004, but this is the first whole studio record they've made together since 1985; it's a tribute to old time blues man Big Bill Broozy, one of the first musicians the young Alvin brothers loved as boys. There is plenty of electric blues here, but I think it's the acoustic numbers that carry the day. And the best news is, it looks like the brothers are sticking together; I've got tickets to see them this March. RIYL: This one is easy-- Dave Alvin, the Blasters, Big Bill Broozy.

11. Lucinda Williams, Down Where the Spirit Meets the Bone
This is a double album, and I'd call it more of a vibe record than a song record. In contrast to Car Wheels On a Gravel Road, which I think is her best, and which was full of memorable songs, this one is more about the feel, the cumulative mood, that all these tunes make taken together, as you let them unfold in their own time. She sounds world-weary throughout, but no one makes that work quite like Lu. Same can be said about the way she slurs her words as she wraps her southern accent around them; the way she sings, "that's the way we do it in West Memphis," just dripping with laconic attitude, is priceless. The opening track, which provides this set's title, is a poem of her dad's that she set to music; it's something of an invocation, and dirge-like; but after that, this is a guitar record, executed with the exquisite taste but relative lack of flash you'd expect. Players include longtime Williams compadre Doug Pettibone, Bill Frisell, Greg Leisz (another guy who seems to turn up on an insane number of good records), and Jonathan Wilson. The late, great Ian McLagan's keyboards grace a few tracks as well.  Two full discs of quality songwriting, well-played. It's not a trivial accomplishment. RIYL: Country rock, Alejandro Escovedo, but really, Lucinda Williams.

12. Hiss Golden Messenger, Lightness of Dreamers
This is another band that was brand new to me this year. Hiss Golden Messenger is essentially a vehicle for two guys: North Carolina-based singer/songwriter MC Taylor and instrumentalist/engineer Scott Hirsch. Taylor is a true folklorist-- his bio says he's a college lecturer on the topic, and I want to say, you can hear the expertise-- but the lore in this folk is heartfelt and real, not the least bit academic. As I listen to Lightness of Dreamers, I imagine them playing this music in a log cabin somewhere (well, somewhere in North Carolina) in the middle of winter, with a white velvet blanket of snow covering the ground, and the players huddled around a wood-burning stove.  Or something like that. It's true roots music, especially if you're prepared to include southern R'n'B as roots music. And indeed to my Yankee ears, it does seem to be a very "southern" record. Not Lynyrd Skynyrd-southern though; more, Southern Gothic. Lightness of Dreamers is full of mystery and secrets and depth. I expect that I'll be buying all the Hiss Golden Messenger records for the foreseeable future. RIYL: Iron and Wine, Calexico, modern folk rock, The War On Drugs.

13. Benmont Tench, You Should Be So Lucky
The list of records Tench has been on is impressive (and here's that list, if you're curious.) All the Petty, of course; both Lone Justice Records; A bunch of Dylan; Don Henley and Stevie Nicks' biggest solo '80s hits; and the Eurythmics' "Would I Lie to You," just to drop a few names and a song title. His associates here are first rate, including Petty, Ryan Adams, Ethan Johns (Glyn's kid and a frequent musical partner of Adams), Blake Mills, and Don Was. It's as tasteful a record as you'd expect, low key, and of course graced by great rock-n'roll piano throughout-- although it leans more to the grown-up and less to the barrelhouse. Preoducer Glynn JOhns mostly recorded the band live in the studio, to capture the organic grooves as they were laid down.  Of course Tench is not the vocalist that Petty is (or Ryan Adams, for that matter), but he does just fine. The cover of Dylan's "Duquesne Whistle" that closes out the record is priceless. And any time he lays down that organ, you're home.  RIYL: Bob Dylan's later work, Tom Petty, Vince Guaraldi.

14. Carlene Carter, Carter Girl
Carlene Carter's country credentials are of course unimpeachable; her grandma was Maybelle Carter, and her mom was June Carter, both of the legendary Carter Family, and her step-dad was Johnny Cash. (and her step-sister is Roseanne Cash, and her third husband was Nick Lowe. And so it goes.) If you liked Rockpile circa 1979, then chances are you came to Carter via Musical Shapes, the killer record she did with that band backing her in 1980. Here she's assembled a crackerjack band to revisit a set of songs associated with the Carter Family, plus two new ones about the Carters. How crackerjack is that band? Well, she has Blake Mills (again!) and Greg Leisz (again!) on guitars, Don Was (again!) on bass, Jim Keltner of drums (yes, again), and Rami Jaffee (Wallflowers) on keys. Was produces, and if it doesn't quite sound as authentic the records it harkens back to, it is nonetheless pure and earnest; it has the sound of a band playing takes live together in the studio. It may lack a certain urgency or flash, but it's as easy as honey going down. RIYL: The Little Willies, Foreverly (but not necessarily Norah Jones), real country music.

15. Jack White, Lasaretto
I wasn't a White Stripes fan-- a situation I'm starting to think I should remedy-- but otherwise I really do like and respect Jack White's work. I really enjoyed his first solo record; to my ears, it sounded as close as anyone has come to Led Zep in quite some time. I'm less keen on this one, but it's still danged good. One thing you have to give White credit for-- he doesn't make small records. He's a total throwback to the days when you didn't listen to your stinkin' MP3s through your crappy little earbuds; no, you got a vinyl LP and you put it on the big stereo int he living room (or really, your dorm room, or your bedroom in your parents'' house) and you turned it up, and it filled the room and your head and your chest, and it was good. Indeed the louder I play this the better I like it.  It's big and stoopid in all the best ways.  And maybe it's just me but I still find White's voice to resemble Robert Plant's in places; this may or may not be deliberate. RIYL: Led Zep, Foghat, Free, Bad Company, Aerosmith, and all the other bands you (or your dad) pumped your fists to in the '70s. Also, the Raconteurs.

16. Tom Petty and the Heartbreakers, Magnetic Eye
I've loved Tom Petty for a long time. His tour 2 years ago, where he played theaters instead of hockey rinks (I saw him twice at the Beacon) was a revelation, a great rock'n'roll outing with lots of covers and lesser-played catalog gems. Then he was back in the hockey rinks last year, and while he continued to open shows with the Byrds' "So You Wanna Be a Rock'n'Roll Star" (a lovely touch from the theater tour), the rest of the setlist was pretty much back to the overly-familiar, 19,000-voices-raised-in-off-key-unison, hit-laden crowd-pleasers. (Honestly, if I never hear "Free Fallin'" again, that would be fine.) Down in the grooves, though-- or I guess the bits and bytes-- Petty and the Heartbreakers have made their second solid, rootsy, blues-rock record in a row. Petty has said 2010's Mojo was a blues record, and this one is a return to their early rocker roots, but really, they sound of a piece to me. Like Mojo, this one brings the goods with that classic, Brit-influenced, American blues rock sound that you know from a thousand bars. And this is a good thing. There's nothing here remotely as catchy as "I Won't Back Down," and the jangle of songs like "Listen to Her Heart" is nowhere to be found. You're not going to walk away humming the score, and that's why I didn't rate it higher. But if this is what Tom Petty and the Heartbreakers are going to sound like in 2014 and on, I say God bless 'em. RIYL: "Last Dance With Mary Jane," "Swingin'," Mojo, the Stones.

17. Walter Salas-Humara, Curve and Shake
 I've been a big fan of Walter and his band, the Silos, since his 1988 record Lagertija. I think he's a criminally underrated songwriter, and I have no problem at all calling him a peer of Bruce Springsteen, Alejandro Escovedo, and Lou Reed in terms of the craft. He writes straightforward, easily-relatable songs about regular people doing the simple things that we all do-- the things that, laid end to end, make up your life (drinking a beer, driving down the highway, getting married, waking up at 6AM, going to work, raising kids). But he uses the magic of rock'n'roll to imbue these people with something that feels an awful lot like heroism. (Check out a quick primer of my favorite WSH/Silos tunes on this Spotify playlist.) I've had the chance to meet him and chat several times at shows, including one glorious solo acoustic affair this past September, in the back room of a bar for about 25 of us (afterward, I got a hug.)  So I can attest, he's truly a nice guy. And I funded this album on Kickstarter, so I feel vested... Anyway, this is a fine, beguiling album. As always (well, almost always) the instrumentation is sparse, with every instrument there for a reason and distinctly audible. There are both softer, folk-rock type tunes and rockers, although of course they share the same DNA, and I dig them both. Overall the album has a sort of Lanois, Latin Playboys feel, a musical side WSH explored more fully on Woozy. I love the way this record sounds-- warm, rich and present, but full of room. OK, you get the drift. RIYL: the Latin Playboys, Alejandro Escovedo, Willie Nile, Dave Alvin solo.

18. Beck, Morning Phase
It's not common for the Album of the Year Grammy winner to make my list, but here it is. (The last time this happened was with Herbie Hancock's Joni Mitchell tribute in 2007. And no one expected that to win the Grammy.) Morning Phase is so much a follow-up to Beck's 2002 break-up record, the gauzy Sea Change, that when the opening track kicks in I still think it's going to be that album's "The Golden Age." I'm frankly shocked that Grammy went for this, but what do I know? This is as close as Beck comes to a singer/songwriter album, and while it does sound like Sea Change, that record was something of a downer (because it was a break-up record) while this one is way more wistful (Oh-- and by the way, Greg Leisz turns up on this album too.)  Of course since it's Beck, so it's not as if you'd ever confuse this with a Jackson Browne record; it has the same spacy, gauzy, white sheen as Sea Change, which makes it one of Beck's more accessible, warmer outings, but it's still got that Beckian touch of otherness. RIYL: Really, It's got to be Sea Change.

19. Black Keys, Turn Blue
So I seem to have all the big "rawk" records clustered down here, in the last third or so of the list...  my bias against the White Stripes (and my well-documented hatred of the Doors) tends to stem from their eschewing of a bass player, so it's a little bit of a surprise that I've taken a shine to the Black Keys. (If there's two of you, you're not a band-- you're a duo.) This album is pretty much a collaboration with producer Danger Mouse, with whom they worked on 2 of their 3 previous albums (but not the breakthrough, and the one that caught my attention, 2010's Brothers.) Auerbach, Carney and Burton (that's Danger Mouse's real name) wrote all the songs together, and the Mouse plays keys. Like Jack White, the Black Keys make big records that sound best nice and loud. I was beguiled by Brothers, not so keen on El Camino, but I really like this one. It's swirling and trippy (AllMusic says it's a "churning psychedelic excursion that slowly pulses in any color you like." (Once again AllMusic, you've crystallized my thoughts precisely.)  I also hear hints of Pink Floyd in more than one song. RIYL: Danger Mouse, Pink Floyd, Jack White.

20. New Pornographers, Brill Bruisers
I have to confess, I find the New Pornographers to be somewhat frustrating. They flit all around catchy, but generally without actually alighting directly upon it. That's probably the point, but my simplistic ears, trained on AM radio bubblegum in the late '60s,  want to hear that big obvious hook in the chorus. The New Pornos are a Canadian alt.rock supergroup, and while I know that AC Newman is supposed to be the pop genius here, for me Neko Case remains this band's secret weapon; although Newman and Don Bejar do the writing, the songs Case sings tend to be my favorites. (To be fair though, she is a redhead.) It's 21st century wall-of-sound, with big drums and lots of cascading keyboards, and quirky melodies and sub-melodies weaving in and out. One day I'm going to totally "get" the New Pornos (probably I need to see them live) and it'll all snap into place and they'll be one of my favorites. Even so, they're consistently interesting and good and worth a spin. RIYL: Neko Case, The Shins, Fountains of Wayne, the other New Pornographers records. And, one presumes, Zumpano.

Also good this year: The Psycho Sisters, Jill Sobule, Ani DiFranco, Jenny Lewis, Sean Lennon's band Ghost of a Saber Tooth Tiger, Drive-By Truckers, St. Vincent, the Ryan Adams singles, and the Fauntleroys. Indeed the EP by the Fauntleroys (a new band with Alejandro Escovedo and Ivan Julian) was so good that I considered putting it on the list, despite the fact that it's only 6 songs long. It's killer though, full of glam and punk energy, and heartily recommended. Maybe this year they'll cut a full-length.

Biggest disappointments: The first Broken Bells record was my favorite of 2010, and I tried and tried to like this year's follow-up, to no avail. And Springsteen's High Hopes, I don't know, for all those people who say he's never been better-- including the man himself-- I say, go listen to Born to Run, Darkness and The River and get back to me. To be fair, High Hopes was an odds'n'sods kind of assemblage.  But I liked it better when Springsteen's boyfriend was Miami Steve as opposed to Tom Morello.

Posted by: --josh-- @ 7:25 AM  1 comments

Thursday, January 08, 2015
Brian Eno discovered Canadian producer Daniel Lanois in a studio in Hamilton, Ontario in the early '80s, and invited him to co-produce U2's 1984 release, The Unforgettable Fire. So began one of the most distinctive and auspicious production runs in rock history; from 1986 through 1989 Lanois produced, in succession, 6 classic records that all feature his distinct sound: Peter Gabriel's So (1986); U2's The Joshua Tree (1987; with Eno); 1987's self-titled solo debut from Robbie Robertson; his own Acadie (1989); the Neville Brothers' Yellow Moon (1989); and Dylan's Oh Mercy (1989).  Each one of these records features his signature sound-- a gauzy, pulsating, watery shimmer with French whispers underneath.

By the end of this run, he was one of my favorite producers, and one of my favorite musicians.

Posted by: --josh-- @ 1:28 PM  0 comments

The Allman Brothers Band; October 22, 2014
Friday, October 24, 2014

The second night of the final run had some high points, but overall, for me at least, it didn’t quite take me to that stratospheric place… except the times it did…

It is a blue collar, lunch pail kind of night. “Statesboro Blues,” a fiery “Walk on Gilded Splinters,” and “Trouble No More” are a solid 1-2-3 opening; “Splinters” simmers and roils and bubbles. Then Warren steps forward to lead the band through “Who’s Been Talkin’.” This Howlin’ Wolf cover has never made it’s way to an official release (of course it’s on a bunch of the official boots). For me though, it’s one of the quintessential songs for the current line-up. Tonight it rides in over nice, moody percolation, Warren playing thick, tiny, sweet dancing lines that eventually mosey over toward the melody. Then he lays out bluesy Santana-infused lines giving way to the opening verse. There’s a beautiful extended outro on the back end, with both guitars leaving tons of space, and darting and dancing around the unplayed notes like two kids playing in a light rain.

“Don’t Keep Me Wondering” is full of elastic jamming, riding on the back of Oteil’s frisky bass; mid-song, Warren turns toward Oteil, flashing him one of those evil, 100 megawatt smiles. “Dusk Till Dawn” is up next, long and brooding. Derek pulls us down a rabbit hole; the band tumbles along down after him, before coming out the other side and reconvening around the core riff. After “Midnight Rider,” the band unfurls “Black Hearted Woman” to wrap the set. It is a furious, smoldering, runaway freight train; Warren is piercing, everyone else runs round and round, faster and faster underneath. They hit the transition riff that segues into the “Other One” jam full of Oteil on the bottom; then the clouds part, the music goes sparse, Derek steps forward, fills more and more space, the band steps right up with him. Warren shoots another smile Oteil’s way. Derek pulls up, sprinkles silvery mist, then brings the music down… and then, for the second night in a row, an impromptu instrumental run through “Will the Circle Be Unbroken?” Derek is white hot; then Warren joins him with harmony licks, they put “Circle” to bed and tumble back into the “Other One” jam, then back into “Black Hearted Woman.” It’s like a play within a play within a play, and a highlight.

The second set opens with the crowd pleaser “Melissa,” then a guitar manifesto version of “The Same Thing”—as a Beacon denizen, I’m used to hearing horns on this one-- with Warren and Derek squaring off in the mid-section. Warren offers an airy, breezy solo on “Come and Go Blues,” while Derek fills the spaces between the vocal lines with tart phrases. On “Desdemona,” Derek stirs up some flashy trouble on slide; Warren starts small, then builds a solo that is full of yearning. Then “Southbound”—the first time in ages I recall hearing this one as something besides a guest-laden encore. The peeps in the cheap seats are happy…

The set closes with a big, thunderous “Mountain Jam.” Early on, Derek rides an Oteil/drums surge. Gregg’s organ bubbles up from the driving gumbo. Then Warren goes all playful, spattering lines like questions. Oteil is rumble-atious underneath Warren; he guides the music down, down, then Jaimoe bubbles up, heralding the bass/drum section. Oteil’s hands fly across the fret board as he solos over the three drummers, then giving way to the three-man drum attack. When the players fall away and it’s just the drummers, you realize they are making the sound of life… then twin licks bring us back, the guitar intertwine like a double helix, Derek puts it to bed on the lovely false ending, giving way to the final statement of the theme. The encore, an especially jaunty “One Way Out,” is the only song repeated from the prior night.

As I say, not the magical show we come out hoping to catch, but no one went away unhappy, and the highlights were nice and high.

Posted by: --josh-- @ 3:24 PM  0 comments

THe Allman Brothers Band: October 21, 2014
We are told that these are to be the last six Allman Brothers Band shows ever.  Like, EVER. I’ve seen them an awful lot—a good 150 times. Maybe 120 of those have been since Warren Haynes returned to the fold in March 2001, so this—these seven guys—this is my band. I’ll be sorry to see ‘em go.

I’ll be at all six shows. I can’t decide if that makes this a happy time, or a sad time. I guess I’ll worry about the finality of it all later; for now, let’s just dive deep into the music this one last time…

Opening night. The excitement at the Beacon is always palpable, a living thing; tonight it is especially pronounced, electric.  The band opens, as you know they would, with “Don’t Want You No More,” probably their quintessential opener; Derek stings like a bee. “Not My Cross to Bear” is marked by Warren’s sinewy elastic blues lines; Gregg’s vocals drip molasses, the song is rubbery and crunchy. Then Oteil’s big bottom thunder propels “Hot ‘Lanta,” Gregg offers up a swinging organ solo, then each guitarist, then drums—it’s a taut, powerful rendition, and the capper on an emphatic 3-song entrance. “We’re here,” they are telling us, “and we’ll be here a while.”

Derek shreds on “Just Another Rider,” the one original composition on Gregg’s last solo record. A swinging “Done Somebody Wrong,” then Warren steps forward for “Feel Like Breaking Up Somebody’s Home.” Marc Quinones rides a spicy percussive high over some funk bass, then Oteil plays Freaky Friday with Warren, playing lead on the bass, while Warren and Derek offer up hard propulsive rhythm playing in return. The band is swinging. Then Warren and Oteil go back to occupying their own bodies, and Warren flies up and down the neck, all the while the band is camped out on the one chord, making this blues a funk. Warren is like a magnet for Oteil, who is drawn into his orbit; they move close together for a guitar/bass duel, before finally the band returns to the song’s riff to close it out. A definite highlight.

Derek is easy breezy on “Aint Wastin’ Time No More,” Warren plays some happy lines. Then “Come On In My Kitchen” is a pleasant surprise, slow, full of bluesy tension that is finally released when they step into double time.

Then comes a sequence that, looking back now, is the highlight of the night for me. It begins when they launch into “True Gravity.” Now, it was nice enough back in the spring when they played this song. But tonight it is huge, epic, majestic, reminiscent of the grand 1996 versions (albeit without a drum solo). The guitars are like two horses running wild through a field. Derek takes a beautiful solo, starting small as the music breathes, loping, racing, building until Warren joins him in harmony, guiding the music back to the theme. I’m hoping to hear this a couple more times…

Out of the hanging final note of “True Gravity” emerges “You Don’t Love Me.” The song proper is relatively brief, with Warren and Derek careening solos off each other. Off the back end they roll into the shuffle jam that in the past had begun the song, and which is more fun than the song itself; tonight this features a jaunty little conversation between Warren and Derek. Then, impromptu, the guitarists decide to take the band into “Will the Circle Be Unbroken,” a lovely instrumental version, the rest of the band falling quickly in with them.  It is aching and exquisite, and gracefully brings the set to a close. In all, from “True Gravity” on, about 23 minutes of that’s-what-I’m-talkin’-‘bout.

The second set opens with the drums swelling, Derek commenting over the top, then a count-in and it’s “One Way Out.” Next up Stand Back” is, as always, an Oteil showcase, the drummers laying down the groove for him to bounce off of, around, and through. Then “Spots of Time,” still a new song for this band, but tonight full of narrative both vocal and instrumental.  There is a moment of sadness—you think to yourself, “this one is coming along nicely, I wonder what it’ll sound like in two years?  And then you remember….

The light show for this song now includes imagery of Monument Valley, providing a strong suggestion to hear this one as a cowboy song. Who am I to argue…

“Revival” is up next, a short run-through, closer to the recorded version, as opposed to the extended jam arrangement of the last 9 years or so; it is a tight piece of punctuation. Then “The Sky is Crying.”  A slow, 12-bar blues seems too easy for this band, and for some people it can be boring; But the blues is almost like rock’s haiku; the structure so rigid that the artist is actually left free to soar. Tonight Warren plays the hell out of the blues, soars, lays it on extra-thick… then strips it all away… out of the vocals Derek bends fat lines of slide tone. He tortures his poor strings until they cry out in anguish, eliciting an ovation.

Gregg provides a nice, extended solo on “Elizabeth Reed”—not just his “part,” but some serious soloing, as Derek eggs him on. Then the guitar players bring the jam through the reggae classic “Get Up, Stand Up,” and back out the other side Warren makes his guitar wail and cry, as the band sprints forward underneath… then the drum solo, and back for the all-too-brief finish.

“No One Left to Run With” is the encore, like “Revival” a shorter arrangement than in recent years, perhaps owing to the lateness of the hour (it is after all a school night.) It is crunchy, concise, and to the point.

In all I thought it was a solid show, boding well for the next week. For me the first set was the better of the two, but place this solidly in the ‘win” column.

Posted by: --josh-- @ 12:13 AM  0 comments

Allmans at the Beacon: 3-22-14
Thursday, March 27, 2014
(Kofi Burbridge and Rob Barraco filing in for Gregg all night)

Done Somebody Wrong (Jimmy Hall)
Come and Go Blues (Jimmy Hall)
End of the Line
Dusk Till Dawn (Jay Collins)
Can't Lose What You Never Had (Jimmy Hall)
True Gravity
All My Friends (Susan Tedeschi, Jimmy Hall)
She Caught the Katy (Jimmy Hall)
Revival (Jimmy Hall, Susan Tedeschi)

You Don't Love Me (Jimmy Hall)
Aint Wastin' Time No More (Jr. Mack, Jimmy Hall)
Black Hearted Woman
Feel So Bad (Susan Tedeschi)
Les Brers >
Oteil/drums >
Why Does Love Got to Be So Sad? (Susan Tedeschi, Jimmy Vivino, Jay Collins) >
Les Brers

E: Southbound (almost everybody)

Last night's show was lush and lux, but tonight's was the shizzle. With Kofi Burbridge and Rob Barraco again sitting in on keys in Gregg's place, and Warren and a series of guest stars covering the vocals, this was a long, generous, big in-yo'-face affair.

Tonight there are two extra mics set up on the front line, and as the band walks on, there's a harp player over by Oteil, who of course turns out to be Jimmy Hall. The harp is prominent in the mix as the band makes the tuning up sounds that morph into the opening jam; Hall gently ushers in the show with a greasy harp vamp, delicious, that becomes a Warren/harp conversation, just riding the shuffle groove, and then turning over into "Done Somebody Wrong."  Derek's slide licks pave the way for Warren's ferocious vocals. Hall takes a big harp solo in the middle, Warren takes a solo, leading back into his vocals,  Derek tosses slide licks over the beat.  Can I call the opening song a highlight?

Quickly the opening keyboard lines to "Come and Go Blues," again Warren singing, and Barraco playing some appropriately wistful keys. With Warren singing, it actually becomes a different song. Both Gregg's and Warren's vocal persona combine defiance with world-weariness; but Gregg leans more toward world-weary, and Warren toward defiant... Derek solos, Warren gets all up in him, feeling every line, gives back a little, a little more, and soon it's a twisted pair of soaring screaming bliss.

"Oh my," it says in my notebook. An auspicious beginning.

Warren's big, manly vocals on "End of the Line" give the song a somewhat different spin; the tune features more Derek/Warren crunchy grind. Warren is marching through the Gregg songbook like Sherman marching through Georgia. On "Dusk Till Dawn" Barraco offers a stylish solo, echoed by Kofi on flute, and followed by a Derek sunburst. Jay Collins on sax sounds like he's hanging out of a Bourbon Street window at 2AM; Warren goes way down to the gut to pull out his solo. Derek and Kofi play together; then Derek walks back and lstens to his white hot solo standing right in front of his amp.

Jimmy Hall comes back for "Can't Lose What You Never Had," taking the lead vocals. Warren turns full body to him, and let me tell you, when Warren churns that hard rhythm and makes that face at you, brother, you'd better blow. So Jimmy blows.

The keyboard players switch places for "True Gravity;" the theme licks are fresh and full.  The drums scatter like a flock of birds, Oteil rides with the flock, Derek paints with majesty across the sky.  Oteil reflects a mirror image back at Derek-- going low where Derek goes high-- Warren falls in, then they stop and nail the theme again. Susan Tedeschi joins for Gregg's solo "All My Friends"-- at which point I'm reminded of the Gregg tribute show in Atlanta earlier in the year; maybe the band is paying tribute to him tonight as well, pulling out a couple of songs tonight that Gregg has written or sung, for the first time of the run. Susan handles the lead vocals, and Jimmy answers beautifully on harp; Derek plays a sweet and graceful solo.

Jimmy launches a harmonica hootenanny that becomes the shuffle of "She Caught the Katy," the old Taj Mahal blues that was a highlight on the last night of the 2012 run, another night when Gregg was out and Jimmy helped fill in. There's a killer, text book Chicago blues harp solo (somewhere Little Walter is smiling). Derek rides the glass all the way up to the very top of the neck. Then Jimmy and Susan augment the band for "Revival," with Warren, then Jimmy, then Susan each singing a verse. Kofi goes off on a pretty and happy solo, then Derek and the drums take a run, Warren offers a nourishing dose of guitar, and of course everyone is singing the "People can you feel it? Love is everywhere!"refrain, until the Beacon has become a church.  It's like an all-you-can-eat buffet for your heart.

The first set, it should now be clear, was epic.

"You Don't Love Me" opens the second set, more bluesy than the traditional band version, with Jimmy on vocals and a lot of harp. Barraco takes a solo, then Derek moseys over to Kofi for Kofi's organ solo, egging him on; then Derek gets an idea, Jimmy seems to cut him off, Derek goes again, then the musical tension resolves into a jam they ride out to the close.

Junior Mack is featured on "Aint Wastin' Time No More," contributing both lead vocal and guitar. Cool Rob Barraco waves roll in, heralding the song. Derek lays on some creamy icing, Junior plays a bluesy outro solo. "Black Hearted Woman" is a high-intensity song that is a prelude to itself, as the real action begins after they've run through the body of the song. The band builds tension running into the coda, round and round, till vertigo sets in, and then more, and faster... wih a slam they switch into the "Other One" jam that is a minor variation on the song's outro, Oteil rocks the drums, then a full band rush, Derek and Kofi meld and churn it up.  A good, killer, in yo' face version of the song.

Susan comes back out for "Feel So Bad," she and Derek going off together at the end, Susan full bodied blues shouting, Derek responding.  Susan testifies, then Warren rocks you like a baby. After the song, Susan gives Derek a little kiss on the cheek before demurely departing, as derisive "awws" rain down on him.

And then "Dreams." Derek fills the room with tone, Kofi accents, Derek pours out washes of texture that Kofi dances over. Derek trills and flits. Warren takes a solo that becomes a duet, as if they can't decide who should solo so both solos converge, making a sweet baby that resembles both parents. Out of an epic "Dreams" the band creates some smoky "Liz Reed" type space, then tumble into "Les Brers." Barraco does an organ run, Derek takes a turn, falling off the melody, the front line falling away gradually to Oteil and the drummers, then just drums, a cool refreshing interlude. Out the other end Derek gets up a full head of steam on rhythm; it becomes a tease of 'Why Does Love Got to Be So Sad?" Moves away from the tease and into another jam, the guitarists pull it in center stage (Derek, Warren and now Jimmy Vivino); soon someone hits the opening chords and indeed they go back and play "Why Does Love..." Susan strolls on casually, just in time to sing the chorus, then Vivino takes the second verse, and runs the voodoo down on guitar; then Jay Collins sprays some jazzy light, Derek takes a run that turns into a three-guitar huddle, each man peeling off joyful licks.  Collins plays some sweet, pretty sunset over the guitars... a brief stop, then Derek hits the chords that drive the band back into the rest of "Les Brers," Jimmy Hall now on sax making a two-man horn section with Jimmy Hall. All in, the "Les Brers/drums/WDLGTBSS/Les Brers" medley runs almost a half hour, some serious derring do.

Of course tonight the encore is "Southbound," with almost everyone back out (not Kofi though; Warren tells us he's had to split for his BB King gig.) Lots of Vivino, lots of Jimmy Hall. It's well after midnight when the final chords and notes crash down.  A full weekend without Gregg... but a great weekend of music nonetheless, and I can't imagine anyone is disappointed.

Posted by: --josh-- @ 9:30 AM  0 comments

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